Welcome to a living room that turns into a smouldering scene of remembering and forgetting. Here, between a grandmother suffering from Alzheimer’s disease and her daughter, worlds collide: an interplay of anger, sadness, despair and disorientation. What remains when memories fade and the past becomes an unreliable companion?
Damage Done takes the audience on a journey through the fragility of memory and the construction of identity in a world that wants to save everything. The starting point is private video recordings from the family archive that were never intended for the public. But it is precisely this intimate closeness that challenges us to pause and ask questions: What does this material show – and what does it do to us who view it?
Through a collaborative process, the recordings are dissected, reinterpreted and translated into images, movements and dialogues. Alternative forms of communication emerge, transforming the stage into a multi-perspective space in which remembering and forgetting are negotiated in equal measure.
“Melbourne, is it just me, or is it a little moist down sout?”
In the tradition of the bleak news satire “The Day Today” and “Brass Eye”, Trish is an ’80s weatherwoman on the verge of a nervous breakdown.
Having just clawed her way from the secretarial pool to present the morning weather on Channel 6 in Sydney Australia, Trish is desperate to get through just one forecast without a single slip.
But a great stinking hole has opened up in the ozone layer – a rupture in the fabric that holds Trish’s reality in place.
Can Trish deliver a flawless forecast without her monsoon of aching desire, anxiety and outrage erupting all over her dreams?
“A Word That Starts with G” was first performed just two months after Israel accelerated its genocide in the Gaza Strip in the wake of the October 7th attacks by Hamas.
Trish, “lovable, fuckable, yet fundamentally weather girl” in her own little bubble of 1980s Australia, is able to blow a hole through the pervading climate of censorship, primarily self-censorship, that has silenced so many artists and institutions.
Berlin’s only weather-themed drag dj
When she’s not on air, Trish channels her meteorological madness into pure dancefloor euphoria. Her deluge of deep house, ravey remixes, and soulful anthems, with impromptu lip-sync performances turn every set into a dazzling spectacle.
For Lulu I created a quadrophonic sound design using the voices of opera singers Mireille Capelle and Margareta Klobucar along with quotidian auditory artefacts captured in three days of our studio work in Berlin.
About Lulu
Lulu Obermayer’s artistic practice is the staging of encounters with female figures from the canon. Named after the heroine of the title, the artist now confronts her namesake in the solo performance Lulu and reflects herself in the dramatic figure. Lulu is seen as a projection screen for male fantasies, and there seems to be a consensus on who Lulu is: a femme fatale who brings ruin to herself and those around her. Lulu, they say, is a mirror. But which Lulu is looking back when Lulu looks in the mirror?
In order to create a more complex image of the character, the artist tracks down sources related to Lulu and conjures up a séance-like setting, referring to her predecessors and bringing them into dialogue. The monologue becomes a dialogue. She draws on Frank Wedekind’s plays Der Erdgeist and Die Büchse der Pandora, Tilly Wedekind’s autobiography Lulu, Die Rolle meines Lebens, G.W. Pabst’s film Die Büchse der Pandora, Louise Brooks’ memoir Lulu in Hollywood and Alban Berg’s opera Lulu.
ACT is a project initiated by 10 cultural operators from 10 European countries, working in the field of performing and visual arts. ACT is a project with the support of the Creative Europe Programme of the European Union.
In 2023 a group of artists and performers gathered in Skopje, North Macedonia for a program organised by the NGO Lokomotiva. HYENAZ represented the Kampnagel theatre in Hamburg.
Medusa wird im Mythos vom Gott der Meere vergewaltigt, woraufhin sie sich in eine geflügelte Gestalt mit Schlangenhaaren verwandelt, deren Anblick jeden zu Stein erstarren lässt. Medusas gewaltvolle, kaleidoskopisch angelegten Memoiren sind bei Sivan Ben Yishai eine Widmung an alle Liebenden, die Momente unserer kollektiven Erinnerung auflistet: zwischen Begehren und Gewalt, zwischen Porno und sexuellen Fantasien, zwischen politischen Attacken und familiär eingeübtem Wegschauen. In einem nur scheinbaren Gegenszenario imaginieren fünf junge Mädchen gemeinsam den Traummann ihrer Zukunft, sich selbst unwillkürlich als perfektes Attribut an seiner Seite. Auf einer dritten Erzählspur entwirft die Autorin eine buchstäbliche Umkehrdynamik der tradierten Erzählmuster:
Eine Frau greift zum Messer, verlässt den Tatort Ehebett, kapert einen vollbesetzten Bus und legt den Rückwärtsgang ein, um die Jahrhundert-Story-Lines und all das zerschundene menschliche Liebesfleisch einzusammeln und zu dekompostieren. Könnte es nicht zum Humus werden für eine Öko-Sphäre der feministischen Narrative?
All proceeds from Bandcamp sales benefit perfocraZe International Artist Residency, Kumasi, Ghana. The founder of perfocraZe, Va-Bene Elikem Fiatsi aka crazinisT artisT is one of the most courageous and inspiring artists/activists we have ever met. sHit founded and leads the incredible international artist residency in Kumasi Ghana and is a beacon of light as a courageous queer person, performer, speaker, truth teller. sHit also works tirelessly fighting for LGBTQI+ rights in Ghana.
Credits
EKU EKU EKU (A Call to Death) is a Virtual Partnership Residency between Ghanaian multi-disciplinary artist Va-Bene Elikem Fiatsi [crazinisT artisT] and HYENAZ, with support from Goethe-Institut. Special thanks to Silent Green Kulturquartier Berlin.
Field Recordings and Performance: Va-Bene Elikem Fiatsi [crazinisT artisT] and HYENAZ Cinematography by Onsoh Edward (Kumasi) and Sally Dige (Berlin) Song in Ewe (Dirge) by Va-Bene Elikem Fiatsi [crazinisT artisT] Sound Design and Video Edit: HYENAZ Costumes (HYENAZ): Juan de Chamié of EXIT Berlin Costume (crazinisT artisT): crazinisT artisT studiO
Methodology
The field recordings and visual materials for Eku Eku Eku (a call to death) were gathered on the 20th of April 2021 at 14:00 CET / 12:00 GMT simultaneously in Berlin, Germany and Kumasi, Ghana. Using a deep listening methodology that HYENAZ had previously developed during the course of their first Virtual Partner Residency with Detroit-based artist Jova Lynne, both partners spent one hour making a parallel ritualistic and performative journey in their respective cities: Berlin and Kumasi, which were documented by their videographers.
Prior to the day of the performance, we made several calls to form what would be the central theme to our work, finally deciding on a meditation with death. Death has been and will always be a central theme for the living, but this year due to the global pandemic, meditating on death seemed particularly poignant. HYENAZ decided to enact their end of the ritual in the Wedding Crematorium, at Silent Green while Va-Bene created her performance in one of Kumasi’s cemeteries.
We decided on the color of red for our project in order to further unify our journeys. Once we were dressed and prepared, we called each other to check in before beginning. At the end of our respective rituals, we made a call again, discovering that we had completed our rituals within minutes of each other.
We followed this deep listening score for the simultaneous ritual:
Grounding. Find a comfortable position where you can relax your body into the location. Think about grounding. If you feel comfortable, come as physically close to the ground as possible. Lie on the ground. Let whatever parts of your body that touch the ground sink deeper into the ground. Concentrate on rooting. Capture the ambient sounds located there. Film yourself in this space, becoming grounded. Move the camera very close to your body to get some of the sounds and sensations very close to your skin and to your body against the earth.
Deep Listening. While letting the recording run, think about the sound that you hear. What sounds do you hear closest to you? What is more distant? What is even further away? Take note. You can also move your body in small micro-orientations to signal that you receive the sound. It could be an arm movement or a very subtle shift in your weight, depending on how you are positioned. Articulations. From this grounded space, what words come to mind. Try not to edit yourself. Just say the first words that come to mind. Say them outloud so that they are captured by the camera and microphone. Don’t worry at first about capturing a good recording, just let the words flow. Once you know what they are, repeat the same words again clearly into the microphone/camera.
Colour. What colour association do you make or feel as you occupy this space? Does the colour have a sound? Does the mood produced by the colour have a sound? Make a sound offering into the microphone, a squeal, song, gurgle, scream … be free Immediate concentric circle. Stand up and take space. From this specific place, take your camera and move slowly around your location in 360 degrees. This is the immediate circle and site of “home”. Move slowly so that you can notice details around you. Then take the camera and have someone move around you in 360 degrees to get you from all sides.
Mapping. Travel with your mind in concentric circles starting with the closest circle and moving out further and further like the skin of an onion. Name what is there and what it means for you, what is its significance, personal, political, contemporary, historical, futurological.
Found instrument. Find two objects within and around this site which can produce distinct sound and “play”. For instance, a wire scraped on a bench, or a tin can on the cement ground. Play your instrument while the recorder is set on the ground in a set location and record for at least 2 minutes. Let yourself record both distinct “hits” of the instrument as well as experiments in rhythm. Film yourself playing this instrument Free
Movement. As you have called into all directions the sounds and energies, begin to let your body move freely in response. Try to film your movements from different directions. Allow any sounds that rise to emerge from your body. Interact with the space and its objects in any way you feel compelled to.
Lyrics
(sung by Va-Bene Elikem Fiatsi [crazinisT artisT] in Ewe) Mother mother mother / Na Na na, Naye Nayee Nayee If you reach the peak of the mountain Agou and hear any voice, you know that I’m the one calling you / Ne do Agou toa nu de maa ne se gbedidia de, nanya be nye le yor wo Death doesn’t like good things / Eku me nya nu nyui ooo Death doesn’t kill wicked people / Eku me wua amevodi wo Death doesn’t pity poor people / Eku me kpor nublanui ne ame dahe woo Death doesn’t know good things / Eku me nya nu nyui ooo Death doesn’t know beauty things / Eku menya tungbe oo Death doesn’t know wealth / Eku me nya hotsuioooo Death has caused us a lot / Eku wo nu mi Death has wounded our heart / Ekue dabi miafe dzi nu Death doesn’t say it will go and come / Eku megblor be me yi ma vao
Editing Technique
Key to the emergence of the a/v work Eku Eku Eku was the experimental cutting techniques through which HYENAZ edited and assembled the piece. Normally we begin by composing a work from field recordings, and then cut the video to match this audio work. This time we worked from the video first using a modified version of the JAWA technique developed by the artist Tasman Richardson. When Tasman Richardson creates a/v works, they begin with found footage, scrubbing, cutting and looping to create percussive sounds and melodies using only the audio and visual material present in each fragment of found footage. We attempted the same, utilizing the audio visual field recordings we had each gathered, building the audio and visual composition in one step, from only the sounds and images present in each fragment.
This process resulted in a composition with an extremely tight relationship between picture and sound, content and form, and allowed us to merge the worlds of Va Bene’s ritual performance in Kumasi and ours in Berlin. However, it was not without challenges: We struggled with the sheer number of audio and visual tracks layered on top of each other. Creating music within a NLE like DaVinci Resolve, which is designed primarily for video editing, lends a fragility to the creative process, a careless key stroke can easily change the relationship between vast amounts of audio and visual material and undermine days of work. In the end we exported the audio stems from the video and worked with them in our DAW Bitwig to finalize the composition and to process and add effects to some of the sounds that were lacking presence in their raw form. We then reconnected the audio and visual before exporting the final work.
Automine asks: what are bodies worth in the digital age? And answers this question through a performance of the performance through which bodies create value, for themselves, but most likely for others.
Bodies create value through physical labour, bodies create value by emotional labour, bodies also create value by mining the identifying markers attached to bodies, my gender, my sexuality, my story, all of these markers have value, but the value of these markers change through space and time, as society changes, as politics changes, and as the body changes, ages, decays.
As the virtual replaces the real, the body should disappear. But does it really? Automine seeks an answer through, music, essay and a critical recitation of queer aesthetics in the third decade of the twenty first century.
Image: Mirek Fokt
HYENAZ present their musical works as immersive performance intervention. A performance asks that bodies are present: as performer, as audience, as active interlocutor. The assembling of bodies together for the purpose of performance – and the proximity of those bodies to experience or create together – is in itself a practice of (re)discovery of the politics of sharing physical space and the immanent territory of the flesh.
AUTOMINE brings together performative and audio-visual work that has been developed through Foreign Bodies, a 7-year long research project that explores relationships of bodies in motion, bodies in relation, and bodies in resistance. Through the visceral and explicit body, HYENAZ interrogate mechanisms that treat the body as a foreign object—a thing to be managed and controlled, an unknown territory even to itself, an “other” to be feared or annihilated.
Central to this project is the idea that the body is disappearing: from social interactions blasted into the corporate cloud, to machine intelligence tangled in the systems that govern life, to techno-futurists fantasies of an age where analogue flesh has vanished into digital consciousness. At this uncanny juncture, where surfaces look familiar but everything is shifting, HYENAZ claw to the presence of the body and the knowledge contained therein.
AUTOMINE pushes Foreign Bodies deeper into questions around a/Arts and extractivism, where “extraction” is utilized as metasignifier for the extraction of (creative) labour from (precarious) bodies; the mining of minerals, gas and water from the ground; the taking and recording of sounds, words and images from sentient beings; the seemingly consensual extraction of digital content, and the “mining of the exotic” from our very identities.
Adrienne Teicher’s “Insecure” is a mixture of poetry, mime, and electronic sound design. It explores the way risk and horror–genocide, climate change, pandemic, crypto–congeal with the ultra-mundane details of everday life.
Written, recorded, assembled and edited during the pandemic, Insecure 1.0 is an audio EP and collection of music videos drawing on what was close to hand, her own body, her empty apartment and stock footage. The title track features hallucinogenic avatars exploring the anxiety and unfulfilled desires imposed by isolation.
The live performance works by integrating and disintegrating poems into the fabric of the musical bedrock provided by the EP.
Credits
Composition, Programming, Sound Design, Lyrics: Adrienne Teicher Mix & Master: Steve Voidloss, Black Monolith Studio
Insecure 2.0 / Mediterranea fundraiser at 800A Berlin / Original Image by Robin Burke
Unsere Stadt aus Vogelaugen / Eine Blutung im Dunkeln Written and Performed by Sivan Ben Yishai Sound Design and Musical Performance: HYENAZ Visuals Patricia Bateira Production Assistance Luise Heiderhoff Translation Maren Kames
On October 3, 1938, just before Pogrom Night, the city of Dortmund ordered the city’s Great Synagogue to be torn down. On October 3rd, 2020, just a few meters from the square of the Old Synagogue, the city theater opened its season with this text. After Munich and Berlin, the writer Sivan Ben Yishai is performing her text in a special collaboration with the electro duo HYENAZ: “Our city from bird’s eyes / bleeding in the dark” is now in Chemnitz. The performative, musical reading is a meditation on the 35 days of repentance, which lie between October 3 and November 9, and draws an arc from the Past to the future.
UNSERE STADT AUS VOGELAUGEN“ / „EINE BLUTUNG IM DUNKELN“Gedenkfeier des gegenwärtigen MomentsLeseperformance von Sivan Ben Yishai und dem Elektroduo HYENAZ Am 3. Oktober 1938, nur kurz vor der Progromnacht, verfügte die Stadt Dortmund den Abriss der Großen Synagoge der Stadt. Am 03. Oktober 2020, nur wenige Meter vom Platz der Alten Synagoge entfernt, eröffnete das Stadttheater seine Spielzeit mit diesem Text. Nach München und Berlin performt die Schriftstellerin Sivan Ben Yishai in einer besonderen Zusammenarbeit mit dem Elektroduo HYENAZ ihren Text: “Unsere Stadt aus Vogelaugen/ Eine Blutung im Dunkeln” nun in Chemnitz. Die performative, musikalische Lesung ist eine Meditation über die 35 Tage der Reue, die zwischen dem 3. Oktober und dem 9. November liegen und schlägt einen Bogen von derVergangenheit bis in die Zukunft.
Die Droste Lectures entstehen 2020 im Dialog zwischen zwei Autorinnen: Sivan Ben Yishai und Maren Kames. Zwei der kraftvollsten Schriftstellerinnen der jüngeren Generation sprechen mit uns und Droste über Krieg und Frieden durch die Jahrhunderte und in der Sprache. Produziert von und mit den Sounddesignerinnen und Filmemacherinnen HYENAZ.
Eingeladen zum Radikal Jung – Festival für junge Regie 2020.
Premiere: 8. November 2019 Gorki Studio Я
Acht Frauen proben in einem Militärcamp den Ernstfall, bereiten sich vor auf den Einsatz, den Krieg. Sie reden und sie träumen davon, nachts auf ihren rostigen Bettgestellen mit den dünnen Matratzen. Die israelische Autorin Sivan Ben Yishai verdichtet die Wachträume und Erinnerungen dieser Frauen zu einem vielstimmigen, drängenden Text, auf dessen sprachliche Wucht Regisseurin Sasha Marianna Salzmann uneingeschränkt vertraut. Aus einer losen Verknüpfung von Stimmen, Körpern und Sound entstehen dabei auf der Bühne Assoziationsfelder, die sich im Kopf der Zuschauer zu Schlachtfeldern formen.
Photo above: Aris Akritidis for INFRINGE | Photo in header: Lydia Daniller
Showings
KW Berlin
18.09.2021
Transart, Bozen
09.09.2021
Theaterformen, Hannover
28.06.2021
Volksbühne, Berlin
28-31.12.2019
Musikhuset Aarhus
31.08.2019
Royal Festival Hall, London
29.08.2019
Kampnagel, Hamburg
15-17.08.2019
Deutsche Oper
28.06.2019
The CLUTERFUCK ensemble was born when PEACHES asked HYENAZ to choreograph a group of contemporary dancers for the Deutsche Oper Aus Dem Hinterhalt performance of Don Quichotte. In 2019. The group returned in PEACHES epic stage revue “There’s Only One Peach with the Hole in the Middle” with performances at Kampnagel, Hamburg, Royal Festival Hall, London, Musikhuset Aarhus and Volksbühne, Berlin. In 2021 Clusterfuck returned in a new PEACHES show called Cranky Pants, where they confronted and negotiated the ego that is generated between performers on the stage. Cranky Pants premiered at Theater Formen, Hannover, with additional performances at the KW Gallery 30-Year Anniversary Festival and Transart in Bozen.
The ensemble comprised artists Adrienne Teicher, Mad Kate, Federica Dauri, Jao Moon, TRAUKO, Ginger Synne, Lori Baldwin, Bishop Black and Martini Cherry Furter.
Against societal trends to dismiss the body in favour of automation, AI, and digital existence, KNOWBODY investigates the presence and absence of the body and the knowledge contained therein. The investigation is done through the performance of the body and the presence of the body in performance. “A performance” asks that bodies are present; as performer, as audience, as active interlocutor. The assembling of bodies together for the purpose of performance – and the proximity of those bodies to experience or create together – allows us to rediscover the immanent territory of the flesh.
Five queer Berliners of different generations and backgrounds take the audience on a performative journey through Berlin’s queer history between Pankow and Schöneberg, Friedrichshain and Kreuzberg, Mahlsdorf and Charlottenburg.
In search for the intersections of queer identities in a collective consciousness, they liquefy time, space, body and gender and connect with ancestors and future generations. The performers have been living in Berlin for generations or have recently moved here. They will channel their icons, ex-lovers and former selves to draw a political-personal portrait of queer Berlin between East and West.
Witte de With Center for Contemporary Art is proud to present the premiere of The Ten Murders of Josephine by artist Rana Hamadeh accompanying her exhibition, on view until 31 December 2017. This is the frst manifestation of Hamadeh’s operatic project, which will be continually developed across 2018.
The Ten Murders of Josephine is an operatic project by artist Rana Hamadeh, structured through several evolving iterations. The theatrical production takes place alongside the concurrent exhibition at Witte de With Center for Contemporary Art of the same name (curated by Defne Ayas and Natasha Hoare), which functioned as the ‘factory’ and ‘assembly line’ for the operatic project, and was preceded by a study group.
Inherited from the genre of ‘legal spectacle’, and from Hamadeh’s earlier claims regarding “justice as the measure to which one can access theater”, The Ten Murders of Josephine explores the constitutive conditions of testimony and valid speech vis-à-vis the notion of ‘testimonial subject-hood’. Hamadeh proposes a distinction between the two. While she understands the notion of ‘testimony’ as a form of rational utterance that is necessarily tied to the workings of a tribunal, her activation of the ‘testimonial’ attunes to all that is irrational; unspoken and unspeakable; unmarked and unmarkable. Hamadeh approaches the notion of the ‘testimonial’ as pointing to an ‘erased archive of colonial / racial / patriarchal / corporate / state-sponsored etc. erasure’; a violence not attended to, which materializes – phonically – as a monument to absent speech. How can this phonic materiality of absent speech become the organizing principle of subjecthood? What would it require to constitute oneself, or to emerge, thus, as a testimonial subject? And what would it mean to constitute oneself as a testimonial subject not only outside the bounds of the court of law, but even further, in place of the legal subject? Loosely based on Kafka’s mouse songstress, The Ten Murders of Josephine engenders new modalities of readership and spectatorship, and tests performative dynamics of theatrical production.
Performers
Claudio Ritfeld, Gerrie de Vries, Mad Kate, Rana Hamadeh, Doortje Peters, Lisa Chudalla
Creative Team
Director & Composer Rana Hamadeh Assistant Director Gerty Van de Perre Sound Co-Designer / Co – Composer & Light Designer Jorg Schellekens Programmer of Live Sound Processes, Foley Artist & Piano Software Engineer Arthur Sauer Creative Producer Maaike Gouwenberg Advisor to the director, Coordination & Research Rik Fernhout Associate Producers Patrick C. Haas, Rosa de Graaf Live Sound Processes & Night Club Scene Designer Adrienne Teicher Telephone System Designer rad0van misovic Organbook Text-to-Midi Translation André Castro Set Designer Paul van Gennip Costume Designer Angelica Falking Technical Coordinator Aram Visser Sound Technician Marcel Brand Decap Company Disklavier & Organbook Graphic Design for cover playbill, originally designed for lightbox Jungeun Lee
Critical Magic 비평 적 마술 is a mixed reality immersive performance based in physical contact, somatic labor, sound and movement to break physical and mental isolation and to spark discourse that is both critical and utopian. Between 8 June 2016 – and 5 July 2018, the complete score was performed in its entirety 28 times (as phases of the moon) as part of the “Probability Praxis Series,” with the help of spontaneous INTERLOCUTORS (volunteer performers) in each location who played a role in linking HYENAZ with the specific site and community context of each performance.
It was also performed in many more iterations, both in person and online, as partial and micro offerings up and through the final iteration as an online event at the beginning of the corona pandemic in 2020. Critical Magic challenges how bodies enter and interact within the performance space and the binary relationship between performer and consumer. Each show’s location was conceptually mapped together with the interlocutors ahead of the show, and each show was reflected upon through a process of writing and feedback after the show.
Following the score together, each show revealed the challenges and joys of being together in a room, accessing consent from strangers and near strangers, and how to collectively build up energy. As a marvellous and messy organizing of bodies, positionalities and perspectives, it was always a new performance.
Eva Donckers – Strangelove Festival Antwerp – 2017
Critical Magic 비평 적 마술 emerged from a site specific performance called “Spectral Rite” (2014) commissioned by the National Museum of Modern and Contemporary Art (MMCA), Seoul with HYENAZ working under the direction of Korean artist Sylbee Kim. In this performance HYENAZ led a procession through the gallery environment, traversing its exhibits, and engaging its public. HYENAZ invoked a ritual to mourn a industrial accident during the construction of the gallery that had been suppressed in public memory and which had left many workers dead and injured.
Since this initial performance Critical Magic 비평 적 마술 has evolved into a uniquely interactive performance that integrates electronic music, chaos magic, performance art, digital media, and interactive play; a moment outside of the everyday where HYENAZ blur distinctions between audience/performer and concert/interactive ritual. Critical Magic 비평 적 마술 walks the fine line between theatrical performance piece and sonic concert, critical theory and pop sensibility, bringing its audience into a liminal space of discovery.
The styling for Critical Magic was designed by Yeorg Kronnagel (makeup design, styling and accessories) and Juan Chamié at House of EXIT (costumes). Critical Magic was mixed by HYENAZ and Bartłomiej Kuźniak, with high definition mastering by Bartłomiej Kuźniak at studio333. We are grateful to Quecke Autonomous Feminist Community for providing the space to conceive the Spectral Rite performance and record the Critical Magic album. We also want to thank our label SPRINGSTOFF for believing in this project and releasing this album into the world, along with Critical Magic Remixed.
Photo: Claudia Brijbag Urban Spree Berlin 2016
Presenting this work over two years as an open workshop series called Probability Praxis allowed us to comment and blog about the performances in an effort to improve them, creating a dynamic and unique show every repetition. We want to thank each and every one of our INTERLOCUTORS who have danced live and on screen with us throughout this series. They have helped to create worlds and pictures that they themselves uniquely curated and designed in the moment. Our Interlocutors throughout this series have been:
Federica Dauri, ReveRso, Valentin Tszin, Nuit Nile, Donato, Savage Slit, David Wampach, Nathalie Mondot, Hana Frisonsova, Tereza Silon, Non la Décadence, Lu, Bishop Black, Olave Nduwanje, Pascal Mourits, Sanne van Driel, Yareth Habermehl, Dennis Snorremans, Lizzie Masterton, Mil Vukovic-Smart, ROC, Simon(è) Jaikiriuma Paetau, Danilo Andres, Yozhi Yazooma, Mojmir Mechura, Ambra Stucchi, Charlotte Busch, Isabel Jagoda, Joschi Rotheneder and Anonymous
1. RTS-ZI RITOPEK, SERBIA PROBABILITY PRAXIS 1 of 28 – NEW MOON 8 JUNE 2016 (Special Thanks to our host Dragan Ilic)
2. Red Gate Arts Society, Vancouver, BC Canada PROBABILITY PRAXIS 2 of 28 – WAXING CRESCENT 2 July 2016
3. Masseria Jesse, near Alta Mura Italy PROBABILITY PRAXIS 3 of 28 – WAXING CRESCENT 12 July 2016 (Special Thanks to our host Donato)
4. Urban Spree, Berlin, Germany PROBABILITY PRAXIS 4 of 28 – WAXING CRESCENT 21 October 2016 (Special Thanks to our Interlocutors: Federica Dauri, ReveRso, Valentin Tszin)
5. Cassera, Bologna, Italy PROBABILITY PRAXIS 5 of 28 – WAXING CRESCENT 28 October 2016
6. Clandestino, Faenza, Italy PROBABILITY PRAXIS 6 of 28 – WAXING CRESCENT 30 October 2016
7. ARGEKultur, Salzburg, Austria at Open Mind Festival PROBABILITY PRAXIS 7 of 28 – WAXING CRESCENT 19 November 2016
8. Humain trop Humain, Montpellier, France at Festival EXPLICIT PROBABILITY PRAXIS 8 of 28 – FIRST QUARTER 26 November 2016 (Special Thanks to our Interlocutors: Savage Slit and David Wampach)
9. La Colonie, Paris, France at MN³ w/ Polychrome – Society of Silence PROBABILITY PRAXIS 9 of 28 – WAXING GIBBOUS 17 December 2016 (Special Thanks to our Interlocutors: Nathalie Mondot and Anonymous)
10. Underdogs Ballroom, Prague, Czech, with MENU and Hana Frisonsova PROBABILITY PRAXIS 10 of 28 – WAXING GIBBOUS 20 May 2017 (Special Thanks to our Interlocutors: Hana Frisonsova and Tereza Silon and Thanks to our host Zdeněk Konečný)
11. Het-Bos, Antwerp, Belgium, STRANGELOVE Festival PROBABILITY PRAXIS 11 of 28 – WAXING GIBBOUS 2 June 2017 (Special Thanks to our Interlocutors: Non la Décadence and Lu)
12. Hedonist International Congress, Rechlin–Lärz Airfield, Lärz, Deutschland, PROBABILITY PRAXIS 12 of 28 – WAXING GIBBOUS 10 June 2017
13. Commune, Yerevan, Armenia PROBABILITY PRAXIS 13 of 28 – WAXING GIBBOUS 8 July 2017
14. Ponderosa Movement and Discovery, Stolzenhagen, Germany PROBABILITY PRAXIS 14 of 28 – WAXING GIBBOUS 22 July 2017 (Special Thanks to our Interlocutor: Tereza Silon)
15. Chateau Perche Festival, France PROBABILITY PRAXIS 15 of 28 – FULL MOON 5 August 2017
16. Garbicz Festival, Poland PROBABILITY PRAXIS 16 of 28 – WANING GIBBOUS 5 August 2017 (Special Thanks to our Interlocutors: Tereza Silon and Bishop Black)
17. Loppen. Christiania Denmark PROBABILITY PRAXIS 17 of 28 – WANING GIBBOUS 13 August 2017
18. AMS St. Georgen im Schwarzwald PROBABILITY PRAXIS 18 of 28 – WANING GIBBOUS 1 September 2017
19. WORM, Rotterdam, Netherlands PROBABILITY PRAXIS 19 of 28 – WANING GIBBOUS 2 September 2017 (Special Thanks to our Interlocutors: Olave Nduwanje, Manon la Decadance, Pascal Mourits, Lu, Sanne van Driel, Yareth Habermehl, Dennis Snorremans)
20. Winchester, England. Probability Praxis 20 of 28 15 September 2017 WANING GIBBOUS
21. COVEN – Underdog Gallery, London, England. Probability praxis 21 of 28 WANING GIBBOUS 16 September 2017 (Special Thanks to our Interlocutors: Lizzie Masterton, Mil Vukovic-Smart)
22. Zürich. Les Belles des Nuit PROBABILITY PRAXIS 22 of 28 27 October 2017 THIRD QUARTER
23. Queercore how to punk a revolution UT Connewitz, Leipzig, Germany. PROBABILITY PRAXIS 23 of 28 11 November 2018 WANING CRESCENT
23A. Urban Spree 17 February 2018 <<48 MINUTE SET >> (Thanks to our Interlocutors: ROC, Bishop Black, Simon(è) Jaikiriuma Paetau, Danilo Andres)
23B Köpi, Berlin, DE 30 April 2018 <<48 Minute Set>> (Thanks to our Interlocutors: Tereza Silon, ROC, Simon(è) Jaikiriuma Paetau , Federica Dauri)
24. S L Y // H Y E N A Z // PUNCTUM, Prague, CZ. PROBABILITY PRAXIS 24 of 28 20 May 2018 WANING CRESCENT (Special Thanks to our Interlocutors: Tereza Silon, Hana Frisonsova, Yozhi Yazooma, Mojmir Mechura)
25. Queer Culture, Thiembuktu, Magdeburg, DE PROBABILITY PRAXIS 23 of 28 26 May 2018 WANING CRESCENT
26. Torstrassen Festival, Berlin, Germany. 09 June 2018 WANING CRESCENT Berlin (Special Thanks to our Interlocutors: Ambra Stucchi, Simon(è) Jaikiriuma Paetau)
27. Les Beau est Toujour Bizarre, Parterre Am Ry, Basel, CH 16 June 2018 WANING CRESCENT
28. Kultur Fabrik, Hildesheim, DE 05 July 2018 WANING CRESCENT (Special Thanks to our Interlocutors: Charlotte Busch, Isabel Jagoda, Joschi Rotheneder)
MULTI-ARTS PROJECT II Annyeong! Hello! National Museum of Modern and Contemporary Art, Seoul
27-31.08.2014
A collaboration between HYENAZ, Sylbee Kim & Nico Pelzer.
Through the aural and visual act of the procession, Spectral Rite explores the architectural condition and the institutional environment of MMCA Seoul. Berlin-based performance duo HYENAZ incarnate as androgynous celestial beings, beautiful monsters, hybrid street peddlers and warriors for justice. Their presence evokes remote yet acquainted spaces, archaic and future tenses, as they appear within the MMCA as familiar strangers.
The procession is guided by an analytic approach to the architecture of MMCA Seoul, and implies contemplations around the destiny of a space which could rupture into another field of parallel time that is both history and future.
HYENAZ presented four musical compositions with lyrics in Korean exclusively composed for Spectral Rite. Each station in the procession is connected by movement transitions and atmospherically sung language. Reacting to the condition of mobility during the procession, the geometry of each costume is embedded with a variety of inventive solutions for acoustic and digital sound experimentation. The pseudo-instruments recall shamanistic tools, weapons of war, futuristic media machines and recognizably mimic existing instruments.
In Spectral Rite, the voice suggests a pre-linguistic phase of sound, and attempts to overcome language-centered systems as well as the impossibility of translation. The movement visualizes a yearning for a unified hybrid of gender, histories and spaces. Spectral Rite is a wedding of physical bodies and the architecture of the museum. As warriors, HYENAZ intend to prevail over apathy and daily complacency of consumerist and institutionalized city life.
Credits
Direction: Sylbee Kim Performed by: HYENAZ Music: HYENAZ with Nicolas Pelzer, Sylbee Kim Lyrics: Sylbee Kim, HYENAZ, Nicolas Pelzer Costumes: Juan Chamié for EXIT Styling, Objects and Instruments: Yeorg Kronnagel with Rilk Mob Projection: Sylbee Kim Coordinator: Taejun Kim Documentation: Sylbee Kim, Seung-Bum Hong, Nico Pelzer Supported by: Korean Cultural Center, Berlin, Mi-Hyun Park (Gayageum)