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.

Premiere: Maxim Gorki Studio Я, 15 June 2019



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.

Text and Direction Yony Leyser
With HYENAZ, Adrian Marie Blount, Jair Luna & Zazie de Paris
Dramaturgy Tobias Herzberg
Stage Design & Video Shahrzad Rahmani, Camille Lacadee
Costume design Anne Fidler
Sound design HYENAZ



Streaming: Spotify / Youtube

It is in mountains that the deep history of the world reveals itself, and it is in the play of sediments that the consciousness of minerals reveals itself. This consciousness mirrors in some ways the parasympathetic nervous system of human life, with its long neural pathways and preference for homeostasis: we are closer to rocks than we realise.

At this time, patterns of migration once again are compelling Europe to face once again the deadly paranoid mechanisms of othering by which it constructs its sense of self. The slow dance of rocks across generations is an encounter of entities that resists being subsumed by the hyperventilation of fear produced by a crisis mindset.

The sonic movements of CLASTIC respond to the deep temporality of this landscape and the singular existence of the individual stones, branches and other objects that make their home there.

The sounds of Clastic emerged from a field recording and electronic production workshop HYENAZ led in the Chiusella valley at CLASTIC – European Performing Arts Residency with the participation of: Durassie Kiangangu, Morena De leonardis, I Patom Theatre, Silvia Ribero, Angie Rottensteiner, Kazalište Nezamislivog Iva Korbar, and Elena Brea Sandin.

The album was launched with a listening party in complete darkness in Berlin. More info here: Facebook.

The EP is released under a Creative Commons non-commercial licence. Money from sales and streaming of the EP will be donated to refugee and migrant rights organizations.


Techniques for Auditory Resistance

Techniques for Auditory Resistance –
A weekend intensive electronic music workshop with HYENAZ
13 -15 October 2017 at betOnest

This was a sound art workshop and collaborative laboratory facilitated by HYENAZ. Using a variety of tools, with an emphasis on free and open source software, we explored a variety of approaches to creating sound in an electronic music context, including the manipulation of field recordings through sampling, digital synthesis and vocal recordings. We explored techniques of arrangement to create sonic landscapes from the sounds that emerged and began to think about how we can develop sound art that responds to the experiences of those who gathered as well our context at betOnest.


Queercore: How to Punk a Revolution

HYENAZ composed the original score for this Yony Leyser documentary about the emergence of the Queercore scene and the attendant history of queer and feminist music.

What happens when the community you need is not the community you have? Tell yourself it exists over and over, make fan zines that fabricate hordes of queer punk revolutionaries, create subversive movies, and distribute those movies widely—and slowly, the community you’ve fabricated might become a real and radical heartbeat that spreads internationally. This is the story that Queercore tells, from the start of a pseudo-movement in the mid-1980s, intended to punk the punk scene, to the widespread rise of artists who used radical queer identity to push back equally against gay assimilation and homophobic punk culture.
Interviewees discuss homophobia, gender, feminism, AIDS, assimilation, sex, and, of course, art. The extensive participant list includes Bruce LaBruce, G.B. Jones, Genesis Breyer P-Orridge, John Waters, Justin Vivian Bond, Lynn Breedlove, Silas Howard, Pansy Division, Penny Arcade, Kathleen Hanna, Kim Gordon, Deke Elash, Tom Jennings, Team Dresch, and many more.
Underscoring the interviews are clips from movies, zines, concerts, and actions iconic to the movement. As steeped in the radical queer, anti-capitalist, DIY, and give-no-fucks approach as queercore itself, the movie reveals the perspectives and experiences of bands, moviemakers, writers, and other outsiders, taking audiences inside the creation of the community—and art—so desperately needed by the same queers it encompassed.


* Felix Award for Best Documentary – Rio International Film Festival
* Audience Award SOUNDWATCH Berlin Music Film Festival
* Audience Award homochrom Cologne LGBT,
* Best Queer Documentary – Melinka Festival in Serbia

Queercore: How To Punk A Revolution (2017)
Totho Films / ARTE
World Premiere (June 12 Sheffield Doc/Fest):
US Premiere (Frameline SF Jun 17)
LA Premiere (Outfest July 15 Redcat):
and many more to come
World Sales / Festival Booking CAT&Docs:


Critical Magic 비평적 마술

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.

Critical Magic 비평 적 마술 emerged from a site specific performance called “Spectral Rite” 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.

Critical Magic was mixed by HYENAZ and Bartłomiej Kuźniak. High definition mastering by Bartłomiej Kuźniak at studio333.


Spectral Rite

Created by Sylbee Kim, HYENAZ and Nico Pelzer. Presented at MULTI-ARTS PROJECT II Annyeong! Hello! Site-specific procession at National Museum of Modern and Contemporary Art, Seoul: August 27, 31, 2014.

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.

스펙트럼 의식은 국립현대미술관 서울관의 건축적 조건과 미술관의 환경에 시청각적으로 개입하는 관내 행진 퍼포먼스이다. 베를린 기반의 퍼포먼스 듀오인 하이에나즈는 스펙트럼 의식에서 일종의 아름다운 괴물, 양성구유, 이종교배물, 풍각쟁이, 약장수, 선녀와 신선이자 전사로 정의된다. 이들은 동양과 서양, 고대와 현대 그리고 미래를 두루 환기시키며, 친숙한 이방인으로서 서울관에 강림한다.

이 행진은 공적 장소로서의 미술관과 그 건축의 운명에 분석적으로 접근한 결과물이다. 또한 미래와 역사의 간극에 또 다른 시공을 개방하는 장소로서 미술관을 설정한다. 나아가 스펙트럼 의식은 제식 자체가 함축하는 원시성을 바탕으로, 현실인식에 기반한 이상주의의 상상적 시공간을 펼쳐놓는다. 이로써 미술관은 정치문화사회적으로 이질적인 구성원에 대한 신자유주의적 배타성이 전 지구를 잠식해가는 작금의 보수적 현실을 극복한 환대의 현장으로 거듭난다.

하이에나즈는 스펙트럼 의식을 위해 한국어로 쓰인 총 네 곡의 신곡을 선보인다. 행진은 서울관의 로비에서 시작해서 제1, 2 전시실, 서울박스를 거쳐 지하1층 로비, 미술관 마당 그리고 외부로 통하는 계단 등 각기 다른 지점을 거친다. 각 지점 사이를 이동할 때에는 다양한 움직임을 선보이며 노래된 말이 울려 퍼진다. 행진의 이동성을 극대화하기 위해 악기와 공연 장비는 어쿠스틱이나 디지털 방식으로 음향을 생성하는 발명품들로 대체되어, 기하학적인 의상 안에 장착된다. 이 유사 악기들은 주술적인 도구나 전쟁 무기, 미래적인 미디어 기계를 연상시키며 이미 존재하는 악기들을 흉내 낸다.

소리는 원시적인 미래, 언어 이면의 소리들을 시사하며 현재의 언어중심적 가치 체계와 번역의 불가능성을 극복한 순간을 그린다. 행위는 성별, 역사, 공간이 온전하게 결합한 새로운 혼종에 대한 갈망을 표현한다. 스펙트럼 의식을 통해 신체는 미술관의 건축과 결혼식을 올린다. 전사로서 하이에나즈는 소비로 점철된 도시의 권태로운 일상 및 안일한 제도에 저항한다.

스펙트럼 의식은 주체가 물리적이고 관념적으로 분화되기 전의 원시적인 감각을 도입하여 광인의 자폐증적인 실험을 넘어서고자 한다. 동시에 기관, 창작자, 관객의 존재 사이에서 줄타기하며 실험극으로서 가능한 소통의 방식과 공동체의 가능성을 모색한다.

-김실비, 하이에나즈, 니콜라스 펠처

Directed by
Sylbee Kim

Performed by

Music composed by
HYENAZ with Nicolas Pelzer, Sylbee Kim

Lyrics by
Sylbee Kim, HYENAZ, Nicolas Pelzer

Artistic contribution
Nicolas Pelzer

Costumes by
Juan Chamié for EXIT

Styling by
Yeorg Kronnagel

Objects and Instruments
Yeorg Kronnagel, Rilk Mob

Rilk Mob, Yeorg Kronnagel

Coordinator Taejun Kim

Sylbee Kim

Documentation video
Sylbee Kim, Seung-Bum Hong

Nicolas Pelzer

Supported by
Korean Cultural Center, Berlin, Mi-Hyun Park (Gayageum)

Exhibition Planning & Execution
Kim JangUn, Park Deoksun, Jaemim Jung

Curatorial Interns
Sora Baek
Shinhye Hong
Jeongmoo Lee
Sang yeon Moon
Sung jae Moon
Kyu yeon Park
Sohyun Park



In their 2013 self titled debut HYENAZ imagined themselves as transgender hyena-humanoids, scavenging on the edges of apocalypse, building bodies and identities from civilization’s detritus.

HYENAZ are one, defiled and immaculate, their androgynous flesh quivering on the thin edge between the digital and the divine. They believe that all beings and matter are intrinsically connected, that we can choose utopia over dystopia, that time is an illusion. The album is written as an infinite circle. An electro-symphony, it is composed not track by track, but as a whole, adapting sounds and samples from around the world and influences from across time. 

Music and lyrics by HYENAZ. Recorded and mixed by HYENAZ at D.I.V.O. Institute, Kolin, Czech Republic, EXIT, Berlin, Germany and Pale Music International, Berlin, Germany.

Mix tweaking & high definition mastering by Bartłomiej Kuźniak at Studio333

Album Artwork by Lavender Wolf
Graphic Design by HYENAZ

Spotify / Bandcamp