Extraction: Research funded by Fonds Darstellende Künste
HYENAZ (Mad Kate and Adrienne Teicher) are currently on residency for their the research phase of their audio-visual work and performative intervention EXTRACTION, the fifth in their “Foreign Bodies” project. Extraction explores how extractive processes are replicated within the arts, and how we can find ways to resist and mediate those processes. The initial research phase of this project will began in June 2021 and is generously funded by Fonds Darstellende Kunste.
The project began with our field work in a rock quarry in Apricena, Italy, where we gathered sounds, images and writing. This scar in the earth – both beautiful and disturbing – illuminated our role as artists in a society structured by extractive forms of capitalism. To develop a performative response, we will focus on accountability practices and proactive techniques to resist extractivist practices—especially looking inwards at the way in which gathering sound can be fundamentally extractive.
The concept of extraction situates all kinds of “innocent practices” as carrying the potential for exploitation and harm. We use extraction as metasignifier—we include the extraction of (creative) labour from (precarious) bodies, minerals, gas and water from the ground, sounds, words and images from sentient beings, as well as the “mining of the exotic” from our very selves. In response we ask: What are the problematics of extraction which appear within (always-already) hierarchical collaborations? How can processes compromised by extractive dynamics resist extraction? How can we name them, rather than erase them? What are the limitations of the extractivist framework? Are there other ways of finding reciprocal relations between artists, subjects, and nature?
We want to especially thank Donato, Maria-Teresa and the community in and around Apricena, Italy.
HYENAZ Perimeter VR Gallery
PERIMETER Virtual Reality gallery features their audio visual work PERIMETER plus five filmed interviews with the Berlin performers Martini Cherry Furter, Mmakgosi Kgabi, Simon(e) Jaikiriuma Paetau, Mad Kate and Adrienne Teicher, wherein they explore the psychological, artistic, gendered, racialised and class-determined territories in which they feel “neither inside nor outside.”
The exhibition can be explored from any device: https://www.hyenaz.com/perimeter-vr
HYENAZ Perimeter Video and EP
Perimeter is the latest a/v work by HYENAZ, in collaboration with performers Mmakgosi Kgabi, Martini Cherry Furter, and Simon(e) Jaikiriuma Paetau, artistic director Yeorg Kronnagel and cinematography by Robert Mleczko. Perimeter is the third audio-visual work and performative intervention in the HYENAZ Foreign Bodies series, and is supported with generous funding by Musicboard Berlin. The EP and Video will be released on June 3rd, 2021 on Freudian/Slit Records Berlin, and includes remixes by IXA and Maya Postepski aka Princess Century.
HYENAZ picks Perimeter Themed Radio on Underground Institute https://www.facebook.com/undergroundinstitute/
HYENAZ present Foreign Bodies on Obskur Radio https://soundcloud.com/obskurtechno
World Premiere at DC Sound Scene Festival
Signals is a new work created especially for Sound Scene Festival’s 2021 theme EMERGE. Signals explores the notion of performativity in the form of codes, signs, drag, and masks in order to emerge from the darkness as visible. Signals become methods of translation, channels through which our voices become audible and understood. Bodies emerge into forms which are recognized and codified; modes through which we can be understood and called into subjectivity. An audio work and a video essay, Signals explores the process of emergence especially as it relates to the a/Artist into cultural spaces of power, those who hold or desire to hold the microphone. Using multiple distinct voices and perspectives, both sung and written, Signals explores the process through which one emerges through the implementation of signals like masks, codes, dress, and language in order to achieve audibility, visibility and thus access. What is this process of emergence? Who stands at the gate,? What is gained and lost in this process? HYENAZ create all their sound works from original field recordings; the particular context for these recordings were an anarcha-feminist anti-military conference which brought together activists from throughout and beyond eastern Europe and central Asia. Together the members of the conference struggled to bridge knowledges, contexts and experiences. HYENAZ want to especially thank the voices and brave activists who were present there. (Presented in Partnership with Goethe Institut DC)
EKU EKU EKU (a call to death)
Goethe-Institut Virtual Partnership Residency with Va-Bene Elikem Fiatsi (crazinisT artisT) and HYENAZ
Mad Kate SWEAT
Photo: Onsoh Studio
SWEAT (Mad Kate featuring Karyka) is an immersive sound installation and performance intervention that premiered at perfocraZe International Artist Residency- [pIAR] in Kumasi, Ghana in March 2021 as part of our group show x7 with with Eryka Dellenbach (USA) collaborating with Martin Toloku (Ghana), Zoë Binetti (Switzerland), Hiroko Tsuchimoto (Sweden), Regina Magdalena Sebald (Germany) collaborating with Richmond Donkor (Ghana), Marlene G Prinz (Austria) collaborating with Adwoa Morgan (Ghana), and Amina Gimba (Nigeria).
SWEAT features sonic contributions and auditory imprints from laboring bodies at work, as well as recorded conversations about performance and performativity of the sexual/ized body at work—work as labour of survival and labour of a/Art. The sonic landscape of this work has been woven exclusively from field recordings gathered in and around Kumasi, ultilizing pIAR as first site of home and expanding outwards to synchronistic encounters, intuitively following the body at work. The conversations are less a sonic research archive than they are a means to speak across intersectionalities by anchoring in common space: as sexualized bodies, as working bodies, as artistic bodies and as performative bodies. These are the sounds of sweaty bodies: labouring, dancing, fucking, sacrificing and surviving.
In focus is the auditory and audibility; which bodies can be heard and which bodies are silenced by the audible? What happens in the dark? What is felt or sensed in the quiet space between bodies, placed within and contexualized by the pounding loudness of our sweaty bodies at work?
Heartful gratitude to those who contributed so generously in our encounters, including Va-Bene Elikem Fiatsi [crazinisT artisT], Mawuenya Bubu Amudzi, Martin Toloku, Onsoh Edward, Eryka Dellenbach, Zoë Binetti, Hiroko Tsuchimoto, Karyka, Jawo Zaria Graba, Adwoa Kesewaa Gaisie, Isshak Fuseini, Muhammedu Abubakari and many others.
SELECT PAST PERFORMANCES
Cranky Pants! – Peaches and Clusterfuck – Theaterformen (Hannover 2021)
SWEAT – Mad Kate featuring Karyka – [pIAR] x:7 Group Show March (perfocraZe International Artist Residency, Kumasi, Ghana 2021)
RUPTURE – HYENAZ (ARTE x United We Stream x Female:Pressure, Berlin 2020)
Gritty Glamour dir. Simon(e) Pateau (Ballhaus Naunynstrasse, Berlin 2017, 2018, 2019, 2020)
Knowbody – HYENAZ – supporing CHRISTEENE (Berghain Säule, Berlin, 2019)
There’s Only One Peach with the Hole in the Middle – PEACHES and team (Kampnagel, Hamburg / Southbank Center, London / Volksbühne Berlin 2019)
Knowbody – HYENAZ – Pugs in Love Queer Festival (Maxim Gorki Studio R, Berlin 2019)
sexWORKperformanceART – Mad Kate – Fete Du Slip (Arsenic Centre d’art scénique contemporain, Lausanne 2019)
Taylor Mac – A 24-Decade History of Popular Music (Berliner Festspiele 2019)
Aus Dem Hinterhalt – Don Quichotte with Peaches and Clusterfuck (Deutsche Oper, Berlin 2019)
Transmediale Vorspiel: IN TOUCH (Galerie Mausefalle / CTM 2019)
ALIVE:ness – Mad Kate | the Tide – Pugs in Love Queer Festival (Maxim Gorki Theater Studio R, Berlin 2018)
May I Cross This Line? – Mad Kate – Trenn Euch! (Zürich School of Impact 2018)
Aus Dem Hinterhalt: WOZZECK with Black Cracker and team (Deutsche Oper, Berlin 2018)
Rana Hamadeh: The Ten Murders of Josephine (
Witte de With Center for Contemporary Art – Theater Schouwburg Rotterdam 2017)
It Was Not the Earth – HYENAZ – Partial Eclipse of the Heart (Berghain Berlin 2017)
Imagining BREAD – Mad Kate – Urban Witches Not Bitches (Neurotitan Gallery Berlin 2017)
Rana Hamadeh: The Sleepwalkers (Nottingham Contemporary, UK 2015)
Jen Ray: HITS (Kasseler Kunstverein, Kassel 2014)
ALIVE:ness – Mad Kate | the Tide – Festival Automne en Normandie, Peaches Extravaganza and Guests (Tetris, Le Havre 2013)
ALIVE:ness – Mad Kate | the Tide – Month of Performance Art Berlin Closing Ceremony (SHIFT, Berlin, 2013)
Wagner Das Heer (Akademie der Kunst, Berlin 2013)
South by South West Music Conference Showcase (Austin, Texas 2009, 2012, 2013)
ALIVE:ness – Mad Kate | the Tide – Copenhagan International Performance Art Festival with Penny Arcade (Warehouse 9, Copenhagen, 2012)
Voluptuous Horror of Karen Black (HAU 1, Berlin, Germany 2012)
Jerk Off Festival (Le Klub Paris France 2011)
Kulturnacht Næstved (Grønnegade Teater Næstved Denmark 2011)
Peaches Christ Superstar (HAU 1 Berlin / Kampegnal Hamburg 2010)
Before Death – Rough Print featuring the work of Michael Russ (Lucas Carreiri Gallery Berlin (2010)
Before Death and Record Me – Mad Kate – Queer X Road Show (Berlin/Malmo/Stockholm/Copenhagen/ Paris/ Brussels 2009)
Not Who You Think – Mad Kate and Tara DePorte with Nico Lippolis (Envoy Gallery New York USA 2009)
Do Not Go Gentle – Mad Kate – Saturator Queer Festival Warsaw (Saturator Warsaw Poland 2009)
PEACHES Live at Electronic Beats Festival (Postbahnhof Berlin Germany 2008)
Hells Boutique with DJ HELL (Reitschule Bern Switzerland 2007)