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HYENAZ interview in Unraveled Artists

Image by Valeriu Catalineanu, at Guilty Vol 2, Control Club, Bucharest

HYENAZ were recently interviewed by Colin Peterson of LA-based band Terminal A.

One of the types of dance that we are inspired by is butoh, which asks us to listen to the essential element of our bodies—water—and see what any given impulse will manifest in physical action. We try to remain in the body and see what the body tells us in the context of live performance. This has been important to us throughout all of our artistic processes—seeing what the signals inside the body will bring. This is also important in a larger political context. How do we understand ourselves as we experience the world from inside the body we inhabit? How to play with and subvert this even as we inhabit it?

More here: http://unraveledartists.tumblr.com/post/104209980140/hyenaz-interview

Critical Magic Live in Berlin

Critical Magic at Freaky Friday
28th November
Madame Claude, Berlin

Returning from our three month tour through Korea, China, Japan and Italy, HYENAZ will bring this leg of the Critical Magic tour to a close with an intimate performance at Madame Claude, Berlin. We will be presenting work from our upcoming second album “Critical Magic”, developed in part for the site specific performance “Spectral Rite” at the Museum of Modern and Contemporary Art in Seoul, Korea, with artists Sylbee Kim and Nico Pelzer.

Please join us.

LIVE: HYENAZ and 19TH MOON (www.19thmoon.com)
DJ SET: ALICE GIFT (Velvet Condom/Rock, Glam, Waves/FR, Berlin)

Friday 28th November | Start 21.30
Madame Claude, Lübbener Straße 19, Berlin
FB Event Page: https://www.facebook.com/events/643720949077018/

Tour Reflections

We return from our tour overwhelmed by the convergence of communism and consumerism, glimpses of a future both inspiring and terrifying. We began the project “Critical Magic” as an attempt to combat the forces of instrumental rationality – a cold, rationalistic way of thinking that sees human beings as a means to either nationalistic or economistic ends. This project forces us to confront the way that we as artists buy into this system every time we commodify our music, jump on airplanes, or pass freely through countries with our coveted Western passports while so many people are denied the freedom of movement.

One particularly notable incident occurred when we ordered merchandise for our Chinese tour – a set of t-shirts and bags – from a supplier in Shanghai. The materials, which had been digitally printed in China came with labels that read “Made in Bangladesh”, showing that now China is outsourcing its production to countries with even lower wages and poorer conditions. We acknowledge our role in these structures and intend to make more sustainable and humanistic choices as artists.