As smoke from Siberian wildfires filtered into the north pole for the very first time in recorded history, Adrienne Teicher – producer, composer and somatic performance artist – wondered what art could achieve on a planet that is readying itself to cast off humanity like a coat of fleas.
Adrienne’s first solo release INSECURE explores the encounter with these roaming dangers of covid and climate change from the perspective of isolation. In lockdown, she created four A/V works documenting the anxiety she experienced in her body, while also attempting a personal and systemic critique, in the hope of performing an alchemical transformation from a body in isolation into a subject in solidarity with others.
The title track INSECURE, a video in which a monstrous humanoid face laments and writhes to a relentless techno beat. Along with DEPRAVITY, this work was the result of Adrienne picking up a camera and filming herself before spending manipulating the video material until the solitary figure became a hallucinogenic avatar.
As well as the body, Adrienne reached for other material that was close to hand and worked with stock footage for NATURE and UNPRODUCTIVE COMPLEXITY.
“For NATURE it was all drone footage, which I sliced and collaged. I wanted to touch the horror that is produced from watching human life approach a civilisational singularity, where we either enslave or destroy all other forms of life, and ultimately ourselves.”
The source of many of her aesthetic and conceptual frames is HYENAZ – a long term collaboration with fellow producer Kathryn Fischer. As well as their own performative rituals, the pair have developed and performed choreographies for electroclash performance artist PEACHES, and created sound designs for writer/directors Sivan Ben Yishai and Sasha Marianna Salzmann, at Kampnagel, Münchner Kammerspiele, Maxim Gorki Theatre and Royal Festival Hall.
HYENAZ and crazinisT artisT paired up during the month of April 2021 to explore the theme of death through a simultaneous deep listening journey in their respective homes (Kumasi, Ghana and Berlin, Germany). After the deep listening, field recording and filming (with the help of Sally Dige in Berlin and Ohsoh Edward in Kumasi) they created a new audio visual work. Funded by Goethe-Institut and supported by EXP__, this is an opportunity for artists to collaborate together across distance, perspectives, and contexts.
HYENAZ are known for pushing their forward thinking electronic music and confrontational performances into fully realized artistic expressions. On “Born from the Death” the two use snippets of conversation and the experience of working on music at a queer collective on the outskirts of Berlin to build the basis for the heavily rhythmic, House inflected track which Teicher’s Bad Conscience gleefully breaks down.
Beyond Possible is the outcome of a collaboration between installation and performance artist Jova Lynne and HYENAZ. Field recordings and visuals were gathered in Berlin, Germany and Detroit, Michigan in August 2020 with the intention of finding and creating sanctuary. These materials were carefully assembled into an audio-visual artwork by HYENAZ.
Goethe-Institut Virtual Partnership Residency EXP Award: Goethe-Institut Chicago
The Bad Conscience remix of the HYENAZ track “Columns” takes the raw and powerful soundscape of the original into a mainroom techno context. It retains the otherworldliness, the hypnotic energies of the orignal across subtle breaks and drops. The remix centers on a brutally dissected vocal, an unforgiving kick and broken percussion.
Lines That Maintain a violent order / Lines that distinguish a violent event / Those lines do not hold / The forest floor / Leaves like our bodies / Scattered in time
Our nostrils full of earth / Leaves decay / White lines / Feet march / Lines our bodies form / Are scattered by time / Day is gone / Its heat Is gone / Its sounds gone / As all things return / To stillness
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.
This damp and amphibious track extrapolates from field recordings of an immense network of stuttering frogs, which we encountered on Yorta Yorta country in South-Eastern Australia. The frogs reacted to their presence and movement by altering the intensity and volume of their vocalizations, creating an organic techno. The singular texture of PROXIMITY is the result of this collaboration with wetland wildlife.
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.