Dress Up: Selbstporträt mit Hund
Idee, Komposition, Performance - Neo Hülcker
Stimme - Armin Wieser
Ton - Marcelo Schmittner
Licht - SE Strobach
Ausstattung - Sabine Hilscher
Produktion und Dramaturgie - Ulrike Ruf
Videoproduktion - Regina Teichs
"Neo Hülcker`s breaking of the voice #3"
with premieres by Karel Stulens and paranormal ϕueer group
Festival für Immaterielle Kunst, Elbphilharmonie Hamburg
performed by we spoke
UA, 25.10.2019 Kunststation St. Peter, Köln
Konzert der KGNM
"What is the future other than a dream that we are able to dream right now?"
part of "Manifestos for Queer Futures #2" im Rahmen des Festivals “The Present Is Not Enough – Performing Queer Histories and Futures”: hebbel-am-ufer.de/programm/pdetail/manifestos-for-queer-futures-2/
21.6.2019, HAU 2, Berlin
"Musik für tote Tiere 3a"
by Wilde & Hülcker
Héroines of Sound Festival
"Bei unserer Höhle dahinten"
performed by Sprechbohrer
"tofu and horses"
performed by Marta Forsberg & Neo Hülcker
common ground, Berlin
for trio transmitter (Florian Bergmann, Alba Gentili-Tedeschi, Benedikt Bindewald)
"I´m in your bodies" for flute, accordion, voice and 3 speaking dogs
for collect/project (Frauke Aulbert, Eva Zöllner, Shanna Gutierrez, Francisco Castillo Trigueros)
Kraftwerk Bille, Hamburg
"A body essay. Fiction actually"
for mam.manufaktur für aktuelle musik
"When my hair is completely smooth, I unplug the machine. I fold the sheet of paper in two, so that the hairs collect at the center, forming a uniform line. A line of black cocaine. I
doing up a line of hair. Its almost the same high. I open the jar of glue and add a streak of it above my upper lip with the moistened brush, then tale a strand of hair between my fingers
and seit it along the streak of glue until it sticks perfectly to the skin of my face. A fag`s mustache." aus Paul B. Preciado: TESTO JUNKIE (mit freundlicher Genehmigung von THE FEMINIST
PRESS, New York)
"Neo Hülcker`s breaking of the voice concert"
pieces for my transitioning voice by:
Henry Wilde (aka Antonia Baehr), Andrea Neumann, Edward Henderson, Jessie Marino, Stellan Veloce, Andy Ingamells, Owen Davis, Sam Andreae, Tomomi Adachi, Mathias Monrad Møller, Christian Kesten, Arturas Bumšteinas, Isabell Spengler, Sabine Akiko Ahrendt and myself
30.4.2018 (part one) and 30.10.2018 (part two)
for Bastard Assignments
Asylum, Peckham, London
Ballhaus Ost Berlin
PERFORMED BY MAULWERKER* Henrik Kairies, Christian Kesten, Katarina Rasinski, Steffi Weismann
What is human, what is animal and what is neither? How do humanity and ‘animality’ manifest themselves on a stage? How do humans imitate animals? How do humans imitate humans who imitate animals?
And what does that which we perceive as animal-like tell us about being human?
In my research into these questions, I unearthed a variety of material that I incorporated into various acoustic and performative situations for this composition. Human-animal relationships, hunting, and human-animal intimacy in ASMR videos were the main sources of inspiration
"ASMR *contemporary music ensemble*"
for decoder ensemble
Warsaw Autumn 2017
IMKA Theatre, Warsaw
ASMR *contemporary music ensemble*
played by Ensemble contrechamps
part of the concert "Autour de Steffen Krebber"
Studio Ernest-Ansermet, Genève
"etudes to become a deer"
with Jennifer Torrence
21.9.2017, at "Haldeplass", Oslo
original duration: 30 minutes
by and with Henry Wilde (aka Antonia Baehr) & Neo Hülcker (aka Prof Puppy)
– a collection for unplugged listening
Foto: Marc Seestaedt
Foto: Henry Wilde
-18.8.2017 at witch rave, Kulturhaus Insel Berlin, Alt-Treptow 6, Berlin
-5.11.2017 at 3 AM, Flutgraben Berlin
-31.5.2018 at Kunstraum Kreuzberg/Bethanien, part of the exhibition: Capitalo, Chthulu, and a Much Hotter Compost Pile. Über Mensch-Umwelt-Verhältnisse
-23.6.2018 part of "the dead are loosing or how to ruin an exhibition", Performance-Programm in der Klosterruine Franziskanerkirche
-11.+12.8.2018 at F.A.G. feminist art gallery, Toronto, Canada
- upcoming: 2.12.2019 Collegicum Hungaricum:
'Tentaculus Ohri' will be performed in the framewort of a special edition of Montag Modus events called KLIMATA, curated by Lena Szirmay Kalos and Jasna Layes Vinovrski.
Taking the term “climate” in its broadest sense as the project’s point of departure, Klimata consists of five subsequent events that explore current global economic, political and social developments. Each event has a different focus within the broader theme of the climate. As defined by Bruno Latour, climate is understood here as “a wide range of relationships between humans and their material living conditions”.
for more information, see Klimata 2019
"da war ich noch nie in meinem ganzen Leben"
with Antonia Baehr
part of the exhibition "DEPOT ERBE"
Museum für Neue Kunst Freiburg
There is a storage room in a depot where things that are not exhibited or have been discarded are piled up. It is a cluttered archive of reticent and hidden remains interwoven with our voices. These voices are our real and imitated children’s voices that continue to haunt our bodies. We visit the ghosts of that which has been sorted out, deposited, and marginalized and take them with us into the future.
with Stellan Veloce
for earprotection and objects
27.1.2017 dark music days, Iceland
In this one-on-one-performance we play a composition on ear-protection-headphones. The earprotection-headphones -which are normally used to mute environmental sounds- are working as a resonator directly on the ears of the audience member. They are played with different equipment like violin bows, vibrating objects, gloves, tape, fingernails, pop-rocks-candy in bowls filled with water and more. One performance lasts 6 minutes and will be done in loops over several hours. 2 people at a time are able to experience the performance.
for 4 dog*human performers
performed by MOCREP
A piece for humans and dogs and everyone in between.
„I often ask myself, just to see, who I am-and who I am (following) at the moment when, caught naked, in silence, by the gaze of an animal, for example the eyes of a cat, I have trouble, yes, a bad time overcoming my embarrassment. Whence this malaise? I have trouble repressing a reflex dictated by immodesty. Trouble keeping silent within me a protest against the indecency. Against the impropriety that comes of finding oneself naked, one's sex exposed, stark naked before a cat that looks at you without moving, just to see.“ (Derrida: The animal therefore I am)
for bodies on stage
version for 3 performer
performed by Tim Cape, Edward Henderson and Josh Spear (Bastard Assignments)
Block 336 Brixton, London
„Es scheint recht einfach eine klangliche Form – sogar eine Vision – zu evozieren, unter welchen Bedingungen aber könnte man von einem visuellen Geräusch sprechen?“
(Jean-Luc Nancy in: Zum Gehör, diaphanes 2010, S. 10)
„It seems quite simple to evoke a sounding form – even a vision, but under which conditions is it possible to speak about a visual noise?“
(Jean-Luc Nancy in: Zum Gehör, diaphanes 2010, p. 10)
Antonia Baehr composing for & with Johnny Chang & Neele Hülcker & Lucie Vitkova
Labor Sonor : Moving Music
choreographers compose for musicians
transdisciplinary festival & symposium
23 & 24 september 2016
Stud!o10, Uferhallen Berlin
"crackles" for bodies on stage
Darmstädter Ferienkurse 2016
with Stellan Veloce
for earprotection and objects
19.6.2016 Pacific Bodies, Flutgraben Berlin
Fotos: Brandon Dougherty
19.2.2016 ausland, Berlin
Welcome to the world of ASMR! ASMR stands for ‘Autonomous Sensory Meridian
Response’ and is a phenomenon that causes pleasant tingles in the head. There are more than 1.5 million Youtube videos in which ASMR artists try to trigger these tingly sensations by producing quiet microphone-amplified sounds like whispering, hair brushing, crinkling or cracking noises. The sounds in this piece may have an impact on your body. If you feel tingles -starting in your head, going down the spine- you may be ASMR sensitive. In my performance, I will bring this internet phenomenon into real life. I will celebrate the soundfetish with my ASMR friends from the internet and some hairy guests.
"ASMR contemporary music ensemble [tapping] [scratching] [brushing] [whispering]" version for 4 performers.
Performed by Josh Spear, Edward Henderson, Timothy Cape and me.
At Asylum, Bastard Assignments fresh and clean, London Dec 6th 2015.
„Tape for Terry“ in memory of Terry Fox`“Tape for children“
Tape for Terry
Akademie der Künste Berlin
Nachdem mein Publikum Platz genommen und die Kopfhörer aufgesetzt hat, beginne ich mit meiner Performance, die sich zwischen physikalischem Experiment, Instrumentenbau und musikalischer Komposition abspielt. Unterschiedliche Gegenstände und Materialien, die auch in Terry Fox` Arbeiten eine Rolle spielen, werden von mir verwendet: Gläser, Löffel, Kerzen, Streichhölzer, Schüsseln, Metall, Wasser, Mehl u.a..
Wie in Fox` „Tape for children“ lasse ich die Materialien in Versuchsanordnungen aufeinander treffen.Leiseste Geräusche werden wie unter dem Mikroskop vergrößert und einzelne Elemente werden nach und nach zu Instrumenten verknüpft, die wiederum auf dem Tisch zu einem Klang-System anwachsen. Das Bauen dieses Systems ist selbst auch schon Klang, der Aufbau des Versuchs bereits seine Umsetzung.
Das Publikum beobachtet mich dabei wie ich das „Tape for Terry“ drehe. Alles, was ich an Versuchsanordnungen zusammen baue, wird gefilmt. Meine Performance wird dokumentiert, gleichzeitig ist die Dokumentation auch die Performance selbst.
Das Video wird hinterher nicht nur hier veröffentlicht, sondern auch jedes Jahr am 10. Mai (Terry Fox`Geburtstag) an eine Wand im öffentlichen Raum projiziert.
Little Things is a series of short examinations, each dealing with a different musical reality, combining acoustic and electronic media, voice and keyboard, accordion and synthesizer or accordion and field recordings. We are starting from the different possibilities and perspectives of the interior and exterior spaces of our instruments and use the inside space of the accordion as a resonating cavity for a loudspeaker as well as the interior and exterior sounds of the venue we are playing in.
broadcasted on HR2 Kultur, 10.10.2015, 23:05
happy accidents contains recordings of lectures by Helmut Lachenmanns at the Darmstädter Ferienkurse 1982 and 2005 and recordings of my own voice as well as found footage of different sound-contexts.
Caution: In this piece I use ASMR. ASMR stands for „autonomous sensory meridian response“ and is a phenomenon that causes pleasant tingles in your head. There are more than 1,5 million youtube-videos in which ASMR-artists try to trigger these tingly sensations by producing microphone-amplified silent sounds, like whispering, hair brushing, crinkling or cracking noises.
The sounds in this composition may have an impact on your body. If you feel tingles -starting in your head, going down the spine- you may be ASMRsensitive und shouldn`t listen to this piece more than 3 times in a row because it can cause conditions of confusion and uncontrolled muscle-tremors.
"Bauvorhaben" für Flöte und Video
UA 11.7.2015, Kunstverein Hannover, Musik21 Festival
Flöte: Atsrid Schmeling
Performance at hörraum.1 Witten (6.6.2015)
ASMR yourself -Trailer-
visit us at Akademie der Künste on 22nd+23rd of May and get tingled!
more about ASMR yourself: https://www.facebook.com/ASMRyourself?fref=ts
documentation (HAU 1, Berlin, 30.+31.3.2015):
Performance, 29.11.2014, Fluxus+ Museum Potsdam
"Zu spät für das Privatleben", UA 19.11.2014, Ensemble ascolta, Wien Modern
with Tomomi Adachi
We box our video camera, why don't you?
We, Neele Hülcker and Tomomi Adachi are creating our own youtube-phenomenon! It is called „cameraboxing“. It is a reaction to the popular „unboxing“-videos in which people unbox products they just bought. (For example : https://www.youtube.com/watch?v=YcobpxwWgjY)
We would like to invite you to contribute with a video to the cameraboxing-phenomenon.
There are only a few rules:
-box your camera without talking.
-you can use any kind of camera (also your simple laptop-camera) and any boxing-materials.
Here is our first cameraboxing:
Works for accordion solo
"Sammlungen -Konzentrate, Leerstellen, Reste"
UA 24.5.2014, Ensemble Garage, Kolumba Museum Köln
For some time I collect something I call „musical concentrations“. These are for example recordings or just sound-memories of sound-arrangements in layers or sound-combinations that I come across with often: language-sounds, sounds of machines, sounds of crowds, atmospheric noise, or even „visual sounds“ like movements that can easily be associated to have a certain sound. A lot of these sounds can be described as a big density of informations that overlay with themselves and build a mixture with its single parts being hardly recognizable.
Another field in my sound-collections are basic modules or raw elements in sound-organisations like long notes, repetitions, scales or glissandi. A sub-group of these basic modules contains basic conditions for perceiving something as music or as belonging to a piece of music. I ask myself which frames have to be staged and how it might be possible to play with phenomenons of perception and classification.
In this piece I let elements of these collections react with each other.
"Sidekick" for 4 performers
Ensemble Radar (Ninon Gloger, Jonathan Shapiro, Felix Kroll) und Hermann Heisig
UA 17.5.2014 Klangrauschen, St. Petri Lübeck
12 Etüden für den Anfang
a concept by Yana Thönnes, Rahel Spöhrer and Neele Hülcker
UA 7.3.2014 Hochschule für Musik und Theater Hamburg
"Eva und Neele" for accordion and video,
Eva Zöllner, accordion
UA 23.11.2013 Klangrauschen, Essigfabrik Lübeck
„Eva und Neele“ contains sound-recordings made by Eva Zöllner during her nomadic life as an accordionist travelling nonstop (recordings of travel- organisations, of airports, of her practising, of the soundscapes of the cities she travels to). It also consists of video-recordings that were made during excursions that I made together with Eva Zöllner: We went to public spaces with different social environments and sound-structures and tried to find ways to react acoustically and visually on the various dispositions of the places.
Travelling together, going outside into the unknown and leaving space for accidents to interact with, built a basic part of the development of the piece.
"Mitarbeit" for ensemble,
mam. manufaktur für aktuelle Musik
UA 10.11.2013 Klangwerkstatt Berlin, Kunstquartier Bethanien
"Norbert K. Jeder Tag ist ein G. Heimatexpress. Powerplay" for 2 performers,
Duo LUXA, UA 11.5.2013, Blurred Edges Festival, Gedok Hamburg
"Plastik und Mutterboden"
für 5 Performer und Zuspiel
piece for my website
This piece is part of my research about embarrassment and deals with situations of failure onstage. It consists of the following experiment: the performers had to learn a score and a tape. The task was to play at certain points right into the pauses of the tape and at certain points together with the tape. At other points they had to do general-pauses. Another difficulty was that the performers had to change their instrument from action to action. What the musicians didn`t know was, that I would change the length and the progression of the single parts of the tape during their performance on stage. That means they were suddenly forced to react on a totally new situation.
I was interested how the performers would deal with such excessive demands, how they would keep their professionalism, how they would try not to show their insecurity.
The finished version of „rumps“ is this documentation - this text you are reading. The performance on stage is only one element of the piece.
I`m interested in moving the focus from sound aspects to different aspects that are triggered by the sound aspects (similarly I like the other way round). My music in „rumps“ is a psychological or sociological experiment, the pure sound is a minor point. I like to think new forms of music, build new frames and and research human beings through art.
"copy myself", Performance, 27.7.2012, open space, Darmstädter Ferienkurse 2012.
My performance „copy myself“ is a product, an intermediate result and a work process of my artistic research about embarrassment and empathetic embarrassment.
When I was 9 years old my friend Luci
and I started to imitate popsongs, folk music and commercials that we saw on TV. We recorded all these re-enactments with my cassette-recorder and while enjoying to exaggerate
the artificiality of those musical consumer products we created a mirror of the TV- and adult-world of that time.
I recovered these recordings a while ago and was fascinated by the grotesque exaggerations and high energy with which we did our voice-improvisations and experiments. At the same time I recognized that I felt embarrassed by some of the recordings. This feeling of embarrassment became the initial point for my performance: I decided to create the most embarrassing situation I could imagine in this context: I tried to imitate these recordings of my child-voice live in front of the audience.
The performance proceeded like this: The audience doesn`t know what will happen. I`m sitting in front of the room at a desk, waiting for silence. Then I play an audio mix of the most embarrassing scenes of the recordings loud into the room. I put on my headphones and listen to a single excerpt of the scenes, I put down the headphones and try to imitate this excerpt with my voice. I go on like this for a while with different excerpts. Afterwards I measure my pulse, my blood pressure and my temperature, enter the dates in a formular on my computer that is projected onto the wall. I also enter my estimated percentage of feeling embarrassed and exposed. Then I do nothing for 2 minutes, to make it even more embarrassing and tense. In the following I share out formulars in the audience. In these formulars they can enter their own data: about their body-fitness, about their feeling of empathetic embarrassment during my performance and if they did recordings of their own voice in their childhood. At the end I ask if there are questions, answer to them and try to start a discussion about the feeling of embarrassment.
"Luci und Neele", Hörspiel, UA Mai 2012, Musikhochschule Dresden
In my composition „Luci und Neele“ I
mainly use recordings that I made as a child with my cassette recorder: When I was 9 years old my friend Luci and I started to imitate hit- and popsongs and commercial folk music that
we saw on tv and recorded these imitations. We had pleasure to exaggerate the artificiality of those musical consumer-products and created a mirror of the TV- and adult-world of that
time which is conserved until now.
After a while I recorded more and more everyday-life sounds, it became normal that my cassette rcorder was with me, at school, at lunch with my parents, when I was playing with friends...
Life-long-project with Elisabeth Hager.
We bound ourselves by contract to record ourselves speaking out the date of the day everyday until the end of our lives. Once in a year we make an exhibition with the recorded dates we made till then.
We are interestet in different aspects. On the one hand the existentialistic aspect: with this project we directly engage with our whole life. The time of our project and our lifetime become one, the idea becomes part of our life, every day anew. We start out from the very personal and intimate, from our own voice, and point to something basic, concerning every person in the world: the expiring of lifetime and physical decline. Art and life melt into each other by necessity: the rest of our lives will be influenced by this project and our everyday life is present on the recordings: one can hear sensitivities in our voices, background noises and the changing color of our voices through the ages.
Documentation of the date-collection 8.6.2011-22.12.2013 at ohrenhoch, Weichselstraße 49, Berlin, am 22. und 29.12.2013
Documentation of the date-collection 8.6.2011-5.1.2013 im ohrenhoch, Weichselstraße 49, Berlin, am 6.1. und 13.1.2013
"Sie sind ja ein richtiges kleines junges Fräulein" Hörspiel, UA April 2011 Musikhochschule Dresden
Basic sound material for my piece „Sie sind ja ein richtiges kleines junges Fräulein“ (electronic music) is derived from films and music that I consider as „kitschy“ and from sounds that are „natural“, not „staged“, taken from everyday-life. I was interested if and how these two types of sounds could be used in a musical way, how they influence each other, how conceptions of naturalness and artificiality are built.