"crackles"

for bodies on stage

version for 3 performer

performed by Tim Cape, Edward Henderson and Josh Spear

4.11.2016

Block 336 Brixton,  London

Antonia Baehr composing for & with Johnny Chang & Neele Hülcker & Lucie Vitkova
23.9.2016
Labor Sonor : Moving Music
choreographers compose for musicians
transdisciplinary festival & symposium
23 & 24 september 2016
ballhaus ost

"copy myself#2"

22.7.2016

Stud!o10, Uferhallen Berlin

"crackles" for bodies on stage

for MOCREP

11.8.2016

Darmstädter Ferienkurse 2016

Orangerie

"ear action"

with Stellan Veloce

for earprotection and objects

19.6.2016 Pacific Bodies, Flutgraben Berlin

Fotos: Brandon Dougherty

"copy!"

ASMR-cyborg-performance

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

Performance

Akademie der Künste Berlin

29.11.2015

 

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!

https://www.facebook.com/events/1575499859396977/


more about ASMR yourself: https://www.facebook.com/ASMRyourself?fref=ts



documentation (HAU 1, Berlin, 30.+31.3.2015):

"Copy!"

Performance, 29.11.2014, Fluxus+ Museum Potsdam

http://en.wikipedia.org/wiki/Autonomous_sensory_meridian_response

"Zu spät für das Privatleben", UA 19.11.2014, Ensemble ascolta, Wien Modern

CAMERABOXING

with Tomomi Adachi

http://cameraboxing.tumblr.com/


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

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"

Ensemble ascolta

"neorumps"

für 5 Performer und Zuspiel

 

 

 

 

 

 

"rumps"

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 

luci und neele .mp3
MP3 Audio Datei 8.9 MB

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... 

 

 

 

"TAGE" Lebensprojekt

(2011-?)

Vertrag Neele & Elisabeth.pdf
Adobe Acrobat Dokument 22.2 KB

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

"l+n", elektronische Musik, Variation von "Luci und Neele"
l+n .mp3
MP3 Audio Datei 9.0 MB

 

 

"Sie sind ja ein richtiges kleines junges Fräulein" Hörspiel, UA April 2011 Musikhochschule Dresden

Sie sind ja ein richtiges kleines junges
MP3 Audio Datei 10.1 MB

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.

 




"mon petit jetzt" Hörspiel mit Material aus Luc Ferraris "jetzt"
mon petit jetzt.mp3
MP3 Audio Datei 13.8 MB

 

 

 

"Kleine Dinge" (2011) für Akkordeon, UA November 2011 Klangwerkstatt Berlin, Künstlerhaus Bethanien (Akkordeon: Susanne Stock)

 

 

 

 

"Kleinigkeiten" (2011) für Sopran (Frauke Aulbert), Schlagzeug (David Cariano Timme), Zuspielung (Constantin Basica), UA 27.10.2011, Musikhochschule Lübeck

 

 

 

 

"tunnelbahnen" (2011) für 3 Performer in Spieltunneln steckend, Zusammenarbeit mit Lisa Haucke und Wiebke Heiber, UA Juli 2011 Hochschule für Musik Hanns Eisler Berlin

 

 

 

"recycle" für 3 kostümierte Sängerinnen und 3 Diktiergeräte (2010), Sarah Kaulbarsch, Julia Böhme, Marie Hänsel: Gesang, UA Dezember 2010, Musikhochschule Dresden

 "Dumosus" (2010), Nora-Louise Müller: Bohlen Pierce-Klarinette, Akos Hoffmann: Tenor-Bohlen-Pierce-Klarinette, Selen Schaper: Oboe, Lars Schaper: Kontrabass

UA November 2010, Tanz- und Konzerthaus Lübeck

8 Min.

 

 

"Home of shocks #1" für Sopran, Blockflöte, präpariertes Klavier+Kalimba und Violine (2010)

UA Februar 2011, Ensemble Effusions (Sopran: Marcia Lemke-Kern, Blockflöte: Marion Fermé, Klavier+Kalimba: Jennifer Hymer, Violine: Ewelina Nowicka)

 7 Min.

 

 

"Fea" für Bassflöte, Sopran, 2 Schlagzeuger, Violine und Kontrabass (2010)

UA Juni 2010 Musikhochschule Lübeck (Bassflöte: Jessica Marwitz, Schlagzeug: Kaspar Querfurth, Gerrit Bogdahn, Violine: Vera Schmidt, Kontrabass: Maxie von Neumann-Cosel)

9 Min.

 

 

"Kluckt" für Saxophonquartett (2009)

UA März 2010, BKA-Theater Berlin: Unerhörte Musik, Sonic-Art-Quartett (Martin Posegga, Annegret Schmiedl, Alexander Doroshkevich, Ruth Velten)

7 Min.

 

 

"Seo" für 3 Schlagzeuger (2009)

UA Oktober 2009, Elbschloss Festival Bleckede (Schlagzeug: Johannes Fischer,

Jonathan Shapiro, Andy Limpio)

8 Min.

 

 

"warten" Hörspiel (2009)

UA Dezember 2009, Musikhochschule Lübeck

19 Min.

 

 

"Gui" für 3 Violinen, Klavier und Schlagzeug (2009)

UA Juni 2010, Musikhochschule Lübeck (Violinen: Barbara Hefele, Vera Schmidt, Maria Laskowska, Klavier: Martin Klett, Schlagzeug: Gerrit Bogdahn)

6 Min.

 

 

"Tiu" für Cello und Zuspielung (2009)

UA März 2009, Cardiff School of Music

 

 

"wann, nie, dann, aber, jetzt, oder" für 2 Soprane und Licht (2008)

UA Oktober 2010, Eigenarten Festival Hamburg, Ensemble Accesa (Frauke Aulbert, Julia Mihaly)

12 Min.

 

 

"Jugendstudie" für Schulklasse im Publikum, Zuspielung und Live-Elektronik (2008)

UA Mai 2008, Musikhochschule Lübeck

In dieser Komposition arbeite ich mit Klängen, die Jugendliche in alltäglichen Situationen, in denen sie auf Gleichaltrige treffen, von sich geben.

Das Geräuschmaterial ist vor allem unruhig, eruptiv, obszön, unkontrolliert und ist normalerweise gerade in Konzertsituationen gesellschaftlich unerwünscht.

 

Die Aufnahmen, die ich von den Jugendlichen gemacht hatte, wurden im Konzert gespielt, gleichzeitig waren diese Schüler*innen selbst in genau diesem Konzert anwesend und wurden live dabei aufgenommen, wie sie -eben nicht stillsitzend und nicht brav zuhörend- ihre selbst von sich gegebenen Klänge hörten. Diese Klänge wiederum wurden wieder in das Stück eingespeist und wiedergegeben, währenddessen wurden die Jugendlichen beim Hören dieser Klänge erneut aufgenommen, usw..

 

Idee des Stückes ist u.a. das Wechselspiel von Selbstdarstellung und Selbstwahrnehmung: Die Schüler*innen werden aufgenommen, während sie ihre eigenen vorher aufgenommenen Stimmen hören. Es ist die Reaktion auf sie selbst, die im Laufe der Komposition auch zur Reaktion auf die Reaktion wird, da die Jugendlichen auch die während des Stückes produzierten Geräusche von sich selbst hören und die Reaktion darauf wiederum auch aufgenommen wird und innerhalb der Komposition abgespielt wird. Dieser Vorgang wird bis zur Live-Übertragung der gegenwärtigen Geräusche der Schüler*innen fortgesetzt.