SSSS! Second Sexing Sound Symposium
for bodies on stage
with Neo Hülcker, Jenna Lyle, Amanda Bailey and Jen Hill
„Crackles are caused by explosive opening of small airways and are discontinuous,nonmusical, and brief. Crackles are much more common during the inspiratory than the expiratory phase of breathing, but they may be heard during the expiratory phase.
Crackles are often described as fine, medium, and coarse. They can also be characterized as to their timing: fine crackles are usually late-inspiratory, whereas coarse crackles are early inspiratory.“
(wikipedia: „crackles“, 30.6.2016)
Neo Hülcker is a composer performer whose work focuses on music as anthropological research in everyday life environments. Their compositions evolve as situations, performance-installations, actions and interventions, and work with different kinds of public spaces.
Neo Hülcker studied composition with Dieter Mack and Harald Muenz at Musikhochschule Lübeck, and with Manos Tsangaris and Franz Martin Olbrisch at Hochschule für Musik in Dresden. They graduated with a Masters degree in 2013. In 2014 they have been a fellow of the Junge Akademie at the Akademie der Künste Berlin.
Neo Hülcker founded the youtube channel "feminist ASMR" (in collaboration with Stella Veloce and Katie Lee Dunbar), as well as the channel "ASMR studio berlin" (in collaboration with mam.manufaktur für aktuelle Musik).
They perform as the ASMR artist Thousand Tingles and are a part of the agency "ASMR yourself" with whom they performed at HAU Berlin, PACT Zollverein, Akademie der Künste Berlin and Münchner Kammerspiele.
Their work has been performed by ensembles such as MOCREP, Ensemble ascolta, Ensemble Radar, mam. Manufaktur für aktuelle Musik, Ensemble Garage and decoder ensemble among others.
Neo Hülcker has collaborated with Antonia Baehr, Mario de Vega, Tomomi Adachi, Stellan Veloce, Matthias Kaul, Astrid Schmeling, Eva Zöllner and Bastard Assignments.
Their compositions have been performed at Wittener Tage für neue Kammermusik, Wien Modern, London Contemporary Music Festival, Münchener Biennale, Blurred Edges Festival Hamburg, Frontiers Festival Birmingham, soundacts festival Athens, Internationale Ferienkurse für Neue Musik Darmstadt, Klangwerkstatt Berlin and elsewhere.
Sheer Frost orchestra (1993) by marina rosenfeld
With Amanda Bailey, Jill Degroot, Jenna Lyle, Macie Stewart, Alex Temple, Deidre Huckaby, Lakshmi Ramgopal, Lee Blalock, Kristan Saloky, Rachel Ellison, Lia Kohl, Izzy Olive, Renee Baker, Jessica Aszodi, Billie Howard, Brit Barton, Petra Roggel, Rachel Copel
The Sheer Frost Orchestra had its first iteration in 1993 when Marina Rosenfeld was a student at the Calfornia Institute of the Arts. It has received many performances since, including in New York, London, Innsbruck, Cleveland, and San Francisco, but was mainly active as a concept and composition during the 90s. An event of indeterminate length but deploying a formalized set of other conditions—including 17 female performers, 17 electric guitars laid end-to-end on the floor, 17 individual amps forming a wall behind the performers, and a hundred or more nail polish bottles dividing audience from stage (enough for each performer to have access to a variety of textured and sized glass bottles for sound-production)—it foregrounds the intersection of performance, site specificity, improvised music, and feminist strategies of organization and sociality. Participants are required to learn a set of one-fisted gestures on the instrument and a scoring system organized in 30- or 60-second increments. At no time are the instruments lifted to the body or touched, except through the mediation of the glass bottoms of the many nail polish bottles at hand. Participants adopt and explore these techniques in rehearsals that are just as important as any subsequent performance. The work's identity is distributed across numerous local, temporary ensembles; scores customized to local conditions; and recorded traces in the form of cassette recordings, CD releases, and personal memorabilia (including scores, programs and relationships formed in the course of participation).
Marina Rosenfeld is a New York-based artist and composer. She works at the intersection of performance, installation and experimental notation, often occupying monumental sites with live and recorded sound and deploying performers as choirs, orchestras and other hybrid ensembles. Her work has been presented at numerous institutions, festivals, and museums, including the Museum of Modern Art, Guggenheim Museum and the Park Avenue Armory in New York; the Whitney (2002 and 2008), Montreal (2016), Liverpool (2011) and PERFORMA (2009 and 2011) biennials; the Holland Festival, Tate Modern, Stejdlijk Museum, Vienna Secession, Wien Modern, and many others. Projects in 2017 include solo exhibitions at Portikus (Frankfurt) and the Bard Center for Curatorial Studies (New York), as well as commissioned works for Documenta 14 (“Every Time A Ear Di Soun”) and Donaueschingen Musiktage. Rosenfeld has performed as a pianist and experimental turntablist since the late '90s, working with an ever-expanding palette of hand-crafted dub plates, alongside such collaborators as Christian Marclay, George Lewis, Okkyung Lee and Warrior Queen. She has created music for choreographers Maria Hassabi, Ralph Lemon and Merce Cunningham, and co-chairs the department of Music/Sound at the Milton Avery School of the Arts at Bard College.
In cooperation with Frequency Series