HIDE, Extended Release
1700 North Charles Street
Baltimore, MD, 21201
Doors 8:00 PM / Show 9:00 PM
This event is 18 and over
ADULT. is the Detroit duo Nicola Kuperus and Adam Lee Miller. They played their first lives show together in Germany in 1997 under the name Artificial Material. In early '98 they released their first 12" under the moniker Plasma Co. Later that year, they released their first 12" under the name ADULT. Currently, they have released 5 albums and 19 EPs or singles on Ghostly International, Thrill Jockey, Clone Records and on their own label Ersatz Audio, (which currently has over 40 releases since '95) They have remixed over 20 acts as well, including Tuxedomoon, John Foxx, Death In Vegas and Pet Shop Boys (for Moog Music). Before forming ADULT., Miller was half of the band Le Car.
Kuperus and Miller also make sculpture, paintings, films, photographs, performances, videos and installations. They strive to intersect the lines between art and audio. They have exhibited their work at institutions such as the Austrian Cultural Forum (NY), Mattress Factory (Pittsburgh), Detroit Institute of Arts (Detroit), MOMAS (Saitama, Japan), and Centre d'art contemporain de Meymac (FR). They have shown their film The Three Grace(s) triptych at places such as Anthology Film Archives (NY), Distrital Film Festival (Mexico City), and Grey Area for Art and Technology (SF).
HIDE materialized fully realized, their first shows shocking as your friend giving birth to a teenager. The music, the visual identity, and the immersive live experience were all in place from day one, each an essential component of a singular vision. Though thick with a heavy and austere aesthetic, the political messages were as unmistakeable as they were irreducible.
It’s pitch black except for shocking strobes, and these flashes reveal only flesh in motion. The duo hides in the dark, in smoke, their faces masked or hooded. And this skin, glimpsed and faceless, become like an animal hide.
It’s such a perfect single syllable—HIDE: starting off soft as unobstructed breath, gliding into a casual greeting—hi—and landing with a hard click of the tongue at the back of the teeth. But Hide umbrellas such multiplicities, and collapses so many apparent paradoxes with that simple syllable. The beats are machine sounds, stripped of all ornamentation, triggering an instinctual response. And coupled with the hypnotic image of the pulsating flesh, the audience is reduced to their animal selves, anonymous and free.
It’s Body Music, not escapism, but basking in confrontation. The aesthetic is the political.