House of Chappaz

Voguing houses are spaces that were born in New York between the late 1970s and mid-1980s as places of safety for people who had been rejected by society because of their LGTBIQ+ status. These Houses were spaces where people could support each other and join together in chosen families, i.e. families made up of friends. These families were an attempt to repair the rejection suffered and to subvert all this, their members created parties in which dancing served as a radical tool to alleviate the pain and revolutionise the preconceptions imposed by the repressive society...

This is the idea from which the conception of House Of Chappaz starts, changing the Ballrooms for Contemporary Art.

House Of Chappaz is born from the evolution and transformation of the Espai Tactel gallery since its foundation in 2011, maintaining its essence but expanding its field of action, with the aim that the gallery founded in Valencia by Ismaël Chappaz, and to which in 2018 was added the Toormix team in Barcelona (Espai Tactel Toormix), continues to grow, expand and create new alliances to continue spreading its lines of action and its ideas in pursuit of the most current contemporary art. This is why the team created and led by Chappaz, Oriol Armengou and Ferran Mitjans (creators and directors of the Toormix studio) is now joined by María Tinoco. Tinoco (director of the Valencian galleries Mister Pink and The Blink Project), after more than 10 years collaborating with the Espai Tactel gallery in different projects related to art and design, has decided to join the new project and become part of the management team of House Of Chappaz.

Represented artists:

Aggtelek, Anna Moreno, Andrew Roberts, Antoine et Manuel, Antonio Fernández Alvira, Carlos Sáez, Carmen Ortiz Blanco, Christto & Andrew, Diego de Pozo Barriuso, Fito Conesa, Michael Roy, Mit Borrás, Momu & No es, Natacha Lesueur, Octavi Serra, Ovidi Benet, Pablo Durango, Sarah & Charles, Vicky Uslé.

The vocative is used to invoke, call or name a person or personified thing when we address it. Conesa proposes a video installation, made up of three projections and a music sheet, in which we can see a musician playing the staves of said musical composition. On the three screens we see the same protagonist but each of the shots is recorded at different times, in different weeks.   

In this way, the musician performs exactly the same music sheet on each of the screens, but the time interval on them makes the objective interpretation of it become a personal and non-transferable decision-making process. To this fact, Fito adds one more element. In thismusic sheet, the weight of the interpretation falls entirely on the expressive texts that the artist proposes to the musician, texts that go beyond TEMPO, DYNAMICS, ACCENTUATION AND CHARACTER, adding a layer of unusual objectivity.   

The musician must make decisions and interpret these notations. Although they will face this music sheet 2 more times, the time interval between one performance and another will act as a deterrent when performing the expression text.