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Frédéric Nauczyciel and Studio House of HMU in Singulis et Simul


The Cincinnati Symphony Orchestra (CSO) and the Contemporary Arts Center (CAC) present a performed installation Singulis et Simul, conceived by Frédéric Nauczyciel and Studio House of HMU at Music Hall on January 29, 2020.

In Singulis et Simul, baroque music meets vogue ballroom culture and features vogue dancers Ivy Balenciage, Marquis Revlon, Kory Blacksjuan Revlon, Vinii Revlon, Blaise Cardon Mienville, Riya West, from Studio House of HMU, singer Abdu Ali, and as special guest, Invicible Marching Marauders / Central States University.

The performance is part of CSO Proof series. Artists and audience will share the same space—the stage at Music Hall.

“The vogue ballroom culture is defined by its celebration of femininity in the African American transgender community, with roots dating back to the Harlem Renaissance. It resonates with the Baroque period. I create a path to explore juxtapositions between Baroque music and urban ballroom culture of vogue, and the street culture of marching bands. I will combine the CSO and performance artists from Paris, Baltimore and Cincinnati—to ultimately transform the concert form, and the stage into an area of accidental proximity.” — Frédéric Nauczyciel

The title of this program translates loosely as "Be one's self, together » and is an inversion of the motto of La Comédie-Française that was created by Louis XIV.

About Studio House of HMU

Studio House of HMU, led by visual artist Frédéric Nauczyciel (Paris, France), gathers a community of artists (equally professional and non professional) and curators between Paris (France) and Baltimore (USA). It was created in 2013 at Centre Pompidou, Museum of Modern Art in Paris after he met vogue performers Marquis Revlon and Dale Blackheart (Baltimore), and Vivnii Revlon, Diva Ivy Balenciaga and Riya West (Paris). It hosts the Marching Band Project, produces curatorial projects and collaborative art works. Those art works include video installations and live performances, and both combined in performative installations. It aims at creating areas of trust where amateur and expert practices can renew one’s relationship to art.