{"id":10141,"date":"2020-07-08T15:40:54","date_gmt":"2020-07-08T13:40:54","guid":{"rendered":"https:\/\/diploma2020.ecolecamondo.fr\/sujet-impose\/des-gradations-2\/"},"modified":"2020-10-22T13:53:54","modified_gmt":"2020-10-22T11:53:54","slug":"gradations-2","status":"publish","type":"subject-imposed","link":"https:\/\/diploma2020.ecolecamondo.fr\/en\/sujet-impose\/juliette-wahlen\/gradations-2\/","title":{"rendered":"Gradations"},"content":{"rendered":"
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De l’errance \u00e0 la notori\u00e9t\u00e9: une exposition en construction<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Principe constructif de l’exposition<\/strong><\/p>\n<\/figcaption>\n <\/article>\n\n\n

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Bonne visite<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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Entr\u00e9e<\/strong><\/p>\n

D\u00e9s le hall d’entr\u00e9e on est directement dans l’ambiance du Manhattan de Basquiat. Une ambiance brut, des tags sur les murs et au loin le son \u00e9touff\u00e9 de la premi\u00e8re salle de l’exposition.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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LA PERFORMANCE ET LA MUSIQUE DE NEW-YORK<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n\n \n \n\n\n\n

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1\u00e8re salle:\u00a0<\/strong><\/p>\n

Tr\u00e8s vaste, d\u00e9nu\u00e9e de cimaises. Les toiles sont presque pos\u00e9es \u00e0 m\u00eame le sol ce qui nous renvoie \u00e0 ses d\u00e9buts o\u00f9 il exposait encore dans la rue ou m\u00eame dans les discoth\u00e8ques.<\/p>\n<\/figcaption>\n <\/article>\n\n\n\n\n\n\n\n\n

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Ce syst\u00e8me d’\u00e9coute spatialis\u00e9 permet au visiteur de se placer au centre du dispositif lumineux. Les cercles\u00a0projet\u00e9s\u00a0au sol tournent et repr\u00e9sentent\u00a0les ondes sonores\u00a0de la musique\u00a0diffus\u00e9e\u00a0par le haut parleur.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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VISUALISER LE SON<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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2\u00e8me salle:<\/strong><\/p>\n

Immersion au c\u0153ur de l’atelier de Jean-Michel Basquiat. Son travail se r\u00e9v\u00e8le \u00e0 travers ses inspirations musicale, allant de Maria Callas \u00e0 Beethoven.<\/p>\n<\/figcaption>\n <\/article>\n\n\n\n \n\n\n\n\n

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Cette assise permet aux visiteurs d’\u00e9couter de la musique une fois assis, sans que cela perturbe la visite des autres, gr\u00e2ce \u00e0 des enceintes encastr\u00e9es.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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DISCOGRAPHIE<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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3\u00e8me salle:<\/strong><\/p>\n

Cette salle offre la possibilit\u00e9 de choisir de la musique sur un juk-box. Offrant suffisamment d’espace pour pouvoir danser nous plongeant dans l’ambiance du studio 54.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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SYST\u00c8MES SONORES<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n

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4\u00e8me salle:\u00a0<\/strong><\/p>\n

Cette salle interactive\u00a0permet aux visiteurs de tout \u00e2ge de se familiariser avec les outils musicaux de l’\u00e9poque.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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La table centrale regorge d’outils musicaux de l’\u00e9poque. Ceux ci vont s’\u00e9clairer au fur et \u00e0 mesure q’ils sont entendus dans une vid\u00e9o. Vous saurez alors distinguer une platine d’un sampler ou encore une table de mixage d’une table de contr\u00f4le.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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LE MUSIC MAN DE BASQUIAT, LES PEINTURE DU GRIOT<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n\n \n\n \n\n\n

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5\u00e8me salle:\u00a0<\/strong><\/p>\n

Dans cet espace, nous sommes immerg\u00e9s au c\u0153ur\u00a0de la culture de Jean-Michel Basquiat, entre peinture et musique du Griot (compteur et po\u00e8te\u00a0africain).<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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LES JAZZMEN<\/p>\n <\/div>\n <\/div>\n<\/article>\n\n\n\n \n\n\n \n\n

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6\u00e8me salle:\u00a0<\/strong><\/p>\n

Chers au c\u0153ur\u00a0de l’artiste, les jazzmen ont rythm\u00e9 sa vie et sa carri\u00e8re. C’est pourquoi,\u00a0dans cet espace,\u00a0l’aspect mus\u00e9al est \u00e0 son paroxysme afin de rendre hommage\u00a0\u00e0 ces artistes, ces musiciens, ces compositeurs.<\/p>\n<\/figcaption>\n <\/article>\n\n\n

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