{"id":36910,"date":"2023-07-10T12:47:32","date_gmt":"2023-07-10T10:47:32","guid":{"rendered":"https:\/\/diploma2023.ecolecamondo.fr\/sujet-impose\/heloise-de-villeroy\/les-corps-affranchis-du-disco-19\/"},"modified":"2023-09-27T13:15:39","modified_gmt":"2023-09-27T11:15:39","slug":"the-liberated-bodies-of-disco-5","status":"publish","type":"subject-imposed","link":"https:\/\/diploma2023.ecolecamondo.fr\/en\/sujet-impose\/heloise-de-villeroy\/the-liberated-bodies-of-disco-5\/","title":{"rendered":"The liberated bodies of disco"},"content":{"rendered":"
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\n\n\nAlan FREED,\u00a0Police Work<\/em> – 1978\u00a0\u2022 Bill BERSTEIN, La piste du 2001<\/em> – 1978\n\n\n\n<\/figcaption>\n <\/article>\n\n\n
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\u00a0L\u2019espace mus\u00e9al est pens\u00e9 comme un dancefloor g\u00e9ant.\u00a0Sur celui-ci s\u2019\u00e9l\u00e8vent des cloisons qui permet de diviser l\u2019espace. Par la construction de cette verticalit\u00e9 est \u00e9voqu\u00e9 l’ext\u00e9rieur,\u00a0et donc la ville.\u00a0Dans un second temps, l\u2019id\u00e9e de l\u2019int\u00e9rieur et du night-club s\u2019exprime par le volume.\u00a0La trame carr\u00e9 permet de composer l\u2019espace par des volumes cubiques.\u00a0Ces extrusions issues de la trame r\u00e9v\u00e8lent par leur pr\u00e9sence le concept d\u2019int\u00e9rieur et par leur contre forme celui d\u2019ext\u00e9rieur.\n<\/figcaption>\n <\/article>\n\n\n
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La salle est trait\u00e9e comme une boite noire accueillant l\u2019exposition. Les visiteurs sont plong\u00e9s dans une atmosph\u00e8re \u00e9voquant le New-York des a70, s\u2019inspirant de l\u2019esth\u00e9tique et de la hauteur des parois de gratte-ciels. Pour ce fait, les parois s\u00e9paratrices sont recouvertes d\u2019un rev\u00eatement vitr\u00e9 et teint\u00e9.<\/p><\/div><\/div><\/article>\n\n\n\n

Les espaces interstitiels sont ensuite occup\u00e9s, sous quatre diff\u00e9rents niveaux illustrant le dancefloor, tous inscrits dans la trame. Tout d\u2019abord, les projections au sol, en tr\u00e8s grand format. Ce dispositif lib\u00e8re de vastes espaces sur lesquels les visiteurs se prom\u00e8nent, lib\u00e9rant aussi visuellement les parois vitr\u00e9es.<\/p><\/div><\/div><\/article>\n\n\n\n

Ensuite, des petits volumes s\u2019extrudent du sol servant de podiums et de pr\u00e9sentoirs pour les oeuvres, notamment celles en volume. Enfin, les volumes les plus grands cr\u00e9ent des salles ferm\u00e9es ou semi-ferm\u00e9es. Ce sont des salles de projection ou des espaces immersifs, plongeant le visiteurs dans la peau d\u2019un clubber des a70.<\/p><\/div><\/div><\/article>\n\n\n

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Plan g\u00e9n\u00e9ral de l’exposition.\n<\/figcaption>\n <\/article>\n\n\n
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I AM WHAT I AM<\/p><\/div><\/div><\/article>\n\n\n

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Coupe longitudinale de la salle 1.\n<\/figcaption>\n <\/article>\n\n\n
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Les visiteurs p\u00e9n\u00e8trent dans l’exposition en faisant face une immense photographie\u00a0photographie de Richard Sandler montrant des gens faisant la queue devant le studio 54, impatients. Ils\u00a0se confrontent \u00e0 une foule vue de face et non de dos, sortant ainsi de la boite pour plonger dans les rues d\u2019un New York au climat incertain.\u00a0\n<\/figcaption>\n <\/article>\n\n\n
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Les pr\u00e9sentoirs.\n<\/figcaption>\n <\/article>\n\n\n\n

Un volume qui int\u00e8gre une vitrine d\u2019exposition. Une estrade pr\u00e9sentant les oeuvres en volume comme des v\u00eatements, des meubles et des objets divers. Le troisi\u00e8me pr\u00e9sentoir poss\u00e8de un \u00e9cran encastr\u00e9. Autour de celui-ci s\u2019installe une paroi \u00e0 l\u2019effet acier bross\u00e9.<\/p><\/div><\/div><\/article>\n\n\n\n

Ce sont des structures en bois recouvert d\u2019un habillage ayant l\u2019effet d\u2019un m\u00e9tal sombre poli. <\/p><\/div><\/div><\/article>\n\n\n\n

Le dernier dispositif se fixe directement sur le mur. Des vitrines viennent s\u2019y encastrer. Il sert \u00e0 la fois de support pour des projections au dessus des vitrines et de pr\u00e9sentoirs pour des oeuvres en 2D comme en 3D comme des maquettes ou des magasines. <\/p><\/div><\/div><\/article>\n\n\n

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Espace danseurs clubbers, danse et chor\u00e9graphie.\n<\/figcaption>\n <\/article>\n\n\n\n

Cette exposition emploie des mat\u00e9riaux qui \u00e9voquent les 70s : le verre fum\u00e9, le m\u00e9tal et le miroir. Ils ne reprennent pas la gamme de couleur dite disco que l\u2019on pourrait attendre mais chaque rev\u00eatement \u00e9voqu\u00e9 pr\u00e9c\u00e9demment poss\u00e8de des propri\u00e9t\u00e9s r\u00e9fl\u00e9chissantes. Ils vont par la lumi\u00e8re et les oeuvres pr\u00e9sent\u00e9es colorer l\u2019espace.<\/p><\/div><\/div><\/article>\n\n\n\n

Ce sont les oeuvres qui font couleur dans l\u2019exposition. <\/p><\/div><\/div><\/article>\n\n\n

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Espace Sexploitation<\/em> dans la salle 2.\n<\/figcaption>\n <\/article>\n\n\n
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EVERYBODY DANCE<\/p><\/div><\/div><\/article>\n\n\n

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Coupe longitudinale des salles 3 et 4.\n<\/figcaption>\n <\/article>\n\n\n
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Espace Globalisation de la discoth\u00e8que<\/em>.\n<\/figcaption>\n <\/article>\n\n\n
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Espace Mode et lifestyle<\/em>.\n<\/figcaption>\n <\/article>\n\n\n
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Espace Architecture, Design et Sc\u00e9nographie des discoth\u00e8ques<\/em>.\n<\/figcaption>\n <\/article>\n\n\n
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CAN’T STOP THE MUSIC<\/p><\/div><\/div><\/article>\n\n\n

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Coupe longitudinale de la salle 5.\n<\/figcaption>\n <\/article>\n\n\n
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Coupe longitudinale de la salle 6.\n<\/figcaption>\n <\/article>\n\n\n
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Espace Producteurs, labels et studios<\/em>.\n<\/figcaption>\n <\/article>\n\n\n
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Espace Globalisation Euro et Italo Disco<\/em>.\n<\/figcaption>\n <\/article>\n\n\n
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Espace Backlash conservateur<\/em> et Crise sida<\/em>.\n<\/figcaption>\n <\/article>\n","protected":false},"author":139,"featured_media":36912,"template":"","meta":{"_acf_changed":false,"_metafield_presentation":"The liberated bodies of disco looks back on the history and diversity of this musical style. Though known as the music of ecstasy and happiness, disco emerged out of a context of instability and social rebellion. The exhibition offers visitors an indoor\/outdoor circuit. In a tribute to disco\u2019s most symbolic place, the museum space is designed like a giant dancefloor. Its chequered quality allows us to carve the space into cubic volumes, thereby creating display systems, as well as closed or semi-closed areas. The exhibition aims to reconnect disco with the social reality of its time. 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