{"id":1993,"date":"2025-04-03T16:30:00","date_gmt":"2025-04-03T14:30:00","guid":{"rendered":"https:\/\/audeladestoiles.com\/?p=1993"},"modified":"2025-04-03T13:53:54","modified_gmt":"2025-04-03T11:53:54","slug":"lillusion-comme-heritage","status":"publish","type":"post","link":"https:\/\/audeladestoiles.com\/index.php\/2025\/04\/03\/lillusion-comme-heritage\/","title":{"rendered":"L\u2019illusion comme h\u00e9ritage"},"content":{"rendered":"\n[et_pb_section fb_built=”1″ _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”||16px|||” custom_padding=”4px||3px|||” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”-12px|auto|-46px|auto||” custom_padding=”4px||0px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” text_font_size=”13px” custom_margin=”5px||-2px|||” custom_padding=”0px||5px|||” global_colors_info=”{}”]

Fran\u00e7ois Morellet (1926-2016), 40000 carr\u00e9s, 1987. S\u00e9rigraphie sur papier, \u00e9dition 230\/300, 80 x 80 cm. Mus\u00e9e d\u2019arts de Nantes \u00a9Mus\u00e9e d\u2019arts de Nantes, photo. : C.Clos \u00a9Adagp, Paris, 2025<\/em>
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Si l\u2019on vous disait que les pixels sont les h\u00e9ritiers directs des carr\u00e9s vibrants de Vasarely, vous seriez surpris ? L\u2019exposition Electric Op, pr\u00e9sent\u00e9e au Mus\u00e9e d\u2019arts de Nantes<\/a><\/span> du 4 avril au 31 ao\u00fbt 2025, nous plonge dans une g\u00e9n\u00e9alogie : celle qui relie l\u2019art optique des ann\u00e9es 50-60 aux formes d\u2019art num\u00e9rique les plus actuelles.
<\/span>En partenariat avec le Buffalo AKG Art Museum<\/a><\/span> (\u00c9tats-Unis), cette exposition m\u00eale exp\u00e9rience sensorielle, r\u00e9flexion technologique et approche artistique, \u00e0 travers plus de 80 \u0153uvres r\u00e9unies autour d\u2019un socle commun : celui de l\u2019Op art.<\/span><\/p>\n

Quand l\u2019art te regarde autant que tu le regardes<\/span><\/h3>\n

Avant que les \u00e9crans ne dictent nos vies et nos gestes, certains artistes s\u2019amusaient d\u00e9j\u00e0 \u00e0 brouiller notre vision. L\u2019Op Art \u2013 contraction de “Optical Art” \u2013 est un mouvement n\u00e9 dans les ann\u00e9es 50, qui s\u2019appuie sur des formes g\u00e9om\u00e9triques, des effets de contraste et des illusions de mouvement pour jouer avec notre perception. Pas de narration et peu d\u2019\u00e9motion, mais une volont\u00e9 de stimuler le regard, voir m\u00eame de le pi\u00e9ger.
<\/span>Derri\u00e8re l\u2019apparente froideur de ces oeuvres, on d\u00e9couvre une fascination pour la science, les math\u00e9matiques et la technologie \u2013 un terrain de jeu qu\u2019adopteront ensuite les artistes vid\u00e9o et num\u00e9riques. Le lien est l\u00e0 : l\u2019art optique a pr\u00e9par\u00e9 le terrain. Ce qu\u2019Electric Op<\/em> d\u00e9montre, c\u2019est que ce langage formel \u2013 fait de r\u00e9p\u00e9titions \u2013 est toujours bien vivant, des pionniers de la programmation jusqu\u2019aux artistes contemporains comme Angela Bulloch ou Ryoji Ikeda.<\/span><\/p>\n

R\u00e9p\u00e9titions, algorithmes et autres obsessions modernes<\/span><\/h3>\n

Dans cette exposition, il est souvent difficile de distinguer ce qui a \u00e9t\u00e9 fait \u00e0 la main, \u00e0 la machine, ou par un savant m\u00e9lange des deux. L\u2019artiste devient programmeur, ou inversement. D\u00e8s les ann\u00e9es 60, Vera Molnar travaille avec des langages informatiques rudimentaires pour g\u00e9n\u00e9rer des formes al\u00e9atoires. Fran\u00e7ois Morellet<\/a><\/span>, lui, lit un annuaire pour composer une \u0153uvre selon la parit\u00e9 des chiffres. Michael Noll, ing\u00e9nieur chez Bell Labs, s\u2019inspire directement de Bridget Riley pour cr\u00e9er ses images g\u00e9n\u00e9r\u00e9es par ordinateur.
<\/span>Loin de l\u2019image froide de l\u2019art digital, ces \u0153uvres sont pleines de r\u00e8gles, de jeux et d\u2019humour discret. Elles posent aussi des questions toujours d\u2019actualit\u00e9 : qu\u2019est-ce que l\u2019auteur d\u2019une \u0153uvre ? Quelle part de hasard ou de machine est acceptable dans un processus cr\u00e9atif ? Et surtout : qu\u2019est-ce qui fait \u0153uvre ?<\/span><\/p>\n

<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.0″ _module_preset=”default” custom_padding=”||0px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][ba_image_carousel content_alignment=”center” autoplay_speed=”3500ms” slide_count=”2″ nav_height=”48px” nav_width=”0px” nav_color=”#000000″ nav_bg=”RGBA(255,255,255,0)” icon_left=”||fa||900″ icon_right=”||fa||900″ pagi_radius=”on||||” slide_count_tablet=”2″ slide_count_phone=”1″ slide_count_last_edited=”on|phone” _builder_version=”4.27.0″ _module_preset=”default” subtitle_level=”h6″ subtitle_font=”||on||||||” subtitle_text_color=”#666666″ subtitle_font_size=”13px” custom_margin=”-20px|||||” custom_padding=”0px|||||” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][ba_image_carousel_child _builder_version=”4.27.0″ _module_preset=”default” alt=”Yvaral (1934-2002), Cristallisation jaune-vert, 1973. Peinture acrylique sur toile, 200 x 200 cm.\nMus\u00e9e d\u2019Art Moderne de la Ville de Paris. Photo \u00a9 Paris Mus\u00e9es, mus\u00e9e d\u2019Art moderne, Dist. RMN-Grand Palais \/ image ville de Paris.\u00a9 Adagp, Paris, 2025″ title_text=”Yvaral (1934-2002), Cristallisation jaune-vert, 1973. Peinture acrylique sur toile, 200 x 200 cm. Mus\u00e9e d\u2019Art Moderne de la Ville de Paris. Photo \u00a9 Paris Mus\u00e9es, mus\u00e9e d\u2019Art moderne, Dist. RMN-Grand Palais \/ image ville de Paris.\u00a9 Adagp, Paris, 2025″ photo=”http:\/\/audeladestoiles.com\/wp-content\/uploads\/2025\/04\/1-5-png.webp” sub_title=”Yvaral (1934-2002), Cristallisation jaune-vert, 1973. Peinture acrylique sur toile, 200 x 200 cm. Mus\u00e9e d\u2019Art Moderne de la Ville de Paris. Photo \u00a9 Paris Mus\u00e9es, mus\u00e9e d\u2019Art moderne, Dist. RMN-Grand Palais \/ image ville de Paris.\u00a9 Adagp, Paris, 2025″ hover_enabled=”0″ sticky_enabled=”0″][\/ba_image_carousel_child][ba_image_carousel_child _builder_version=”4.27.0″ _module_preset=”default” alt=”Leroy Lamis (1925\u20132010), Construction 31 \u2013 II, 1965. Plexiglas, 30,5 x 31 x 32 cm. Buffalo AKG Art Museum. \u00a9 Estate of Leroy Lamis \/ L” title_text=”Leroy Lamis (1925\u20132010), Construction 31 \u2013 II, 1965. Plexiglas, 30,5 x 31 x 32 cm. Buffalo AKG Art Museum. \u00a9 Estate of Leroy Lamis \/ L” photo=”http:\/\/audeladestoiles.com\/wp-content\/uploads\/2025\/04\/2-1-png.webp” sub_title=”Leroy Lamis (1925\u20132010), Construction 31 \u2013 II, 1965. Plexiglas, 30,5 x 31 x 32 cm. Buffalo AKG Art Museum. \u00a9 Estate of Leroy Lamis \/ L” hover_enabled=”0″ sticky_enabled=”0″][\/ba_image_carousel_child][ba_image_carousel_child _builder_version=”4.27.0″ _module_preset=”default” alt=”Georg Nees (1926-2016), Untitled #4 %91Sans tiitre n\u00b04%93, tir\u00e9 du Siemens Strukturdesign Portfolio, 1970. Impression offset sur papier, 30,5 x 30,5 cm. Courtesy Anne and Michael Spalter Digital Art Collection. \u00a9 Estate of Georg Nees. Photo : Jillian Freyer” title_text=”Georg Nees (1926-2016), Untitled #4 %91Sans tiitre n\u00b04%93, tir\u00e9 du Siemens Strukturdesign Portfolio, 1970. Impression offset sur papier, 30,5 x 30,5 cm. Courtesy Anne and Michael Spalter Digital Art Collection. \u00a9 Estate of Georg Nees. Photo : Jillian Freyer” photo=”http:\/\/audeladestoiles.com\/wp-content\/uploads\/2025\/04\/3-2-png.webp” sub_title=”Georg Nees (1926-2016), Untitled #4 %91Sans tiitre n\u00b04%93, tir\u00e9 du Siemens Strukturdesign Portfolio, 1970. Impression offset sur papier, 30,5 x 30,5 cm. Courtesy Anne and Michael Spalter Digital Art Collection. \u00a9 Estate of Georg Nees. Photo : Jillian Freyer” hover_enabled=”0″ sticky_enabled=”0″][\/ba_image_carousel_child][ba_image_carousel_child _builder_version=”4.27.0″ _module_preset=”default” alt=”Douglas Coupland (n\u00e9 en 1961),\nI Miss My Pre-Internet Brain, 2012.\nAcrylique et latex sur toile contrecoll\u00e9e sur panneau, 91 x 91 cm\nCourtesy galerie Daniel Faria. \u00a9 Douglas Coupland. Photo : Image courtesy of the artist and Daniel Faria\nGallery” title_text=”Douglas Coupland (n\u00e9 en 1961), I Miss My Pre-Internet Brain, 2012. Acrylique et latex sur toile contrecoll\u00e9e sur panneau, 91 x 91 cm Courtesy galerie Daniel Faria. \u00a9 Douglas Coupland. Photo : Image courtesy of the artist and Daniel Faria Gallery” photo=”http:\/\/audeladestoiles.com\/wp-content\/uploads\/2025\/04\/4-2-png.webp” sub_title=”Douglas Coupland (n\u00e9 en 1961), I Miss My Pre-Internet Brain, 2012. Acrylique et latex sur toile contrecoll\u00e9e sur panneau, 91 x 91 cm Courtesy galerie Daniel Faria. \u00a9 Douglas Coupland. Photo : Image courtesy of the artist and Daniel Faria Gallery” hover_enabled=”0″ sticky_enabled=”0″][\/ba_image_carousel_child][ba_image_carousel_child _builder_version=”4.27.0″ _module_preset=”default” alt=”Frederick Hammersley (1919-2009), Bilingual, 1965. Huile sur toile, 129 x 86 cm. Buffalo AKG Art Museum. Photo : Tom Loonan and Brenda Bieger, Buffalo AKG Art Museum” title_text=”Frederick Hammersley (1919-2009), Bilingual, 1965. Huile sur toile, 129 x 86 cm. Buffalo AKG Art Museum. Photo : Tom Loonan and Brenda Bieger, Buffalo AKG Art Museum” photo=”http:\/\/audeladestoiles.com\/wp-content\/uploads\/2025\/04\/5-2-png.webp” sub_title=”Frederick Hammersley (1919-2009), Bilingual, 1965. Huile sur toile, 129 x 86 cm. Buffalo AKG Art Museum. Photo : Tom Loonan and Brenda Bieger, Buffalo AKG Art Museum” hover_enabled=”0″ sticky_enabled=”0″][\/ba_image_carousel_child][ba_image_carousel_child _builder_version=”4.27.0″ _module_preset=”default” alt=”Victor Vasarely (1906-1997), Alom, 1968. Papiers \u00e9pais s\u00e9rigraphi\u00e9s, coll\u00e9s sur contreplaqu\u00e9, 201,8 x 201,8 x 5,2 cm. Mus\u00e9e d\u2019arts de Nantes. \u00a9 Photo RMN – G\u00e9rard Blot \u00a9 Adagp, Paris, 2025″ title_text=”Victor Vasarely (1906-1997), Alom, 1968. Papiers \u00e9pais s\u00e9rigraphi\u00e9s, coll\u00e9s sur contreplaqu\u00e9, 201,8 x 201,8 x 5,2 cm. Mus\u00e9e d\u2019arts de Nantes. \u00a9 Photo RMN – G\u00e9rard Blot\u00a9 Adagp, Paris, 2025″ photo=”http:\/\/audeladestoiles.com\/wp-content\/uploads\/2025\/04\/6-2-png.webp” hover_enabled=”0″ sticky_enabled=”0″ sub_title=”Victor Vasarely (1906-1997), Alom, 1968. Papiers \u00e9pais s\u00e9rigraphi\u00e9s, coll\u00e9s sur contreplaqu\u00e9, 201,8 x 201,8 x 5,2 cm. Mus\u00e9e d\u2019arts de Nantes. \u00a9 Photo RMN – G\u00e9rard Blot \u00a9 Adagp, Paris, 2025″][\/ba_image_carousel_child][ba_image_carousel_child _builder_version=”4.27.0″ _module_preset=”default” alt=”Nicolas Sch\u00f6ffer (1912-1992), Chronos 8, 1967. Acier inoxydable, miroirs, moteurs, combinateurs, plateau tournant, circuit \u00e9lectrique, 308 x 125 x 130 cm. Centre Pompidou, Paris, Mus\u00e9e national d\u2019art moderne – Centre de cr\u00e9ation industrielle. Photo \u00a9 Centre Pompidou, MNAM-CCI, Dist. RMN-GP \/ Philippe Migeat \u00a9 Adagp, Paris, 2025″ title_text=”Nicolas Sch\u00f6ffer (1912-1992), Chronos 8, 1967. Acier inoxydable, miroirs, moteurs, combinateurs, plateau tournant, circuit \u00e9lectrique, 308 x 125 x 130 cm. Centre Pompidou, Paris, Mus\u00e9e national d\u2019art moderne – Centre de cr\u00e9ation industrielle. Photo \u00a9 Centre Pompidou, MNAM-CCI, Dist. RMN-GP \/ Philippe Migeat \u00a9 Adagp, Paris, 2025″ photo=”http:\/\/audeladestoiles.com\/wp-content\/uploads\/2025\/04\/8-2-png.webp” sub_title=”Nicolas Sch\u00f6ffer (1912-1992), Chronos 8, 1967. Acier inoxydable, miroirs, moteurs, combinateurs, plateau tournant, circuit \u00e9lectrique, 308 x 125 x 130 cm. Centre Pompidou, Paris, Mus\u00e9e national d\u2019art moderne – Centre de cr\u00e9ation industrielle. Photo \u00a9 Centre Pompidou, MNAM-CCI, Dist. RMN-GP \/ Philippe Migeat \u00a9 Adagp, Paris, 2025″ hover_enabled=”0″ sticky_enabled=”0″][\/ba_image_carousel_child][ba_image_carousel_child _builder_version=”4.27.0″ _module_preset=”default” alt=”Karl Gerstner (1930-2017), Lens Picture No. 15, 1964. Lentille de plexiglas mont\u00e9e sur formica peint, 72 x 73 x 18 cm Buffalo AKG Art Museum. \u00a9 Estate of Karl Gerstner. Photo : Brenda Bieger, Buffalo AKG Art Musuem” title_text=”Karl Gerstner (1930-2017), Lens Picture No. 15, 1964. Lentille de plexiglas mont\u00e9e sur formica peint, 72 x 73 x 18 cm Buffalo AKG Art Museum. \u00a9 Estate of Karl Gerstner. Photo : Brenda Bieger, Buffalo AKG Art Musuem” photo=”http:\/\/audeladestoiles.com\/wp-content\/uploads\/2025\/04\/9-2-png.webp” sub_title=”Karl Gerstner (1930-2017), Lens Picture No. 15, 1964. Lentille de plexiglas mont\u00e9e sur formica peint, 72 x 73 x 18 cm Buffalo AKG Art Museum. \u00a9 Estate of Karl Gerstner. Photo : Brenda Bieger, Buffalo AKG Art Musuem” hover_enabled=”0″ sticky_enabled=”0″][\/ba_image_carousel_child][\/ba_image_carousel][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.0″ _module_preset=”default” custom_padding=”3px||0px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”5px||-1px|||” custom_padding=”12px||5px|||” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

Noir, blanc et 0-1 : quand l\u2019art parle le langage des machines<\/span><\/h3>\n

Un carr\u00e9 noir, un fond blanc. Deux oppos\u00e9s qui cr\u00e9ent des vibrations intenses pour l\u2019\u0153il mais aussi une belle m\u00e9taphore du binaire. L\u2019art optique, souvent contraint \u00e0 la bichromie pour des raisons techniques, devient le miroir du langage informatique bas\u00e9 sur le 0 et le 1. Une contrainte devenue style, puis esth\u00e9tique revendiqu\u00e9e.
<\/span>L\u2019installation Black\/White\/Text<\/em> de Gary Hill<\/a><\/span> incarne cette filiation : une vid\u00e9o hypnotique, o\u00f9 des rectangles et des voix scand\u00e9es tournent en boucle, explorant les limites du feedback visuel. L\u2019\u0153uvre devient presque vivante. Et m\u00eame si nous sommes aujourd\u2019hui cern\u00e9s de millions de couleurs num\u00e9riques, la binarit\u00e9 visuelle reste un choix fort.<\/span><\/p>\n

Art, jeux vid\u00e9o et exp\u00e9rimentations<\/span><\/h3>\n

Electric Op<\/em> ne se limite pas \u00e0 une exposition de tableaux et d\u2019installations. Elle invite \u00e0 vivre les \u0153uvres, \u00e0 les exp\u00e9rimenter, \u00e0 jouer avec. Le Labo, situ\u00e9 au c\u0153ur du parcours, permet de manipuler des effets visuels, de tester des illusions d\u2019optique ou de comprendre ce qu\u2019est un pixel en le regardant \u00e0 la loupe.
<\/span>Autour de l\u2019exposition, une programmation riche vient prolonger l\u2019exp\u00e9rience : concerts de musique robotis\u00e9e, installations immersives, performances sonores, jeux vid\u00e9o vintage en libre acc\u00e8s… Il y a m\u00eame une soir\u00e9e o\u00f9 le public est invit\u00e9 \u00e0 partager ses morceaux pr\u00e9f\u00e9r\u00e9s en lien avec le th\u00e8me. Bref, une exposition o\u00f9 l’on peut bouger, \u00e9couter, bidouiller.<\/span><\/p>\n

Une expo qui interroge notre pr\u00e9sent<\/span><\/h3>\n

En regardant ces \u0153uvres, on ne voit pas seulement des figures g\u00e9om\u00e9triques ou des algorithmes visuels. On voit aussi une histoire de la perception, une mani\u00e8re de comprendre comment notre regard a \u00e9volu\u00e9 avec la technologie.
<\/span>Aujourd\u2019hui, entre r\u00e9alit\u00e9 augment\u00e9e, IA g\u00e9n\u00e9rative et interfaces toujours plus \u201cfluides\u201d, on pourrait croire que tout a chang\u00e9. Et pourtant : les artistes num\u00e9riques contemporains continuent de dialoguer avec les codes de l\u2019Op Art. Parce que la question de la vision \u2013 comment on regarde, comment on est influenc\u00e9, comment on comprend ce qu\u2019on voit \u2013 n\u2019a jamais \u00e9t\u00e9 aussi centrale.<\/span><\/p>\n

\u00c0 voir, \u00e0 vivre, \u00e0 d\u00e9crypter<\/span><\/h3>\n

Electric Op<\/em> est une exposition aussi intelligente que sensorielle, aussi document\u00e9e que g\u00e9n\u00e9reuse. Elle donne \u00e0 voir, \u00e0 penser, \u00e0 exp\u00e9rimenter. Elle r\u00e9unit des \u0153uvres historiques, mais sans nostalgie, et des propositions contemporaines, sans d\u00e9monstration de force technologique.<\/span><\/p>\n

Et peut-\u00eatre, en sortant du mus\u00e9e, en regardant ton \u00e9cran de t\u00e9l\u00e9phone ou une grille de QR code, tu y verras autre chose. Quelque chose d\u2019un peu plus vibrant.<\/span><\/p>\n

<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.0″ _module_preset=”default” custom_padding=”0px||6px|||” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.0″ _module_preset=”default” background_color=”#F2F0E6″ min_height=”538px” custom_padding=”28px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” text_text_color=”#4A4A4A” text_font_size=”26px” custom_padding=”|18px||18px|true|true” global_colors_info=”{}”]

\u00c0 d\u00e9couvrir<\/strong><\/p>[\/et_pb_text][et_pb_divider _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][et_pb_blog fullwidth=”off” posts_number=”3″ include_categories=”all” show_more=”on” _builder_version=”4.27.0″ _module_preset=”default” custom_padding=”0px|18px|0px|18px|true|true” global_colors_info=”{}”][\/et_pb_blog][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"

Quand l\u2019art pr\u00e9pare l\u2019\u00e8re num\u00e9rique – Electric Op<\/p>\n","protected":false},"author":1,"featured_media":1994,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"2880","footnotes":""},"categories":[9],"tags":[],"class_list":["post-1993","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-la-une"],"yoast_head":"\nL\u2019illusion comme h\u00e9ritage : Quand l\u2019art pr\u00e9pare l\u2019\u00e8re num\u00e9rique - Electric Op<\/title>\n<meta name=\"description\" content=\"Plongez dans 60 ans de cr\u00e9ation visuelle, entre art optique et num\u00e9rique, avec l'exposition Electric Op au Mus\u00e9e d\u2019arts de Nantes. 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