Usurpation de non-identité. Ce que les productions générées par l’IA disent du rapport de l’art à ses objets
This article is based on an observation: some objects produced by generative AI look like works of art that already exist, thereby overturning the problems linked to the indiscernability between art and non-art. The ease with which these objects are accepted as works of art seems to be based on this...
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| Formatua: | Article ou chapitre numérique |
| Hizkuntza: | Français |
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2024
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| Sarrera elektronikoa: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Gaia: | This article is based on an observation: some objects produced by generative AI look like works of art that already exist, thereby overturning the problems linked to the indiscernability between art and non-art. The ease with which these objects are accepted as works of art seems to be based on this resemblance, which needs to be questioned. It seems to surreptitiously restore the importance of the object and its appearance. The productions resulting from AI thus provide an opportunity to reflect on the relationship that contemporary art has to its objects. A question symptomatic of the issues discussed in this article is whether it is more appropriate to consider The Next Rembrandt as a new painting by a virtual Rembrandt or as a new appropriationist work by a virtual Elaine Sturtevant. One way of addressing this question is to insist on the immaterial dimension of the works and the difference to be made with the objects that instantiate them, in order to avoid any fetishism. |
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