{"id":5899,"date":"2025-04-04T04:19:26","date_gmt":"2025-04-04T08:19:26","guid":{"rendered":"https:\/\/framemuseums.org\/?p=5899"},"modified":"2025-04-24T04:22:22","modified_gmt":"2025-04-24T08:22:22","slug":"electric-op-at-the-musee-darts-de-nantes-april-4-august-31-2025","status":"publish","type":"post","link":"https:\/\/framemuseums.org\/fr\/electric-op-at-the-musee-darts-de-nantes-april-4-august-31-2025\/","title":{"rendered":"Electric Op’ at the Mus\u00e9e d’arts de Nantes, April 4-August 31, 2025"},"content":{"rendered":"

After a four-month exhibition at the Buffalo AKG Art Museum (New York State, September 27, 2024 – January 27, 2025)<\/a>, the Mus\u00e9e d’arts de Nantes shows, now in France, an unprecedented presentation of the historical, theoretical and formal links between optical art and new media art from the 1960s to the present day. The exhibition is based on the complementary nature of the collections of the two museums, which are members of the FRAME network.<\/p>\n

Optical art emerged in the 1950s, drawing on geometric abstraction to focus on the eye and movement. While placing human perception at the heart of its artistic concerns, Op Art also questioned the impact of new technologies, which asserted the movement as the art of a new era. In the 1960s, optical art aroused the interest of pioneers in video and computer art. The geometric motifs and repetitive programmed patterns – with or without machine intervention – as well as an interest in the optical and mathematical sciences, are closely related in optical and new media arts. Even today, the persistence of the Op language among certain digital artists bears witness to an artistic filiation.<\/p>\n

This exhibition, with its resolutely contemporary resonance, questions the links between man and the machine in over 80 works. It is divided into five sections based on the fundamental elements of Op’Art: programmed repetition, binarity, 3D and the pixel. At the heart of the exhibition, a space called \u201cLe Labo\u201d is dedicated to the playful and educational experimentation of the optical notions developed in the various sections of the exhibition (moir\u00e9 effect; retinal persistence, etc.).<\/p>\n

The exhibition was curated in France by Salom\u00e9 Van Eynde, Assistant curator and Exhibition manager. The exhibition also benefited from the scholarly research of Claire Leboss\u00e9, Curator in charge of the modern art collections in Nantes.<\/p>\n

FRAME and the Mus\u00e9e d’Arts de Nantes would like to thank the Buffalo AKG Art Museum for the loan of numerous works from its collections, including the historic work Lens Picture No. 15<\/em> (1964) by Karl Gerstner, which was presented at the Buffalo Art Today: Kinetic and Optic<\/em> exhibition in 1965, and which is being shown for the first time in France.<\/p>\n

Electric Op’<\/em> is fantastic example of how the works in these two prestigious collections of optical, kinetic and abstract arts (Vasarely, Vera Molnar, Julio Le Parc, Jes\u00fas Rafael Soto) complement each other perfectly.<\/p>\n

The exhibition catalogue for\u00a0Electric Op\u00a0<\/em>was produced in part with the support of the FRench American Museum Exchange (FRAME). To learn more about the exhibition in Nantes, please click here<\/a>, and about the exhibition in Buffalo, please click here<\/a>.<\/p>\n

 <\/p>\n

\"\"
Karl Gerstner (1930-2017)
Lens Picture No. 15<\/em>, 1964
Plexiglas lens mounted on painted formica\u00a0 \u00a0 \u00a0 72 x 73 x 18 cm
Buffalo AKG Art Museum
\u00a9 Estate of Karl Gerstner. Photo : Brenda Bieger, Buffalo AKG Art Museum<\/figcaption><\/figure>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

After a four-month exhibition at the Buffalo AKG Art Museum (New York State, September 27, 2024 – January 27, 2025), the Mus\u00e9e d’arts de Nantes shows, now in France, an unprecedented presentation of the historical, theoretical and formal links between optical art and new media art from the 1960s to the present day. The exhibition […]<\/p>\n","protected":false},"author":10,"featured_media":5896,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[4,8],"tags":[],"class_list":["post-5899","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-current-exhibitions","category-news"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/posts\/5899","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/comments?post=5899"}],"version-history":[{"count":2,"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/posts\/5899\/revisions"}],"predecessor-version":[{"id":5901,"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/posts\/5899\/revisions\/5901"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/media\/5896"}],"wp:attachment":[{"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/media?parent=5899"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/categories?post=5899"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/framemuseums.org\/fr\/wp-json\/wp\/v2\/tags?post=5899"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}