The Parisian institution explores the links between art and artificial intelligence (AI) in its new exhibition, the first of its kind anywhere in the world.
Artificial and digital intelligence are now taking over from the industrial age, taking over models where machine learning, algorithms, big data, data centers and the cohabitation of man and robot are redefining sectors. Art, for example, is undergoing a radical transformation.
While AI theories have been around since the 1950s, this new combination, via deep learning, gives machines the means to learn for themselves, thanks to a stream of data that produces syntheses. Above all, the technology is being democratized, giving everyone the chance to experiment with it.
In 2025, artificial intelligence continues to develop at breakneck speed, and never ceases to arouse "astonishment, fear, enthusiasm or skepticism". Sentiments provoked by the rapid advances of American giant OpenAI (ChatGPT) and Chinese competitor DeepSeek. But there's also France, which is planning to invest over €100 billion with various investment funds.
The Jeu de Paume is taking the lead in presenting works by artists from the worlds of art, photography, film, sculpture and literature.
From analytical AI to generative AI
The exhibition is thus divided into two main segments. Curator Antonio Somaini, with his associates Ada Ackerman, Alexandre Gefen and Pia Viewing, explores in depth "analytical AI", which processes and organizes masses of complex data, and "generative AI", capable of producing new images, sounds and texts.
Le premier chapitre expose entre autres les œuvres de Julian Charrière. « Buried Sunshines Burn soulève la question des ressources matérielles nécessaires aux industries numériques et de leur impact environnemental, tandis que Metamorphism met en scène la dimension matérielle des technologies numériques, trop souvent présentées comme “dématérialisées”, alors qu’elles dépendent de phénomènes géologiques et physiques spécifiques », explique l’équipe de curateurs.
The second is devoted to artists who attempt to fill gaps in history (Egor Kraft, Alexia Achilleos, Theopisti Stylianou-Lambert), question the biases of AI (Nora Al-Badri, Nouf Aljowaysir) or write alternative histories (Grégory Chatonsky, Justine Emard, Gwenola Wagon). The section also explores the fields of cinema, literature and music. The latter is illustrated by a section of Christian Marclay's The Organ, in which a connected piano activates combinations of Snapchat videos.
Further afield, the organizers are also interested in the links that can be established between words and images (Taller Estampa, Érik Bullot).
A new paradigm
The Jeu de Paume thus examines artificial intelligence and art in the age of its revolution, overturning our visual relationship and notions of creativity, originality and copyright. Through their works, the artists experiment with possible new forms of expression, conceived and generated with the help of AI, as much as they reflect on the repercussions on art and society.
Time capsules, inspired by cabinets of curiosities, line the route. The curators' idea is to create a historical counterpoint. Whether it's "devices for automating calculation and production, the relationship between today's artificial vision systems and past attempts to automate visual perception, the origins of facial recognition systems as well as emotions, or the genealogy of prompts".
This first major exhibition shows how this new technology is redefining the very boundaries of art, while also questioning social, political and environmental issues.
"The world according to AI
Jeu de Paume
1, place de la Concorde, Jardin des Tuileries, Paris 8e
April 11 to September 21, 2025
