{"id":61,"date":"2008-04-06T09:25:00","date_gmt":"2008-04-06T07:25:00","guid":{"rendered":"http:\/\/unik-mag.com:7888\/2008\/04\/06\/quand-les-artistes-sont-pilles-par-les-publicitaires\/"},"modified":"2026-05-24T13:26:44","modified_gmt":"2026-05-24T11:26:44","slug":"quand-les-artistes-sont-pilles-par-les-publicitaires","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/quand-les-artistes-sont-pilles-par-les-publicitaires\/","title":{"rendered":"Cr\u00e9ation ou contrefa\u00e7on ? Le plagiat ordinaire des agences de publicit\u00e9"},"content":{"rendered":"
\n

L’inspiration a ses limites, la contrefa\u00e7on a ses lois. Quand les agences de publicit\u00e9 s’approprient l’univers d’artistes contemporains sans leur accord, le d\u00e9bat s\u2019enflamme. Entre hommage maladroit et pillage pur et simple, la fronti\u00e8re est mince. Le cas r\u00e9cent du plasticien Philippe Ramette relance une pol\u00e9mique r\u00e9currente. Les cr\u00e9atifs de la pub manquent-ils cruellement d’id\u00e9es ?<\/b><\/p>\n

Philippe Ramette face aux pilleurs d\u2019id\u00e9es<\/h3>\n

L’affaire commence par une impression de d\u00e9j\u00e0-vu. Un c\u00e9l\u00e8bre fournisseur de gaz naturel lance une campagne d’affichage massive. Sur les visuels, des individus posent dans des positions d\u00e9fiant les lois de la gravit\u00e9. En d\u00e9couvrant ces images, l\u2019artiste Philippe Ramette devient vert de rage. Ces postures l\u00e9g\u00e8res et improbables constituent sa signature artistique depuis des d\u00e9cennies. Un clich\u00e9 de la pub montre un homme adoss\u00e9 \u00e0 un tronc, les pieds dans le vide. La ressemblance avec une \u0153uvre c\u00e9l\u00e8bre de Ramette est frappante. L’artiste y grimpait \u00e0 l’horizontale sur un arbre. La copie semble \u00e9vidente.<\/p>\n

Le combat du r\u00e9el contre Photoshop<\/h3>\n

La ressemblance s’arr\u00eate pourtant \u00e0 la technique. Philippe Ramette n’utilise jamais d’effets sp\u00e9ciaux num\u00e9riques. Pour r\u00e9aliser ses performances, il con\u00e7oit de complexes et p\u00e9rilleux syst\u00e8mes techniques. Il baptise ces structures invisibles des \u00ab proth\u00e8ses \u00e0 attitudes \u00bb. L’artiste souffre physiquement pour tenir la pose. L\u2019agence de publicit\u00e9 a choisi une voie nettement plus confortable. Pourquoi s’encombrer de prouesses physiques quand on poss\u00e8de des logiciels ? Les publicitaires ont simplement rentabilis\u00e9 leur abonnement \u00e0 Photoshop. L’effort artistique s’efface ici derri\u00e8re le simple clic de souris.<\/p>\n

Une troublante enqu\u00eate de voisinage<\/h3>\n

Le hasard n’a pourtant pas sa place dans cette histoire. Une enqu\u00eate rapide r\u00e9v\u00e8le les coulisses de la campagne publicitaire. Avant le shooting, l\u2019agence de communication avait contact\u00e9 la galerie Xippas \u00e0 Paris. Cette galerie r\u00e9put\u00e9e repr\u00e9sente justement le travail de Philippe Ramette. Les publicitaires cherchaient officiellement \u00e0 se renseigner sur l’\u0153uvre de l’artiste. Finalement, aucun contrat de collaboration n’a \u00e9t\u00e9 sign\u00e9. L’agence a pr\u00e9f\u00e9r\u00e9 s’en passer. Elle a reproduit le concept de mani\u00e8re autonome, esp\u00e9rant sans doute l’impunit\u00e9.<\/p>\n

La justice frileuse face au droit d’auteur<\/h3>\n

Philippe Ramette et la galerie Xippas ont imm\u00e9diatement r\u00e9agi. Ils ont assign\u00e9 les auteurs des images en r\u00e9f\u00e9r\u00e9 pour contrefa\u00e7on. Malheureusement, le premier jugement ne leur a pas \u00e9t\u00e9 favorable. La justice peine parfois \u00e0 prot\u00e9ger une id\u00e9e ou un concept artistique global. Cette d\u00e9cision surprend le milieu de l’art. Le droit moral des artistes semble ici bafou\u00e9. La publicit\u00e9 utilise r\u00e9guli\u00e8rement l’art contemporain comme un libre catalogue d’id\u00e9es gratuites. Ce manque de reconnaissance fragilise le statut des cr\u00e9ateurs.<\/p>\n

Un pr\u00e9c\u00e9dent retentissant de l’affaire Dior<\/h3>\n

Pourtant, des pr\u00e9c\u00e9dents juridiques existent dans le monde de la mode et de l’art. En mars 2007, un g\u00e9ant de la haute couture avait \u00e9t\u00e9 lourdement sanctionn\u00e9. John Galliano, alors styliste de la marque Dior, avait \u00e9t\u00e9 condamn\u00e9 par la justice.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

L’inspiration a ses limites, la contrefa\u00e7on a ses lois. Quand les agences de publicit\u00e9 s’approprient l’univers d’artistes contemporains sans leur accord, le d\u00e9bat s\u2019enflamme. Entre hommage maladroit et pillage pur et simple, la fronti\u00e8re est mince. Le cas r\u00e9cent du plasticien Philippe Ramette relance une pol\u00e9mique r\u00e9currente. Les cr\u00e9atifs de la pub manquent-ils cruellement d’id\u00e9es […]<\/p>\n","protected":false},"author":1,"featured_media":1222,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1470],"tags":[],"class_list":["post-61","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-points-de-vue"],"yoast_head":"\nCr\u00e9ation ou contrefa\u00e7on ? 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