{"id":9310,"date":"2026-08-03T16:18:00","date_gmt":"2026-08-03T16:18:00","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/les-artistes-visuels-africains-defendent-la-pochette-creee-par-lhumain-face-a-lessor-de-lia\/"},"modified":"2026-08-03T16:18:00","modified_gmt":"2026-08-03T16:18:00","slug":"les-artistes-visuels-africains-defendent-la-pochette-creee-par-lhumain-face-a-lessor-de-lia","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/fr\/les-artistes-visuels-africains-defendent-la-pochette-creee-par-lhumain-face-a-lessor-de-lia\/","title":{"rendered":"Les artistes visuels africains d\u00e9fendent la pochette cr\u00e9\u00e9e par l’humain face \u00e0 l’essor de l’IA"},"content":{"rendered":"

De plus en plus de musiciens africains se tournent vers l’intelligence artificielle (IA) g\u00e9n\u00e9rative pour produire leurs pochettes d’album, mais un ensemble d’artistes visuels s’y oppose, estimant que la collaboration humaine reste indispensable au processus cr\u00e9atif.<\/p>\n

L’h\u00e9ritage d’une pochette pens\u00e9e<\/h2>\n

En 1977, le musicien nig\u00e9rian Fela Anikulapo Kuti<\/a><\/strong> et son groupe Africa 70 publiaient \u00ab No Agreement \u00bb, un album \u00e0 forte charge politique. Sa pochette, sign\u00e9e par son collaborateur de longue date Lemi Ghariokwu<\/a><\/strong>, repr\u00e9sentait Fela torse nu, saxophone aux l\u00e8vres, entour\u00e9 de formes ovales portant des mots comme Freedom, Justice et Pan Afrikanism. L’illustration faisait directement \u00e9cho aux th\u00e8mes du disque, une constante du catalogue de Fela que l’on retrouve sur les pochettes d’\u00ab Original Sufferhead \u00bb (1981) et de \u00ab Gentleman \u00bb (1973), cette derni\u00e8re montrant un singe en costume.<\/p>\n

C’est cette tradition de r\u00e9cit visuel que de nombreux graphistes jugent menac\u00e9e. \u00ab Une pochette d’album, c’est un dialogue entre l’artiste et le cr\u00e9atif \u00bb, explique Niyi Okeowo<\/strong>, designer nig\u00e9rian qui a travaill\u00e9 sur des projets pour Fireboy DML<\/a><\/strong>, Show Dem Camp<\/strong> et Wande Coal<\/strong>. \u00ab Quand c’est bien fait, cela rapproche les deux personnes, le designer devenant l’interpr\u00e8te de ce que le musicien cherche \u00e0 dire. \u00bb<\/p>\n

La mont\u00e9e en puissance de l’IA dans la musique africaine<\/h2>\n

Ce dialogue \u00e9volue \u00e0 mesure que les outils d’IA g\u00e9n\u00e9rative<\/a> se d\u00e9mocratisent. En mai, Larry Gaaga<\/strong> a \u00e9t\u00e9 critiqu\u00e9 pour avoir utilis\u00e9 des visuels<\/a> et une pochette g\u00e9n\u00e9r\u00e9s par IA afin d’annoncer une collaboration avec Olamide<\/strong> et Mavo<\/strong>. Le r\u00e9alisateur nig\u00e9rian TG Omori<\/strong> a lui aussi \u00e9t\u00e9 accus\u00e9 d’avoir eu recours \u00e0 l’IA pour la pochette d’\u00ab AfroCulture \u00bb de Flavour<\/strong>. Ces \u00e9pisodes se multiplient \u00e0 mesure que les artistes cherchent des solutions plus rapides et moins co\u00fbteuses que la commande \u00e0 un cr\u00e9atif.<\/p>\n

Musai Gainyy<\/strong>, qui a con\u00e7u des pochettes pour Show Dem Camp, observe que l’habillage visuel est souvent rel\u00e9gu\u00e9 au second plan. \u00ab On se concentre surtout sur le son ou l’instru, pas sur l’ensemble du projet. Du coup, une fois la musique termin\u00e9e, le visuel arrive en dernier et dans l’urgence. Une pochette g\u00e9n\u00e9r\u00e9e par IA arrive aussi vite qu’on le souhaite, alors que passer commande \u00e0 un artiste demande du temps, pour affiner et pour \u00e9changer. \u00bb<\/p>\n

Les arguments en faveur d’une cr\u00e9ation port\u00e9e par l’humain<\/a><\/h2>\n

Gainyy ajoute : \u00ab L’IA risque de supprimer ce dialogue quand on l’utilise pour remplacer le processus cr\u00e9atif au lieu de l’accompagner, en se contentant de g\u00e9n\u00e9rer ce que l’artiste demande. Les grandes pochettes naissent de conversations, d’exp\u00e9riences partag\u00e9es et d’un contexte culturel. L’IA ne peut pas remplacer cela. \u00bb<\/p>\n

Pour Okeowo, le processus commence par l’\u00e9coute de la musique, l’identification des th\u00e8mes et des \u00e9motions port\u00e9s par les textes, puis la construction d’un moodboard et d’un univers visuel fait de typographie, d’images et de couleurs. Desmond Seyram<\/strong>, photographe et artiste ghan\u00e9en qui a r\u00e9alis\u00e9 des pochettes pour Stonebwoy<\/strong> et A-Town<\/strong>, proc\u00e8de de la m\u00eame fa\u00e7on. \u00ab \u00c7a commence toujours par la parole, jamais par l’appareil photo. Avant tout, je veux comprendre l’artiste, qui il est, ce que sa musique dit vraiment, quelle \u00e9motion il essaie de faire passer \u00bb, dit-il.<\/p>\n

Seyram reconna\u00eet que l’IA est un outil qui s’installe durablement, mais il insiste sur la valeur de l’interaction humaine. \u00ab Ce qui peut se perdre, c’est la part humaine, surtout les allers-retours, l’exp\u00e9rimentation, la collaboration entre l’artiste et l’\u00e9quipe cr\u00e9ative. Certaines des meilleures pochettes naissent de ces moments-l\u00e0, et on ne peut pas obtenir \u00e7a en tapant un prompt. Pour moi, l’IA doit soutenir le processus, pas le remplacer. \u00bb<\/p>\n

Le photographe ghan\u00e9en Nana Asomani<\/strong>, qui a sign\u00e9 des pochettes pour Baaba J<\/strong>, partage cet avis. \u00ab Le regard humain dans l’art ne pourra jamais \u00eatre amoindri, parce que l’art na\u00eet des \u00e9motions et de l’existence. M\u00eame pour d\u00e9velopper les arts g\u00e9n\u00e9ratifs, ce sont des apports humains qui sont n\u00e9cessaires. \u00bb<\/p>\n

Des pratiques qui d\u00e9bordent la pochette<\/h2>\n

Tout en d\u00e9fendant la pochette cr\u00e9\u00e9e par l’humain, ces artistes \u00e9largissent aussi leur pratique. L’artiste num\u00e9rique nig\u00e9rian Jesse Uranta<\/strong>, connu pour ses travaux aux accents psych\u00e9d\u00e9liques pour Fireboy DML, Tay Iwar<\/strong> et Nonso Amadi<\/strong>, a r\u00e9cemment tenu sa premi\u00e8re exposition personnelle apr\u00e8s avoir particip\u00e9 \u00e0 des expositions collectives. \u00ab J’avais toujours poursuivi l’hyperr\u00e9alisme dans ma repr\u00e9sentation du corps humain, et une fois que j’y suis parvenu, je me suis rendu compte que \u00e7a ne m’enthousiasmait plus. \u00c7a m’a pouss\u00e9 \u00e0 chercher des moyens de reprendre plaisir au processus \u00bb, raconte Uranta. \u00ab Mon travail \u00e9volue en permanence, et j’apprends \u00e0 accueillir cette \u00e9volution, \u00e0 voir vraiment o\u00f9 elle me m\u00e8ne. Le plus important pour moi quand je cr\u00e9e, c’est d’essayer et de voir ce qu’il est possible de concevoir et de faire exister. \u00bb<\/p>\n","protected":false},"excerpt":{"rendered":"De plus en plus de musiciens africains ont recours \u00e0 l’intelligence artificielle pour g\u00e9n\u00e9rer leurs pochettes d’album. Un ensemble d’artistes visuels s’y oppose et rappelle que le travail humain pr\u00e9serve le dialogue et la nuance culturelle au c\u0153ur de la cr\u00e9ation.","protected":false},"author":7,"featured_media":9266,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"csco_display_header_overlay":false,"csco_singular_sidebar":"","csco_page_header_type":"","csco_page_load_nextpost":"","csco_post_video_location":[],"csco_post_video_location_hash":"","csco_post_video_url":"","csco_post_video_bg_start_time":0,"csco_post_video_bg_end_time":0,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[516],"tags":[555,170,2564,1455,150,2565],"class_list":["post-9310","post","type-post","status-publish","format-standard","has-post-thumbnail","category-culture-lifestyle","tag-african-music","tag-ai","tag-album-art","tag-generative-ai","tag-nigeria","tag-visual-artists","cs-entry","cs-video-wrap"],"yoast_head":"\nLes 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