| Summary: | Artistic exercise implies a specific relationship to time: the man practicing his art repeats, corrects, goes back over his gestures. But is it relevant for the reception of art: does the spectator have to repeat and vary his aesthetic experiences in order to exercise his perception? The purpose of this article is to show that there is a kind of exercise which is rather based in the destabilization of habits of perception. On the basis of Valéry's study of the formless in Introduction à la méthode de Léonard de Vinci and Degas, Danse, Dessin, we propose to consider an exercise of perception that goes through the decomposition of its mechanisms. This idea finds its realization in labyrinthine artistic devices such as Olafur Eliasson's exhibition Contact (Fondation Louis Vuitton, 2014-2015) which, by disrupting the scales of space and time, makes the spectator consciously produce the coherence work of the perception.
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