Pierre-Laurent Cassière is a French artist born in 1982. He obtained a MA in Arts in Villa Arson, National Art School in Nice (FR) in 2005. Guest student in the Media Theory department of the Academy of Media Arts (KHM) in Cologne (DE) in 2006, he completed the same year a Master 2 in contemporary art theory between Liege and Brussels Universities with a research on sound effects in contemporary art practices.
In the last ten years, his work has been exhibited in different art institutions such as: LACE, Los Angeles (US), Hong Kong Arts Centre (HK), SMAK, Gent, (BE), TENT, Rotterdam, (NL), Thurn & Taxis Palace, Bregenz, (AUT), Palais de Tokyo and Musée d'Art Moderne de la Ville de Paris (FR), Paco das Artes, São Paulo (BR), Stuttgart Kunstverein (DE), or OCT Art & Design Gallery, Shanghai and Shenzen (CN). He also regularly participates to different international festivals for media art, experimental cinema or sound art.
Cassière’s practice-based research concerns sculptural installation, early cinema and acoustic science. It focuses primarily on perceptual experience related to motion,and crosses categories such as kinetic sculpture, expanded cinema, video and sound installation. Exhibited works are intended to produce actual contemplative phenomena in physical space. The final form can differ widely from one project to another, but minimalism remains a strong reference, through formal reduction and a deconstructive approach, considering the basic properties of the materials and shapes. Often integrating fragile or immaterial elements in the apparatuses (dust, mist, air, bent strings, reflections, shadows...), he builds media configurations that creates paradoxical events dealing with the limits of perception. Far from representation issues, he focuses on specific concepts and processes recurring among the history of arts and sciences. His frequent use of principles such as synchronism, transduction, emergence, noise or randomness reveals deep affinities with aesthetic themes of 60’s and 70’s art movements as much as a strong interest in early 19th century physiology, acoustics and optics. But he always consider such elements from a contemporary perspective, explicitly informed by the so-called digital revolution and its consequences on our perception of kinematic events. Through a media archaeology approach, his work engages with historical analogue audiovisual techniques and new digital ones as much as it takes critical distance, to create poetical situations of perception based on the making of simple and radical apparatuses.
• 3 - Pulse, The End Of The Night, LACE, Los Angeles, 2014 ©ADAGP/Cassière
Expanded cinema/sound installation, dimensions site specific, 2010
(Crookes radiometer, light bulb, laser, electronics, amplifier,
The fragile and silent spinning motion of a Crookes radiometer* produces powerful vibrations through the architecture. The installation is based on cinema optical sound principle and produces physical pulsations shaking the exhibition room walls, synchronously with the light mill speed.
• 1 - Distorsions, LaVallée, Bruxelles, 2016 ©ADAGP/Cassière
Kinetic sculpture, 150 x 60 x 100 in, 2013
(Titanium coated stainless steel, oak wood, motors, electronics)
Three dark mirrors suspended from solid oak gallows deform the image of bodies and space according to their oscillations. The steel sheets adopt numerous vibrational states: from gentle, almost liquid undulations, to noisy convulsions which fragment, blur, and multiply reflections.
• 4 - Tacet, Comment construire un Univers qui ne s’effondre pas en trois Jours, Maison Populaire, Montreuil, 2016 ©ADAGP/Cassière
Video installation, variable dimensions, 6’42’’, 2012
(Looped black and white HD video projection, wood, amplifier, LF transducers)
Coproduction Le Bon Accueil, Rennes, France
The movie shows the oscillatory movements of the 19th century Koenig’s large tuning fork decomposed and captured from different points of view. The inaudible oscillation is emitted as vibrations in the two black monoliths laid down and used as sits in front of the silent movie. The “sound track” is not audible anymore, but haptic.
• 2 - Tact², Beyond the Sound, Hong Kong Arts Centre, Comix Home Base, Hong Kong, 2015 ©ADAGP/Cassière
Kinetic installation, dimensions variable, 2015
(VLF generator, amplifier, transducers)
FNAC collection, Paris, France
An illuminated white wall produces a silent and invisible vibration. This low level oscillatory movement plays at a very low frequency, situated right below the human hearing threshold. The vibration is only perceptible by sense of touch, through physical contact with the wall.
5 - Mag-Net, installation sonore et plan d’installation, Dynasty, Musée d’Art Moderne de la Ville de Paris, 2010 ©ADAGP/Cassière
Sound installation dimensions site specific, 2007
(copper wire, electronics, monophonic sound system)
A thin copper wire is placed in the architecture to form an almost invisible gigantic loop. Its both ends are plugged as input of an audio system. Electromagnetic interferences captured through this wide antenna are amplified and continuously emitted in space as a sonic drone. The audification apparatus are integrated in a black pedestal where a subwoofer plays the low end drone when a tweeter emits high frequencies variations to the ceiling (clicks, differential tones, phasing effects etc.).
6 -The Blue Ray, Natures Artificielles, Gare Saint-Sauveur, Lille, 2013 ©ADAGP/Cassière
The Blue Ray
Cinéma élargi, dimensions variables, 2011
(laser, eau, brumisateur à ultrasons, électronique, haut-parleur basses fréquences)
Un nuage artificiel révèle un rayon de lumière bleue et module son intensité. Ce rayon agit comme une immenses tête de lecture et transforme les variations de densité du nuage en signal audio. Le puissant bruit de basses fréquences diffusé en direct est ainsi synchronisé avec les mouvements de lumière le long du rayon.
The Blue Ray
© Atelier Jespers - Erfprinslaan 149 Avenue du Prince Héritier - Brussel 1200 Bruxelles
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