Pierre-Laurent Cassière


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.







The Blue Ray

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