Country:   France
5 nodes
(...) In art the major or inevitable question undoubtedly has to do with how forms emerge, how, little by little, they take on consistency. Above all however, it has to do with how they surge beyond all reasonable nomenclature, and all accepted logic... - by doing away with an opportunistic and cynical quest for novelty which rapidly reaches its limit and becomes a recipe- ... and how, starting with a formula and methods proper to them, at the heart of a new internal logic, they will arrive at being sufficiently valid so as to engender - we could say organically - developments and clear the way for other sequences which will produce meaning in their turn. If, within the context of an inevitably normative cultural ideology, we regularly hear that art consists in proposing an order in the chaos of the world, we shouldn't lose sight of the fact that the artist -in order to dispose of any ability whatsoever to advance propositions- must go beyond the barriers of the established order, create breaks in the cultural slab which incessantly reforms itself by calcifying the new codes it integrates. This presupposesa singular aptitude to placer oneself on one's very own in a situation of disequilibrium, to put the norm in crisis, and pervert it to better subvert it after. (...) If there is poetry, it lies in the approximations of everyday prose, that which agitates us and which we agitate between domestic and planetary. By choosing to work from the home studio of the tinkerer, Patrice Carré takes into account, without dissimulation, the measure and the range of the artistic act: the universal always rests on individual givens and we always speak from a certain condition and place. But in so doing, he places himself in a position where he can control the double talk of the prosaic object's reality and the critical consequences that can arise from its manipulation, this in the realm of Art with a capital "A" as well as the political in the largest sense of the word. If we're to believe Aristotle, Archytas of Tarento, a great politician and strategist, never balked at domestic tinkering. (...) Hubert Besacier : A propos du merveilleux critique, in Patrice Carré, Les yeux, la bouche et les oreilles, Centre d'art contemporain de Basse-Normandie, 1995 Installations, devices and sound material The sound material I use is a kind of transparent plastic material!... Various notes The same question always comes up regarding my works that use sound and integrate, in a cetain sense, plastic space: is it sound sculpture ? I don't know...And it's not very important. Oddly enough, the form of a speaker makes one think more of an eye than a mouth. This banal observation is certainly one reason for which I became interested in the use of sound for certain pieces. Digression: To the question "How many photographs are realized each year on the planet?", I would answer certainly hundreds of millions, maybe more. In the same manner how many speakers are installed into products each year: most certainly tens of millions. But is noise increasing ? If one looks up the word loudspeaker in the dictionary, the definition reads: "A device that converts the electrical currents corresponding to the sound of the voice or music into acoustic waves." The word that follows immediately after is haut-relief. Its defintion is as follows : "In sculpture, a relief whose figures are almost in the round, almost independent from the background." This has a certain importance for what follows. As far as the installations and devices that use a sound source are concerned, I think that what I have realized corresponds to a moment or to a sort of perceptual state one might sense, to provide an analogy, while looking attentively at the cover of a vinyl record or cd one is listening to. These containers, go well beyond the mere function of protection and packaging. They designate and indentify the contents of what is diffused ( much was said about the concept of the record sleeve several years back). The ears and eyes are simultaneously placed in a state of alert. Somehing like synesthesia in an armchair...(...) In Lyon, the ensemble of sound diffusers grouped under the title "Pink noise" faces a large mural consisting of hammers, anvils, and stirrups. These sound diffusers (acoustic speakers) are under the electrical tension of their amplifiers. I associate the flutter that emanates to the moment of concentration just before the orchestra begins playing and just after it has tuned up. Quite a beautiful moment. These objects for diffusing sound are close to a certain form of geometric painting and, in a larger sense, bound to the history of what might be termed constructed art. Their conception attempts to question the notion of space, the plane, and volume in painting; from the reality of its thickness to its becoming a box. This conception endangers sculptural character of the object itself and the use value one grants a useful object, such as an acoustic loudspeaker. Getting back to the "box" aspect, the introduction of loudspeakers leads to a notion of variability as regards frontality. If one sits in front of the loudspeakers one has a mute viewpoint. If a sound source renders the object talkative one will have the "listening point" as well. If the volume of the source diffused remains low enough, the German artist Rolph Julius might speak of "ear level". Patrice Carré, in Musique & Arts Plastiques, Musée d'art contemporain de Lyon, Grame, 1998 Accessed 04.08.2009 from
7 Selected Statements
      Worktype Info Year Country Admin
Le bruit rose Sound sculpture / Installation 1991 France Edit
Diffuseurs sonores- Enceintes affectees Valentine, 0506 JS Sound sculpture 1994 France Edit
Formez le cercle Sound Installation Frac Bourgogne 1996 France Edit
Café-musiques Public Commission de Beauvais, Café-Musiques 1996 France Edit
Sons Sound sculpture Sons, e/static, 2002 Italy Edit
Aire comprimée à réduction d’autant de travail Sound Sculpture /Installation Musée de Dole, IUFM Besançon 2002 France Edit
Pop steam Sound Performance / Sculpture Festival Visionair, e/static, à LEikon Teatro 2004 Italy Edit