Stéphane Clor is a musician and a visual artist. He creates music with string instruments, objects and rudimentary electronic systems. His practice crosses the fields of sound art, cartography, photography, drawing and ecology.
Stéphane Clor est musicien et plasticien. Il crée de la musique avec des instruments à cordes, des objets et des systèmes électroniques rudimentaires. Sa pratique croise les domaines des arts sonores, de la cartographie, de la photographie, du dessin et de l’écologie.
2016 Master of arts, University of applied arts, Vienna
2013 Bachelor of music, University of Strasbourg
2013 National Diploma of Professional Musician, Haute école des arts du Rhin (HEAR), Strasbourg
Stéphane Clor founded Dreieck Interférences, a cooperative of sonic thought that supports the creation of new artistic proposals and shares them through the festival Les Habité·es and the label Ligne de crête.
contact : clor.stephane[a]gmail.com
insta : @stephane_c_l_o_r
artist statement
My artistic research lies at the intersection of music, sound art, and visual art, within a transdisciplinary approach that also engages with fields such as social sciences, natural sciences, and philosophy. I am particularly interested in the socio-political implications of sound and listening culture, as well as in the challenges posed by post-naturalist ecology and their impact on contemporary perception and sensitivity.
I create music that combines composition, protocols, and improvisation. I play string instruments, particularly the cello, either acoustically or within electroacoustic setups I design using hi-fi and low-fi speakers. These systems allow for the diffusion and alteration of field recordings, as part of a broader exploration of timbral qualities and the spatial dimension of sound work.
These same elements are also deployed in installations, where they are combined with composite objects made from found materials and vibrating motors. In this way, I explore the notion of landscape in its sonic, visual, and temporal dimensions: my works are ephemeral, site-specific, and never reproduced identically. They are rooted in the architecture, temporality, and social and political dynamics of the spaces I inhabit.
The notion of transcription also plays a central role in my research, through the creation of graphic works with musical intent. By encoding graphemes and organizing them cartographically, I aim to open up the score to new parameters of interpretation, such as timbre, spatiality, or playing intention. Image and writing, finally, play a complementary role, as trace and as a support for thought.
The exploration of new territories — both real and imaginary — drives me as much through geographic mobility as through collaborative work with other artists, scientists, and amateurs. I believe it is essential today to redefine the social role of the artist, in opposition to productivist and market-driven logics, by opening up new interstitial spaces for meaning, reflection and poetry.