Musée des Instruments Céret

Visitor’s guide



Looking for unheard sounds

To extend the limits of sensorial perception, to explore all kinds of possibilities, to cross appearances… All this belongs to the essence of artistic approximation. It is the distinctive prerogative of the explorers, inventors and investigators. Implicitly, the aim is always the same, i.e. to open unknown fields to human knowledge and to modify in return the global spectrum of human spatial and temporal perception. MúSIC’s remarkable collection consists in a choral splendour regrouping instruments from the whole world. It offers us a horizontal vision of the diversity of cultures and of their contrasted relationships to the divinity, highlighting thereby a universal quest. The singular presence of isolated, unparalleled instruments breaking with their merely utilitarian function, -in the noblest sense of the word, “in the service of”- tells us something else, namely the lonely quest of an individual, half a craftsman, half an artist, determined to go ahead, just for fun, just to answer an imperious necessity to create : the instrument designer.

A guardian of both the objective reality of his time and of the space in which he lives, the instrument maker has a double mission; he has to be the instruments’ mirror by copying the existing ones, but also a watchman looking towards other spaces and times, able to try the adventure of pure research, boosted by the technological progresses; he then becomes a sculptor of sounds, an imagination pathfinder. In fine, he proposes a surreal sound and changes human ear by making it accept new tessituras and new dissonances; thereby, he imposes the reality of a sixth continent, not limited to a given territory or period, transcending them instead by his demiurgic will as an individual, a smuggler and a transgressor. The Baschet Brothers and Philippe Destrem are thieves of fire: their strange instruments, by welling at the same time in the science progress and in archaisms, in the abuses of consumption society and in the purity of their design, can dialogue with their companions of other times and spaces. MúSIC’s collection reveals another immanent collection, an oneiric course from a single instrument to another, which is first of all a sensorial experience to live without prejudice, in this suspended sixth continent where hallmarks are shirking.