Yes, he's critical of IRCAM. For a good reason: at the time public money allocated to music was given almost exclusively to "experimental music and performances", which, oftentimes, let's be honest, was just bullshit. Also somewhat out of touch with reality. Too much money was spent to subsidize music that interested almost nobody. So there was not much money left for musical education, helping musicians, etc. Now, IRCAM has also been responsible for major advances in musical instruments, acoustics and sound generation, but in the context of the interview Jarre only talks about musical education, not research on musical technology.
Here is what is said in the paragraph:
Q: Would you contribute to a restructuring of [musical] education?
A: Yes, if it's not bogus. Lang [Jack Lang, French Minister of Culture, very popular in France] might come to China. I will ask him why is it that there are no synthesizers in conservatories. Music in France has been assassinated by IRCAM and disco. Disco because in every ball, amateur musicians have been replaced by a PA and a disc jockey. IRCAM because for seven years now a large chunk of budget for music has been given to Pierre Boulez [composer, conductor and founder of IRCAM] so that, in a room with an audience of thirty, one can tear a phone book apart in front of a microphone or piss into a violin [I think here Jarre is playing with a phrase: in French, "pisser dans un violon", also means "waste time on useless activities"]. A bit is OK, but music is elsewhere. It is very surprising to note that 99% of the music we can hear today is not recorded in conservatories. The crisis of music, record industry, publishing, comes from that. If conservatories also taught synths and electric guitar, they would simply match teaching with reality. That's not too much to ask! Things will get better when, rue de Madrid [where the Conservatoire national supérieur de musique et de danse de Paris was located], they teach the Strat and the Polymoog.
Concerts: 2017: Upper Darby < 2010: Lille, Liège, Paris < 1997: Lille < 1990: La Défense