1955) is known for his distinctive fusion of image and sound. White Cube Mason’s Yard is pleased to present an exhibition by Christian Marclay. Marclay began dating curator Lydia Yee in 1991, and the couple married in 2011. It is a looped 24-hour video supercut (montage of scenes from film and television) that feature clocks or timepieces. Christian Marclay is a London and New York based visual artist and composer whose innovative work explores the juxtaposition between sound recording, photography, video and film. Early work includes a series of ‘Recycled Records’ (1980-86), fragmented and reassembled vinyl records that became hybrid objects that could be … Marlcay was born in California in 1955 and raised in Geneva, Switzerland. Following this turn, Marclay has in more recent years produced visual art, although usually of representations of sound, or the various technologies of representing sound. 1 through May 2, Leslie Thornton at Winkleman through February 5, and Stephen Vitiello at Museum 52 through February 12, with his High Line installation continuing through June. European Graduate School: Christian Marclay. 15), 2012, Actions: Spurt Splat Thwump Splsh (No.1), 2014. Marclay began exploring sound in 1979, in performances in which he would manipulate turntables, playing them as if they were traditional instruments. Christian Marclay, in full Christian Ernest Marclay, (born January 11, 1955, San Rafael, California, U.S.), Swiss American visual artist and composer whose multidisciplinary work encompassed performance, sculpture, and video. [3][4] He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts) in the Studio for Interrelated Media Program, and the Cooper Union in New York (1978). Marclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members. [17], At the 2011 Venice Biennale, representing the United States of America, Marclay was recognized as the best artist in the official exhibition, winning the Golden Lion for The Clock. Limited-Edition Prints by Leading Artists, Allover (Dixie Chicks, Nat King Cole, and Others), 2009, Untitled, Cassette Tape Duplication (No. He was filmed performing a duo with Erikm for the documentary Scratch. Jennifer González, Kim Gordon and Matthew Higgs, Christian Marclay, London 2005, pp.82–91. – 2008 – Galerie Art and Essai, Rennes, France, You Said He Said She Said – 2008 – Seiler+Mosseri-Marlio Galerie, Zurich, Switzerland, Replay – 2009 – DHC/Art, Montréal, Canada, Broken English – 2009 – Seiler+Mosseri-Marlio Galerie, Zurich, Switzerland (with Justin Bennett, Shana Lutker, Euan Macdonald, Navid Nuur and Mungo Thomson), Vinyl – 2009 – Lydgalleriet, Bergen, Norway (with Flo Kaufmann, Janek Schaefer and Otomo Yoshihide), The Record: Contemporary Art and Vinyl – 2010 –, This page was last edited on 22 January 2021, at 08:11. Christian Marclay: Compositions April 12th, 2019 to September 24th, 2019 This exhibition will be the first for over a decade in Spain devoted to the Swiss-American artist Christian Marclay (b. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. Represented by internationally reputable galleries. In 2015 the White Cube presented a major solo exhibition including a range of new work and a lively programme of weekly performances played by the London Sinfonietta and guests including Thurston Moore and Mica Levi. Site broken 25 June 2011. Christian Marclay transforms sounds and music into visible, physical form throu… Part working timepiece (it runs in sync with the local time zone), part aural and visual montage (the work includes snatches of dialogue about time and sounds and images of every kind of clock imaginable), the film is a meditation both on time and the depiction of it. He studied at the Ecole Supérieure d’Art Visuel from 1977–1980 in Geneva, Switzerland. The Sound of Silence (1988) is a black-and-white photograph of the Simon & Garfunkel single of the same title. Featuring two new video works that reconsider the relationship between image and text, the exhibition foregrounds the role of collage, the readymade and the poetics of chance encounter within Marclay's wide-ranging practice. At White Cube, Christian Marclay Serves Up Sensory Gratification, A Group Show Considers Kafka’s ‘Amerika’ and Otherness in Art, My Highlights from the IFPDA Print Fair 2013. A related review looks at Marclay's sound art. In the 1980s and early '90s, he invented album covers. Christian Marclay was born in California but raised in Switzerland. Schooled in Geneva, Boston, and New York, Marclay has shown a lot of interest in the art of sound, becoming an intrepid avant-gardist in the non-conventional use of instruments and sound-mixing tools; even going so far as to perform with American rock band Sonic Youth. Seiler+Mosseri-Marlio Galerie: Upcoming Exhibits. Directions: Christian Marclay – 1990 – Hirshhorn Museum and Sculpture Garden, Christian Marclay – 1991 – Interim Art, London, England, Christian Marclay – 1993 – Margo Leavin Gallery, Los Angeles, Christian Marclay – 1994 – Daadgalerie, Berlin, Germany; and Fri-Art Centre d'art contemporain Kunsthalle, Fribourg, Switzerland, Amplification – 1995 – Chiesa San Staë, Venice Biennale, Venice, Italy, Accompagnement Musical – 1995 – Musée d'Art et d'Histoire, Geneva, Switzerland, Arranged and Conducted – 1997 – Kunsthaus, Zurich, Switzerland, Christian Marclay – 1999 – Paula Cooper Gallery, New York City, USA, Snap! In 1998 he claimed never to have paid more than US$1 for a record. And an interest in onomatopoeia dating back to 1989 has culminated in his monumental Manga Scroll (2010), a 60-foot scroll of cartoon interjections that doubles as a musical score. In Sound Stories, American artist and composer Christian Marclay (born 1955) fuses art and technology, using Snapchat videos as raw material.Featuring texts by Max Maxwell, this book documents the collaboration between the artist and Snapchat in an innovative project mixing the sounds and images … What is unique about this artist is his extraordinary ability to mix different media and various culture references into the rich fusion … Marclay sometimes manipulates or damages records to produce continuous loops and skips,[10] and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. Christian Ernest Marclay plays with perception and human experience of sensory data. Drawn to the energy of punk rock, he began creating songs, singing to music on pre-recorded backing tapes. [12] In Five Cubes (1989), he melted vinyl records into cubes. 1 Museum, New York City, USA. Christian Marclay's "The Clock" ran at Paula Cooper through February 19, 2011, "Modern Women: Single Channel" at P.S. A review in Spin at the time cited Marclay's "coolest theatrical gesture" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album. At the time of its release, technology was just reaching its peak, which is why Telephonesbecame a breakthrough piece that is often celebrated today for its pioneering role in the history of video art. From 2007-2009 he worked with cyanotype at Graphicstudio to capture the motion of cassette tapes unspooling. [2], Christian Marclay was born on January 11, 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. Interview with Akira Sanematsu (28 March 2002). Find the latest shows, biography, and artworks for sale by Christian Marclay. Audio of "Tabula Rasa" (2005) for three turntables and cutting lathe by Christian Marclay and Flo Kaufmann. A performance by Christian Marclay, from the October 29, 1989 episode of the short-lived music television show Night Music. Further reading Alan Licht, ‘CBGB as Imaginary Landscape: The Music of Christian Marclay’, in Christian Marclay, exhibition catalogue, Hammer Museum, Los Angeles 2003, pp.88–103. Christian Marclay (born January 11, 1955) is a visual artist and composer. His critically acclaimed film The Clock (2010) compounded hundreds of film scenes where a clock or a watch displays a certain time. 1955) is a New York-based visual artist and composer whose innovative work explores the juxtaposition between sound recording, photography, video and film. [8] These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.[9]. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Marclay is, in the words of critic Thom Jurek, perhaps the "unwitting inventor of turntablism. In his work, music can be both seen and heard. Christian Marclay’s Telephones, created in 1995, was a skilfully edited arrangement of black-and-white, as well as color film clips that highlighted different subjects utilizing an array of telephones, all designed before the smartphone era that we live in today. From the outset of his career, Marclay has engaged with experimental music, investigating the relationship between sound and vision, Christian Marclay transforms sounds and music into visible, physical form through a prolific range of performances, collages, sculptures, installations, photographs, and videos. 1955), who currently lives and works in London, and will include a selection focusing on his sonic compositions, from graphic scores to video installations. [14] In 2016 he produced Made to Be Destroyed, a compilation of film clips showing the destruction of art works or buildings. Much of his art imaginatively explored the physical and cultural intersections between sound and image, often through the deconstruction and recontextualization of … The Clock is an art installation by video artist Christian Marclay. [5] Long based in Manhattan, Marclay has in recent years divided his time between New York and London. Marclay released Record Without a Cover on Recycled Records in 1985, "...designed to be sold without a jacket, not even a sleeve!" [6], Citing the influence of John Cage, Yoko Ono and Vito Acconci, Marclay has long explored the rituals around making and collecting music. Boston Society of Film Critics Award for Best Editing, https://en.wikipedia.org/w/index.php?title=Christian_Marclay&oldid=1001988931, Massachusetts College of Art and Design alumni, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SIKART identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Christian Marclay – 1987 – The Clocktower, P.S. Josephine Meckseper by John Reed For over 20 years Christian Marclay has been creating works that explore the intersection of the aural and the visual, reflecting on the nature of how sound and image are related. September 18, 2020 The artist and composer Christian Marclay works with the interplay of sound and images through a variety of media, ranging from performance to printmaking, video, and collage. Newsweek responded by naming Marclay one of the ten most important artists of today. Accumulating dust and fingerprints would enhance the sound. 1955), presenting a selection of works focusing on his sound compositions, from graphic scores to video installations. When Christian Marclay moved from New York to London, in the summer of 2007, he left behind some of his most valued possessions: hundreds of … Some of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. His mother was American so he held a double nationality. "[1] His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument. 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