White Cube Mason’s Yard is pleased to present an exhibition by Christian Marclay. Newsweek responded by naming Marclay one of the ten most important artists of today. 1955) is known for his distinctive fusion of image and sound. Christian Marclay (b. Christian Marclay transforms sounds and music into visible, physical form through a prolific range of performances, collages, sculptures, installations, photographs, and videos. – 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. 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. Christian Marclay was born in California but raised in Switzerland. The Sound of Silence (1988) is a black-and-white photograph of the Simon & Garfunkel single of the same title. Find the latest shows, biography, and artworks for sale by Christian Marclay. A performance by Christian Marclay, from the October 29, 1989 episode of the short-lived music television show Night Music. Interview with Akira Sanematsu (28 March 2002). In his work, music can be both seen and heard. Limited-Edition Prints by Leading Artists, Allover (Dixie Chicks, Nat King Cole, and Others), 2009, Untitled, Cassette Tape Duplication (No. Early work includes a series of ‘Recycled Records’ (1980-86), fragmented and reassembled vinyl records that became hybrid objects that could be … [7] Drawn to the energy of punk rock, he began creating songs, singing to music on pre-recorded backing tapes. Christian Marclay (born 1955) works in a sampling aesthetic, using fragments from the ephemera of popular culture to create new forms and meanings. [13], In 2010 he produced The Clock, a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. 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. [14] In 2016 he produced Made to Be Destroyed, a compilation of film clips showing the destruction of art works or buildings. 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. 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. Citing the influence of John Cage, Yoko Ono and Vito Acconci, Marclay has long explored the rituals around making and collecting music. He was filmed performing a duo with Erikm for the documentary Scratch. Christian Marclay Christian Marclay was born in 1955 in San Rafael, California, and raised in Geneva, Switzerland. His Graffiti Composition (2002) posted musical notes on walls around Berlin, compiled photographs of them as they faded, and is performed in concert. 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. Born 1955 San Rafael, California Lives and works in London and New York City Education 1975-1977 Geneva, Switzerland, Ecole Supérieure d’Art Visuel 1977-1980 Boston Massachusetts College of Art, Bachelor of Fine Arts 1978 Cooper Union in New York exchange student program Awards 2016 Contemporary Vision Award, SFMOMA, San Francisco, CA 2011 The Golden Lion, Venice Biennale, Venice, Italy 2010 Aurora Award, Houston, TX 2009 The Larry Aldrich Award, The Aldrich Contemporary Art … Audio of "Tabula Rasa" (2005) for three turntables and cutting lathe by Christian Marclay and Flo Kaufmann. From 2007-2009 he worked with cyanotype at Graphicstudio to capture the motion of cassette tapes unspooling. Christian Marclay, de la musique aux sons (in French). From the outset of his career, Marclay has engaged with experimental music, investigating the relationship between sound and vision, Marclay began dating curator Lydia Yee in 1991, and the couple married in 2011. Christian Marclay was born in California but raised in Switzerland. Other guests that night included Todd Rundgren, Taj Mahal, Pat Metheny, and Nanci Griffith. The artwork itself functions as a clock: its presentation is synchronized with the local time, resulting in the time shown in a scene being the actual time. 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. 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. Marclay began exploring sound in 1979, in performances in which he would manipulate turntables, playing them as if they were traditional instruments. The artist is also accredited with inventing “turntabilism”, where one can manipulate sounds using two or more turntables. 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. Stills of Christian Marclay – Telephones, 1995, video installati… 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 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. [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. Celebrated as a pioneer of turntablism, Marclay transforms sound and music into visual and physical forms through performance, collage, sculpture, large-scale installations, photography, and video. His critically acclaimed film The Clock (2010) compounded hundreds of film scenes where a clock or a watch displays a certain time. 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. [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). the work of acclaimed Swiss-American artist Christian Marclay (b. 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. He holds both American and Swiss nationality. More recently, he has explored his interest in a related abstract concept—time—by compiling clips from an enormous range of films into a 24-hour, single-channel video titled The Clock (2010). Marclay made the magnificent unique photogram "Allover (Dixie Chicks, Nat King Cole and Others)" (2009) by exposing photo-sensitized paper to light after he … As in his music and video works, which splice together found recordings and film footage, the comic book segments are culled and re- contextualized in vibrant, dynamic ways. In Sound Holes (2007), he photographed the many patterns of speaker holes on intercoms. Shuffle (2007) and Ephemera (2009) are also musical scores. False Advertising is a wonderful set of prints mimicking concert posters. 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. Christian Marclay transforms sounds and music into visible, physical form throu… Christian Marclay. For more than thirty years, Marclay has explored the relationship between the visual and the audible through a variety of media, including sculpture, video, performance, collage, and music. Marclay fuses art and technology to draw on the sounds and images of life on Snapchat. Drawn to the energy of punk rock, he began creating songs, singing to music on pre-recorded backing tapes. 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. 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. European Graduate School: Christian Marclay. 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 … 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! 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. Christian Marclay (born January 11, 1955) is a visual artist and composer. In 1998 he claimed never to have paid more than US$1 for a record. [2][4] As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Much of his art imaginatively explored the physical and cultural intersections between sound and image, often through the deconstruction and recontextualization of … Fraenkel Gallery is pleased to present new work by Christian Marclay, incorporating collage, video animation, and photography. Christian Marclay's "The Clock" ran at Paula Cooper through February 19, 2011, "Modern Women: Single Channel" at P.S. [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. "[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. “I’ve always been interested in how sound is visualized,” he explains. 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. [8] These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.[9]. Some of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. Accumulating dust and fingerprints would enhance the sound. Marclay released Record Without a Cover on Recycled Records in 1985, "...designed to be sold without a jacket, not even a sleeve!" Marclay's work explores connections between sound, noise, photography, video, and film. Artist/composer Christian Marclay (b. 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. It is a looped 24-hour video supercut (montage of scenes from film and television) that feature clocks or timepieces. 1955), who currently lives and works in London, and will include a selection focusing on his sonic compositions, from graphic scores to video installations. 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. Jennifer González, Kim Gordon and Matthew Higgs, Christian Marclay, London 2005, pp.82–91. 1 Museum, New York City, USA. [12] In Five Cubes (1989), he melted vinyl records into cubes. 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