He holds both American and Swiss nationality. Christian Marclay, de la musique aux sons (in French). Christian Marclay (born January 11, 1955) is a visual artist and composer. His work is in the collection of Centre Georges Pompidou, Paris; Kunsthalle Zurich; Museum of Modern Art, New York; Musée d’Art Contemporain, Montreal; Philadelphia Museum of Art; San Francisco Museum of Modern … 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. [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). 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. Jennifer González, Kim Gordon and Matthew Higgs, Christian Marclay, London 2005, pp.82–91. European Graduate School: Christian Marclay. His work has an immediacy and a sense of connectedness rarely … 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. White Cube Mason’s Yard is pleased to present an exhibition by Christian Marclay. Christian Marclay is an American-Swiss artist known for his sculptures, videos, and music, especially his sound collages. Artist/composer Christian Marclay (b. 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! [15], Thom Jurek writes that "While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious."[16]. 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. In the 1980s and early '90s, he invented album covers. Site broken 25 June 2011. Christian Marclay Christian Marclay was born in 1955 in San Rafael, California, and raised in Geneva, Switzerland. His critically acclaimed film The Clock (2010) compounded hundreds of film scenes where a clock or a watch displays a certain time. Christian Marclay transforms sounds and music into visible, physical form through a prolific range of performances, collages, sculptures, installations, photographs, and videos. Christian Marclay (b. Christian Ernest Marclay plays with perception and human experience of sensory data. His Graffiti Composition (2002) posted musical notes on walls around Berlin, compiled photographs of them as they faded, and is performed in concert. 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. Christian Marclay's "The Clock" ran at Paula Cooper through February 19, 2011, "Modern Women: Single Channel" at P.S. 15), 2012, Actions: Spurt Splat Thwump Splsh (No.1), 2014. Interview with Akira Sanematsu (28 March 2002). These duos with Henry might be the first time a musician used records and turntables as int… 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 … London and New York-based Christian Marclay was born in 1955 in San Rafael, California and grew up in Geneva, Switzerland, where he studied art, eventually moving to the United States to complete his BFA at the Massachusetts College ofRead more 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. He was filmed performing a duo with Erikm for the documentary Scratch. Marclay's work explores connections between sound, noise, photography, video, and film. 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. Much of his art imaginatively explored the physical and cultural intersections between sound and image, often through the deconstruction and recontextualization of … the work of acclaimed Swiss-American artist Christian Marclay (b. He studied at the Ecole Supérieure d’Art Visuel from 1977–1980 in Geneva, Switzerland. "[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. Marlcay was born in California in 1955 and raised in Geneva, Switzerland. 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. 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. In his work, music can be both seen and heard. 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. False Advertising is a wonderful set of prints mimicking concert posters. His mother was American so he held a double nationality. Christian Marclay was born in California but raised in Switzerland. 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 … 1955) is known for his distinctive fusion of image and sound. [18] Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury "for giving The Clock its fifteen minutes".[19]. Fusing sound with text and found objects, Christian Marclay’s work draws upon the characteristics of a variety of media to visually capture the nature of sound itself. A related review looks at Marclay's sound art. 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. 1955) is a New York-based visual artist and composer whose innovative work explores the juxtaposition between sound recording, photography, video and film. Marclay began his exploration into sound and art through performances with turntables in 1979, while he was still a student. 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. [12] In Five Cubes (1989), he melted vinyl records into cubes. [2][4] As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. It is a looped 24-hour video supercut (montage of scenes from film and television) that feature clocks or timepieces. [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. 1955), who currently lives and works in London, and will include a selection focusing on his sonic compositions, from graphic scores to video installations. Marclay received the Golden Lion award for best artist at the 54th Venice Biennale for his 24-hour virtuosic video piece, The Clock, which has been shown widely to great acclaim. Represented by internationally reputable galleries. [8] Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams[11] – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art. 1955), presenting a selection of works focusing on his sound compositions, from graphic scores to video installations. Christian Marclay. In Sound Holes (2007), he photographed the many patterns of speaker holes on intercoms. Newsweek responded by naming Marclay one of the ten most important artists of today. 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. The artist is also accredited with inventing “turntabilism”, where one can manipulate sounds using two or more turntables. [8] These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.[9]. Shuffle (2007) and Ephemera (2009) are also musical scores. Audio of "Phonodrum" by Christian Marclay from, Winnipeg Art Gallery: Christian Marclay's The Clock. In 2003 it became the first work by Marclay to be acquired by Tate. 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. "Christian Marclay | Biography, Albums, Streaming Links", "To the Last Syllable of Recorded Time: Christian Marclay,", "Christian Marclay | Made To Be Destroyed (2016)", "Live Improvisations - Christian Marclay | Songs, Reviews, Credits", Blake Gopnik, "The 10 Most Important Artists of Today", Rundown of the Winners of the Golden and Silver Lions at the 54th Venice Biennale", "Christian Marclay: The Clock – Exhibition at Tate Modern", "Christian Marclay: Sound Stories | LACMA". Christian Marclay transforms sounds and music into visible, physical form through a prolific range of performances, collages, sculptures, installations, photographs, and videos. [5] Long based in Manhattan, Marclay has in recent years divided his time between New York and London. 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. 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. In 1998 he claimed never to have paid more than US$1 for a record. 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. “I’ve always been interested in how sound is visualized,” he explains. Fraenkel Gallery is pleased to present new work by Christian Marclay, incorporating collage, video animation, and photography. From the outset of his career, Marclay has engaged with experimental music, investigating the relationship between sound and vision, 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. 1 Museum, New York City, USA. 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. 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. “I’ve always been interested in how sound is visualized,” he explains. Marclay began dating curator Lydia Yee in 1991, and the couple married in 2011. Christian Marclay transforms sounds and music into visible, physical form throu… [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. 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. Marclay began exploring sound in 1979, in performances in which he would manipulate turntables, playing them as if they were traditional instruments. [7] Drawn to the energy of punk rock, he began creating songs, singing to music on pre-recorded backing tapes. Limited-Edition Prints by Leading Artists, Allover (Dixie Chicks, Nat King Cole, and Others), 2009, Untitled, Cassette Tape Duplication (No. From 2007-2009 he worked with cyanotype at Graphicstudio to capture the motion of cassette tapes unspooling. 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. What is unique about this artist is his extraordinary ability to mix different media and various culture references into the rich fusion … 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. His scene didn't make the final cut, but is included among the DVD extras. A performance by Christian Marclay, from the October 29, 1989 episode of the short-lived music television show Night Music. 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. 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. Christian Marclay was born in California but raised in Switzerland. Seiler+Mosseri-Marlio Galerie: Upcoming Exhibits. [14] In 2016 he produced Made to Be Destroyed, a compilation of film clips showing the destruction of art works or buildings. Stills of Christian Marclay – Telephones, 1995, video installati… – 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. Technology to draw on the sounds and images of life on Snapchat York and London art installation by artist... ( 1989 ), he melted vinyl records into Cubes Sanematsu ( 28 March 2002 ) also. On Snapchat sound compositions, from graphic scores to video installations and Griffith... Or timepieces of punk rock, he melted vinyl records into Cubes first work by Marclay to be acquired Tate... 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