Christian Marclay

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. Born in California in 1955 and raised in Geneva, Switzerland. His mother was American so he held a double nationality. He studied at the Ecole Supérieure d’Art Visuel from 1977–1980 in Geneva, Switzerland. From 1977–1980 he studied sculpture at the Massachusetts College of Art in Boston. He also studied as a visiting scholar at Cooper Union in New York in 1978. As a performer and sound artist Christian Marclay has been experimenting, composing and performing with phonograph records and turntables since 1979 to create his unique “theater of found sound,” influenced by Marcel Duchamp. Christian Marclay offers a unique, fresh and innovative voice that has inspired an entire generation of musicians, artists and theorists.

Marclay has collaborated with musicians such as John Zorn, Elliott Sharp, Fred Frith, Zeena Parkins, Shelley Hirsh, Christian Wolff, Butch Morris, Otomo Yoshihide, Arto Lindsay, and Sonic Youth among many others. A dadaist DJ and filmmaker, his installations and video/film collages display provocative musical and visual landscapes and have been included in exhibitions at the Whitney Museum of American Art New York, Venice Biennale, Centre Pompidou Paris, Kunsthaus Zurich, San Francisco Museum of Modern Art.

Christian Marclay has been said to be the first non-rap DJ to make an art form out of the turntable, treating the instrument as a means to rip songs apart, not bridge them together. Marclay began his musical exploration that mixes sound and art with performance using turntables in 1979 as a student. Recycled Records (1980–1986), was one of his early peices. The work took fragmented and reassembled records which became objects that could be played, distorting tone and sound. Body Mix (1991–92), is a series he produced that wove together album covers, creating Postmodern critques of music and visual culture. One example is Deutsche Grammaphon conductors with the infamous legs of Tina Turner, bringing to light Surrealist ‘Exquisite Corpses.’ A key thread throughout Christian Marclay’s work is this transformation of musical objects into visual commentary on culture.

London, 2007, chromogenic print
New York, 2006, chromogenic print
Seattle , 2005, chromogenic print
Istanbul , 2007, chromogenic print
Cassette Grid No. 10, 2009, cyanotype
Allover (LeVert, Barbara Streisand and Others), 2009, cyanotype
Mashup (Diptych with Two Cassettes), 2008, cyanotype
Looking for Love, 2008, one master tape in Digibeta format
 and one DVD for regular use
Postcards, 2003, two lithographs (diptych)
Double Tuba, 1992, collage (photocopies collaged on board)
Pathetique
 (from the series
Stereo Volume, 1989, speakers and plexiglas
Yin and Yang (from the series
Feedback, 1994, two circular mirrors with compact discs
Factum I and Factum II, 1990, diptych, acrylic on two record covers
Breasts, 1989, silicone castings and metal clips
Dialogue of the Giants, 1988, metal drums and rope

Portfolios

Fraenkel Gallery Exhibitions

Large Cassette Grid #9

Christian MarclayCyanotypes

MCM.0125

Christian MarclayStereo

Publications

Select Museum Exhibitions

Festival

1 Jul 2010 - 26 Sep 2010
Whitney Museum of American Art, New York City

Press

Christian MarclayThe Hours