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Over the past 30 years, Christian Marclay has explored the fusion of fine art and audio cultures, transformingsounds and music into a visible, physical form through performance, collage, sculpture, installation,photography and video.
Marclay began his exploration into sound and art through performances with turntables in 1979, while he wasstill a student. Early work includes a series of ‘Recycled Records’ (1980-86), fragmented and reassembled vinylrecords that became hybrid objects that could be played, replete with abrupt leaps in tone and sound. For his‘Body Mix’ series (1991-92), ...read more
Over the past 30 years, Christian Marclay has explored the fusion of fine art and audio cultures, transformingsounds and music into a visible, physical form through performance, collage, sculpture, installation,photography and video.
Marclay began his exploration into sound and art through performances with turntables in 1979, while he wasstill a student. Early work includes a series of ‘Recycled Records’ (1980-86), fragmented and reassembled vinylrecords that became hybrid objects that could be played, replete with abrupt leaps in tone and sound. For his‘Body Mix’ series (1991-92), he stitched together album covers into works to create strange phantasms ofmusic and culture – such as Deutsche Grammaphon conductors with the slender legs of Tina Turner – thatbring to mind Surrealist ‘Exquisite Corpses’. This transformation of musical instruments or objects to createvisual puns is an essential component of Marclay’s work. Virtuoso (1999), for instance, features an accordionwith its bellows elongated to more than seven metres.
Recently, Marclay has created ambitious work in a variety of media. The video Guitar Drag (2000) features aFender Stratocaster being dragged behind a pick-up truck along rough country roads in Texas. While on onelevel the work is an expression of Marclay’s interest in creating a new sound, it is also a nod to the guitar-destroying antics of rock stars as well as a reference to the murder of James Byrd Jr., an African-Americanman dragged to his death behind a pick-up truck. Video Quartet (2002), a large, four-screen projectionfeaturing hundreds of clips from old Hollywood films, with actors and musicians making sound or playinginstruments, represents a high point of his vision, an elaborate audio-visual collage that evokes pop culture,appropriation art and sampling.
Christian Marclay was born in California in 1955, raised in Switzerland and now lives in New York. He hasexhibited widely, including solo exhibitions at Moderna Museet, Stockholm, Sweden (2006), Barbican ArtGallery, London (2005), Seattle Art Museum, Seattle (2004), Tate Modern, London (2004), UCLA HammerMuseum, Los Angeles (2003), and the SFMoMA, San Francisco (2001). Group exhibitions include SITE SantaFe, New Mexico (2003), Whitney Museum of American Art, New York (2001) and Hayward Gallery, London(2000).
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