Christian Marclay is a producer and director, known for The Clock (2010), Telephones (1995) and George Maciunas: Duet for Full Bottle and Wine Glass Performed by Hannah Kemp-Welch (2015). Christian Marclay: Record Player. In New York in the 70s, he played in an art-rock band, and would take a record player with him on stage. Keep track of everything you watch; tell your friends. Over the years Marclay has performed in solo gigs and in … View production, box office, & company info. We are, therefore, only infrequently able to identify the names of the songs or performers on the record covers Marclay uses, a concealment of data that is crucial to his metamorphoses. Christian demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Christian Marclay (American, b.1955) is a sculptor, video artist, and musician. Piet Mondrian. Playing career. Interview by Jason Gross (March 1998) Where hip-hop artists revolutionized what was possibleas a disk jockey, Christian Marclay upped the ante with making the turntableinto a legitimiate instrument itself. During his early performance period, Marclay was enrolled at the Massachusetts College of Art in Boston, and his training as a visual artist is obvious both in such details as the allusion to Marcel Duchamp in the name of his first band and in his entire attitude toward music. In order to respect the concept of Christian Marclay's work, spectators are kindly requested to play this video a 0.04 pm, local time. A similar attitude is manifested in Record without a Cover, 1985, Marclay’s first single, which was distributed minus a jacket—yet another ironical blow at the fetishism of record users. Turning to the packaging in which the record is sold, he has reworked and collaged record jackets—on which musical information is converted into language and image—using them as a medium for commenting on, among other things, divisions between high and low culture. Clément Chéroux, curator of Shoot! For just as sounds are a third element between record and music, and records as objects are a third element between music and auditor, Marclay’s oeuvre marks the location of a third factor between music and art, a site on which conventional uses of the record medium may be circumvented and new systems of relationships become possible.7. 8. 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. A closed system becomes open to the third—to chance, to direct intervention, to immediate experience. Bringing together artists from around the world who work with records as their subject or medium, this groundbreaking exhibition examined the record’s transformative power from the 1960s to the present. In the 1989–90 series “Abstract Music,” Marclay exposed the absurdity of such classifications (and attempts to circumvent them) by painting over the mostly Abstract Expressionist paintings reproduced on a group of record covers, by this act transmuting them into “real” artworks, and, not incidentally, obliterating any information about the record—the music—that the jacket might be expected to provide. His mother was American so he held a double nationality. Record Player: Christian Marclay (2000) 09/09/2000 (CH) 42m User Score. As a fixture of New York’s downtown music scene in the 1970s and ’80s, Marclay used records and turntables as musical instruments in parallel … 56-61. 3. A second interference factor is provided by the secondhand nature of the records themselves, which carry inscribed on their worn surfaces the individual traces—the deviations—of years of play by earlier consumers. John Cage, quoted in Broken Music, p. 73. But whatever his target, the artist resists the view of the record as a fetish, as an object evoking nostalgia, reminiscence, or sentimentality (although that may become increasingly difficult as the CD medium renders the record more and more an anachronism).8. Although record players had been employed in the creation of new music by composers such as John Cage and by early hip-hop deejays, the extremity of Marclay’s manipulations—for his Recycled Records (1980–86) series, he sliced apart vinyl and reassembled the shards to form new sequences of sound—was considered innovative. Listen free to Christian Marclay – Records (Dust Breeding, Jukebox Capriccio and more). His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip … ... where the records came from. Some Stereophile readers will surely remember—some may even have in their collections—Christian Marclay's 1985 vinyl release Record Without a Cover, surely one of the oddest records ever, right up there with the dying-rabbit record and the seven-inch single that's tinted yellow by the band's actual urine.. For him, it is in equal parts a medium, a material, a product, and a reference. The Record: Contemporary Art and Vinyl was the first museum exhibition to explore the culture of vinyl records within the history of contemporary art. Numbered and thereby declared a—million-fold—multiple, every single record declared its mass-produced identity simultaneous with its preproduced individual character as a work by the Beatles. Christian Marclay, Hi-Fi (from the Body mix series), two record covers and thread, 1991 Explore drollgirl's photos on Flickr. He grew up on his family's horse ranch. artforum.com is a registered trademark of Artforum International Magazine, New York, NY. djTRIO is a rotating trio founded by Christian Marclay in 1996 to showcase the talent of some of the world's best avant-garde turntablists. Spectropia (2006) Commune (2005) The Time We Killed (2004) What Sebastian Dreamt (2003) Daddy and the Muscle Academy (1991) Antigone/Rites of Passion (1990) The Salt Mines (1990) Opera and Theater. Christian Marclay: Record Player- QCQ Posted on November 4, 2015 November 4, 2015 by andreathurber Quote: “It’s important for me to show how the sound;s produced not only to put the needle on the record player and let it play. In this way, Marclay questions not only the immutability of the record, but also where its value lies. Collage Art Collage Poster Creative Advertising Christian Marclay Album Covers Creative Print Rock And Roll Production is growth, increase, expansion; production within Marclay’s oeuvre signifies transformation—of one object into another, of sounds into other sounds, of one set of relationships into a multiplicity of others. Record Player: Christian Marclay Accordingly, in contrast to a composer or musician, Marclay uses the record as a starting point rather than as an end product. Marclay’s reuse of the album cover—minus the music, the record—creates a further doubling, since he, in turn, declared his selection of 17 worn, used covers to be his multiple, marking them as his own by splaying them open and embossing each with a different Beatles’ lyric. Luigi Russolo, “The Art of Noises (extracts) 1913,” in Umbra Apollonio, Futurist Manifestos, Ness York: Thames and Hudson, 1973, pp. Theodor Adorno, “The Form of the Phonograph Record,” trans. Cast. Marlcay was born in California in 1955 and raised in Geneva, Switzerland. Christian Marclay, Video Quartet, 2002, four-channel digital projection with sound, 8 x 40 feet overall. All rights reserved. Use the HTML below. In their performances together, or “live samplings,” as they call them, Kuivila “samples” Marclay as he scratches at his four turntables and then plays the sound in variation. Acorn. Artist/composer Christian Marclay (b. Lászlo Moholy-Nagy, “Production—Reproduction,” 1922, in Andreas Maus, Moholy-Nagy: Photographs and Photograms, trans. Record Player: Christian Marclay 42min | Short | 9 August 2000 (Switzerland) Christian explains demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. SINCE THE BEGINNING of our century, music and its reproductive medium, the record, have constantly challenged artists to create new forms. Marclay’s artistic and musical production cannot, in fact, be pigeonholed as either music, performance, or art. Museum visitors will also be able to listen to a series of guest curated album crates, with music selected by leading music and art figures. 15 tracks (55:44). The book Marclay – Record Player is about the artist and composer Christian Marclay. Menu. In 1980, Thurston Moore formed the band Sonic Youth as a lead guitarist and singer with Kim Gordon (bass guitars/vocals) and Lee Ranaldo (lead guitars/vocals). "Records 1981-1989 is a fascinating collection of Marclay's work during the 1980s, the results of hours of home recordings -- using up to eight turntables and various other instruments of his own making -- plus many live performances (one track comes from a nationally televised appearance on the David Sanborn/Hal Willner program Night Music). Christian Marclay w/ DJ Olive & Tashio Kajiwara Thursday, November 7, 1996. Written by He studied at the Ecole Supérieure d’Art Visuel […] It should come as no surprise that Marclay has no use for the virtually indestructible medium of the CD, a system that has no weak points, allowing for no interventions by either user or external phenomena. Looking at the pendant pieces Incognita and Dictators, both 1990, it is interesting to compare the anonymous female sex kittens of the former, shown in close up or full-length provocative pose, with the prominently named male conductors of the latter, pictured in half-length as they actively perform their craft. He was born in California and raised in Geneva, Switzerland, by his American mother and Swiss father. He went on to play football at Rice University where he earned a bachelor's degree in political science. 5. Marclay began his exploration into sound and art through performances with turntables in 1979, while he was still a student. His random, and sometimes butcher-like, way of piecing the records together to make unexpected juxtapositions of sound is revolutionary in the idea of going against the purpose of the record, as he states. The openness of this systematic change is particularly obvious in Marclay’s collaborations with the musician Ron Kuivila. Christian demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Since the late '70's, in performances,recordings, installations and exhibtions at clubs, concert halls, galleriesand museums around the world, Marclay has taken the stereo … Christian Marclay Well, it’s not always easy to sustain both at the same time. 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. (2000). Record Player: Christian Marclay (2000 DVD) Music composed for film. Christian Marclay at Tate Modern. It focuses on his performances with records. He began using the record player as a musical instrument in the late ’70s, first with his duo The Bachelors, Even and then with his band Mon Ton Son (a French pun meaning “Mine yours his,” or “My tone sound”). This FAQ is empty. Vinyl records today are not that popular and most households don't have a record player in their home. Inside the book there is slightly varying line-spacing just like a record running out of sync. Record Player: Christian Marclay (2000) Plot. — into collages that can be exhibited, as well as interpreted by musicians as the basis of an improvisation. Christian Marclay recorded live at IRCAM in Paris, France, May 1999. Name Character Christian Marclay Himself The Record: Contemporary Art and Vinyl was the first museum exhibition to explore the culture of vinyl records within the history of contemporary art. CHRISTIAN MARCLAY. Translated from the German by Joachim Neugroschel. Between 1977 and 1980, Marclay studied at the École Supérieure d'Art Visuel in Geneva; at the same time, he studied sculpture at the Massachusetts College of Art in Boston. Start off by dispelling any outmoded notions about taking things at face value – sometimes a DJ is not just a DJ, a record is not a record, and a turntable is more than a record player. 74–88. Christian demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Add the first question. Christian Marclay, Producer: The Clock. He began using the record player as a musical instrument in the late ’70s, first with his duo The Bachelors, Even and then with his band Mon Ton Son (a French pun meaning “Mine yours his,” or “My tone sound”). Christian explains demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. I had filed away my memory of Record Without a Cover in a brain-slot adjacent … This means that there are many records out there collecting dust. Marclay has recently expanded his repertoire of sound/silence with Bouche-oreille (Earplug, 1990), two terra-cotta telephone receivers that again deliberately allude to Duchamp (to his two-sided lead Bouche-Évier [Sink plug, 1964]), and Boneyard, 1990, a scatter of 1,000 telephone receivers cast in bone-white hydrocal that, still as a city of the dead, perform an elegy for failed communication. 1955) is known for his distinctive fusion of image and sound. Marclay has melted down records into cubes or long sticks, transforming them into art objects whose only relationship to the music-playing originals is in their paper labels, which appear throughout as specks of color. 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." Christian Marclay, Toshio Kajiwara, DJ Olive: djTRIO: Christian Marclay, Toshio Kajiwara, DJ Olive: djTRIO - 21 September 2002 Hirshhorn Museum Washington DC (LP, Album) Cuneiform Records: Rune 348: US: 2012: Sell This Version djTRIO is a rotating trio founded by Christian Marclay in 1996 to showcase the talent of some of the world's best avant-garde turntablists. Thurston Moore, Soundtrack: The Perks of Being a Wallflower. 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. This album, issued in millions of copies, is already located in the intermediary area between art and music—even without Marclay’s intervention. Port Bou (2014): U.S. Premier at Issue Project Room, Brooklyn. László Moholy-Nagy saw the potential of scratching the wax plate to produce new sounds and sound relationships,1 and Piet Mondrian called for the creation of a new system of “tones and anti-tones” in order to achieve a “universal form.”2 When, in 1913, the Futurist Luigi Russolo issued his manifesto L’arte dei rumori (The art of noises), he set up one of the most crucial guideposts for avant-garde music.3 The inclusion of real noises—“the voices of animals and men,” “the coming and going of pistons,” “the crashing down of metal shop blinds,” etc.4—advocated by Russolo, became intrinsic to the work of composers like Edgard Varèse, Erik Satie, Igor Stravinsky, and George Antheil. Christian explains demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. 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