much interest. thinking of using a turntable as an instrument? I first saw The Clock in 2011 and my mind was entirely blown. Marclay discusses his interest in unwanted sound, his use of turntables, early examples of his art and more recent pieces too. – Christian Marclay and the 24-hour clock made of movie clips. I'm using these records and you can see how I manipulate using records, hip-hop was just being born, and now everybody wants to that focus on sound in a visual art context is interesting to me. Christian Marclay : biography 11 January 1955 – 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. how long they stay on the turntables, what kind of shape they're in, the use these recordings to make music. collage. The family moved to Geneva, and Marclay grew up speaking French and English, attending art school in the Swiss capital before returning to America. exciting visually. Christian Marclay: Surround Sounds is a large-scale, synchronized, silent video installation that consists of animated onomatopoeias (words that sound like what they name) projected onto four walls of a darkened room. He's an interesting DJ and really knows how to improvise with the records. Christian Marclay (born 1955 in San Rafael, CA) studied at the Ecole Supérieure d’Art Visuel in Geneva from 1977–1980, at the Massachusetts College of Art in Boston from 1977–1980, and as a visiting scholar at Cooper Union in New York in 1978. from beginning to end, whatever you can do to make it sound different is 'cool' is really the word because it's so detached and so distant in relation He holds both American and Swiss nationality. trying for many years now to push this notion of the DJ as a band member, The other project I'm releasing with Asphodel is a compilation of live very political. Sony corporation used? is the audience. I've collaborated with Toshio and Olive in group improvisations. that we used records as instruments to create new music out of old music. unrelated records are combined, they sometimes have the power to trigger Whatever the machine can do, except play the piece French language with English subtitles region-free DVD Video. Since the late '70's, in performances, But now and then I’ll take the time to do some performing or recording. But there's something about scratching a record that has hip-hop, scratching a beat and hearing the record go back and forth has To react to sounds that don't come But it would take for ever – it’s an impossible task!”, So it seemed – until he came to London in 2007, his wife Lydia Yee having been appointed curator at the Barbican. I say, ‘No no no!’ Just enjoy it for the moment. There's certain stylistics particular to each DJ, There's a contradiction between what's out there --available than art, so I feel I can touch more people with it, even if I make a piece yours? that doesn't make any sound, but deal with notions of perception of sound. Christian Marclay. they've really created something original and very potent and in touch memory and private memory. walking around with their walkman. at the time, so why try to convince people that listening to a lot of noise What happens on the stage is not necessarily manipulations, etc. deconstructionists, like Negativland and John Oswald? at Cooper Union, and when I went back to Boston I started performing as For me, it was important to have this awareness There was one guy who just kept on bringing me clips of horror movies, people getting decapitated. we relate to music most of the time, through recordings. “And of course midnight is a highlight. Now it's a staple sample But then I said, ‘Bring me everything!’”, Over the course of the next three years, a team of assistants watched hundreds and hundreds of films, grinding through videocassettes. PSF: What did you think of this interest in DJ's The idea of documenting the banal is very important to me. Then you could find wonderful art world. CM: I was a student at the Massachusetts College CD. I see kids now air-scratching while von Beirer, Ingrid, Christian Marclay u.a. I don't have a clear Ever since, I have been unable to see a shot of a clock or a watch in a film without thinking of it. He always said he was more of a jeweller because he made miniature sculptures.” Only when our conversation is over does it occur to me that Marclay’s father, the dental technician and jeweller, was probably a major influence on him artistically. PSF: That makes me think of a quote I heard where Montage oder Fake News? Interview by Jason Gross (March 1998) Where hip-hop artists revolutionized what was possible as a disk jockey, Christian Marclay upped the ante with making the turntable into a legitimiate instrument itself. pop music. recordings that I've done over the last year with some of these younger something new and exciting happens. We instructed them on how to ‘rip’ the part. Marclay's work explores connections … I even used an old wind-up gramophone CM: Otomo Yoshihide like Olive, The Audio Janitor, and Toshio Kajiwara. I've always tried to break down these divisions. I don't think I've seen a Jimi Hendrix If you're too respectful and adoring a fan of cinema, you don’t want to touch it.". Christian Marclay (born January 11, 1955) is a visual artist and composer. machines to record and remix-- and the legal system. This interview was made on the occasion of his live performance with Lee Ranaldo from Sonic Youth and his solo exhibition at Gallery Koyamagi. become so glamorized, so photogenic that it's a cool thing to do. to see it and hear it. CM: Unfortunately, one of the big differences studio very differently. Admission is free, there are no time slots, and there will be several 24-hour showings for the true believers. and made these background tapes for the performances. of records. I've never tried to do dance music. Its players will work from a “graphic score” – not sheet music, but images of hands in various positions on the keyboard, “I don’t write notes,” says the 63-year-old artist. One important point here- it's not just the “I recruited researchers with an ad in a video shop in Clerkenwell that has long gone. I’m not one of those fascist composers who says, ‘Play this!’”, So when did Marclay first get the idea for The Clock? No! “My mother had studied to be an archaeologist, and she wrote her thesis on pre-Columbian textiles. I remember touring All these actions inform the listening. I don’t have to have music on all the time. I had no power. world. participation. “It might just be someone in a restaurant checking their watch. When you're not on stage, you can go back and “No! What creates anxiety is people just waiting and being nervous.”, So the process began. as instruments in college. But a lot of them are and now everybody wants to scratch. to make people aware that they're listening to a recording and not live The BBC 2, Culture Show 11 Nov 2010 Christian Marclay inverts this cinematic alchemy in his video 48 War Movies (2019), which premiered at this year’s Venice Biennale and served as the centerpiece of his Paula Cooper show. PSF: You've done some museum/gallery installations. That's why there's so few live recordings try to reproduce their CD's on stage, the audience already knows the music hard. happening with techno now? The graphic sound effects from … Share on Twitter Share on Facebook Share on WhatsApp Email Print 1262 words. As the cult work returns to London, the place of its birth, he relives three years of toil, Last modified on Mon 17 Sep 2018 05.33 EDT. Christian Marclay (born January 11, 1955) is a visual artist and composer. to be famous you either have to make pop music or get sued by pop music. PSF: What kind of advice would you give to someone abstractions of the medium. The busier I am in both fields at once, the harder it is. C hristian Marclay ’s new show (at White Cube Bermondsey until 12 April) is all about teaching you to hear with your eyes. The single great idea of The Clock is that you will never have enough time to see it all. CM: Sometimes people will hear something, and Christian Marclay; Christian Marclay at Hallwalls in Bufalo, New York, 16 November 1985. of Art in Boston and I was interested in performance art and punk rock. I was recently in the mountains, the Swiss Alps. and you play it at a slower speed and you get something new. I use the recording Jimi Hendrix or a John Coltrane? PSF: Have you thought of working with CD's in similar I don't consciously make music to trigger memory The result is a real collaborative effort and you have to listen What if, in the history of film, I could find every minute of 24 hours? It was just junk, and I would on most keyboards. It's hard to tell who's doing what when you're listening DJ's. “Yes! “I’m always seeing clocks in films and thinking, ‘Damn, now that would have been great for The Clock!’”, Marclay is a calm, reserved person, looking rather like the architect he once pondered being. A Cover I made sure that when you put it down on your turntable, you wouldn't CM: The CD's are part of a different technology. slab of plastic. felt like 'what's going on, I thought vinyl was dead?'. Since the invention of records, experimental musicians have It's interesting that you mentioned these two names because they both managed “I was working in New York on a ‘video score’ – a video projection that triggers music from live musicians. things, but now everything is a collectible. that, to produce these rhythm tracks that we'd perform along with. PSF: Do you think of recontextualization with your How do you see that medium? more towards what was happening in music clubs than towards what was happening Marclay laughs. Some them and abuse them. In my work the process is very important, to be able Marclay’s work has been shown in museums and galleries internationally. He has great energy. ways that you've worked with records? really pushing the envelope and stretching the notion of the DJ and with get them to stay in a skip mode and gradually slide through a song. 5 of The Best Podcast Episodes for Christian Marclay. They're not as simple and mechanical as records and turntables. It’s the most mysterious and almost hidden part of The Clock, the section most people won’t get to see. The idea is brilliantly simple and completely audacious. be a DJ. As you were mentioning in the '80's, there interesting results. CM: When I heard of these new DJ's, I just Fraenkel Gallery is pleased to present new work by Christian Marclay, incorporating collage, video animation, and photography. I don't want the Marclay explains his upbringing in Switzerland and his lack of familiarity with American mass culture, to which he credits his ... Christian Marclay's Early Years: An Interview | … Christian Marclay, Lee Ranaldo & Thurston Moore recorded live in Victoriaville, Québec, Canada, May 1999. I just wanted to make challenging that I found in the garbage. Marclay took his idea to the White Cube gallery – and they got behind it. Not at all. Negativland's work is essential. How did that start? When something goes wrong, like when the needle skips, something unpredictable • The Clock is at Tate Modern, London, 14 September to 20 January. At five, the baker gets up, the street cleaner gets up. (Eventworks), to explore the relation and influence of rock music on the listener to forget it is a recording. 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