This means that there are many records out there collecting dust. Christian Marclay is a name that many in the avant-garde world know as a artist/musician who utilizes turntables in a unique way. It is these alterations that result in the imbalance, the asymmetry, in the exchange relationship between record (performer) and listener, thus opening the system to a multiplicity of unexpected interactive relationships. 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. If time is passed, please… 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. Christian Marclay at Tate Modern. Christian Marclay w/ DJ Olive & Tashio Kajiwara Thursday, November 7, 1996. His mother was American so he held a double nationality. Much of his art imaginatively explored the physical and cultural intersections between sound and image, often through the deconstruction and recontextualization of … 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, Video Quartet, 2002, four-channel digital projection with sound, 8 x 40 feet overall. 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. Luigi Russolo, “The Art of Noises (extracts) 1913,” in Umbra Apollonio, Futurist Manifestos, Ness York: Thames and Hudson, 1973, pp. His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip … Christian Marclay: Record Player. 7. Translated from the German by Joachim Neugroschel. Marclay’s artistic and musical production cannot, in fact, be pigeonholed as either music, performance, or art. However, it was John Cage who in the early ’50s first linked this innovative inclusion of natural sounds to the use of records, making the link itself part of the music. For him, it is in equal parts a medium, a material, a product, and a reference. 3. Top Billed Cast. 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. Here is a documentary called Record Player about him which is interesting, but… I had filed away my memory of Record Without a Cover in a brain-slot adjacent … Christian Marclay collages vinyl records together to make humorous pieces that would be ... 2010, is based) (detail), 1996. 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. Frederic Samson, New York: Pantheon, 1980, pp. 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”). In New York in the 70s, he played in an art-rock band, and would take a record player with him on stage. Director. 1. It's a collection of 80s solo work, from lo-fi home recordings to an appearance on Night Music (remember?) Installation view, San Francisco Museum of Modern Art. Record Player: Christian Marclay (2000) 09/09/2000 (CH) 42m User Score. Christian explains demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. 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. Add the first question. Record Player: Christian Marclay (2000 DVD) Music composed for film. artforum.com is a registered trademark of Artforum International Magazine, New York, NY. Christian Marclay (American, b.1955) is a sculptor, video artist, and musician. 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. Name Character Christian Marclay Himself 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. The openness of this systematic change is particularly obvious in Marclay’s collaborations with the musician Ron Kuivila. He grew up on his family's horse ranch. His football career took off as a player at Rice University, where he started all four years of his collegiate career (1985-1988) as a defensive back. Christian Marclay Well, it’s not always easy to sustain both at the same time. 56-61. Installation view, … (2000). Inside the book there is slightly varying line-spacing just like a record running out of sync. He then arranges this stuff — think stray musical notes on greeting cards, book covers, New York Times illustrations, etc. During these performances, records that he has previously transmogrified into newly shaped objects—by pasting things to them, marking them with strips of paper, scratching them up, or cutting them into pieces are transformed by use to release newly “shaped” sounds. 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 Listen free to Christian Marclay – Records (Dust Breeding, Jukebox Capriccio and more). 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. Conversely, pop music is part of low culture, yet some rock musicians have had visual artists design the jackets of their albums in order to enhance their cultural value (e.g., Andy Warhol’s jacket for the Rolling Stones’ 1971 album Sticky Fingers). This FAQ is empty. 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 1990 multiple punningly offers glass bottles stuffed with the recorded magnetic tape used in Tape Fall—Bottled Water. STRAY MOMENTS: Christian Marclay's "The Clock" Telephones, 1995 - Christian Marclay RECORD PLAYER - CHRISTIAN MARCLAY Download SoundHound The only App that can give you results through singing and humming search! Using records as instruments by cutting and pasting records together to create new sounds and then collaborating with other musicians. CHRISTIAN MARCLAY. 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. Here Marclay trained his camera tight on the tone arm of a record player, its turntable whirring beneath. Christian Marclay collages sound, layering and juxtaposing recordings, making a richly referential musical experience. 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. 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. Instead of considering a record “a kind of portable museum or a portable concert-hall,”5 Cage suggested using it to create a new musical piece through the deliberate incorporation of the noises produced by the interaction of record and record player. 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. Christian Marclay at Tate Modern. Get a sneak peek of the new version of this page. 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.. 6. Cross, 1987, turns the silence of six speakers into the religious symbol of the crucifix, while, in a more profane mode, the two cast-silicon rubber speaker cones of Breasts, 1989, specifically allude to Duchamp’s 1947 Prière de toucher (Please touch). Record Player: Christian Marclay (2000) Plot. (Serres, The Parasite, trans. Artist/composer Christian Marclay (b. Vinyl records today are not that popular and most households don't have a record player in their home. Marlcay was born in California in 1955 and raised in Geneva, Switzerland. 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." He attended Missouri City Jr. High and Marian Christian High School. In 1989, for example, the floor of Zurich’s Shedhalle was covered with 3,500 copies of the same recording, in black vinyl with yellow labels, for Marclay’s installation Footsteps. It is no secret, of course, that in the marketing of music, sex sells, but Skin Mix I and Skin Mix II, both 1990, rock ’n’ roll Frankensteins composed of the stunningly hard and glossy body parts of the known (Madonna, Diana Ross, Annie Lennox) and the less so, reveal the terrain as close to pornographic. Label: Recycled Records (2) - none • Format: Vinyl LP, Single Sided • Country: US • Genre: Jazz, Classical, Stage & Screen • Style: Musique Concrète, Avantgarde, Free Improvisation Christian Marclay - Record Without A Cover (1985, Vinyl) | Discogs Christian Marclay, Producer: The Clock. ‎Record Player: Christian Marclay (2000) directed by Luc Peter • Reviews, film + cast • Letterboxd 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. Over the years Marclay has performed in solo gigs and in … Once the show was taken down, the records, marked by the visitors’ footprints, were individually packaged and offered for sale as unique artworks. 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. Christian Marclay recorded live at IRCAM in Paris, France, May 1999. 9. Works by Christian Marclay, who has made art with records for 30 years, include his early and rarely seen Recycled Records as well as his most recent record video, Looking for Love. Playing career. in 1989. Terms & Conditions. Showing all 1 items Jump to: Summaries (1) Summaries. Directed by Luc Peter. View production, box office, & company info. Written by Acorn. By having people step on the records, Marclay not only elicited specific perceptual responses but also turned the visitors into accomplices: they stepped on the records instead of handling them with kid gloves and protecting them against dirt and scratches. Thurston Moore, Soundtrack: The Perks of Being a Wallflower. Once referred to as “a master of the mix,” Christian Marclay has formed a career around collage, as both a form and a concept, since the late 1970s. Piet Mondrian. 1955) is known for his distinctive fusion of image and sound. It can be seen as well in Marclay’s White Album, 1990, a multiple of the Beatles’ famous 1968 album of the same name. ... For him, the French-horn player gearing up for the big solo was almost an athletic event. Its vacant jacket, devoid of any information about the album’s contents, was designed by Pop artist Richard Hamilton. While, for example, concerts of classical music belong to high culture, the technological reproduction of such music is understood as belonging to low culture. This disc is a stellar example of why. drollgirl has uploaded 7308 photos to Flickr. Christian demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. He didn't become involved with music until attending Texas A&M University in the late '70s where he studied journalism and German. 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). However, Christian Marclay and other artists have found a way to take these records by combining them together to make sculptures to hear the sounds they… quoted in Broken Music, exhibition catalogue, Berlin: Daadgalerie; The Hague: Gemeentmuseum; Grenoble: Le Magasin, 1989, p. 28. His choice of the record as medium was, in fact, artistically motivated: the record, for Marclay, is a form in which music is visualized, becoming an object that can be shaped and formally manipulated. John Cage, quoted in Broken Music, p. 73. Nevertheless, Record Player has its strong points: it’s clean and sober, it offers us a rare opportunity to see Marclay playing solo and with a few top-notch musicians, and – perhaps even more important and certainly rarer – it gives us a chance to see the man haggling at … Christian has quite a few CDs out now, but this was the first one with any significant distribution (1997). Over the years Marclay has performed in solo gigs and in improvisations with other musicians. For Theodor Adorno the meaning of the record lay not in its function—at the time of its playing—as a surrogate for live music, but in the existence of the record itself as a “thing.”6 Such an insight inflects the work of the Swiss artist Christian Marclay, who utilizes the vinyl disk not only to reproduce the musical information it contains but also to produce objects, installations, and new records. extract : Record Player, by Luc Peter 2000 Belle Journée Productions . — into collages that can be exhibited, as well as interpreted by musicians as the basis of an improvisation. Cast. 15 tracks (55:44). Record Player: Christian Marclay Over the past 35 years, Christian Marclay has explored the fusion of fine art and audio cultures, transforming sounds and music into a visible, physical form through performance, collage, sculpture, installation, photography and video.Marclay began his exploration into sound and art through All rights reserved. Extrait de l'une des six vidéos de Christian Marclay projetées aux Rencontres photographiques d'Arles Vidéo incluse dans l'article… 2. Original Release. 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. 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. Here are some well-known faces from Sundance over the years, as they brought their early movies to the festival. Here, in contrast, the term is intended to designate the place between fixed things, understood as a factor of expansion not interference. 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”). Michel Serres first used the term “the third,” which he explicitly defines as a “parasite,” understood as the basic element of all communication, the general operator of any kind of relationship, a relational element—whether physical, biological, or societal. He stated that people focus more on visual things, but I found it very difficult to read what he was saying with his music playing in the background. 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 … Christian explains demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Audiotapes and sound speakers also figure prominently in Marclay’s work, used less to transmit sound than as formal, often silent, sculptural components that provide a commentary on the invisibility of the music that the tapes or the speakers “contain.” He has woven a net of magnetic tape (Net, 1990) or allowed tape to fall endlessly through a reel-to-reel tape player emitting the endless sound of dripping water (Tape Fall, 1989). Menu. 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. Use the HTML below. Here are the best new trailers of the week, including Godzilla vs. Kong and the latest films from Zendaya, Tom Holland, and more. These are the basic tenets with which to enter the world of Christian Marclay’s djTRIO , … He has formed floor-length curtains from transparent Plexi singles and has glued together record fragments of different colors. With Christian Marclay, DJ Olive, Elliott Sharp, Thurston Moore. Christian explains demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Recently, Marclay has seemed more concerned to show just what kinds of (extramusical) information record jackets do, in fact, convey, revealing, in a group of new works, the ideological assumptions encoded in these seemingly neutral fields. 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. 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. 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. Collage Art Collage Poster Creative Advertising Christian Marclay Album Covers Creative Print Rock And Roll Port Bou (2014): U.S. Premier at Issue Project Room, Brooklyn. In this way, Marclay questions not only the immutability of the record, but also where its value lies. Over the past 35 years, Christian Marclay has explored the fusion of fine art and audio cultures, transforming sounds and music into a visible, physical form through performance, collage, sculpture, installation, photography and video.Marclay began his exploration into sound and art through Lawrence R. Schehr, Baltimore: The Johns Hopkins University Press, 1982.) Christian demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. And records are already samples—captured sound that we can play back over and over. Nor is the realm of classical music immune from gender politics. 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. Title: 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. He was born in California and raised in Geneva, Switzerland, by his American mother and Swiss father. 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. Christian Marclay does an excellent job embodying his theory of taking dead music and making it come to “life”. 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 late '70's, in performances,recordings, installations and exhibtions at clubs, concert halls, galleriesand museums around the world, Marclay has taken the stereo … 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. Christian Marclay, Dj Olive & Erik M recorded live at Centre Georges Pompidou in Paris, France, February 2000. Viewers were literally forced to walk over the discs in order to experience the work, and the sounds of their footsteps became part of that experience. 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. 8:30 pm Groundbreaking record-breaking “record player” Christian Marclay assembles a … Accordingly, in contrast to a composer or musician, Marclay uses the record as a starting point rather than as an end product. Marclay began his exploration into sound and art through performances with turntables in 1979, while he was still a student. In New York in the 70s, he played in an art-rock band, and would take a record player with him on stage. Christian Marclay… 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. 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. He went on to play football at Rice University where he earned a bachelor's degree in political science. This process transcends the gap between materiality and music, between direct and indirect, and between “thingliness” and immateriality. 74–88. 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). The turntable, improvisation, and between “ thingliness ” of the world 's avant-garde... It 's a collection of 80s solo work, from lo-fi home recordings to an appearance on Night music remember! Are some well-known faces from Sundance over the years, as they brought their movies... 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