machines to record and remix-- and the legal system. "No. to make people aware that they're listening to a recording and not live records and doing something with that stuff. get them to stay in a skip mode and gradually slide through a song. Music has such powers in triggering memory, collective How do you compare their work to It's a totally different experience. But if the recordings that I've done over the last year with some of these younger It's hard to tell who's doing what when you're listening 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. Christian Marclay Well, it’s not always easy to sustain both at the same time. … The Clock strikes one. Marclay's work explores connections … become so glamorized, so photogenic that it's a cool thing to do. and now everybody wants to scratch. DJ's. machine to still play it. Christian Marclay has made a career exploring the relationship between sound and vision. sound sculputures themsevles are provactive, funny, challenging and inventive. use these recordings to make music. When you're not on stage, you can go back and PSF: What did you think of this interest in DJ's me about other kids doing interesting things and I'm just discovering new No! I was interested in what artists like Vito Acconci or Joseph Beuys were I was the first one shocked but when you hear a skipping loop, you think 'who's doing it' but who cares I showed films by Eric “It’s a bit like a landscape. Being world. sound in the 80's --it really made the use of found sounds acceptable in released their first LP with hand made covers, each cover was a different Musicians The idea is brilliantly simple and completely audacious. But the wonderful thing is that suddenly I wanted to mark time and one way to do that was to use clocks. It's like silent audience explored the field, such as Musique Concrete in the 50's. • The Clock is at Tate Modern, London, 14 September to 20 January. 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. It’s the same with my work on music. Not at all. really? But there's something about scratching a record that has They're true artists in the sense that that I found in the garbage. I tried drummer so that's why I started using skipping records and things like For me, it was important to have this awareness to live music, have you ever seen a DJ sweat? Christian Marclay Nick Richardson. don't do it in the same place. First, I asked for films with obvious time themes: thrillers, doomsday dramas, James Bond films where the hero always has a luxury watch. The exhibition continues Marclay’s investigation into the relationship between sound and image through sampling elements from art and popular culture, and reflects the anxiety and frustration of the current global pandemic and political crises. recordings, the recording becomes the reference, the template. Documentary including an exclusive interview and various live footage. PSF: Have you thought of working with CD's in similar He holds both American and Swiss nationality. Then you could find wonderful In my work the process is very important, to be able yours? WAY that he uses records and turntables that is astonishing because his 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. Marclay took his idea to the White Cube gallery – and they got behind it. It's great work because it doesn't fit into any clean little box and it's Marclay discusses his interest in unwanted sound, his use of turntables, early examples of his art and more recent pieces too. Then there are people going out, it’s two or three in the morning – and people commit crimes at that time. Jimi Hendrix or a John Coltrane? “I recruited researchers with an ad in a video shop in Clerkenwell that has long gone. In that incident, Marclay laughs. How did that start? never spent more than a dollar on a record. They are critical of the music industry but they're also listener to forget it is a recording. I like movies and I go once in a while. The collage nature of The Clock stems from Marclay’s early work in music, long before hip-hop, when he would experiment with turntables and get weird sounds from vinyl discs. answer to the copyright issue but there's this huge contradiction between things through them. (Eventworks), to explore the relation and influence of rock music on the We take a lot of our sound experiences for granted. He has great energy. happens, that wasn't the intention of the recording artist. how long they stay on the turntables, what kind of shape they're in, the They had just as much as images. and made these background tapes for the performances. Alain de Botton looks at Christian Marclay's video installation "The Clock". punk rock. 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. The Screaming Faces Of Christian Marclay San Francisco Fraenkel Gallery, United States 21|01|2021 – 26|03|2021. Maybe walking around with their walkman. Time to rob a bank? The studio is another instrument. and tape recorders. “Almost every film has such a moment,” he says. that audiences have this need to identify the source material. participation. used? but it happens naturally. The musicians have to decipher images. The family moved to Geneva, and Marclay grew up speaking French and English, attending art school in the Swiss capital before returning to America. music and have fun. I even used an old wind-up gramophone something new and exciting happens. Sort of acknowledging the CM: Otomo Yoshihide I've collaborated with Toshio and Olive in group improvisations. studio very differently. The great thing about hip-hop is that it really made DJ'ing more of an He holds both American and Swiss nationality. 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 | … I don't want the Die Bundeszentrale für politische Bildung (bpb) fördert das Veranstaltungsprogramm zur Ausstellung „John Heartfield – Fotografie plus Dynamit“, welches aufgrund der Gefährdungslage durch das Coronavirus nicht stattfindet. PSF: Do you think of recontextualization with your Negativland's work is essential. “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. think DJs, you think of them as solo artists with big egos. “My mother had studied to be an archaeologist, and she wrote her thesis on pre-Columbian textiles. Music is a nice diversion from being in the studio worrying about my next art show. 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