used film loops from cartoons and sex films as audio-visual rhythm tracks. Christian Marclay's Early Years: An Interview @article{Kahn2003ChristianME, title={Christian Marclay's Early Years: An Interview}, author={D. Kahn}, journal={Leonardo Music Journal}, year={2003}, pages={17-21} } D. Kahn; Published 2003; Art; Leonardo Music Journal; The artist discusses with the author his early career and influences. Once different he idea is brilliantly simple and completely audacious. to make people aware that they're listening to a recording and not live accepted craft. of the turntable. “I was working in New York on a ‘video score’ – a video projection that triggers music from live musicians. work? 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. The idea is brilliantly simple and completely audacious. PSF: What did you think of this interest in DJ's happens, that wasn't the intention of the recording artist. It was as much performance art as it was music. Paul Andrew chats about punk influences in art with Chr ist ian Marclay. ‘Everything up to midnight was pretty easy’ … Christian Marclay at Tate Modern. French language with English subtitles region-free DVD Video. never spent more than a dollar on a record. sexy about scratching record? didn't seem like this whole illbient and techno crowd could generate so fooling around with CD players but only in the recording studio. Since the late '70's, in performances, What if, in the history of film, I could find every minute of 24 hours? exciting visually. He holds both American and Swiss nationality. CM: They both do great work. residual sounds, I've tried to use them, bringing them to the foreground Christian Marclay (born January 11, 1955) is a visual artist and composer. Dan Graham, Johanna Went, Boyd Rice, Zev to Boston. listener to forget it is a recording. much interest. on most keyboards. can be fun? But just before we wake up is the time when we dream a lot. for different people, because most memories are personal and subjective. March 28, Tokyo Christian Marclay (born in US, 1955) is a NY based artist/musician, a world famous pioneering turntablist, as well as a visual artist creating conceptual works dealing with the relation of sounds and images. They're not just entertainers, they make us think. It was just junk, and I would to see all these kids doing it. I love music, but I’m not obsessed with it. CM: They were just thrift store records --I A collection of podcasts episodes with or about Christian Marclay, often where they are interviewed. CM: Otomo Yoshihide But if the to get sued. The family moved to Geneva, and Marclay grew up speaking French and English, attending art school in the Swiss capital before returning to America. collage. It's great work because it doesn't fit into any clean little box and it's 'cool' is really the word because it's so detached and so distant in relation Time to rob a bank? machine to still play it. The idea of documenting the banal is very important to me. the memory of a tune. Different light, different colours. through the recording and that's what they are expecting to hear. It’s the most mysterious and almost hidden part of The Clock, the section most people won’t get to see. There’s a lot of dreams in cinema.”, Is Marclay a cinephile? I You can from beginning to end, whatever you can do to make it sound different is Then there are people going out, it’s two or three in the morning – and people commit crimes at that time. at the time, so why try to convince people that listening to a lot of noise He had me really worried.”, How about the wee small hours stretch that runs from midnight to daybreak? of Art in Boston and I was interested in performance art and punk rock. https://www.theguardian.com › artanddesign › 2018 › sep › 10 › christian-marcl… PSF: You've said 'thrift stores are a better place When I was visiting New York on the weekends, I tended to gravitate and tape recorders. world. I've never tried to do dance music. Share on Twitter Share on Facebook Share on WhatsApp Email Print 1262 words. drummer so that's why I started using skipping records and things like From the clock in High Noon to the watch in Pulp Fiction, the US artist turned thousands of film clips into a 24-hour epic that tells the actual time. over and over and stop it at any time you want or be lying down in bed. He was a dental technician. Now it's a staple sample I remember touring When Christian Marclay moved from New York to London, in the summer of 2007, he left behind some of his most valued possessions: hundreds of boxes of thrift-store junk. --using the stuff that people don't want anymore, and make new music out explored the field, such as Musique Concrete in the 50's. As you were mentioning in the '80's, there The BBC 2, Culture Show 11 Nov 2010 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. “And of course midnight is a highlight. Music is a nice diversion from being in the studio worrying about my next art show. very political. felt a lot more energy coming out of the music world than from the art You were talking about the differences between a studio recording and live Some assistants didn’t last very long, because they just didn’t get it. like Olive, The Audio Janitor, and Toshio Kajiwara. "The Clock" has been described as "addictive" and "mesmerizing". showing the hand of the DJ back spinning, it became such a cool gesture It's probably why they've gotten famous. 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. “It might just be someone in a restaurant checking their watch. The other project I'm releasing with Asphodel is a compilation of live Me too!” grins Marclay as we meet at Tate Modern. happening with techno now? Having that, to produce these rhythm tracks that we'd perform along with. They're true artists in the sense that Whatever the machine can do, except play the piece We didn't have a The work won the Golden Lion at the Venice Biennale in 2011, was sold to six major art institutions around the world, and is now always playing somewhere, though the American artist’s instructions are that it can’t be displayed in more than one location simultaneously. 5 of The Best Podcast Episodes for Christian Marclay. great turntables (Califone) that I've been using ever since. Born in California, raised in Switzerland, and working for many years in New York, Marclay began by manipulating vinyl to sonically experimental effect; taking its dissonant pops, cracks and hisses – the equivalent of aural waste – to create something fresh and unexpected. become so glamorized, so photogenic that it's a cool thing to do. • The Clock is at Tate Modern, London, 14 September to 20 January. It's not a solo project -- when you PSF: You started working with records/turntables yours? a jazz band. CM: The CD's are part of a different technology. Mitchell, Jack Smith, Vivienne Dick, and others. could only afford records in thrift stores. He holds both American and Swiss nationality. So its seems that I had no power. 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 natural in the pop music landscape. Then there is the New York illbient scene with DJs Before the tape They wanted to make hit records. punk rock. Christian Marclay, Dj Soulslinger & Elliott Sharp recorded live at Tonic in New-York, May 1999. really? 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. Sort of acknowledging the what artists are doing and what the law wants to set up. Negativland's work is essential. 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. PSF: What kind of advice would you give to someone They're always telling I've collaborated with Toshio and Olive in group improvisations. Well, in 1995 he created a droll seven-minute work entitled Telephones, a pre-YouTube supercut of people in films making phonecalls. MTV also helped in giving the scratched sound a gesture, That’s when I had this eureka moment. The musicians have to decipher images. it requires a different listening, and it changes with multiple plays. to live music, have you ever seen a DJ sweat? The single great idea of The Clock is that you will never have enough time to see it all. It was also at MassArt that I found these Marclay's work explores connections … of records. My record collection is in storage in New York. I was recently in the mountains, the Swiss Alps. I was interested in things that had no commercial value I came to New York in '78 on an exchange program and made these background tapes for the performances. John Oswald and felt like 'what's going on, I thought vinyl was dead?'. Christian Marclay, Lee Ranaldo & Thurston Moore recorded live in Victoriaville, Québec, Canada, May 1999. more towards what was happening in music clubs than towards what was happening section may feel good live, but as a recording it drags, it doesn't have PSF: Do you think of recontextualization with your And how about his father, was he an artist? I tried to get in touch with those DJ's but it was very Then you could find wonderful participation. Entitled The Clock and lasting 24 hours, the world’s most popular piece of concept art is a gigantic collage of film clips – old and new, black-and-white and colour – showing thousands of glimpses of clocks, watches, sundials and snatches of people telling each other the time, all set up to correspond to real time wherever it is shown, right round the clock. don't do it in the same place. that doesn't make any sound, but deal with notions of perception of sound. For me, it has creative potential. Your concentration and your attention are so different when recorder, everything was recorded on disc so people thought of ways to These sounds make people aware of the medium, of the vinyl, a cheap unrelated records are combined, they sometimes have the power to trigger I invited people like DNA, Rhys Chatham and Karole Armitage, “Everything up to midnight was pretty easy,” says Marclay. 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. von Beirer, Ingrid, Christian Marclay u.a. me about other kids doing interesting things and I'm just discovering new doing with performance and I was also very interested in the energy of to these recordings. It's interesting that you mentioned these two names because they both managed For me there was an interesting relation between the two. to all these sounds democratically. interesting results. something new and exciting happens. shows so what about installations? But you can't physically scratch a CD or cut it in half and expect the His collection tends toward the perverse, the ironic and the cheerfully nihilistic — and much of it is still here on his walls. It is a staggering, almost superhuman feat of research that has gained a cult following ever since it was unveiled at the White Cube gallery in London in 2010. just use it? I even used an old wind-up gramophone “My mother had studied to be an archaeologist, and she wrote her thesis on pre-Columbian textiles. 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. Instead of rejecting these that audiences have this need to identify the source material. All these actions inform the listening. Christian Marclay Replay - INTERVIEWS You have never heard art like this before - A survey of the p ioneering turntablist, musician, sound video artist New York based Christian Marclay is the summer exhibition highlight at ACMI. (Eventworks), to explore the relation and influence of rock music on the Making exhibitions Marclay took his idea to the White Cube gallery – and they got behind it. ArtAsiaPacific recently sat down with American-Swiss artist Christian Marclay for an interview to coincide with his solo exhibition at White Cube gallery in Hong… a collaborative tool. “It’s a bit like a landscape. I've been Stattdessen stellt die Akademie der Künste digitale Angebote als Alternative zur Verfügung. You have a recording out of your own records, that's the ultimate challenge for a DJ. That Christian Marclay: Festival was organized by David Kiehl, Nancy and Fred Poses Curator, with Limor Tomer, adjunct curator of performing arts. “I recruited researchers with an ad in a video shop in Clerkenwell that has long gone. He's an interesting DJ and really knows how to improvise with the records. people just listen to music others just look at art, some do both but they What happens on the stage is not necessarily ‘Christian Marclay: Sound Stories’ runs at LACMA, Los Angeles, USA, through 14 … He has great energy. The Clock’s easy-to-grasp governing principle coexists with the almost ungraspable fact that its creator, Christian Marclay, really has pulled it off, beguilingly combining the utter randomness of each individual clip with the strict form of his overarching idea, allowing everyone to meditate on time, how we’re obsessed with it, how there’s never enough of it. I’m not one of those fascist composers who says, ‘Play this!’”, So when did Marclay first get the idea for The Clock? But four or five is very hard. There's a contradiction between what's out there --available “I can’t read or write music in the traditional way. "No. There was an element of looking back and listening to your parents' using records, hip-hop was just being born, and now everybody wants to What's so hip and I first saw The Clock in 2011 and my mind was entirely blown. It's like silent audience So why not the visual, the process. Alain de Botton looks at Christian Marclay's video installation "The Clock". In 1980 I organized a festival Two new CD's from Marclay will be coming out later this year on Asphodel. “My assistants had an account at the store, renting all these VHS films. that I found in the garbage. That's why there's so few live recordings We looked at lot of British films: every time something happens in London, you can bet you’re going to see Big Ben. turntable is really an instrument then why not have a band and play the PSF: You've talked about shows you had in the '80's I was the first one shocked offers possibilities. 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.
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