Christian Marclay bigraphy, stories - Design

Christian Marclay : biography

11 January 1955 -

Christian Ernest MarclayAccording to the State of California. California Birth Index, 1905–1995. Center for Health Statistics, California Department of Health Services, Sacramento, California. Searchable at http://www.familytreelegends.com/records/39461 (born 11 January 1955) is a Swiss and American visual artist and composer.

Marclay's work explores connections between sound, noise, photography, video, and film. 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." (1988). Retrieved 25 June 2011. His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.. Retrieved 25 June 2011.

Life and career

Christian Marclay was born on 11 January 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland.. Retrieved 25 June 2011. Membership required.. Retrieved 25 June 2011.] He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.Blake Gopnik, , Newsweek, 5 June 2011. Retrieved 25 June 2011.

Drawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument.Jason Gross, , Perfect Sound Forever, March 1998. Retrieved 25 June 2011. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.Kjetil Falkenberg Hansen, . Link dead 25 June 2011. Marclay sometimes manipulates or damages records to produce continuous loops and skips,Salome Voegelin, Listening to Noise and Silence: Towards a Philosophy of Sound Art (London: Continuum, 2010), pp. 60–62. and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seamsSalome Voegelin, Listening to Noise and Silence: Towards a Philosophy of Sound Art] (London: Continuum, 2010), pp. 60–61. – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.

Some of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.

Marclay released Album Without a Cover on Neutral Records in 1986, "...designed to be sold without a jacket, not even a sleeve!" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's "coolest theatrical gesture" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album.

Thom Jurek writes that "While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious." (1994). Retrieved 25 June 2011.

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Living octopus

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