Кристиан Марклэй

dorsiana

source: lostateminor

New York-based artist Christian Marclay, who treads both sonic and visual art terrains, somehow hit upon the idea of matching disparate album covers in a way that make perfect irreverent sense. These are fast making our day.
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source: whitecube

Over the past 30 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 performances with turntables in 1979, while he was still a student. Early work includes a series of ‘Recycled Records’ (1980-86), fragmented and reassembled vinyl records that became hybrid objects that could be played, replete with abrupt leaps in tone and sound. For his ‘Body Mix’ series (1991-92), he stitched together album covers into works to create strange phantasms of music and culture – such as Deutsche Grammaphon conductors with the slender legs of Tina Turner – that bring to mind Surrealist ‘Exquisite Corpses’. This transformation of musical instruments or objects to create visual puns is an essential component of Marclay’s work. Virtuoso (1999), for instance, features an accordion with its bellows elongated to more than seven metres. This playfulness with sound and image is also a feature of his ‘Snapshots’, an ongoing, informal series of photographs that depict elements of sound and onomatopoeia that the artist discovers in everyday situations.

Over the last decade, Marclay has created ambitious work in a variety of media. The video Guitar Drag (2000) features a Fender Stratocaster being dragged behind a pick-up truck along rough country roads in Texas. While on one level the work is an expression of Marclay’s interest in creating a new sound, it is also a nod to the guitar-destroying antics of rock stars as well as a reference to the murder of James Byrd Jr., an African-American man dragged to his death behind a pick-up truck. Video Quartet (2002), a large, four-screen projection featuring hundreds of clips from old Hollywood films, with actors and musicians making sound or playing instruments, represents a high point of his vision, an elaborate audio-visual collage that evokes pop culture, appropriation art and sampling. Marclay used a similar technique with Crossfire (2007), a four-screen installation that surrounds the viewer with clips of actors handling and discharging guns directly at the viewer. The work is at once a musical composition, with the gunfire creating a powerfully rhythmic soundtrack, and an incisive re-imagining of one of cinema’s most common tropes. More recently he created The Clock (2010) from thousands of edited fragments, from a vast range of films to create a 24-hour, single-channel video. While The Clock examines how time, plot and duration are depicted in cinema, the video is also a working timepiece that is synchronised to the local time zone. At any moment, the viewer can look at the work and use it to tell the time. Yet the audience watching The Clock experiences a vast range of narratives, settings and moods within the space of a few minutes, making time unravel in countless directions at once.

Christian Marclay was born in California in 1955, raised in Switzerland and now lives in New York. He has exhibited widely, including solo exhibitions at LACMA, Los Angeles (2011), LEEUM Samsung Museum of Art, Seoul (2010), Whitney Museum of Amercian Art, New York (2010), Musée d’Art Moderne et Contemporain, Geneva (2008), Cité de la Musique, Paris (2007) Moderna Museet, Stockholm, Sweden (2006), Barbican Art Gallery, London (2005), Seattle Art Museum, Seattle (2004), Tate Modern, London (2004), UCLA Hammer Museum, Los Angeles (2003), and the SFMoMA, San Francisco (2001). Group exhibitions include 54th International Art Exhibition, La Biennale di Venezia (2011), British Art Show 7, Nottingham (2010), Yokohama International Arts & Media Festival, Yokohama (2009), Platform 2009, Seoul (2009), Vancouver Art Gallery, (2008), Aldrich Contemporary Art Museum, Ridgefield (2007), Museum of Contemporary Art, Chicago (2007) Musée d’Art Contemporain de Lyon (2007), La Maison Rouge, Paris (2006), Musée d’Art Contemporain, Avignon, France (2005), SITE Santa Fe, New Mexico (2003), Whitney Museum of American Art, New York (2001) and Hayward Gallery, London (2000). Christian Marclay also continues to collaborate with musicians, including recent performances with Steve Beresford, Okkyung Lee, Shelley Hirsch and Otomo Yoshihide. He was awarded the Golden Lion at the 2011 Biennale di Venezia for his video work The Clock.
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source: escoladecriacaoespmbr

Em tempos de mashups, é possível combinar artistas quase antagônicos, como Bob Marley e Tom Jones, Beastie Boys e Neil Young. Mas bem antes de DJs popularizarem esse tipo de estripulia sonora, o artista plástico e compositor Christian Marclay já brincava com misturas de músicos, bandas e gêneros. Além de compositor experimental, o norte-americano fazia colagens divertidas combinando capas de discos de vinil e CDs. Seus arranjos mesclam artistas como Jim Morrisson, Michael Jackson e David Bowie formando novas e estranhas figuras.

Christian Marclay ficou conhecido nos anos 1980 por seu pioneirismo musical. Foi o precussor dos mashups, misturando diferentes artistas para criar sons novos mais ou menos da mesma forma como fazia suas ilustrações. Ele também criava experimentos com agulhas de toca-discos, vinis arranhados e diversos outros materiais.
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source: artiseverywherefr

Prenez différentes pochettes d’albums, de préférences de vinyles, rassemblant des artistes cultes d’autrefois à ceux d’aujourd’hui, mélangez-les, et voilà le résultat : une forme d’art toute fraîche qui met en scène des pochettes d’albums dont le premier à y avoir pensé est Christian Marclay. Je vous laisse découvrir son travail.
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source: fridgegr

Από κάθε άποψη, ο Christian Marclay (για τον οποίο έχει ξαναγράψει η Kristin ZZZ) υπήρξε πρωτοπόρος στις ασχολίες του: τα Visual Arts και τα Audio Arts, δηλαδή — μεταφράστε σε “εικόνες” και “ήχοι” αν σας τρόμαξε το πολύ art. Φαίνεται πως έχει ένα άλφα κόλλημα με τα κολλάζ, σε οτιδήποτε κι αν καταπιάνεται.

Από τα ’70s κιόλας ασχολήθηκε με την “ανακύκλωση ήχων“, παίρνοντας παλιά βινύλια και χρησιμοποιώντας τα για να φτιάξει νέες μουσικές, όταν κινήματα σαν το Hip Hop και το Turntabilism ήταν ακόμα στα γεννοφάσκια τους.

Το 1991 αποφάσισε να χρησιμοποιήσει μια αντίστοιχη λογική στα εξώφυλλα των βινυλίων του, και ενώνοντας πολλά από αυτά σε μία εικόνα να δημιουργήσει κάτι τελείως διαφορετικό. Το αποτέλεσμα είναι άλλοτε αστείο, άλλοτε περίεργο και συχνά-πυκνά βλάσφημο.
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source: pirojoknet

Кристиан Марклэй (Christian Marclay) — швейцарский современный художник и композитор.
Кристиан создает забавные коллажи из обложек музыкальных альбомов.
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source: blogpoolclubes

Christian Marclay, conocido por ser un famoso DJ y compositor, ha creado una divertida colección de fotografías compuestas por portadas de discos de música. Desde Jim Morrison y los Beastie Boys hasta Michael Jackson y David Bowie.
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source: picamemag

C’è chi conserva i vecchi dischi al riparo da qualsiasi contaminazione esterna, come fossero reliquie, e chi li utilizza per creare collage e composizioni artistiche. É il caso di Christian Marclay, artista, dj e musicista di New York