Christian Ernest Marclay plays with perception and human experience of sensory data. In his work, music can be both seen and heard. What is unique about this artist is his extraordinary ability to mix different media and various culture references into the rich fusion of qualities that synthesize in the original artistic experience. He works with sound, illustration, photography and video installation. His range of interest expands to more complex notions, and he was praised for his film The Clock where he extrapolated the experience of time, how time is felt and contemplated in the human mind. He synchronized time on the clocks and watches on the screen with real time where the film was beeing watched and managed to give the audience the visual experience of such an abstract notion as time. The artist loves to change the initial purpose and shape of the object, whether that is video, vinyl record or poster, so he could pull out the hidden meaning, or just emphasize the original one.
Marclay was born in California and he grew up in Switzerland, where he attended the Ecole Supérieure d’Art Visuel in Geneva and later continued his education at the Massachusetts College of Art and Cooper Union in New York. During his student days, he started exploring noise music, neo-dada movement, and visual art. Some of the artists that inspired him are Joseph Beuys and Yoko Ono, and his journey into the visual and audio art was conceptual and philosophical since the very beginning. The social aspect was very important and it still is for this talented artist, as he tends to use accessible material and many used records which he buys in thrift shops. Resourceful and imaginative, Marclay got the idea of using mixed LP sound, played in a loop in a repetitive manner as a replacement for a missing drummer he never managed to recruit for his band. In his video installations, Christian Marclay combines collages, both visual and auditory, used record covers, illustration, and recordings. The sound is the essence of his creative production, and he spent almost half of his lifetime playing in bands, mixing , experimenting and developing innovative ways to transform the tone. Being a bit rebellious at heart, he never follows the instructions, so he plays records from the middle, switches beginnings and ends, breaks the harmony and brings out the noise. Even his onomatopoeic words are noisy. Some of them like splash, whoosh, swish, slutch, whupp break out the translation process and on the road from auditory to visual to meaning, the noise gets worse, or better, and everything melts down into the disorder and compound of sensory data.
He found the best energy in the music and dance clubs 30 years ago, and nowadays the difference between those clubs and galleries is not that big. Pure art, without the ambition of being instantly commercial often reaches its peak in underground contemporary circles at the difficult economic times. People tend to experiment and be more resourceful. For Marclay things haven’t changed much since he began his career. Always different and always daring, he managed to over cross all the boundaries and to show how differences in experience can bring the ideas together, not separate them away. Starting out as a musician in a band Mon Ton Son, he used the turntable as a sound object, where he would break the records and glue them back together, so the needle would play the noise when crossing the cracked and glued area. The result was unpleasant but at the same time quite engaging. He performed live, but didn’t play any instrument. His intention was to develop a more personal relationship with the sound. If the record is a carrier of the sound, the musician is the creator, but once the song is recorded it loses its flexible characteristic. In order to interfere with the architecture of the sound, he was breaking records and playing them on turntables, and gluing them together. He did exactly the same thing with artwork. The collages were his favorite medium and they still are. Using found objects he shows how everything can have different meaning and different feeling, it is the artist who chooses what impression he wants to get from the medium. Trusting the process he does not worry too much about destroying the records and album covers. His only concern is the live performance and the ability to free the music from its preservation.
His blend of perceptive information is not without sense and meaning, and what he does is deeply influenced by desire to show how human receptor system can be manipulated and changed, how we do not have to react every single time in the same way, out of the habit, that we can sink into what we see and hear and find a whole new way to enjoy the art. Noise is not what most people would listen to and relax, but it is what triggers people to think outside the box. Our vocabulary is very limited and words can never be thoughts, and with this pushing the envelope attitude Marclay expands our capabilities of comprehension. In his early days, in the 80’s, he made the Recycled Records series where people could touch and see broken and reassembled vinyl records that played jumpy, repetitive, noisy and broken sound. Body Mix collection from 1992, features different album covers stitched together, so the Michal Jackson has been combined with a female body with one black and one white leg. The idea came from the mainstream fashion of record lovers who collect them and play them almost never, whereas Marclay plays them, destroys them, unpacks them, and even mixes the covers. He wanted to show how the vinyl record is just a physical item, and that it is just a carrier of the sound. Sincere music should not stay in the cardboard cover because sincere music can change the time, and feelings and leave the authentic impression. In his Video Quartet from 2002, he put together scenes from Hollywood films where actors play instruments and make music, and he created a 13-minute long audio-visual experience that shows how authentic music looks like.
The Clock from 2010, was made over the period of three years and it took much-disciplined work, effort and dedication to put together scenes where people look at their watches, or where clocks show the time, and it is synched to the real time. It is a 24-hour film in which Marclay put together 1 minute long scenes, and when the clock shows time in the film, it also shows the exact time in the cinema. He won a Golden Lion at the 2011 Venice Biennale as the best artist for this film. His most recent works have the same energy, and the artist continues to mix music and illustration, sculpture and photography altogether. In his performances words pop out on the screen, musicians play music like they would usually do in the concert gallery, and the noise travels from ear lobes to the nervous system, transmitting the data and the energy. His films are always about time-base performances. When he makes films he finds short sequences that can be blended into the perfection with the ability to tell the honest story. When it comes to painting or some other form of art, the idea is to preserve the piece so it maintains its value. In Marclay’s performances, there is no preservation, quite the opposite, it is about the destruction, about making little cracks in everything in order to let the quality and the energy get in.
All images used for illustrative purpose only © Christian Marclay
Year | Exhibition Title | Gallery/Musem | Solo/Group |
---|---|---|---|
2015 | The Clock | Los Angeles County Museum of Art, Los Angeles | Solo |
2014 | A World of Its Own: Photographic Practices in the Studio | Museum of Modern Art, New York | Group |
2014 | Blow Up | Albertina, Vienna | Group |
2014 | Damage Control | Mudam Luxembourg, Kunsthaus Graz | Group |
2013 | Things I’ve Heard | Fraenkel Gallery, San Francisco | Solo |
2013 | The Clock | San Francisco Museum of Modern Art, San Francisco | Solo |
2013 | The Clock | Wexner Center for the Arts, Columbus, OH | Solo |
2013 | The Clock | Winnipeg Art Gallery, Canada | Solo |
2013 | Christian Marclay | Paula Cooper Gallery, New York | Solo |
2013 | The Ghost of Architecture: Recent and Promised Gifts | Henry Art Gallery, Seattle, WA | Group |
2013 | Blackboard – Teaching and Learning from Art | Artipelag, Gustavsberg | Group |
2012 | The Clock | Museum of Modern Art, New York | Solo |
2012 | Every Day | Queen Elizabeth Hall, London | Solo |
2012 | The Clock | Power Plant, Toronto | Solo |
2012 | The Clock | Kunsthalle Zurich, Zurich | Solo |
2012 | Seven Windows | Palais de Tokyo, Paris | Solo |
2012 | Pop Politics: Activism at 33 Revolutions | CA2M, Mardid | Group |
2012 | The Voice and the Lens: Part II | Ikon Gallery, Birmingham | Group |
2012 | Privacy | Schirn Kunsthalle, Frankfurt | Group |
2012 | Shoot! Existential Photography | Photographer’s Gallery, London | Group |
2012 | Shoot! Existential Photography | Museum of Photography, Braunschweig | Group |
2012 | Sounds Like Silence | Hartware MedienKunstVerein at Dortmunder U, Dortmund | Group |
2012 | Silence | The Menil Collection, Houston | Group |
2012 | I’m Losing More Than I’ll Ever Have: The Practice of Everyday Life | SMART Project Space, Amsterdam | Group |
2011 | Cyanotypes | Fraenkel Gallery, San Francisco | Solo |
2011 | Scrolls | Gallery Koyanagi, Tokyo | Solo |
2011 | The Clock | Paula Cooper Gallery, New York | Solo |
2011 | The Clock | Garage Center for Contemporary Culture, Moscow | Solo |
2011 | The Clock | Los Angeles County Museum of Art, Los Angeles | Solo |
2011 | The Clock | Museum of Fine Arts, Boston | Solo |
2011 | The Clock | Centre Pompidou, Paris | Solo |
2011 | The Clock | National Gallery of Canada, Ontario | Solo |
2011 | British Art Show 7: In the Days of the Comet | Hayward Gallery, London | Group |
2011 | Our Magic Hour – How Much of the World Can We Know? | Yokohama, Triennale, Yokohama | Group |
2011 | The View from a Volcano: The Kitchen’s Soho Years 1971-85 | The Kitchen, New York | Group |
2011 | Illuminations | 54th International Art Exhibition, La Biennale de Venezia, Venice | Group |
2011 | Under Destruction | Swiss Institute, New York | Group |
2010 | The Clock | White Cube, London | Solo |
2010 | Christian Marclay: Festival | Whitney Museum of American Art, New York | Solo |
2010 | Fourth of July | Paula Cooper Gallery, New York | Solo |
2010 | In the Days of the Comet, British Art Show 7 | Nottingham Contemporary, Nottingham | Group |
2010 | Kupferstichkabinett: Between Thought and Action | White Cube, London Les Rencontres d’Arles, Arles | Group |
2010 | Cage Mix: Sculpture & Sound | Baltic Centre for Contemporary Art, Gateshead | Group |
2010 | Furthermore | Fraenkel Gallery, San Francisco | Group |
2010 | Double Blind | Villa Arson, Nice | Group |
2009 | Ephemera | Louvre Museum, Paris | Solo |
2009 | Performa Biennial | P.S.1 Contemporary Art Center, New York | Solo |
2009 | Video Quartet | Nasher Museum of Art, Durham | Solo |
2009 | Yokohama International Arts & Media Festival, Yokohama | Group | |
2009 | Printemps de Septembre | Toulouse, France | Group |
2009 | Feedbackstage | Georg Kargl Fine Arts, Vienna | Group |
2008 | Christian Marclay: Stereo | Fraenkel Gallery, San Francisco | Solo |
2008 | Christian Marclay: Replay | DHC Art Foundation for Contemporary Art, Montreal | Solo |
2008 | Christian Marclay: Cyanotypes | Paula Cooper Gallery, New York | Solo |
2008 | Christian Marclay: SNAP! | Galerie Art and Essai, Rennes | Solo |
2008 | Honk If You Love Silence | Musée d’Art Moderne et Contemporain, Geneva | Solo |
2008 | Sonic Youth etc…: Sensational Fix | LIFE, St. Nazaire, France | Group |
2008 | Art Vid?o Suisse des Ann?es 70 et 80: Une Reconstruction, Kunstmuseum | Luzern, Luzern, Switzerland | Group |
2008 | KRAZY! The Delirious World of Anime + Comics + Video Games + Art | Vancouver Art Gallery, Vancouver, Canada | Group |
2008 | You Dig The Tunnel, I’ll Hide The Soil | White Cube, Hoxton Square and Shoreditch Town Hall, London | Group |
2008 | Voice & Void | Galerie im Tazispalais, Innsbruck, Austria | Group |
2007 | Screenplay | The Wire 25, London | Solo |
2007 | Christian Marclay, The Sounds of Christmas | Musée d’Art, Moderne et Contemporain, Geneva | Solo |
2007 | Christian Marclay | Michael Benevento, Los Angeles | Solo |
2007 | Up and Out | Anthology Film Archives, New York | Solo |
2007 | Up and Out | ARTPROJX and White Cube, Prince Charles Cinema, London | Solo |
2007 | Christian Marclay | Woodruff Arts Center and The High Museum of Art, Atlanta, GA | Solo |
2007 | Video Quartet | Western Bridge, Seattle, WA | Solo |
2007 | Replay | Cit? de la Musique, Paris | Solo |
2007 | Crossfire | White Cube, London | Solo |
2007 | Death Becomes Her | Yvon Lambert Temporary Space, Miami | Group |
2007 | Exhibitionsim: An Exhibition of Exhibitions of Works from the Marieluise Hessel Collection | Hessel Museum of Art, New York | Group |
2007 | Stop. Look. Listen. | Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY | Group |
2007 | Intensities: Noncomformity, Impropriety and Rebellion Between Art and the | Group | |
2007 | Music Scene | Torre Muntades Art Centre, Barcelona | Group |
2007 | J’embrasse Pas | Collection Lambert, Avignon, France | Group |
2007 | Contemporary+Cutting Edge: Pleasures of Collecting, Part III | Bruce Museum, Greenwich, CT | Group |
2007 | Voice & Void: 2006 Hall Curatorial Fellowship Exhibition | The Aldrich Contemporary Art Museum, Ridgefield, CT | Group |
2007 | Sympathy for the Devil: Art and Rock and Roll Since 1967 | Museum of Contemporary Art, Chicago | Group |
2007 | Reflection | Pinchuk Art Centre, Kyiv, Ukraine | Group |
2007 | Listening Awry – Kimsooja, Christian Marclay, Santiago Sierra, Su-Mei Tse, | McMaster University Museum of Art, Ontario | Group |
2007 | The Freak Show | Musée d’Art Contemporain de Lyon, Lyon | Group |
2007 | RISS | LUCKE SCHARNIER A – RIFT | Group |
2007 | Music Is a Better Noise | P.S.1 Contemporary Art Center, New York | Group |
2007 | All About Laughter | Mori Art Museum, Tokyo | Group |
2007 | Merce Cunningham: Dancing on the Cutting Edge | Museum of Contemporary Art, North Miami | Group |
2006 | The Electric Chair | Paula Cooper Gallery, New York | Solo |
2006 | The Bell and the Glass | Moderna Museet, Stockholm | Solo |
2006 | Mixed Reviews (American Sign Language) | MIT List Visual Art Center, Cambridge | Solo |
2006 | Hypervision | Westport Art Center, Westport, CT | Solo |
2006 | The Constant Possibility of Erasure | Dorsky Gallery, Long Island City, NY | Group |
2006 | Art, Life & Confusion | October Art Salon, Belgrade, Republic of Serbia | Group |
2006 | Without a Camera: The Photogram | Museum der Moderne, Salzburg, Austria | Group |
2006 | New York, New York | Grimaldi Forum, Monaco | Group |
2006 | Thank ou for the Music (London Beat) | Spr?th Magers, Munich, Germany | Group |
2006 | Case Studies: Art in a Valise | Katonah Museum of Art, Katonah, NY | Group |
2006 | Upsetting the Balance | Zentrum Paul Klee, Bern, Switzerland | Group |
2006 | Lovely Shanghai Music | Zendai Museum of Modern Art, Shanghai, China | Group |
2006 | From the Audible to the Visible | Galerie Frank Elbaz, Paris | Group |
2006 | Deaf | Galerie Frank Elbaz, Paris | Group |
2006 | Une Vision du Monde | the video collection of Isabelle and Jean-Conrad Lema?tre at La Maison Rouge, Paris | Group |
2006 | AUDIO | Geneva, Switzerland | Group |
2006 | Hypervision | Westport Arts Center, Westport, CN | Group |
2006 | Webs, Loops and Skeins in Modern Contemporary Art | RISD Museum, Providence, RI | Group |
2006 | Do You Think I’m Disco | Longwood Arts Project, Bronx, NY | Group |
2006 | Kill Your Timid Notion | Dundee Contemporary Arts Music Festival, Scotland | Group |
2006 | CUT Film as Found Object in Contemporary Video | Philbrook Museum of Art, Tulsa, OK | Group |
2006 | The Downtown Show: The New York Art Scene 1974-1984 | Grey Art Gallery, New York | Group |
2005 | Shake, Rattle and Roll (Fluxmix) | Paula Cooper Gallery, New York | Solo |
2005 | Video Score | Eyebeam, New York | Solo |
2005 | Christian Marclay | Galerie Yvon Lambert, Paris | Solo |
2005 | Works on Paper—2005 | Schmidt Contemporary Art, St. Louis, MO | Solo |
2005 | Christian Marclay | Barbican Art Gallery, London | Solo |
2005 | Thank You for the Music | Spruth Magers Projekte | Group |
2005 | Radio Kills The Video Starts Side A | FRAC Champagne-Ardenne, Reims, France | Group |
2005 | Empreinte Moi: Une Exposition de Philippe Segalot | Galerie Emmanuel Perrotin, Paris | Group |
2005 | Suspended Narratives | Lora Reynolds Gallery, Austin, TX | Group |
2005 | New Acquisition | FRAC Champagne-Ardenne, Reims, France | Group |
2005 | Audio Files | Contemporary Art Museum: Institute for Research in Art, University of South Florida, Tampa, FL | Group |
2005 | Collection Lambert en Avignon | Musée d’Art Contemporain, Avignon, France | Group |
2005 | Girls on Film | Zwirner & Wirth, New York | Group |
2005 | V?deo m?sica | Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain | Group |
2005 | CUT Film as Found Object | Milwaukee Art Museum, Milwaukee, WI | Group |
2005 | Le genie du lieu [The Genius of the Place] | FRAC Bourgogne, France | Group |
2005 | Variations on a Silence: Project for a Recylcing Place | Re-Tem Tokyo Plant, Tokyo | Group |
2005 | Aural Culture | Walter Phillips Gallery, Banff, Alberta | Group |
2005 | Material Matters | Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY | Group |
2004 | Shake, Rattle and Roll: Christian Marclay | Franklin Art Works in collaboration with the Walker Art Center, Minneapolis, MN | Solo |
2004 | The Sounds of Christmas | Tate Modern, London | Solo |
2004 | The Listening Eyes with Christian Marclay | Telecom Italia Future Centre, Venice | Solo |
2004 | Christian Marclay | Seattle Art Museum, Seattle; Kunstmuseum Thun, Switzerland; Collection Lambert, Avignon | Solo |
2004 | None of the above | Museum of Art, Detroit, MI | Group |
2004 | Realm of the Senses | James Cohan Gallery, New York | Group |
2004 | None of the above | Swiss Intitute, New York | Group |
2004 | CUT Film as Found Object | Museum of Contemporary Art, North Miami, FL | Group |
2004 | Thinking Out Loud | Heide Museum of Modern Art, Victoria, Australia | Group |
2004 | Audioframes 3 | Centre d’arts Limelight, Kortrijk, Belgium | Group |
2004 | In Extremis; Printemps de septembre in Toulouse Festival of contemporary | Les Abattoirs, Toulouse, France | Group |
2004 | Festival d’Automne a Paris 2004 | Espace Topographie de l’Art, Paris | Group |
2004 | Sons & Lumi?res | Centre Georges Pompidou, Paris | Group |
2004 | Reactivity-unpredictable past | ICC InterCommunication Center, Tokyo | Group |
2004 | The Fifth International Biennial Exhibition, Disparities and Deformations: Our Grotesque | SITE Santa Fe, New Mexico | Group |
2004 | Transmit+Transform | Santa Fe Art Institute, New Mexico | Group |
2004 | Genesis Sculpture, Experience Pommery #1 | Domaine Pommery, Reims, France | Group |
2004 | Collage | Bloomberg Space, London | Group |
2004 | ipeg_bild.on.maschine | K?nstlerhaus Bethanien, Berlin | Group |
2004 | I, Assassin | Wallspace, New York | Group |
2004 | Playlist | Palais de Tokyo, Paris | Group |
2004 | Ouroboros: Music of the Spheres | CCA Glasgow, Scotland | Group |
2004 | Sample This: The Art of Collage | University of Virginia Art Museum, Charlottesville, VA | Group |
2003 | Christian Marclay: Telephones | Sprengel Museum Hannover, Hannover | Solo |
2003 | Christian Marclay | UCLA Hammer Museum, Los Angeles; The Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, NY | Solo |
2003 | Christian Marclay: The Bell and the Glass | Philadelphia Museum of Art, Philadelphia | Solo |
2003 | Christian Marclay: Video Quartet | Kunsthalle Fridericianum, Kassel, Germany | Solo |
2003 | Christian Marclay: Video Quartet | White Cube, London | Solo |
2003 | Pop Rock! | Caren Golden Fine Art, New York | Group |
2003 | fast forward. Media Art Sammlung Goetz | Zentrym f?r Kunst und Medientechnologie, Karlsruhe, Germany | Group |
2003 | Night Moves | San Jose Institute of Contemporary Art, San Jose, CA | Group |
2003 | PLUNDER: culture as material | Dundee Contemporary Arts, Dundee, Scotland | Group |
2003 | Go Johnny Go! | Kunsthalle Wien, Vienna, Austria | Group |
2003 | The Sound of Video – Voice and Rhythm in Audiovisual Art | LAB, Copenhagen | Group |
2003 | Incommunicado | Sainsbury Centre for Visual Arts, Norwich; City Art Centre for Visual Arts, Edinburgh; Cornerhouse, Manchester | Group |
2003 | Living with Duchamp | The Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY | Group |
2003 | Now Playing | Bluecoat Gallery, Liverpool, UK | Group |
2003 | Not Exactly Photographs | Fraenkel Gallery, San Francisco | Group |
2003 | Formed to Function | John Michael Kohler Arts Center, WI | Group |
2003 | Extended Play | Govett-Brewster Art Gallery, New Zealand | Group |
2003 | Pantalla suiza | Museo Nacional Centro de Arte Reina Sofia, Madrid | Group |
2003 | Harlem Postcards II | The Studio Museum in Harlem, New York | Group |
2003 | Air Guitar | Angel Row Gallery, Nottingham, UK | Group |
2002 | Christian Marclay: Video Quartet | Paula Cooper Gallery, New York | Solo |
2002 | The Sounds of Christmas | Museum of Contemporary Art, Miami, FL | Solo |
2002 | Christian Marclay | November Music 2002, S-Hertogenbosch, The Netherlands | Solo |
2002 | Look at the Music, SeeSound: Christian Marclay | Ystad Art Museum, Sweden | Solo |
2002 | Christian Marclay: Three Compositions | Contemporary Arts Center, New Orleans | Solo |
2002 | Sampling Christian Marclay | San Francisco Museum of Modern Art, San Francisco | Solo |
2002 | Graffiti Composition | Neue Nationalgalerie, Berlin | Solo |
2002 | Zero Visibility | Vilnius, Ljublijana and Genazzano, Rome | Group |
2002 | ReDirect | K?nstlerhaus, Stuttgart, Germany | Group |
2002 | Christmas Tree Festival | Fondation Art Project, Geneva | Group |
2002 | Remapping the City, New Ears Festival | Kortrijk, Belgium and Lille, France | Group |
2002 | Electric Body: le corps en sc?ne | Cité de la musique – Musée de la musique, France | Group |
2002 | Mirror Mirror | Mass MOCA, North Adams, MA | Group |
2002 | Some Assembly Required: Collage Culture in Post-War America | Everson Museum of Art, Syracuse, NY | Group |
2002 | Unexpected Selections from the Martin Z. Margulies Collection: Art from 1985 to the Present | The Art Museum at Florida International University, Miami, FL | Group |
2002 | The Passing | Galeria Helga de Alvear, Madrid | Group |
2002 | Fluxus und die Folgen | Kunstsommer Wiesbaden, Germany | Group |
2002 | Guitar Drag | Post-Fluxux Exhibition, Wiesbaden | Group |
2002 | Air Guitar: Art Reconsidering Rock Music | Milton Keynes Gallery, Milton Keynes | Group |
2002 | Something Anything | Matthew Marks Gallery, New York | Group |
2002 | Jack, Cinch & XLR: Amplified Images | Le Crestet Centre d’Art, Crestet, France | Group |
2002 | Art Downtown; New Photography | Wall Street Risini, New York | Group |
2002 | Expo 2002 | Yverdon-les-Bans, Switzerland | Group |
2002 | Das zweite Gesicht: Metamorphosen des fotografischen Portr?ts | Deutsches Museum, Munich | Group |
2002 | do it (home version) | online project at www.e-flux.com, curated by Hans Ulrich Obrist | Group |
2002 | 40 Years of Fluxus events | Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain | Group |
2002 | Media Field: Old New Technologies | Williams College Museum of Art, Williamstown, MA | Group |
2002 | Rock My World: Recent Art and the Memory of Rock ‘n’ Roll | College of Arts and Crafts Wattis Institute for Contemporary Art, Oakland, California | Group |
2002 | Whitney Biennial | Whitney Museum of American Art, New York | Group |
2002 | Shoot the Singer: Music on Video | Institute of Contemporary Art, Philadelphia | Group |
2002 | Mirror Image | UCLA Hammer Museum, Los Angeles | Group |
2002 | …Message sent… | City Art Center, Edinburgh, Scotland | Group |
2002 | Stutter, Stutter | Shaheen Gallery, Cleveland, OH | Group |
2002 | Telephones | Anthony Wilkinson Gallery, London | Group |
2002 | The LP Show | Andy Warhol Museum, Pittsburgh, PA | Group |
2002 | The Second Phase: Interpretation of the Photographic Portrait | Deutsches Museum, M?nchen, Germany | Group |
2002 | Record All-Over | 9th Biennial of Moving Images, Centre pour l’image contemporaine, Saint-Gervais, Geneva | Group |
2002 | Audible Imagery: Sound and Photography | The Museum of Contemporary Photography, Columbia College, Chicago, IL | Group |
2002 | Translated Acts: Performance and Body Art from East Asia 1990-2001 | Queens Museum of Art, Long Island City, NY | Group |
2002 | E - Motion Studies | Video Caf?, Queens Museum of Art, Long Island City, NY | Group |
2002 | Wiederaufnahme (Retake) | NAK Neuer Aachener Kunstverein, Frankfurt, Germany | Group |
2002 | Best of the Season | The Aldrich Museum of Contemporary Art, Ridgefield, CT | Group |
2002 | Recasting the Past: Beneath the Hollywod Tinsel | Main Art Gallery, California State University Fullerton, CA | Group |
2002 | Video Streets | Downtown Arts Festival, New York | Group |
2002 | Looking at You | Kunsthalle Fridericianum, Kassel, Germany | Group |
2002 | Body & Sin | Valencia Biennial, Valencia, Spain | Group |
2002 | The LP Show | Exit Art, New York | Group |
2002 | In Sync, Cinema and Sound in the Work of Julie Becker and Christian Marclay | Whitney Museum of American Art, New York | Group |
2002 | Collaborations with Parkett: 1984 to Now | The Museum of Modern Art, New York | Group |
2002 | art>music | Museum of Contemporary Art, Sydney, Australia | Group |
2002 | Now Playing: Audio in Art | Susan Inglett Gallery, New York | Group |
2002 | Patents, Monkeys, and More…On Collecting | Independet Curators International, New York | Group |
2001 | Feature, Art, Life and Cinema | Govett-Brewster Art Gallery, New Plymouth, New Zealand | Solo |
2001 | The Sounds of Christmas | Yerba Buena Center for the Arts, San Francisco | Solo |
2001 | Video Caf?: E Motion Studies | Queens Museum of Art, Long Island City, NY | Solo |
2001 | Audible Imagery | Museum of Contemporary Photography, Chicago, IL | Solo |
2001 | Telephones | Delaware Center for Contemporary Art, Wilmington, DE | Solo |
2001 | Currents: Christian Marclay | Saint Louis Art Museum, St. Louis, MO | Solo |
2001 | Guitar Drag | Gallery Koyanagi, Tokyo | Solo |
2001 | New Works | Paula Cooper Gallery, New York | Solo |
2001 | Feature: Art, Life & Cinema | Govett-Brewster Art Gallery, New Plymouth, New Zealand | Group |
2000 | The Sounds of Christmas | The New Museum of Contemporary Art Lounge, New York | Solo |
2000 | Christian Marclay: Cinema | Oakville Galleries, Ontario, Canada | Solo |
2000 | Christian Marclay: Video & Photography | Museet for Samtidskunst, Roskilde, Denmark | Solo |
2000 | Telephones | Presentation House Gallery, North Vancouver, Canada | Solo |
2000 | Art on Paper 2000 | Weatherspoon Gallery, The University of North Carolina, Greensboro | Group |
2000 | Monter Sampler: L’Echantillonnage généralisé | Pompidou Center, Paris | Group |
2000 | Wanted! International Video Program | Bunkier Sztuki | Group |
2000 | To Infinity and Beyond: Editions for the Year 2000 | Brooke Alexander Gallery, New York | Group |
2000 | Hard Pressed: 600 Years of Prints and Process | AXA Gallery, New York | Group |
2000 | S.O.S.: Scenes of Sound | The Tang Teachings Museum and Art Gallery, Skidmore College, Saratoga Springs, NY | Group |
2000 | Print Publishers’ Spotlight | Barbara Krakow Gallery, Boston | Group |
2000 | Berlin Open | Trago Galeria, Budapest | Group |
2000 | Off the Record: Music in Art | Center Gallery, Bucknell University, Lewisburg, PA | Group |
2000 | La Biennale de Montreal | Centre International d’Art Contemporain de Montreal, Montreal | Group |
2000 | Internationales Videoprogramm | Badischer KunstVerein, Karlsruhe, Germany | Group |
2000 | Volume: Bed of Sound | P.S.1 Contemporary Art Center, New York | Group |
2000 | Umedalen Skulptur 2000 | Galleri Stegan ANdersson, Umea, Sweden | Group |
2000 | Group Show | Paula Cooper Gallery, New York | Group |
2000 | Making Sense: Ellen Gallagher, Christian Marclay and Liliana Porter | Contemporary Art Museum, Baltimore, MD | Group |
2000 | Sonic Boom: The Art of Sound | Hayward Gallery, London | Group |
2000 | Human Gender and Being | Kwangju Biennale, Kwangju, South Korea | Group |
2000 | Group Video Exhibition | Galerie Barbara Thumm, Berlin | Group |
2000 | Multiple Visions: Works by Master Printers | The Print Center, Philadelphia, PA | Group |
2000 | Le temps, vite | Centre Georges Pompidou, Paris | Group |
1999 | Telephones | Paula Cooper Gallery, New York | Solo |
1999 | The Sounds of Christmas | ArtPace, A Foundation for Contemporary Art, San Antonio, TX | Solo |
1999 | Videodrome | The New Museum of Contemporary Art, New York | Group |
1999 | Releasing Sense | Tokyo Opera City Art Gallery, Tokyo | Group |
1999 | Missing Link | Kunstmuseum Bern, Bern, Switzerland | Group |
1999 | Works On Paper | D’Amelio Terras Gallery, New York | Group |
1999 | A Sense of Risk: Art of the 90’s, Selections from the Robert J. Shiffler Foundation | Miami University Art Museum, Miami, OH | Group |
1999 | Video – Aus der Sammlung | Kunsthaus, Zurich | Group |
1999 | Notorious, Alfred Hitchcock and Contemporary Art | Museum of Modern Art, Oxford, England | Group |
1999 | dAPERuto | Venice Biennale, Venice | Group |
1999 | Talk Show | Von der Heydt Museum, Wuppertal, Germany; Haus der Kunst, Munich | Group |
1999 | Sound Foundations: Audio in Video | The center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY | Group |
1999 | Oh cet ?cho (duchampmania) | Fondation Mamco and Centre d’art contemporain, Geneva | Group |
1999 | Musique en Scene | Musée d’art contemporain, Lyon | Group |
1999 | The International Artist-in-Residence Program | ArtPace, San Antonio, TX | Group |
1999 | 20 And de M?c?nat a la Banque Cantonale de Geneve | Mus?e Rath, Geneva | Group |
1998 | I love New York | Ludwig Museum, Cologne | Group |
1998 | Dust Breeding: Photographs, Sculpture & Film | Fraenkel Gallery, San Francisco | Group |
1998 | In vitro e altro: affiches d’artistes | Cabinet des estampes du musée d’art et d’histoire, Geneva | Group |
1998 | Bowie | Rupert Goldsworthy Gallery, New York | Group |
1998 | Freie Sicht aufs Mittelmeer | Kunsthaus, Zurich | Group |
1998 | Crossings: Art to Hear and to See | Kunsthalle, Vienna; Rudoldinum, Prague | Group |
1998 | White Noise | Kunsthalle, Bern, Bern, Switzerland | Group |
1998 | Int?rieur Ext?rieur | Villa Bernasconi, Service Culturel de la Ville de Lancy, Geneva | Group |
1998 | Aechiv X | Offenes Kulturhaus Centrum f?r Gegenwartkunst, Linz, Austria | Group |
1998 | Tehnoculture (Computer World | Fri-Art Centre d’art contemporain, Fribourg | Group |
1998 | Composed | Angles Gallery, Santa Monica, CA | Group |
1998 | Parasite | Drawing Room at The Drawing Center, New York | Group |
1998 | Foto Relations | Kunsthaus der Stadt Br?nn, Brno, Czech | Group |
1998 | Technosophia I:Overpromised | The Swiss Institute, New York | Group |
1997 | Pictures at an Exhibition | Whitney Museum of America Art at Phillip Morris, New York | Solo |
1997 | Arranged and Conducted | Kunsthaus Zurich, Zurich | Solo |
1997 | Nonechalance | Centre PasqueART, Bienne, Switerland; Akademie der Kunste, Berlin | Group |
1997 | Rrose is a Rrose is a Rrose: Gender Performance in Photography | Solomon R. Guggenheim Museum, New York | Group |
1997 | Extended Play: Between Rock and an Art Space | The Photographic Resource Center | Group |
1997 | projects.doc: Selections from the Robert J. Shiffler Collection and Archive, | Cincinnati Arts Association, Aronoff Center, Cincinnati, OH | Group |
1997 | Alpenblick | Kunshalle Wein, Vienna | Group |
1996 | Helvetia Sounds | Galerien der Stadt, Villa Merkel, Esslingen, Germany | Group |
1996 | Transformers: A Moving Experience | Auchland Art Gallery, New Zealand | Group |
1996 | Art and Film Since 1945: Hall of Mirrors | The Museum of Contemporary Art, Los Angeles | Group |
1996 | Model Home | The Clocktower, P.S.1 Contemporary Art Center, New York | Group |
1996 | Everything That’s Interesting Is New: The Dakis Joannou Collection | The Deste Foundation for Contemporary Art Guggenheim Museum, New York | Group |
1996 | It’s Only Rock and Roll: Rock and Roll Currents In Contemporary Art, | Contemporary Art Center, Cincinnati | Group |
1995 | Accompagnement Musical | Musée d’Art et d’Histoire, Geneva | Solo |
1995 | Amplification | Venice Biennial, Chiesa San Sta?, Venice | Solo |
1995 | Commercial Art | Gallery Paule Anglim, San Francisco | Group |
1995 | Back Beat: Art Influenced by Rock & Roll | Cleavland Center for the Arts, Cleveland | Group |
1995 | Klangskulpturen-Augenmusik | Ludwig Museum im Deutschherrenhaus, Koblenz | Group |
1995 | Temporarily Possessed: The Semi-Permanent Collection | The New Museum of Contemporary Art, New York | Group |
1995 | Venice Biennial | Venice; | Group |
1995 | Tekeningen & Tekeningen | (Drawings & Drawings), Galerie Van Gelder, Amsterdam | Group |
1995 | Group Exhibition | Fawbush, New York | Group |
1995 | Material Matters, Art in the Anchorage | Creative Time, New York | Group |
1995 | Exposition Suisse de sculpture M?tiers 1995 | M?tiers, Switzerland | Group |
1995 | Prints from the Judith Solodkin NYC Workshop | Gallery 72, Omaha | Group |
1995 | Commercial Art | Gallery Paule Anglim, San Francisco | Group |
1994 | Christian Marclay | Fawbush Gallery, New York | Solo |
1994 | Fri-Art | Centre d’Art Contemporain Kunsthalle, Fribourg, Switzerland | Solo |
1994 | The Music Box Project | The Equitable Gallery, New York | Group |
1994 | Transformers: The Art of Multiphrenia | Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY | Group |
1994 | Synesthesia: Sound and Vision in Contemporary Art | San Antiono Museum of | Group |
1994 | Solo Impressions | The College of Wooster Art Museum, Wooster, OH | Group |
1994 | Playoff | Art & Public, Geneva | Group |
1994 | Outside the Frame: Performance and the Object | Cleveland Center for | Group |
1994 | New Delhi Triennial | New Delhi, India | Group |
1994 | The Return of the Cadavre Exquis | The Drawing Center, New York | Group |
1994 | My Home Is Your Home | Artists’ Museum, Lodz, Poland | Group |
1994 | Money, Politics, Sex, Nancy | Drysdale Gallery, Washington D.C. | Group |
1994 | Ecart | Galerie Susanna Kulli, St. Gallen, Switzerland | Group |
1994 | Mettlesome & Meddlesome: Selections from the Collection of Robert J. Shiffler, | Group | |
1994 | At the Edge of Chaos – New Images of the World | Louisiana Museum of | Group |
1993 | Christian Marclay | Margo Leavin Gallery, Los Angeles | Solo |
1993 | Nine Sculptors and Their Printer: A Tribute to Judith Solodkin | Bernard Toale | Group |
1992 | The Wind Section | Galerie Jennifer Flay, Paris | Solo |
1992 | Masks | Galleria Valentina Moncada, Rome | Solo |
1992 | Christian Marclay: Sewn Record Jackets | Nancy Drysdale Gallery, Washington D.C. | Solo |
1992 | Tattoo Collection | Andrea Rosen Gallery, New York | Group |
1992 | Hollywood, Hollywood: Identity Under the Guise of Celebrity | Art Center | Group |
1992 | Trans-Voices | American Center, Paris | Group |
1992 | Cross Section | Battery Park City and the World Financial Center, New York | Group |
1992 | The Speaker Project | Molteplici Culture, Convento di S. Edigio Rome | Group |
1992 | Post Human | FAE Musée d’art Contemporain, Pully | Group |
1992 | Hidden Reflections | The Israel Museum, Jerusalem | Group |
1992 | Not Quiet: Felix Gonzalez-Torres, Liz Larner, Christian Marclay, Matthew | Group | |
1992 | Nicolas Collins, Alvin Lucier, Christian Marclay, Ron Kuivila | Sous-sol, Ecole | Group |
1992 | Notes from the Material World | John Michael Kohler Arts Center, Sheboygan, | Group |
1992 | Doubletake: Collective Memory & Current Art, | Hayward Gallery, London | Group |
1991 | Abstract Music | Trans Avant-Garde Gallery, San Francisco | Solo |
1991 | Abstract Music | Tom Cugliani Gallery, New York | Solo |
1991 | Abstract Music | Maureen Paley Interim Art, London | Solo |
1991 | Abstract Music | Galerie Isabella Kacprzak, Cologne | Solo |
1991 | Residue Politics | Beaver College Art Gallery, Glenside, PA | Group |
1991 | Just What Is It That Makes Today’s Homes So Different, So Appealing? | The | Group |
1991 | They See the Light | Galerie Van Gelder, Amsterdam | Group |
1991 | Ex Aequo: 24 artistes suisses a St. Imier | St. Imier, Switzerland | Group |
1991 | Whitney Biennial | Whitney Museum of American Art, New York | Group |
1991 | FluxAttitudes | Hallwalls, Buffalo, NY; The New Museum, New York | Group |
1991 | The Savage Garden | Fundacion Caja De Pensiones, Madrid | Group |
1991 | Mute: Pictures of Sound | Solo Gallery | Group |
1990 | The White Album | Solo Press Gallery, New York | Solo |
1990 | Christian Marclay: Directions | Hirshhorn Museum & Sculpture Garden, WA | Solo |
1990 | Christian Marclay: Directions | Tom Cugliani Gallery, New York | Solo |
1990 | New Works for New Spaces: Into the Nineties | Wexner Art Center, Columbus, | Group |
1990 | The Thing Itself | Feature Gallery, New York | Group |
1990 | Stendhal Syndrome: The Cure | Andrea Rosen Gallery, New York | Group |
1990 | Drawings | Althea Viafora Gallery, New York | Group |
1990 | Loving Correspondence | Massimo Audiello Gallery, New York | Group |
1990 | Assembled | University Art Galleries, Wright State University, Dayton, OH | Group |
1990 | Status of Sculpture | Espace Lyonnais d’art Contemporain, Lyon | Group |
1989 | Footsteps | Shedhalle, Zurich | Solo |
1989 | Footsteps | Tom Cugliani Gallery, New York | Solo |
1989 | Christian Marclay: Pochettes de Disques | Galerie Rivolta, Lausanne | Solo |
1989 | The Second Second (or the discomfort of recent history | Althea Viafora Gallery, | Group |
1989 | Strange Attractors: Signs of Chaos | The New Museum of Contemporary Art, | Group |
1989 | Exposition Suisse de Sculpture | M?tiers, Switzerland | Group |
1989 | Miroir 89: Balthasar Burkhard, Philippe Del?glise, Michel Huelin, Pierre Keller, | Group | |
1988 | One Thousand Records | Gelbe Musik, Berlin | Solo |
1988 | One Thousand Records | Tom Cugliani Gallery, New York | Solo |
1988 | Group Material: Politics and Election | DIA Center for the Arts, New York | Group |
1988 | Broken Music: Artist’s Recordworks | daddgalerie, Berlin | Group |
1988 | Broken Music: Artist’s Recordworks | Paul Kasmin Gallery, New York | Group |
1988 | Broken Music: Artist’s Recordworks | Kunstverein, Freiburg, Germany | Group |
1988 | Broken Music: Artist’s Recordworks | Tom Cugliani Gallery, New York | Group |
1988 | ReDefining the Object | University Art Galleries, Wright State University, | Group |
1988 | Extended Play | Emily Harvey Gallery, New York | Group |
1988 | Extended Play | John Gibson Gallery, New York | Group |
1987 | The Clocktower | P.S.1 Contemporary Art Center, New York | Solo |
1987 | Inaugural Exhibition | Tom Cugliani Gallery, New York | Group |
1986 | Sound Wave NYC | City Gallery, New York | Group |
1986 | 5 Ans | Palud No 1, Lausanne, Switzerland | Group |
1986 | K?nstlerschallplatten | Gelbe Musik, Berlin; Galerie Vorsetzen, Hamburg | Group |
1985 | On the Wall On the Air: Artists Make Noise | Hayden Corridor Gallery, Massachusetts Institute of Technology, Cambridge, MA | Group |
1985 | Visual Sound | Brattleboro Museum, Brattleboro, VT | Group |
1984 | Ref. 84 | Palud No 1, Lausanne, Switzerland | Group |
1983 | Sound Seen | New Music America, Washington Project for the Arts | Group |
1981 | Christian Marclay | Apartment, Geneva | Solo |
1980 | Invitational Show | The Bachelors, Gallery Naga, Boston | Group |