Christian Marclay, photo by - Rob Greig, photo credits - Time out

Christian Marclay/ Christian Marclay

United States 1955

Photography, Video Art, Sound Art, Video Installation

Christian Marclay
Christian Marclay
Male
United States
1955

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.

The artist mixes different media and various culture references

clock clock clock clock  2011  hour  2010 clock  2011  hour  2010 april  hours  exhibitions museum  montage april  hours  exhibitions museum  montage  Christian Marclay - Cartoonish Action Smak, Squish, Splsh No 2, photo credits Standard UK
Christian Marclay – Cartoonish Action Smak, Squish, Splsh No 2, photo credits Standard UK

Shaping the Avantgarde Spirit

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.

For Marclay the records are just physical representation of music, whereas the true value is in the sound

clock  2011  gallery hours  museum  clock  2011  gallery hours  museum  Christian Marclay - 2282 Records, photo credits National Academy
Christian Marclay – 2282 Records, photo credits National Academy

Lost in Translation from Noise to Words

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.

Body Mix collection, from 1992, features different album covers stitched together

Christian Marclay - Body Mix Series, 1992, photo credits Mantraycobertor
Christian Marclay – Body Mix Series, 1992, photo credits Mantraycobertor

Limitations and Expansions

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 is a 24-hour film made of 1 minute film scenes

The Clock

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.

Christian Marclay lives and works between London and New York.

All images used for illustrative purpose only © Christian Marclay

Featured image – Christian Marclay, photo credits Time Out London

YearExhibition TitleGallery/MusemSolo/Group
2015The ClockLos Angeles County Museum of Art, Los AngelesSolo
2014A World of Its Own: Photographic Practices in the StudioMuseum of Modern Art, New YorkGroup
2014Blow UpAlbertina, ViennaGroup
2014Damage ControlMudam Luxembourg, Kunsthaus GrazGroup
2013Things I’ve HeardFraenkel Gallery, San FranciscoSolo
2013The ClockSan Francisco Museum of Modern Art, San FranciscoSolo
2013The ClockWexner Center for the Arts, Columbus, OHSolo
2013The ClockWinnipeg Art Gallery, CanadaSolo
2013Christian MarclayPaula Cooper Gallery, New YorkSolo
2013The Ghost of Architecture: Recent and Promised GiftsHenry Art Gallery, Seattle, WAGroup
2013Blackboard – Teaching and Learning from ArtArtipelag, GustavsbergGroup
2012The ClockMuseum of Modern Art, New YorkSolo
2012Every DayQueen Elizabeth Hall, LondonSolo
2012The ClockPower Plant, TorontoSolo
2012The ClockKunsthalle Zurich, ZurichSolo
2012Seven WindowsPalais de Tokyo, ParisSolo
2012Pop Politics: Activism at 33 RevolutionsCA2M, MardidGroup
2012The Voice and the Lens: Part IIIkon Gallery, BirminghamGroup
2012PrivacySchirn Kunsthalle, FrankfurtGroup
2012Shoot! Existential PhotographyPhotographer’s Gallery, LondonGroup
2012Shoot! Existential PhotographyMuseum of Photography, BraunschweigGroup
2012Sounds Like SilenceHartware MedienKunstVerein at Dortmunder U, DortmundGroup
2012SilenceThe Menil Collection, HoustonGroup
2012I’m Losing More Than I’ll Ever Have: The Practice of Everyday LifeSMART Project Space, AmsterdamGroup
2011CyanotypesFraenkel Gallery, San FranciscoSolo
2011ScrollsGallery Koyanagi, TokyoSolo
2011The ClockPaula Cooper Gallery, New YorkSolo
2011The ClockGarage Center for Contemporary Culture, MoscowSolo
2011The ClockLos Angeles County Museum of Art, Los AngelesSolo
2011The ClockMuseum of Fine Arts, BostonSolo
2011The ClockCentre Pompidou, ParisSolo
2011The ClockNational Gallery of Canada, OntarioSolo
2011British Art Show 7: In the Days of the CometHayward Gallery, LondonGroup
2011Our Magic Hour – How Much of the World Can We Know?Yokohama, Triennale, YokohamaGroup
2011The View from a Volcano: The Kitchen’s Soho Years 1971-85The Kitchen, New YorkGroup
2011Illuminations54th International Art Exhibition, La Biennale de Venezia, VeniceGroup
2011Under DestructionSwiss Institute, New YorkGroup
2010The ClockWhite Cube, LondonSolo
2010Christian Marclay: FestivalWhitney Museum of American Art, New YorkSolo
2010Fourth of JulyPaula Cooper Gallery, New YorkSolo
2010In the Days of the Comet, British Art Show 7Nottingham Contemporary, NottinghamGroup
2010Kupferstichkabinett: Between Thought and ActionWhite Cube, London Les Rencontres d’Arles, ArlesGroup
2010Cage Mix: Sculpture & SoundBaltic Centre for Contemporary Art, GatesheadGroup
2010FurthermoreFraenkel Gallery, San FranciscoGroup
2010Double BlindVilla Arson, NiceGroup
2009EphemeraLouvre Museum, ParisSolo
2009Performa BiennialP.S.1 Contemporary Art Center, New YorkSolo
2009Video QuartetNasher Museum of Art, DurhamSolo
2009Yokohama International Arts & Media Festival, YokohamaGroup
2009Printemps de SeptembreToulouse, FranceGroup
2009FeedbackstageGeorg Kargl Fine Arts, ViennaGroup
2008Christian Marclay: StereoFraenkel Gallery, San FranciscoSolo
2008Christian Marclay: ReplayDHC Art Foundation for Contemporary Art, MontrealSolo
2008Christian Marclay: CyanotypesPaula Cooper Gallery, New YorkSolo
2008Christian Marclay: SNAP!Galerie Art and Essai, RennesSolo
2008Honk If You Love SilenceMusée d’Art Moderne et Contemporain, GenevaSolo
2008Sonic Youth etc…: Sensational FixLIFE, St. Nazaire, FranceGroup
2008Art Vid?o Suisse des Ann?es 70 et 80: Une Reconstruction, KunstmuseumLuzern, Luzern, SwitzerlandGroup
2008KRAZY! The Delirious World of Anime + Comics + Video Games + ArtVancouver Art Gallery, Vancouver, CanadaGroup
2008You Dig The Tunnel, I’ll Hide The SoilWhite Cube, Hoxton Square and Shoreditch Town Hall, LondonGroup
2008Voice & VoidGalerie im Tazispalais, Innsbruck, AustriaGroup
2007ScreenplayThe Wire 25, LondonSolo
2007Christian Marclay, The Sounds of ChristmasMusée d’Art, Moderne et Contemporain, GenevaSolo
2007Christian MarclayMichael Benevento, Los AngelesSolo
2007Up and OutAnthology Film Archives, New YorkSolo
2007Up and OutARTPROJX and White Cube, Prince Charles Cinema, LondonSolo
2007Christian MarclayWoodruff Arts Center and The High Museum of Art, Atlanta, GASolo
2007Video QuartetWestern Bridge, Seattle, WASolo
2007ReplayCit? de la Musique, ParisSolo
2007CrossfireWhite Cube, LondonSolo
2007Death Becomes HerYvon Lambert Temporary Space, MiamiGroup
2007Exhibitionsim: An Exhibition of Exhibitions of Works from the Marieluise Hessel CollectionHessel Museum of Art, New YorkGroup
2007Stop. Look. Listen.Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NYGroup
2007Intensities: Noncomformity, Impropriety and Rebellion Between Art and theGroup
2007Music SceneTorre Muntades Art Centre, BarcelonaGroup
2007J’embrasse PasCollection Lambert, Avignon, FranceGroup
2007Contemporary+Cutting Edge: Pleasures of Collecting, Part IIIBruce Museum, Greenwich, CTGroup
2007Voice & Void: 2006 Hall Curatorial Fellowship ExhibitionThe Aldrich Contemporary Art Museum, Ridgefield, CTGroup
2007Sympathy for the Devil: Art and Rock and Roll Since 1967 Museum of Contemporary Art, ChicagoGroup
2007ReflectionPinchuk Art Centre, Kyiv, UkraineGroup
2007Listening Awry – Kimsooja, Christian Marclay, Santiago Sierra, Su-Mei Tse,McMaster University Museum of Art, OntarioGroup
2007The Freak ShowMusée d’Art Contemporain de Lyon, LyonGroup
2007RISSLUCKE SCHARNIER A – RIFTGroup
2007Music Is a Better NoiseP.S.1 Contemporary Art Center, New YorkGroup
2007All About LaughterMori Art Museum, TokyoGroup
2007Merce Cunningham: Dancing on the Cutting EdgeMuseum of Contemporary Art, North MiamiGroup
2006The Electric ChairPaula Cooper Gallery, New YorkSolo
2006The Bell and the GlassModerna Museet, StockholmSolo
2006Mixed Reviews (American Sign Language)MIT List Visual Art Center, CambridgeSolo
2006HypervisionWestport Art Center, Westport, CTSolo
2006The Constant Possibility of ErasureDorsky Gallery, Long Island City, NYGroup
2006Art, Life & ConfusionOctober Art Salon, Belgrade, Republic of SerbiaGroup
2006Without a Camera: The PhotogramMuseum der Moderne, Salzburg, AustriaGroup
2006New York, New YorkGrimaldi Forum, MonacoGroup
2006Thank ou for the Music (London Beat)Spr?th Magers, Munich, GermanyGroup
2006Case Studies: Art in a ValiseKatonah Museum of Art, Katonah, NYGroup
2006Upsetting the BalanceZentrum Paul Klee, Bern, SwitzerlandGroup
2006Lovely Shanghai MusicZendai Museum of Modern Art, Shanghai, ChinaGroup
2006From the Audible to the VisibleGalerie Frank Elbaz, ParisGroup
2006DeafGalerie Frank Elbaz, ParisGroup
2006Une Vision du Mondethe video collection of Isabelle and Jean-Conrad Lema?tre at La Maison Rouge, ParisGroup
2006AUDIOGeneva, SwitzerlandGroup
2006HypervisionWestport Arts Center, Westport, CNGroup
2006Webs, Loops and Skeins in Modern Contemporary ArtRISD Museum, Providence, RIGroup
2006Do You Think I’m DiscoLongwood Arts Project, Bronx, NYGroup
2006Kill Your Timid NotionDundee Contemporary Arts Music Festival, ScotlandGroup
2006CUT Film as Found Object in Contemporary VideoPhilbrook Museum of Art, Tulsa, OKGroup
2006The Downtown Show: The New York Art Scene 1974-1984Grey Art Gallery, New YorkGroup
2005Shake, Rattle and Roll (Fluxmix)Paula Cooper Gallery, New YorkSolo
2005Video ScoreEyebeam, New YorkSolo
2005Christian MarclayGalerie Yvon Lambert, ParisSolo
2005Works on Paper—2005Schmidt Contemporary Art, St. Louis, MOSolo
2005Christian MarclayBarbican Art Gallery, LondonSolo
2005Thank You for the MusicSpruth Magers ProjekteGroup
2005Radio Kills The Video Starts Side AFRAC Champagne-Ardenne, Reims, FranceGroup
2005Empreinte Moi: Une Exposition de Philippe SegalotGalerie Emmanuel Perrotin, ParisGroup
2005Suspended NarrativesLora Reynolds Gallery, Austin, TXGroup
2005New AcquisitionFRAC Champagne-Ardenne, Reims, FranceGroup
2005Audio FilesContemporary Art Museum: Institute for Research in Art, University of South Florida, Tampa, FLGroup
2005Collection Lambert en AvignonMusée d’Art Contemporain, Avignon, FranceGroup
2005Girls on FilmZwirner & Wirth, New YorkGroup
2005V?deo m?sicaMuseo Nacional Centro de Arte Reina Sofia, Madrid, SpainGroup
2005CUT Film as Found ObjectMilwaukee Art Museum, Milwaukee, WIGroup
2005Le genie du lieu [The Genius of the Place]FRAC Bourgogne, FranceGroup
2005Variations on a Silence: Project for a Recylcing PlaceRe-Tem Tokyo Plant, TokyoGroup
2005Aural CultureWalter Phillips Gallery, Banff, AlbertaGroup
2005Material MattersHerbert F. Johnson Museum of Art at Cornell University, Ithaca, NYGroup
2004Shake, Rattle and Roll: Christian MarclayFranklin Art Works in collaboration with the Walker Art Center, Minneapolis, MNSolo
2004The Sounds of ChristmasTate Modern, LondonSolo
2004The Listening Eyes with Christian MarclayTelecom Italia Future Centre, VeniceSolo
2004Christian MarclaySeattle Art Museum, Seattle; Kunstmuseum Thun, Switzerland; Collection Lambert, AvignonSolo
2004None of the aboveMuseum of Art, Detroit, MIGroup
2004Realm of the SensesJames Cohan Gallery, New YorkGroup
2004None of the aboveSwiss Intitute, New YorkGroup
2004CUT Film as Found ObjectMuseum of Contemporary Art, North Miami, FLGroup
2004Thinking Out LoudHeide Museum of Modern Art, Victoria, AustraliaGroup
2004Audioframes 3Centre d’arts Limelight, Kortrijk, BelgiumGroup
2004In Extremis; Printemps de septembre in Toulouse Festival of contemporaryLes Abattoirs, Toulouse, FranceGroup
2004Festival d’Automne a Paris 2004Espace Topographie de l’Art, ParisGroup
2004Sons & Lumi?resCentre Georges Pompidou, ParisGroup
2004Reactivity-unpredictable pastICC InterCommunication Center, TokyoGroup
2004The Fifth International Biennial Exhibition, Disparities and Deformations: Our GrotesqueSITE Santa Fe, New MexicoGroup
2004Transmit+TransformSanta Fe Art Institute, New MexicoGroup
2004Genesis Sculpture, Experience Pommery #1Domaine Pommery, Reims, FranceGroup
2004CollageBloomberg Space, LondonGroup
2004ipeg_bild.on.maschineK?nstlerhaus Bethanien, BerlinGroup
2004I, AssassinWallspace, New YorkGroup
2004PlaylistPalais de Tokyo, ParisGroup
2004Ouroboros: Music of the SpheresCCA Glasgow, ScotlandGroup
2004Sample This: The Art of CollageUniversity of Virginia Art Museum, Charlottesville, VAGroup
2003Christian Marclay: TelephonesSprengel Museum Hannover, HannoverSolo
2003Christian MarclayUCLA Hammer Museum, Los Angeles; The Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, NYSolo
2003Christian Marclay: The Bell and the GlassPhiladelphia Museum of Art, PhiladelphiaSolo
2003Christian Marclay: Video QuartetKunsthalle Fridericianum, Kassel, GermanySolo
2003Christian Marclay: Video QuartetWhite Cube, LondonSolo
2003Pop Rock!Caren Golden Fine Art, New YorkGroup
2003fast forward. Media Art Sammlung GoetzZentrym f?r Kunst und Medientechnologie, Karlsruhe, GermanyGroup
2003Night MovesSan Jose Institute of Contemporary Art, San Jose, CAGroup
2003PLUNDER: culture as materialDundee Contemporary Arts, Dundee, ScotlandGroup
2003Go Johnny Go!Kunsthalle Wien, Vienna, AustriaGroup
2003The Sound of Video – Voice and Rhythm in Audiovisual ArtLAB, CopenhagenGroup
2003IncommunicadoSainsbury Centre for Visual Arts, Norwich; City Art Centre for Visual Arts, Edinburgh; Cornerhouse, ManchesterGroup
2003Living with DuchampThe Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NYGroup
2003Now PlayingBluecoat Gallery, Liverpool, UKGroup
2003Not Exactly PhotographsFraenkel Gallery, San FranciscoGroup
2003Formed to FunctionJohn Michael Kohler Arts Center, WIGroup
2003Extended PlayGovett-Brewster Art Gallery, New ZealandGroup
2003Pantalla suizaMuseo Nacional Centro de Arte Reina Sofia, MadridGroup
2003Harlem Postcards IIThe Studio Museum in Harlem, New YorkGroup
2003Air GuitarAngel Row Gallery, Nottingham, UKGroup
2002Christian Marclay: Video QuartetPaula Cooper Gallery, New YorkSolo
2002The Sounds of ChristmasMuseum of Contemporary Art, Miami, FLSolo
2002Christian MarclayNovember Music 2002, S-Hertogenbosch, The NetherlandsSolo
2002Look at the Music, SeeSound: Christian MarclayYstad Art Museum, SwedenSolo
2002Christian Marclay: Three CompositionsContemporary Arts Center, New OrleansSolo
2002Sampling Christian MarclaySan Francisco Museum of Modern Art, San FranciscoSolo
2002Graffiti CompositionNeue Nationalgalerie, BerlinSolo
2002Zero VisibilityVilnius, Ljublijana and Genazzano, RomeGroup
2002ReDirectK?nstlerhaus, Stuttgart, GermanyGroup
2002Christmas Tree FestivalFondation Art Project, GenevaGroup
2002Remapping the City, New Ears FestivalKortrijk, Belgium and Lille, FranceGroup
2002Electric Body: le corps en sc?neCité de la musique – Musée de la musique, FranceGroup
2002Mirror MirrorMass MOCA, North Adams, MAGroup
2002Some Assembly Required: Collage Culture in Post-War AmericaEverson Museum of Art, Syracuse, NYGroup
2002Unexpected Selections from the Martin Z. Margulies Collection: Art from 1985 to the PresentThe Art Museum at Florida International University, Miami, FLGroup
2002The PassingGaleria Helga de Alvear, MadridGroup
2002Fluxus und die FolgenKunstsommer Wiesbaden, GermanyGroup
2002Guitar DragPost-Fluxux Exhibition, WiesbadenGroup
2002Air Guitar: Art Reconsidering Rock MusicMilton Keynes Gallery, Milton KeynesGroup
2002Something AnythingMatthew Marks Gallery, New YorkGroup
2002Jack, Cinch & XLR: Amplified ImagesLe Crestet Centre d’Art, Crestet, FranceGroup
2002Art Downtown; New PhotographyWall Street Risini, New YorkGroup
2002Expo 2002Yverdon-les-Bans, SwitzerlandGroup
2002Das zweite Gesicht: Metamorphosen des fotografischen Portr?tsDeutsches Museum, MunichGroup
2002do it (home version)online project at www.e-flux.com, curated by Hans Ulrich ObristGroup
200240 Years of Fluxus eventsMuseo Nacional Centro de Arte Reina Sofia, Madrid, SpainGroup
2002Media Field: Old New TechnologiesWilliams College Museum of Art, Williamstown, MAGroup
2002Rock My World: Recent Art and the Memory of Rock ‘n’ RollCollege of Arts and Crafts Wattis Institute for Contemporary Art, Oakland, CaliforniaGroup
2002Whitney BiennialWhitney Museum of American Art, New YorkGroup
2002Shoot the Singer: Music on VideoInstitute of Contemporary Art, PhiladelphiaGroup
2002Mirror ImageUCLA Hammer Museum, Los AngelesGroup
2002…Message sent…City Art Center, Edinburgh, ScotlandGroup
2002Stutter, StutterShaheen Gallery, Cleveland, OHGroup
2002TelephonesAnthony Wilkinson Gallery, LondonGroup
2002The LP ShowAndy Warhol Museum, Pittsburgh, PAGroup
2002The Second Phase: Interpretation of the Photographic PortraitDeutsches Museum, M?nchen, GermanyGroup
2002Record All-Over9th Biennial of Moving Images, Centre pour l’image contemporaine, Saint-Gervais, GenevaGroup
2002Audible Imagery: Sound and PhotographyThe Museum of Contemporary Photography, Columbia College, Chicago, ILGroup
2002Translated Acts: Performance and Body Art from East Asia 1990-2001Queens Museum of Art, Long Island City, NYGroup
2002E - Motion StudiesVideo Caf?, Queens Museum of Art, Long Island City, NYGroup
2002Wiederaufnahme (Retake)NAK Neuer Aachener Kunstverein, Frankfurt, GermanyGroup
2002Best of the SeasonThe Aldrich Museum of Contemporary Art, Ridgefield, CTGroup
2002Recasting the Past: Beneath the Hollywod TinselMain Art Gallery, California State University Fullerton, CAGroup
2002Video StreetsDowntown Arts Festival, New YorkGroup
2002Looking at YouKunsthalle Fridericianum, Kassel, GermanyGroup
2002Body & SinValencia Biennial, Valencia, SpainGroup
2002The LP ShowExit Art, New YorkGroup
2002In Sync, Cinema and Sound in the Work of Julie Becker and Christian MarclayWhitney Museum of American Art, New YorkGroup
2002Collaborations with Parkett: 1984 to NowThe Museum of Modern Art, New YorkGroup
2002art>musicMuseum of Contemporary Art, Sydney, AustraliaGroup
2002Now Playing: Audio in ArtSusan Inglett Gallery, New YorkGroup
2002Patents, Monkeys, and More…On CollectingIndependet Curators International, New YorkGroup
2001Feature, Art, Life and CinemaGovett-Brewster Art Gallery, New Plymouth, New ZealandSolo
2001The Sounds of ChristmasYerba Buena Center for the Arts, San FranciscoSolo
2001Video Caf?: E Motion StudiesQueens Museum of Art, Long Island City, NYSolo
2001Audible ImageryMuseum of Contemporary Photography, Chicago, ILSolo
2001TelephonesDelaware Center for Contemporary Art, Wilmington, DESolo
2001Currents: Christian MarclaySaint Louis Art Museum, St. Louis, MOSolo
2001Guitar DragGallery Koyanagi, TokyoSolo
2001New WorksPaula Cooper Gallery, New YorkSolo
2001Feature: Art, Life & CinemaGovett-Brewster Art Gallery, New Plymouth, New ZealandGroup
2000The Sounds of ChristmasThe New Museum of Contemporary Art Lounge, New YorkSolo
2000Christian Marclay: CinemaOakville Galleries, Ontario, CanadaSolo
2000Christian Marclay: Video & PhotographyMuseet for Samtidskunst, Roskilde, DenmarkSolo
2000TelephonesPresentation House Gallery, North Vancouver, CanadaSolo
2000Art on Paper 2000Weatherspoon Gallery, The University of North Carolina, GreensboroGroup
2000Monter Sampler: L’Echantillonnage généraliséPompidou Center, ParisGroup
2000Wanted! International Video ProgramBunkier SztukiGroup
2000To Infinity and Beyond: Editions for the Year 2000Brooke Alexander Gallery, New YorkGroup
2000Hard Pressed: 600 Years of Prints and ProcessAXA Gallery, New YorkGroup
2000S.O.S.: Scenes of SoundThe Tang Teachings Museum and Art Gallery, Skidmore College, Saratoga Springs, NYGroup
2000Print Publishers’ SpotlightBarbara Krakow Gallery, BostonGroup
2000Berlin OpenTrago Galeria, BudapestGroup
2000Off the Record: Music in ArtCenter Gallery, Bucknell University, Lewisburg, PAGroup
2000La Biennale de MontrealCentre International d’Art Contemporain de Montreal, MontrealGroup
2000Internationales VideoprogrammBadischer KunstVerein, Karlsruhe, GermanyGroup
2000Volume: Bed of SoundP.S.1 Contemporary Art Center, New YorkGroup
2000Umedalen Skulptur 2000Galleri Stegan ANdersson, Umea, SwedenGroup
2000Group ShowPaula Cooper Gallery, New YorkGroup
2000Making Sense: Ellen Gallagher, Christian Marclay and Liliana PorterContemporary Art Museum, Baltimore, MDGroup
2000Sonic Boom: The Art of SoundHayward Gallery, LondonGroup
2000Human Gender and BeingKwangju Biennale, Kwangju, South KoreaGroup
2000Group Video ExhibitionGalerie Barbara Thumm, BerlinGroup
2000Multiple Visions: Works by Master PrintersThe Print Center, Philadelphia, PAGroup
2000Le temps, viteCentre Georges Pompidou, ParisGroup
1999TelephonesPaula Cooper Gallery, New YorkSolo
1999The Sounds of ChristmasArtPace, A Foundation for Contemporary Art, San Antonio, TXSolo
1999VideodromeThe New Museum of Contemporary Art, New YorkGroup
1999Releasing SenseTokyo Opera City Art Gallery, TokyoGroup
1999Missing LinkKunstmuseum Bern, Bern, SwitzerlandGroup
1999Works On PaperD’Amelio Terras Gallery, New YorkGroup
1999A Sense of Risk: Art of the 90’s, Selections from the Robert J. Shiffler FoundationMiami University Art Museum, Miami, OHGroup
1999Video – Aus der SammlungKunsthaus, ZurichGroup
1999Notorious, Alfred Hitchcock and Contemporary ArtMuseum of Modern Art, Oxford, EnglandGroup
1999dAPERutoVenice Biennale, VeniceGroup
1999Talk ShowVon der Heydt Museum, Wuppertal, Germany; Haus der Kunst, MunichGroup
1999Sound Foundations: Audio in VideoThe center for Curatorial Studies, Bard College, Annandale-on-Hudson, NYGroup
1999Oh cet ?cho (duchampmania)Fondation Mamco and Centre d’art contemporain, GenevaGroup
1999Musique en SceneMusée d’art contemporain, LyonGroup
1999The International Artist-in-Residence ProgramArtPace, San Antonio, TXGroup
199920 And de M?c?nat a la Banque Cantonale de GeneveMus?e Rath, GenevaGroup
1998I love New YorkLudwig Museum, CologneGroup
1998Dust Breeding: Photographs, Sculpture & FilmFraenkel Gallery, San FranciscoGroup
1998In vitro e altro: affiches d’artistesCabinet des estampes du musée d’art et d’histoire, GenevaGroup
1998BowieRupert Goldsworthy Gallery, New YorkGroup
1998Freie Sicht aufs MittelmeerKunsthaus, ZurichGroup
1998Crossings: Art to Hear and to SeeKunsthalle, Vienna; Rudoldinum, PragueGroup
1998White NoiseKunsthalle, Bern, Bern, SwitzerlandGroup
1998Int?rieur Ext?rieurVilla Bernasconi, Service Culturel de la Ville de Lancy, GenevaGroup
1998Aechiv XOffenes Kulturhaus Centrum f?r Gegenwartkunst, Linz, AustriaGroup
1998Tehnoculture (Computer WorldFri-Art Centre d’art contemporain, FribourgGroup
1998ComposedAngles Gallery, Santa Monica, CAGroup
1998ParasiteDrawing Room at The Drawing Center, New YorkGroup
1998Foto RelationsKunsthaus der Stadt Br?nn, Brno, CzechGroup
1998Technosophia I:OverpromisedThe Swiss Institute, New YorkGroup
1997Pictures at an ExhibitionWhitney Museum of America Art at Phillip Morris, New YorkSolo
1997Arranged and ConductedKunsthaus Zurich, ZurichSolo
1997NonechalanceCentre PasqueART, Bienne, Switerland; Akademie der Kunste, BerlinGroup
1997Rrose is a Rrose is a Rrose: Gender Performance in PhotographySolomon R. Guggenheim Museum, New YorkGroup
1997Extended Play: Between Rock and an Art SpaceThe Photographic Resource CenterGroup
1997projects.doc: Selections from the Robert J. Shiffler Collection and Archive,Cincinnati Arts Association, Aronoff Center, Cincinnati, OHGroup
1997AlpenblickKunshalle Wein, ViennaGroup
1996Helvetia SoundsGalerien der Stadt, Villa Merkel, Esslingen, GermanyGroup
1996Transformers: A Moving ExperienceAuchland Art Gallery, New ZealandGroup
1996Art and Film Since 1945: Hall of MirrorsThe Museum of Contemporary Art, Los AngelesGroup
1996Model HomeThe Clocktower, P.S.1 Contemporary Art Center, New YorkGroup
1996Everything That’s Interesting Is New: The Dakis Joannou CollectionThe Deste Foundation for Contemporary Art Guggenheim Museum, New YorkGroup
1996It’s Only Rock and Roll: Rock and Roll Currents In Contemporary Art,Contemporary Art Center, CincinnatiGroup
1995Accompagnement MusicalMusée d’Art et d’Histoire, GenevaSolo
1995AmplificationVenice Biennial, Chiesa San Sta?, VeniceSolo
1995Commercial ArtGallery Paule Anglim, San FranciscoGroup
1995Back Beat: Art Influenced by Rock & RollCleavland Center for the Arts, ClevelandGroup
1995Klangskulpturen-AugenmusikLudwig Museum im Deutschherrenhaus, KoblenzGroup
1995Temporarily Possessed: The Semi-Permanent CollectionThe New Museum of Contemporary Art, New YorkGroup
1995Venice BiennialVenice;Group
1995Tekeningen & Tekeningen(Drawings & Drawings), Galerie Van Gelder, AmsterdamGroup
1995Group ExhibitionFawbush, New YorkGroup
1995Material Matters, Art in the AnchorageCreative Time, New YorkGroup
1995Exposition Suisse de sculpture M?tiers 1995M?tiers, SwitzerlandGroup
1995Prints from the Judith Solodkin NYC WorkshopGallery 72, OmahaGroup
1995Commercial ArtGallery Paule Anglim, San FranciscoGroup
1994Christian MarclayFawbush Gallery, New YorkSolo
1994Fri-ArtCentre d’Art Contemporain Kunsthalle, Fribourg, SwitzerlandSolo
1994The Music Box ProjectThe Equitable Gallery, New YorkGroup
1994Transformers: The Art of MultiphreniaCenter for Curatorial Studies, Bard College, Annandale-on-Hudson, NYGroup
1994Synesthesia: Sound and Vision in Contemporary ArtSan Antiono Museum ofGroup
1994Solo ImpressionsThe College of Wooster Art Museum, Wooster, OHGroup
1994PlayoffArt & Public, GenevaGroup
1994Outside the Frame: Performance and the ObjectCleveland Center forGroup
1994New Delhi TriennialNew Delhi, IndiaGroup
1994The Return of the Cadavre ExquisThe Drawing Center, New YorkGroup
1994My Home Is Your HomeArtists’ Museum, Lodz, PolandGroup
1994Money, Politics, Sex, NancyDrysdale Gallery, Washington D.C.Group
1994EcartGalerie Susanna Kulli, St. Gallen, SwitzerlandGroup
1994Mettlesome & Meddlesome: Selections from the Collection of Robert J. Shiffler,Group
1994At the Edge of Chaos – New Images of the WorldLouisiana Museum ofGroup
1993Christian MarclayMargo Leavin Gallery, Los AngelesSolo
1993Nine Sculptors and Their Printer: A Tribute to Judith SolodkinBernard ToaleGroup
1992The Wind SectionGalerie Jennifer Flay, ParisSolo
1992MasksGalleria Valentina Moncada, RomeSolo
1992Christian Marclay: Sewn Record JacketsNancy Drysdale Gallery, Washington D.C.Solo
1992Tattoo CollectionAndrea Rosen Gallery, New YorkGroup
1992Hollywood, Hollywood: Identity Under the Guise of CelebrityArt CenterGroup
1992Trans-VoicesAmerican Center, ParisGroup
1992Cross SectionBattery Park City and the World Financial Center, New YorkGroup
1992The Speaker ProjectMolteplici Culture, Convento di S. Edigio RomeGroup
1992Post HumanFAE Musée d’art Contemporain, PullyGroup
1992Hidden ReflectionsThe Israel Museum, JerusalemGroup
1992Not Quiet: Felix Gonzalez-Torres, Liz Larner, Christian Marclay, MatthewGroup
1992Nicolas Collins, Alvin Lucier, Christian Marclay, Ron KuivilaSous-sol, EcoleGroup
1992Notes from the Material WorldJohn Michael Kohler Arts Center, Sheboygan,Group
1992Doubletake: Collective Memory & Current Art,Hayward Gallery, LondonGroup
1991Abstract MusicTrans Avant-Garde Gallery, San FranciscoSolo
1991Abstract MusicTom Cugliani Gallery, New YorkSolo
1991Abstract MusicMaureen Paley Interim Art, LondonSolo
1991Abstract MusicGalerie Isabella Kacprzak, CologneSolo
1991Residue PoliticsBeaver College Art Gallery, Glenside, PAGroup
1991Just What Is It That Makes Today’s Homes So Different, So Appealing?TheGroup
1991They See the LightGalerie Van Gelder, AmsterdamGroup
1991Ex Aequo: 24 artistes suisses a St. ImierSt. Imier, SwitzerlandGroup
1991Whitney BiennialWhitney Museum of American Art, New YorkGroup
1991FluxAttitudesHallwalls, Buffalo, NY; The New Museum, New YorkGroup
1991The Savage GardenFundacion Caja De Pensiones, MadridGroup
1991Mute: Pictures of SoundSolo GalleryGroup
1990The White AlbumSolo Press Gallery, New YorkSolo
1990Christian Marclay: DirectionsHirshhorn Museum & Sculpture Garden, WASolo
1990Christian Marclay: DirectionsTom Cugliani Gallery, New YorkSolo
1990New Works for New Spaces: Into the NinetiesWexner Art Center, Columbus,Group
1990The Thing ItselfFeature Gallery, New YorkGroup
1990Stendhal Syndrome: The CureAndrea Rosen Gallery, New YorkGroup
1990DrawingsAlthea Viafora Gallery, New YorkGroup
1990Loving CorrespondenceMassimo Audiello Gallery, New YorkGroup
1990AssembledUniversity Art Galleries, Wright State University, Dayton, OHGroup
1990Status of SculptureEspace Lyonnais d’art Contemporain, LyonGroup
1989FootstepsShedhalle, ZurichSolo
1989FootstepsTom Cugliani Gallery, New YorkSolo
1989Christian Marclay: Pochettes de DisquesGalerie Rivolta, LausanneSolo
1989The Second Second (or the discomfort of recent historyAlthea Viafora Gallery,Group
1989Strange Attractors: Signs of ChaosThe New Museum of Contemporary Art,Group
1989Exposition Suisse de SculptureM?tiers, SwitzerlandGroup
1989Miroir 89: Balthasar Burkhard, Philippe Del?glise, Michel Huelin, Pierre Keller,Group
1988One Thousand RecordsGelbe Musik, BerlinSolo
1988One Thousand RecordsTom Cugliani Gallery, New YorkSolo
1988Group Material: Politics and ElectionDIA Center for the Arts, New YorkGroup
1988Broken Music: Artist’s Recordworksdaddgalerie, BerlinGroup
1988Broken Music: Artist’s RecordworksPaul Kasmin Gallery, New YorkGroup
1988Broken Music: Artist’s RecordworksKunstverein, Freiburg, GermanyGroup
1988Broken Music: Artist’s RecordworksTom Cugliani Gallery, New YorkGroup
1988ReDefining the ObjectUniversity Art Galleries, Wright State University,Group
1988Extended PlayEmily Harvey Gallery, New YorkGroup
1988Extended PlayJohn Gibson Gallery, New YorkGroup
1987The ClocktowerP.S.1 Contemporary Art Center, New YorkSolo
1987Inaugural ExhibitionTom Cugliani Gallery, New YorkGroup
1986Sound Wave NYCCity Gallery, New YorkGroup
19865 AnsPalud No 1, Lausanne, SwitzerlandGroup
1986K?nstlerschallplattenGelbe Musik, Berlin; Galerie Vorsetzen, HamburgGroup
1985On the Wall On the Air: Artists Make NoiseHayden Corridor Gallery, Massachusetts Institute of Technology, Cambridge, MAGroup
1985Visual SoundBrattleboro Museum, Brattleboro, VTGroup
1984Ref. 84Palud No 1, Lausanne, SwitzerlandGroup
1983Sound SeenNew Music America, Washington Project for the ArtsGroup
1981Christian MarclayApartment, GenevaSolo
1980Invitational ShowThe Bachelors, Gallery Naga, BostonGroup