THE MULTIFACETED COMPOSITIONS OF CHRISTIAN MARCLAY
Graphic Scores at PROA 21 presents, for the first time in Argentina, a selection of works by the Swiss-American artist Christian Marclay (1955), an unavoidable reference in the field of visual-sound experimentation.
Trained in visual arts and sculpture, he started as a DJ in New York under the influences of the punk movement of the late '70s and the performance scene of the '80s. Throughout his career, he has explored the multiple and varied connections between the visual and sound universe through collage, film montage, musical composition and performance.
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Christian Marclay. Shuffle, 2007 (Baraja). Tinta s/papel, 75 cartas, 74 imágenes a cuatro colores. Página: 16,8 x 12,1 cm; caja: 17,5 x 13 x 3,2 cm. © Christian Marclay. Cortesía Paula Cooper Gallery, New York
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Christian Marclay. NO!, 2020. 15 impresiones de pigmento en papel arches. Hojas: 41,9 x 29,2 cm c/u. Portfolio: 43,2 x 31,8 cm. Edición 8 de 15. © Christian Marclay. Cortesía Paula Cooper Gallery, New York. Ph: Steven Probert
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Christian Marclay. To Be Continued, 2016 (Continuará). Partitura musical para guitarra, instrumentos de viento madera, contrabajo y percusión; 48 páginas, tapa blanda, impresión offset 30,5 x 22,2 cm c/u. Edición de exhibición A de 2000 (sin numerar)
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Christian Marclay. To Be Continued, 2016 (Continuará). Partitura musical para guitarra, instrumentos de viento madera, contrabajo y percusión; 48 páginas, tapa blanda, impresión offset 30,5 x 22,2 cm c/u. Edición de exhibición A de 2000 (sin numerar)
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Manga Scroll, 2010. (PergaminodeManga). Papel hiromi gampi blanco, cubierta de pergamino. Tela de libro de seda cruda negra asahi, madera. Papel: 40,6 x2000, 3cm. Rollo: 48,3 x 7,6 x7,6cm. Edición 2 de 5
His graphic scores, some of which are on display in the exhibition, are an emblematic example of this relationship. Marclay's scores are far from the traditional ones, as they construct the sound story through elements that come from popular culture, such as comics or everyday graphics present in magazines, advertisements, menus, wrappers, among others.
Photographing musical figures hidden in unexpected places as in Shuffle, 2007 (Shuffle), searching for onomatopoeias in urban waste as in Zoom Zoom Zoom, 2007-2022 or inviting a whole city to complete blank scores pasted on the walls of Berlin as in Graffiti Composition, 1996-2002, are some of the explorations that can be seen in the exhibition.
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Christian Marclay. To Be Continued, 2016 (Continuará). Partitura musical para guitarra, instrumentos de viento madera, contrabajo y percusión; 48 páginas, tapa blanda, impresión offset 30,5 x 22,2 cm c/u. Edición de exhibición A de 2000 (sin numerar)
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Christian Marclay. Screen Play, 2005 (Obra de pantalla). Video, 29© Christian Marclay. Courtesy Paula Cooper Gallery, New York
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Christian Marclay. Zoom Zoom, 2007 actualidad. Video, 15 50© Christian Marclay. Courtesy Paula Cooper Gallery, New York
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Christian Marclay. The Bell and the Glass, 2003. (La campana y el cristal). Proyección de dos videos sincronizados en loop, color y blanco y negro con sonido 23
In his collages, assemblages and signposts, sound is suggested, latent and waiting to be invoked. Their silent display evokes the occasions when musicians, performers or singers confront them and build a dialogue, a creative fusion that explodes into multiple possible interpretations. In Marclay's works the English homonymy between "play" of playing and musical interpretation is embodied in all its significance.
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