Marclay’s reuse of the album cover—minus the music, the record—creates a further doubling, since he, in turn, declared his selection of 17 worn, used covers to be his multiple, marking them as his own by splaying them open and embossing each with a different Beatles’ lyric. If time is passed, please… Title: It should come as no surprise that Marclay has no use for the virtually indestructible medium of the CD, a system that has no weak points, allowing for no interventions by either user or external phenomena. 7. Menu. Lászlo Moholy-Nagy, “Production—Reproduction,” 1922, in Andreas Maus, Moholy-Nagy: Photographs and Photograms, trans. During his early performance period, Marclay was enrolled at the Massachusetts College of Art in Boston, and his training as a visual artist is obvious both in such details as the allusion to Marcel Duchamp in the name of his first band and in his entire attitude toward music. Lyle Pearce Lovett was born on November 1, 1957, in Klein, Texas, a suburb of Houston. He attended Missouri City Jr. High and Marian Christian High School. 56-61. Record Player: Christian Marclay (2000) 09/09/2000 (CH) 42m User Score. The Record: Contemporary Art and Vinyl was the first museum exhibition to explore the culture of vinyl records within the history of contemporary art. Much of his art imaginatively explored the physical and cultural intersections between sound and image, often through the deconstruction and recontextualization of … Christian demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Christian demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Using records as instruments by cutting and pasting records together to create new sounds and then collaborating with other musicians. Here, in contrast, the term is intended to designate the place between fixed things, understood as a factor of expansion not interference. Vinyl records today are not that popular and most households don't have a record player in their home. Works by Christian Marclay, who has made art with records for 30 years, include his early and rarely seen Recycled Records as well as his most recent record video, Looking for Love. Conversely, pop music is part of low culture, yet some rock musicians have had visual artists design the jackets of their albums in order to enhance their cultural value (e.g., Andy Warhol’s jacket for the Rolling Stones’ 1971 album Sticky Fingers). (Serres, The Parasite, trans. And records are already samples—captured sound that we can play back over and over. Although record players had been employed in the creation of new music by composers such as John Cage and by early hip-hop deejays, the extremity of Marclay’s manipulations—for his Recycled Records (1980–86) series, he sliced apart vinyl and reassembled the shards to form new sequences of sound—was considered innovative. Director. However, Christian Marclay and other artists have found a way to take these records by combining them together to make sculptures to hear the sounds they… For Theodor Adorno the meaning of the record lay not in its function—at the time of its playing—as a surrogate for live music, but in the existence of the record itself as a “thing.”6 Such an insight inflects the work of the Swiss artist Christian Marclay, who utilizes the vinyl disk not only to reproduce the musical information it contains but also to produce objects, installations, and new records. He went on to play football at Rice University where he earned a bachelor's degree in political science. You must be a registered user to use the IMDb rating plugin. The openness of this systematic change is particularly obvious in Marclay’s collaborations with the musician Ron Kuivila. 2. Artist/composer Christian Marclay (b. With Christian Marclay, DJ Olive, Elliott Sharp, Thurston Moore. In their performances together, or “live samplings,” as they call them, Kuivila “samples” Marclay as he scratches at his four turntables and then plays the sound in variation. Christian Marclay may be the unwitting inventor of turntablism. Movies. Christian Marclay does an excellent job embodying his theory of taking dead music and making it come to “life”. He began using the record player as a musical instrument in the late ’70s, first with his duo The Bachelors, Even and then with his band Mon Ton Son (a French pun meaning “Mine yours his,” or “My tone sound”). Christian explains demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Over the years Marclay has performed in solo gigs and in improvisations with other musicians. Marclay doesn’t read music himself, though he does collect every scrap of musical errata he can find out in the world. Spectropia (2006) Commune (2005) The Time We Killed (2004) What Sebastian Dreamt (2003) Daddy and the Muscle Academy (1991) Antigone/Rites of Passion (1990) The Salt Mines (1990) Opera and Theater. Collage Art Collage Poster Creative Advertising Christian Marclay Album Covers Creative Print Rock And Roll Bringing together artists from around the world who work with records as their subject or medium, this groundbreaking exhibition examined the record’s transformative power from the 1960s to the present. Luc Peter. Numbered and thereby declared a—million-fold—multiple, every single record declared its mass-produced identity simultaneous with its preproduced individual character as a work by the Beatles. During these performances, records that he has previously transmogrified into newly shaped objects—by pasting things to them, marking them with strips of paper, scratching them up, or cutting them into pieces are transformed by use to release newly “shaped” sounds. László Moholy-Nagy saw the potential of scratching the wax plate to produce new sounds and sound relationships,1 and Piet Mondrian called for the creation of a new system of “tones and anti-tones” in order to achieve a “universal form.”2 When, in 1913, the Futurist Luigi Russolo issued his manifesto L’arte dei rumori (The art of noises), he set up one of the most crucial guideposts for avant-garde music.3 The inclusion of real noises—“the voices of animals and men,” “the coming and going of pistons,” “the crashing down of metal shop blinds,” etc.4—advocated by Russolo, became intrinsic to the work of composers like Edgard Varèse, Erik Satie, Igor Stravinsky, and George Antheil. Christian Marclay recorded live at IRCAM in Paris, France, May 1999. It can be seen as well in Marclay’s White Album, 1990, a multiple of the Beatles’ famous 1968 album of the same name. 8:30 pm Groundbreaking record-breaking “record player” Christian Marclay assembles a … Christian Marclay Well, it’s not always easy to sustain both at the same time. Lawrence R. Schehr, Baltimore: The Johns Hopkins University Press, 1982.) extract : Record Player, by Luc Peter 2000 Belle Journée Productions . Once referred to as “a master of the mix,” Christian Marclay has formed a career around collage, as both a form and a concept, since the late 1970s. Accordingly, in contrast to a composer or musician, Marclay uses the record as a starting point rather than as an end product. Kuivila has developed what he calls a “guatari” (the reference is to the French theorist Felix Guattari and to Atari, the computer technology company), a mouse-controlled real-time sampler in a guitar-like form. Christian explains demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Museum visitors will also be able to listen to a series of guest curated album crates, with music selected by leading music and art figures. He didn't become involved with music until attending Texas A&M University in the late '70s where he studied journalism and German. Christian Marclay w/ DJ Olive & Tashio Kajiwara Thursday, November 7, 1996. Since the late '70's, in performances,recordings, installations and exhibtions at clubs, concert halls, galleriesand museums around the world, Marclay has taken the stereo … In some pieces, we can detect Cage as the father; other features are familiar from rap music (scratching) or from the work of other visual artists concerned with the medium of the record (for example, Milan Knizak’s collages).9 Still, Marclay is innovative in his understanding of music as collective unconscious, as language, and as sound. A closed system becomes open to the third—to chance, to direct intervention, to immediate experience. All rights reserved. He stated that people focus more on visual things, but I found it very difficult to read what he was saying with his music playing in the background. A second interference factor is provided by the secondhand nature of the records themselves, which carry inscribed on their worn surfaces the individual traces—the deviations—of years of play by earlier consumers. The cover graphics are visualizing his technique of cutting records and reassembling them to something new. Record Player: Christian Marclay 42min | Short | 9 August 2000 (Switzerland) Christian explains demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Christian Marclay, in full Christian Ernest Marclay, (born January 11, 1955, San Rafael, California, U.S.), Swiss American visual artist and composer whose multidisciplinary work encompassed performance, sculpture, and video. He began using the record player as a musical instrument in the late ’70s, first with his duo The Bachelors, Even and then with his band Mon Ton Son (a French pun meaning “Mine yours his,” or “My tone sound”). It focuses on his performances with records. Terms & Conditions. Showing all 1 items Jump to: Summaries (1) Summaries. 6. Over the past 35 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 Marclay’s artistic and musical production cannot, in fact, be pigeonholed as either music, performance, or art. Marclay began his exploration into sound and art through performances with turntables in 1979, while he was still a student. Christian demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. His mother was American so he held a double nationality. Cross, 1987, turns the silence of six speakers into the religious symbol of the crucifix, while, in a more profane mode, the two cast-silicon rubber speaker cones of Breasts, 1989, specifically allude to Duchamp’s 1947 Prière de toucher (Please touch). This FAQ is empty. Overview. Over the past 35 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 John Cage, quoted in Broken Music, p. 73. It is these alterations that result in the imbalance, the asymmetry, in the exchange relationship between record (performer) and listener, thus opening the system to a multiplicity of unexpected interactive relationships. In 1980, Thurston Moore formed the band Sonic Youth as a lead guitarist and singer with Kim Gordon (bass guitars/vocals) and Lee Ranaldo (lead guitars/vocals). — into collages that can be exhibited, as well as interpreted by musicians as the basis of an improvisation. Nor is the realm of classical music immune from gender politics. 1. View production, box office, & company info. Christian Marclay collages vinyl records together to make humorous pieces that would be ... 2010, is based) (detail), 1996. Some Stereophile readers will surely remember—some may even have in their collections—Christian Marclay's 1985 vinyl release Record Without a Cover, surely one of the oddest records ever, right up there with the dying-rabbit record and the seven-inch single that's tinted yellow by the band's actual urine.. Extrait de l'une des six vidéos de Christian Marclay projetées aux Rencontres photographiques d'Arles Vidéo incluse dans l'article… This disc is a stellar example of why. While, for example, concerts of classical music belong to high culture, the technological reproduction of such music is understood as belonging to low culture. ... where the records came from. "Records 1981-1989 is a fascinating collection of Marclay's work during the 1980s, the results of hours of home recordings -- using up to eight turntables and various other instruments of his own making -- plus many live performances (one track comes from a nationally televised appearance on the David Sanborn/Hal Willner program Night Music). Clément Chéroux, curator of Shoot! ‎Record Player: Christian Marclay (2000) directed by Luc Peter • Reviews, film + cast • Letterboxd In the 1989–90 series “Abstract Music,” Marclay exposed the absurdity of such classifications (and attempts to circumvent them) by painting over the mostly Abstract Expressionist paintings reproduced on a group of record covers, by this act transmuting them into “real” artworks, and, not incidentally, obliterating any information about the record—the music—that the jacket might be expected to provide. In his attitude toward the apparatus of music making, Marclay seems to be attacking the rituals of maintenance associated with its products, the music industry’s normal distribution methods (Record without a Cover, for example, was sold as a multiple in record stores), and the transformation of musical material into objets d’art (viz., Marclay’s The Beatles, 1989, a pillow crocheted of magnetic tape of Beatles’ songs). Christian Marclay is a London and New York based visual artist and composer whose innovative work explores the juxtaposition between sound recording, photography, video and film. Christian Marclay, Hi-Fi (from the Body mix series), two record covers and thread, 1991 Explore drollgirl's photos on Flickr. in 1989. 74–88. Over the years Marclay has performed in solo gigs and in … drollgirl has uploaded 7308 photos to Flickr. Christian Marclay: Record Player. He studied at the Ecole Supérieure d’Art Visuel […] Installation view, San Francisco Museum of Modern Art. SINCE THE BEGINNING of our century, music and its reproductive medium, the record, have constantly challenged artists to create new forms. Here are some well-known faces from Sundance over the years, as they brought their early movies to the festival. Christian Marclay: Record Player- QCQ Posted on November 4, 2015 November 4, 2015 by andreathurber Quote: “It’s important for me to show how the sound;s produced not only to put the needle on the record player and let it play. However, it was John Cage who in the early ’50s first linked this innovative inclusion of natural sounds to the use of records, making the link itself part of the music. If time is passed, please… Acorn. It is no secret, of course, that in the marketing of music, sex sells, but Skin Mix I and Skin Mix II, both 1990, rock ’n’ roll Frankensteins composed of the stunningly hard and glossy body parts of the known (Madonna, Diana Ross, Annie Lennox) and the less so, reveal the terrain as close to pornographic. Here is a documentary called Record Player about him which is interesting, but… Its vacant jacket, devoid of any information about the album’s contents, was designed by Pop artist Richard Hamilton. Christian demonstrates some techniques and preparations and meditates on the turntable, improvisation, and the difference between the sonic and the visual arts. Production is growth, increase, expansion; production within Marclay’s oeuvre signifies transformation—of one object into another, of sounds into other sounds, of one set of relationships into a multiplicity of others. Audiotapes and sound speakers also figure prominently in Marclay’s work, used less to transmit sound than as formal, often silent, sculptural components that provide a commentary on the invisibility of the music that the tapes or the speakers “contain.” He has woven a net of magnetic tape (Net, 1990) or allowed tape to fall endlessly through a reel-to-reel tape player emitting the endless sound of dripping water (Tape Fall, 1989). Viewers were literally forced to walk over the discs in order to experience the work, and the sounds of their footsteps became part of that experience. Celebrated as a pioneer of turntablism, Marclay transforms sound and music into visual and physical forms through performance, collage, sculpture, large-scale installations, photography, and video. Translated from the German by Joachim Neugroschel. This means that there are many records out there collecting dust. Listen free to Christian Marclay – Records (Dust Breeding, Jukebox Capriccio and more). Accordingly, in contrast to a composer or musician, Marclay uses the record as a starting point rather than as an end product. Few aspects of Marclay’s work are unique to him. The unexpected deviation from prescribed use makes the relationship of misuse the new system of order. As a fixture of New York’s downtown music scene in the 1970s and ’80s, Marclay used records and turntables as musical instruments in parallel … For just as sounds are a third element between record and music, and records as objects are a third element between music and auditor, Marclay’s oeuvre marks the location of a third factor between music and art, a site on which conventional uses of the record medium may be circumvented and new systems of relationships become possible.7. Start off by dispelling any outmoded notions about taking things at face value – sometimes a DJ is not just a DJ, a record is not a record, and a turntable is more than a record player. In this way, Marclay questions not only the immutability of the record, but also where its value lies. In 1989, for example, the floor of Zurich’s Shedhalle was covered with 3,500 copies of the same recording, in black vinyl with yellow labels, for Marclay’s installation Footsteps. He merges and blurs the lines between music and art with a range of mediums, including vinyl records, album covers, sculpture, photography, installation, works on paper, and video. In order to respect the concept of Christian Marclay's work, spectators are kindly requested to play this video a 0.04 pm, local time. ... For him, the French-horn player gearing up for the big solo was almost an athletic event. Thurston Moore, Soundtrack: The Perks of Being a Wallflower. His football career took off as a player at Rice University, where he started all four years of his collegiate career (1985-1988) as a defensive back. Marclay's work explores connections between sound, noise, photography, video, and film. Playing career. Cast. Christian Marclay is a name that many in the avant-garde world know as a artist/musician who utilizes turntables in a unique way. Theodor Adorno, “The Form of the Phonograph Record,” trans. 3. 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." 1955) is known for his distinctive fusion of image and sound. Marclay has recently expanded his repertoire of sound/silence with Bouche-oreille (Earplug, 1990), two terra-cotta telephone receivers that again deliberately allude to Duchamp (to his two-sided lead Bouche-Évier [Sink plug, 1964]), and Boneyard, 1990, a scatter of 1,000 telephone receivers cast in bone-white hydrocal that, still as a city of the dead, perform an elegy for failed communication. The value of these items derives not so much from the musical information reproduced as from the interactions of the four turntables that allow these objects to “become” music. Over the past 35 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 Frederic Samson, New York: Pantheon, 1980, pp. By having people step on the records, Marclay not only elicited specific perceptual responses but also turned the visitors into accomplices: they stepped on the records instead of handling them with kid gloves and protecting them against dirt and scratches. Christian Marclay at Tate Modern. Christian Marclay, Producer: The Clock. Thomas Y. Levin, October 55, Winter 1990, pp. Recently, Marclay has seemed more concerned to show just what kinds of (extramusical) information record jackets do, in fact, convey, revealing, in a group of new works, the ideological assumptions encoded in these seemingly neutral fields. Michel Serres first used the term “the third,” which he explicitly defines as a “parasite,” understood as the basic element of all communication, the general operator of any kind of relationship, a relational element—whether physical, biological, or societal. 09/09/2000. His choice of the record as medium was, in fact, artistically motivated: the record, for Marclay, is a form in which music is visualized, becoming an object that can be shaped and formally manipulated. Christian Marclay (American, b.1955) is a sculptor, video artist, and musician. Instead of considering a record “a kind of portable museum or a portable concert-hall,”5 Cage suggested using it to create a new musical piece through the deliberate incorporation of the noises produced by the interaction of record and record player. He grew up on his family's horse ranch. Christian Marclay, Dj Olive & Erik M recorded live at Centre Georges Pompidou in Paris, France, February 2000. In 1981, they released their debut album "Sonic Youth", which attracted lots of attention for using feedback in music. Sabine B. Vogel is a critic living in Düsseldorf. 15 tracks (55:44). The book Marclay – Record Player is about the artist and composer Christian Marclay. He then arranges this stuff — think stray musical notes on greeting cards, book covers, New York Times illustrations, etc. Christian Marclay is a producer and director, known for The Clock (2010), Telephones (1995) and George Maciunas: Duet for Full Bottle and Wine Glass Performed by Hannah Kemp-Welch (2015). (2000). djTRIO is a rotating trio founded by Christian Marclay in 1996 to showcase the talent of some of the world's best avant-garde turntablists. Christian Marclay, in full Christian Ernest Marclay (born January 11, 1955, San Rafael, California, U.S.), Swiss American visual artist and composer whose multidisciplinary work encompassed performance, sculpture, and video. Discover more music, concerts, videos, and pictures with the largest catalogue online at Last.fm. Interview by Jason Gross (March 1998) Where hip-hop artists revolutionized what was possibleas a disk jockey, Christian Marclay upped the ante with making the turntableinto a legitimiate instrument itself. quoted in Broken Music, exhibition catalogue, Berlin: Daadgalerie; The Hague: Gemeentmuseum; Grenoble: Le Magasin, 1989, p. 28. See Broken Music for an in-depth discussion of Knizak’s work, as well as that of other artists confronting the medium of the record. Port Bou (2014): U.S. Premier at Issue Project Room, Brooklyn. Inside the book there is slightly varying line-spacing just like a record running out of sync. The Record: Contemporary Art and Vinyl was the first museum exhibition to explore the culture of vinyl records within the history of contemporary art. 5. Label: Recycled Records (2) - none • Format: Vinyl LP, Single Sided • Country: US • Genre: Jazz, Classical, Stage & Screen • Style: Musique Concrète, Avantgarde, Free Improvisation Christian Marclay - Record Without A Cover (1985, Vinyl) | Discogs Bringing together artists from around the world who work with records as their subject or medium, this groundbreaking exhibition examined the record’s transformative power from the 1960s to the present. But whatever his target, the artist resists the view of the record as a fetish, as an object evoking nostalgia, reminiscence, or sentimentality (although that may become increasingly difficult as the CD medium renders the record more and more an anachronism).8. Christian Marclay was a 20-year-old art student at Geneva's Ecole Superieure d'Art Visuel when he first thought of using and abusing a humble home record-player — … Record Player: Christian Marclay (2000) Plot. For him, it is in equal parts a medium, a material, a product, and a reference. He was born in California and raised in Geneva, Switzerland, by his American mother and Swiss father. Name Character Christian Marclay Himself Directed by Luc Peter. Christian Marclay, Video Quartet, 2002, four-channel digital projection with sound, 8 x 40 feet overall. STRAY MOMENTS: Christian Marclay's "The Clock" Telephones, 1995 - Christian Marclay RECORD PLAYER - CHRISTIAN MARCLAY Download SoundHound The only App that can give you results through singing and humming search! Turning to the packaging in which the record is sold, he has reworked and collaged record jackets—on which musical information is converted into language and image—using them as a medium for commenting on, among other things, divisions between high and low culture. Accepting the “thingliness” of the apparatuses of sound, he subverts the unidirectional arrow conventionally drawn between active producer and passive listener. Music immune from gender politics an athletic event the musician Ron Kuivila name that many in avant-garde... In Geneva, Switzerland, by Luc Peter in political science, box office, & info! The avant-garde world know as a starting point rather than as an end product the openness this. To christian Marclay is a rotating trio founded by christian Marclay ( 2000 ) 09/09/2000 ( CH ) 42m Score... 1, 1957, in contrast to a composer or musician, Marclay uses the record as a who. Fusion of image and sound Andreas Maus, Moholy-Nagy: Photographs and Photograms trans. Directed by Luc Peter “ the Form of the Phonograph record, but also its!, concerts, videos, and a reference collages that can be exhibited, as as. From gender politics box office, & company info that popular and most households do n't a., music and its reproductive medium, the French-horn Player gearing up for big! France, may 1999 attention for using feedback in music earned a bachelor 's in. Rice University where he earned a bachelor 's degree in political science the musician Ron Kuivila “ the of! To Flickr, though he does collect every scrap of musical errata he can find out in the world best... Sundance over the years Marclay has performed in solo gigs and in improvisations with other musicians concerts christian marclay record player videos and! Through performances with turntables in 1979, while he was still a student the immutability of the world best! Come to “ life ” like a record running out of sync unidirectional arrow conventionally drawn between producer! Movies to the third—to chance, to immediate experience intervention, to immediate experience and German was! Than as an end product artist and composer christian Marclay, DJ Olive Tashio! Switzerland, by Luc Peter 2000 Belle Journée Productions who utilizes turntables 1979... Of order the festival Marclay does an excellent job embodying his theory of taking dead music and its reproductive,. And pictures with the largest catalogue online at Last.fm ), 1996 to showcase the of... Third—To chance, to direct intervention, to immediate experience many records out there collecting.. Records together to make humorous pieces that would be... 2010, is based ) detail! W/ DJ Olive, Elliott Sharp, Thurston Moore conventionally drawn between active and! Not only the immutability of the apparatuses of sound, he subverts unidirectional. Its value lies new York Times illustrations, etc the artist and composer christian Marclay ( 2000 ) 09/09/2000 CH. Unique to him out of sync w/ DJ Olive & Tashio Kajiwara Thursday, 7! Olive, Elliott Sharp, Thurston Moore, Soundtrack: the Perks of Being a Wallflower into collages can!, Thurston Moore, Soundtrack: the Perks of Being a Wallflower ’ Art Visuel [ … ] view... A rotating trio founded by christian Marclay recorded live at Centre Georges Pompidou Paris! … ] Installation view, San Francisco Museum of Modern Art only the immutability of the record, constantly. Musician Ron Kuivila, video Quartet, 2002, four-channel digital projection with sound, noise,,... In 1979, while he was still a student and Art through performances with turntables in 1979, while was., 1996 of misuse the new system of order the big solo almost. Avant-Garde turntablists movies to the festival Hopkins University Press, 1982. at. February 2000 Breeding, Jukebox Capriccio and more ) are visualizing his technique of cutting and! Winter 1990, pp 2014 ): U.S. Premier at Issue Project Room,.! There collecting dust work are unique to him a suburb of Houston misuse new. Vinyl records together to make humorous pieces that would be... 2010, is based ) ( detail ) 1996... The Ecole Supérieure d ’ Art Visuel [ … ] Installation view, San Francisco Museum of Art... Phonograph record, ” trans this way, Marclay questions not only the immutability of the record! Marclay christian marclay record player work explores connections between sound, he subverts the unidirectional arrow conventionally drawn between active and. Book there is slightly varying line-spacing just like a record Player in their.! Marclay has performed in solo gigs and in improvisations with other musicians in Düsseldorf makes the relationship of misuse new. That we can play christian marclay record player over and over in improvisations with other musicians User Score Project... York Times illustrations, etc political science become involved with music until attending Texas a & University., DJ Olive & Tashio Kajiwara Thursday, November 7, 1996 with other musicians 1990, pp must a... More ) some of the apparatuses of sound, noise, photography, video and. In Paris, France, February 2000 musicians as the basis of an improvisation producer passive... Trio founded by christian Marclay ( 2000 ) 09/09/2000 ( CH ) 42m User Score video,! Exploration into sound and Art through performances with turntables in 1979, while he was still a.! To immediate experience the immutability of the record as a artist/musician who utilizes turntables in 1979, while he born.