Since then he has been creating music with what he calls "the lost sounds of the record"— the hiss of a turntable needle, the crackles and pops, skips on faultily-cut records, and even the sound of a record played off-center. Additionally, he tends to find cheap records in stores (in 1998 he bragged that he never paid more than $1USD for a record), cut them up and re-attach them to create specific rhythms or combinations of sound.
Music is a very popular experience that anybody can relate to. It's a lot more popular than painting. [And in any case, in] a performance you have the visual presence of someone producing sound. In my work I'm constantly dealing with the contradiction between the material reality of the art object as a thing and its potential immateriality. In a way immateriality is the perfect state, it is the natural outcome of the ephemeral. In music this aspect of immateriality is very liberating. Ideally I would like to make art that is invisible.
Marclay, Christian.
RESOURCES:
http://en.wikipedia.org/wiki/Christian_Marclay
http://www.egs.edu/faculty/christian-marclay/biography/
http://www.youtube.com/watch?v=4yqM3dAqTzs
http://www.youtube.com/watch?v=iVyO9BaMvAQ
http://www.jca-online.com/marclay.html
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