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. 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. 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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The unprecedented sound installation País con futuro (Country with Future) by José Luis Martinat at Vigil Gonzales gallery uses fragments of the homonymous vinyl, a collaboration with the Peruvian publishing house Meier Ramirez.
As a way of closing the year, Rolf Art Gallery inaugurated the group exhibition Nada tan explícito (Nothing so explicit), an annual exhibition of Vivian Galban's clinic.
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Otumpa is the first exhibition of the artists Guillermo Faivovich and Nicolás Goldberg at the Museo Moderno in Buenos Aires, Argentina. Curated by Javier Villa.
Spiral for Shared Dreams is Colombian artist Carolina Caycedo’s exhibition at MoMA, presenting 11 handmade atarrayas, or fishing nets, denouncing the impact of hydroelectrical dams and other infrastructure on water bodies.
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Open call for the Pastizal Residency, Edition #3 Fungi and Lichens to produce, share, reflect and experience artistic practices and research of interest, in the biodiversity of a Natural Reserve environment. Deadline to apply: March 3, 2024.
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As a way of closing the year, Rolf Art Gallery inaugurated the group exhibition Nada tan explícito (Nothing so explicit), an annual exhibition of Vivian Galban's clinic.
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Soñar el agua, una retrospectiva del futuro (1964-...) [Dreaming of Water, a Retrospective of the Future (1964-...)] is the most comprehensive exhibition at MALBA dedicated to this day to the poet, visual artist and feminist activist Cecilia Vicuña (Santiago de Chile, 1948). It is under the curatorship of Miguel A. López.
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THE SECOND ROTATION OF EL MUSEO DEL BARRIO’S COLLECTION
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Otumpa is the first exhibition of the artists Guillermo Faivovich and Nicolás Goldberg at the Museo Moderno in Buenos Aires, Argentina. Curated by Javier Villa.
THE FIAVOVICH-GOLDBERG DUO AT THE MUSEO MODERNO
Otumpa is the first exhibition of the artists Guillermo Faivovich and Nicolás Goldberg at the Museo Moderno in Buenos Aires, Argentina. Curated by Javier Villa.
Spiral for Shared Dreams is Colombian artist Carolina Caycedo’s exhibition at MoMA, presenting 11 handmade atarrayas, or fishing nets, denouncing the impact of hydroelectrical dams and other infrastructure on water bodies.
CAROLINA CAYCEDO: SPIRAL FOR SHARED DREAMS AT MoMA
Spiral for Shared Dreams is Colombian artist Carolina Caycedo’s exhibition at MoMA, presenting 11 handmade atarrayas, or fishing nets, denouncing the impact of hydroelectrical dams and other infrastructure on water bodies.
Open call for the Pastizal Residency, Edition #3 Fungi and Lichens to produce, share, reflect and experience artistic practices and research of interest, in the biodiversity of a Natural Reserve environment. Deadline to apply: March 3, 2024.
PASTIZAL RESIDENCY: FINAL CALL FOR APPLICATIONS
Open call for the Pastizal Residency, Edition #3 Fungi and Lichens to produce, share, reflect and experience artistic practices and research of interest, in the biodiversity of a Natural Reserve environment. Deadline to apply: March 3, 2024.
