"In my work as a visual artist, I have been questioning the way sound is stored, manipulated, marketed, distributed, and consumed. The invention of recording technology has transformed sound into tangible objects and thus commodities (i.e. records, magnetic tapes, CDs). The contradiction between the transitory nature of sound and those material objects continue to fascinate me. To attempt to visually represent sound or music, which is by nature immaterial and invisible, is always a sort of failure because this visualization excludes the aural. A silent representation of sound, as in a painting or sculpture, intrigues me because its muteness underscores sound’s intangible nature. The image becomes instead the representation of an absence." Aurality is at the center of Christian Marclay’s work whether it reveals itself as sculpture, collage, assemblage, installation, performance, photography, video, or music and sound. Interested in the interactive potential of music and performance, in multiple bodies of work Marclay examines the relationships and differences between visual and auditory experience. Rooted in the experimental traditions of musique concrete, John Cage, noise and improvised music, Marclay's work bridges the music and art worlds. He has performed solo, recorded his own compositions and collaborated with many musicians including Butch Morris, Sonic Youth and the Kronos Quartet. In the last five years he has been applying the cutting, sampling and mixing techniques of the DJ to the medium of video, in works such as Telephones (1995) and his newest piece, Video Quartet, a four-channel video projection featuring hundreds of short film clips of people playing music.

Born 1955, San Rafael, California and raised in Geneva, Switzerland Lives in New York City since 1980 1980 B.F.A., Massachusetts College of Art, Boston, MA 1975-77 Ecole Superieure d’Art Visuel, Geneva

	2002	Museum of Modern Art, San Francisco
	2001	Museum of Contemporary Art, Chicago; Paula Cooper Gallery, New York
	2000	The Sounds of Christmas, New Museum of Contemporary Art, New York; Christian Marclay: Cinema, Oakville Galleries, Oakville, Ontario, Canada
	1999	Artpace Foundation for Contemporary Art, San Antonio, Texas
	1997	Pictures at an Exhibition, Whitney Museum of American Art at Phillip Morris, New York; Arranged and Conducted, Kunsthaus, Zurich
	1995	Accompagnement Musical, Musée d’Art et d’Histoire, Geneva; Amplification, Venice Biennale, Chiesa San Stae

	2002	Biennial Exhibition, Whitney Museum of American Art, New York
	2001	Art>Music, Museum of Contemporary Art, Sidney, Australia; In Sync: Cinema and Sound in the Work of Julie Becker and Christian Marclay, Whitney Museum of American Art, New York
	2000	La Biennale de Montreal, Centre International d’Art Contemporain, Montreal, Canada; Sonic Boom: The Art of Sound, Hayward Gallery, London; Le temps, vite!, Centre Georges Pompidou, Paris; Making Sense, The Contemporary Museum, Baltimore, MD
	1999	dAPERtuto, Venice Biennale, Venice, Italy; Releasing Senses, Tokyo Opera City Art Gallery, Tokyo; Notorious, Alfred Hitchcock and Contemporary Art, Museum of Modern Art, Oxford; Talk Show, Von der Heydt Museum, Wuppertal; Haus der Kunst, Munich
	1998	I Love New York, Ludwig Museum, Cologne
	1997	Rrose is a Rrose is a Rrose: Gender Performance in Photography, Guggenheim Museum, New York
	1996	Art and Film Since 1945: Hall of Mirrors, Museum of Contemporary Art, Los Angeles; It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art, Contemporary Art Center, Cincinnati.

	1999	Art Pace, artist-in-residence program, San Antonio, TX
	1997	Preis für Junge Schweizer Kunst der Zürcher Kunstgesellschaft, Switzerland
	1995	Prix de la Banque Cantonale de Genève, Switzerland
	1993	DAAD, artist-in-residence program, Berlin
	1988	Bourse fédérale des beaux arts, Switzerland
	1985	New York Foundation for the Arts, Interarts Fellowship
	1985	National Endowment for the Arts, Visual Arts Fellowship