born in San Raphael, California
lives and works in New York City
solo exhibitions (selected)
The Clock, SFMoMA, San Francisco
Things I’ve Heard, Fraenkel Gallery, San Francisco
The Clock, Wexner Center for the Arts, Columbus
The Clock, MoMA, New York Every Day, Queen Elizabeth Hall, London
The Clock, Théâtre National de Chaillot, Paris
Everyday, Ruhrtriennale, Bochum
The Clock, Power Plant, Toronto
The Clock, Kunsthalle Zurich, Zurich
Baggage, Prom 47: Cage Centenary Celebration, Royal Albert Hall, London
The Clock, Lincoln Center, New York
Seven Windows, Palais de Tokyo, Paris
Scrolls, Gallery Koyonagi, Tokyo
Cyanotypes, Fraenkel Gallery, San Francisco
The Clock, Paula Cooper, New York; Garage Centre for Contemporary Art, Moscow; Los Angeles County Museum of Art, Los Angeles; Israel Museum, Jerusalem; Centre Pompidou, Paris; Museum of Fine Arts, Boston
What You See is What You Hear, LEEUM Samsung Museum of Art, Seoul
The Clock, White Cube, London
Festival, Whitney Museum of American Art, New York
Fourth of July, Paula Cooper Gallery, New York
Christian Marclay with Okkyung Lee, Café Oto, London
Christian Marclay, Zoom Zoom with Shelley Hirsch, Louvre, Paris
Christian Marclay with Irène Schweizer at Gare du Nord, Basel
Christian Marclay with Okkyung Lee, Café Oto, London
Christian Marclay with Otomo Yoshihide, Café Oto, London
Christian Marclay: Replay, DHC Art Foundation, Montreal
Christian Marclay: Cyanotypes, Paula Cooper Gallery, New York, NY
Cycloptically. Rolywholyover, Fifth Episode, Musée d’Art Moderne et Contemporain, Geneva, Switzerland
Christian Marclay: Solo, Parkhaus im Malkastenpark, Dusseldorf
Christian Marclay – SNAP!, Galerie Art and Essai, Rennes, France
Christian Marclay: Stereo, Fraenkel Gallery, San Francisco, CA
Christian Marclay, The Sounds of Christmas, Musée d’Art Moderne et Contemporain, Geneva, Switzerland
Screenplay, The Wire 25, London
Up and Out, Anthology Film Archives, New York, NY
Up and Out, ARTPROJX and White Cube, Prince Charles Cinema, London
Christian Marclay, Woodruff Art Center and The High Museum of Art, Atlanta, GA
Christian Marclay, Michael Benevento, Los Angeles, CA
Replay, Cité de la Musique, Paris, France
Crossfire, White Cube, Hoxton Square, London
Video Quartet, Western Bridge, Seattle, WA
Christian Marclay, Paula Cooper Gallery, New York, NY
The Bell and the Glass, Moderna Museet, Stockholm, Sweden
Hypervision, curated by Denise Markonish, Westport Art Center, Westport, CT
Mixed Reviews, MIT List Visual Art Center, Cambridge, MA
Video Score, Eyebeam, New York, NY
Christian Marclay, Galerie Yvon Lambert, Paris, France
Works on Paper – 2005, Schmidt Contemporary Art, St. Louis, MO
Shake, Rattle and Roll (Fluxmix), Paula Cooper Gallery, New York, NY
Christian Marclay, Barbican Art Gallery, London
The Sounds of Christmas, Tate Modern, London
Shake, Rattle and Roll: Christian Marclay, Franklin Art Works in collaboration with the Walker Art Center, Minneapolis, MN
The Listening Eyes with Christian Marclay, Telecom Italia Future Centre, Venice, Italy
Christian Marclay, Seattle Art Museum, Seattle; Kunstmuseum Thun, Switzerland; Collection Lambert, Avignon
Christian Marclay: Telephones, Sprengel Museum Hannover, Hannover
Christian Marclay, UCLA Hammer Museum, Los Angeles, CA; The Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson,NY.
Christian Marclay: Video Quartet, Kunsthalle Fridericianum, Kassel, Germany
Christian Marclay: The Bell and the Glass, Philadelphia Museum of Art, Philadelphia, PA
Christian Marclay: Video Quartet, White Cube, London
Christian Marclay: Video Quartet, Paula Cooper Gallery, NY
Christian Marclay: Three Compositions, Contemporary Arts Center, New Orleans
Look at the Music/SeeSound: Christian Marclay, Ystad Art Museum, Sweden
Graffiti Composition, Neue Nationalgalerie, Berlin, Germany
Sampling/Christian Marclay, San Francisco Museum of Modern Art, San Francisco, CA
Christian Marclay, November Music 2002, S-Hertogenbosch, The Netherlands
The Sounds of Christmas, Museum of Contemporary Art, Miami, FL
Feature, Art, Life and Cinema, Govett-Brewster Art Gallery, New Plymouth, New Zealand
Video Café: E/Motion Studies, Queens Museum of Art, Long Island City, NY
Audible Imagery, Museum of Contemporary Photography, Chicago, IL
Telephones, Delaware Center for Contemporary Art, Wilmington, DE,
Museum of Contemporary Art, Chicago, Illinois
Currents: Christian Marclay, Saint Louis Art Museum, St. Louis, Missouri
Guitar Drag, Gallery Koyanagi, Tokyo, Japan
New Works, Paula Cooper Gallery, New York, NY
Christian Marclay: The Sounds of Christmas, The New Museum of Contemporary Art / Media Z Lounge
Christian Marclay: Cinema, Oakville Galleries, Oakville, Ontario, Canada
Christian Marclay: Video & Photography, Museet for Samtidskunst, Roskilde, Denmark
Telephones, Paula Cooper Gallery, New York, NY
ArtPace, A Foundation for Contemporary Art/San Antonio, San Antonio
Pictures at an Exhibition, Whitney Museum of American Art at Phillip Morris, New York, NY
Arranged and Conducted, Kunsthaus Zurich, Zurich
Accompagnement Musical, Musée d’Art et d’Histoire, Geneva
Amplification, Venice Biennial, Chiesa San Staë, Venice
Fawbush Gallery, New York, NY
Fri-Art Centre d’art contemporain Kunsthalle, Fribourg
Margo Leavin Gallery, Los Angeles, CA
The Wind Section, Galerie Jennifer Flay, Paris
Masks, Galleria Valentina Moncada, Rome
Galerie Isabella Kacprzak, Köln
Interim Art, London
Tom Cugliani Gallery, New York City
Tom Cugliani Gallery, New York City
Hirshorn Museum, Washington, D.C.
Tom Cugliani Gallery, New York City
Galerie Rivolta, Lausanne
Tom Cugliani Gallery, New York City
One Thousand Records, Gelbe Musik, Berlin
Clocktower, “850 Records”, New York City
group exhibitions (selected)
Pop Politics: Activism at 33 revolutions, CA2M, Madrid
The Voice and the Lens: Part II, Ikon Gallery, Birmingham
Privacy, Schirn Kunsthalle, Frankfurt
Shoot! Existential Photography, Photographer’s Gallery, London
Shoot! Existential Photography’, Museum of Photography, Braunschweig
Festival Images 2012 Vevey, Vevey
Sounds Like Silence, Hartware MedienKunstVerein at Dortmunder U, Dortmund
Silence, The Menil Collection, Houston
I’m Losing More Than I’ll Ever Have: The Practice of Everyday Life, SMART Project Space, Amsterdam
British Art Show 7: In The Days of the Comet, Hayward Gallery, London;
Tramway, Glasgow; Plymouth Arts Centre, Plymouth
Our Magic Hour – How Much of the World Can We Know? Yokohama Triennale, Yokohama
The View from a Volcano: The Kitchen’s Soho Years 1971- 85, The Kitchen, New York
Illuminations, 54th International Art Exhibition, La Biennale di Venezia, Venice
Under Destruction, Swiss Institute, New York
In The Days of The Comet, British Art Show 7, Nottingham Contemporary, Nottingham
Kupferstichkabinett: Between Thought and Action, White Cube, London
Les Rencontres d’Arles, Arles
Cage Mix: Sculpture & Sound, Baltic Centre for Contemporary Art, Gateshead
Furthermore, Fraenkel Gallery, New York
Double Bind, Villa Arson, Nice
Yokohama International Arts & Media Festival, Yokohama
Platform 2009, Seoul
Printemps de Septembre, Toulouse, France
Feedbackstage, Georg Kargl Fine Arts, Vienna
Sonic Youth etc..: Sensational Fix, curated by Roland Groenenboom, LIFE, St.Nazaire, France
You Dig The Tunnel, I’ll Hide The Soil, White Cube, Hoxton Square and Shoreditch Town Hall, London
Art Vidéo Suisse des Années 70 et 80: Une Reconstruction, Kunstmuseum Luzern, Luzern, Switzerland
KRAZY!, The Delirious World of Anime + Comics + Video Games + Art, Vancouver Art Gallery, Vancouver, Canada
Voice & Void, Galerie im Taxispalais, Innsbruck, Austria
BENEFIT AUCTION, Kunsthalle Bern, Bern
Death Becomes Her, Yvon Lambert Temporary Space, Miami, FL Exhibitionism: An Exhibition of Exhibitions of Works from the Marieluise Hessel Collection, Hessel Museum of Art, New York, NY
Stop, Look. Listen., Herbert F. Johnson Museum of Art, Cornell University, New York, NY
Intensities: Noncomformity, Impropriety and Rebellion Between Art and the Music Scene, Torre Muntades Art Centre, Barcelona
J’embrasse Pas, Collection Lambert, Avignon, France
Contemporary+Cutting Edge: Pleasures of Collecting, Part III, Bruce Museum, Greenwich, CT
Voice & Void: 2006 Hall Curatorial Fellowship Exhibition, The Aldrich Contemporary Art Museum, Ridgefield
Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago, IL
Reflection, Pinchuk Art Centre, Kyiv, Ukraine
Listening Awry – Kimsooja, Christian Marclay, Santiago Sierra, Su-Mei Tse, McMaster University Museum of Art, Ontario
The Freak Show, Musée d’Art Contemporain de Lyon, Lyon
RISS/LUCKE/SCHARNIER A – RIFT/GAP/HINGE A, Galerie Nächst St.Stephan/Rosemarie Schwarzwälder, Vienna
Music Is a Better Noise, PS1 Contemporary Art Center, New York, NY
All About Laughter, Mori Art Museum, Tokyo, Japan
Merce Cunningham: Dancing on the Cutting Edge, Museum of Contemporary Art, North Miami
Art, Life & Confusion, organized by René Block, October Art Salon, Belgrade, Republic of Serbia
Without a Camera: The Photogram, curated by Toni Stooss, Museum der Moderne, Salzburg
New York, New York, curated by Lisa Dennison, Germano Celant and Melissa Harris, Grimaldi Forum, Monaco
Case Studies: Art in a Valise, curated by Suzanne Ramljak, Katonah Museum of Art, Katonah, NY
Upsetting the Balance, Zentrum Paul Klee, Bern, Switzerland
From the Audible to the Visible, Galerie Frank Elbaz, Paris, France
Une Vision du Monde, the video collection of Isabelle and Jean-Conrad Lemaître at La Maison Rouge, Paris
AUDIO, curated by Francis Baudevin, Geneva, Switzerland
Hypervision, curated by Denise Markonish, Westport Arts Center, Westport, CN
Do You Think I’m Disco, Longwood Arts Project, Bronx, NY
Deaf, Galerie Frank Elbaz, Paris, France
Kill Your Timid Notion, Dundee Contemporary Arts Music Festival, Scotland
CUT/ Film as Found Object in Contemporary Video, Philbrook Museum of Art, Tulsa, OK
The Downtown Show: The New York Art Scene 1974-1984, Grey Art Gallery, New York, NY
Do You Think I’m Disco?, Longwood Art Gallery, Bronx, NY
Radio Kills The Video Stars/ Side A, FRAC Champagne-Ardenne, Reims, France
Empreinte Moi: Une Exposition de Philippe Segalot, Galerie Emmanuel Perrotin, Paris, France
Suspended Narratives, Curated by Maureen Mahoney, Lora Reynolds Gallery, Austin, TX
New Acquisition, FRAC Champagne-Ardenne, Reims, France
AudioFiles, Contemporary Art Museum: Institute for Research in Art, University of South Florida, Tampa, FL
Collection Lambert en Avignon, Musée d’Art Contemporain, Avignon, France
Girls on Film, curated by Kristine Bell, Zwirner & Wirth, New York, NY
Vídeo música, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
CUT/Film as Found Object, Milwaukee Art Museum, Milwaukee, WI
Le génie du lieu [The Genius of the Place, F.R.A.C. Bourgogne, France
Variations on a Silence: Project for a Recycling Plant, Re-Tem Tokyo Plant, Tokyo, Japan
Aural Cultures, Walter Phillips Gallery, Banff, Alberta
Material Matters, Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY
None of the above, curated by Cesar Marzetti, Museum of New Art, Detroit, MI
Realm of the Senses, James Cohan Gallery, New York, NY
None of the above, curated by John Armleder, Swiss Institute, New York, NY
Cut: Film as Found Object, Museum of Contemporary Art, North Miami, FL.Travelled to Milwaukee Art Museum, Milwaukee, WI, Philbrook Museum of Art, Tulsa
Thinking Out Loud, presented as a part of Melbourne International Arts Festival, Heide Museum of Modern Art, Victoria, Australia
Audioframes 3, Centre d’arts Limelight, Kortrijk, Belgium
In Extremis; Printemps de septembre in Toulouse Festival of contemporary images, Les Abattoirs, Toulouse
Festival d’Automne à Paris 2004, Espace Topographie de l’Art, Paris
Sons & Lumiéres, Centre Georges Pompidou, Paris, France
Reactivity -unpredictable past, ICC/InterCommunication Center, Tokyo, Japan
The Fifth International Biennial Exhibition, Disparities and Deformations: Our Grotesque, curated by Robert Storr, SITE Santa Fe, New Mexico
Transmit+Transform, Santa Fe Art Institute, New Mexico
Genesis Sculpture, Experience Pommery #1, Domaine Pommery, Reims, France
Collage, Bloomberg Space, London
ipeg_bild.on.maschine, Künstlerhaus Bethanien, Berlin, Germany
I, Assassin, curated by Slater Bradely, Wallspace, New York, NY
Playlist, Palais de Tokyo, Paris, France
Ouroboros: Music of the Spheres, CCA Glasgow, Scotland
Sample This: The Art of Collage, University of Virginia Art Museum, Charlottesville, VA
Pop Rock!, Caren Golden Fine Art, New York, NY
fast forward. Media Art Sammlung Goetz, Zentrym für Kunst und Medientechnologie, Karlsruhe, Germany
Night Moves, San Jose Institute of Contemporary Art, San Jose, CA
PLUNDER: culture as material, Dundee Contemporary Arts, Dundee, Scotland
Go Johnny Go!, Kunsthalle Wien, Vienna, Austria
The Sound of Video – Voice and Rhythm in Audiovisual Art, LAB, Copenhagen
Incommunicado (organized by Hayward Gallery, London for Arts Council England), Sainsbury Centre for Visual Arts, Norwich. Travelled to City Art Centre, Edinburgh; Cornerhouse, Manchester
Living with Duchamp, The Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY
Now Playing, Bluecoat Gallery, Liverpool, UK
Not Exactly Photographs, Fraenkel Gallery, San Francisco, CA
Formed to Function, John Michael Kohler Arts Center, WI
Extended Play, Govett-Brewster Art Gallery, New Zealand
Pantalla suiza, Museo Nacional Centro de Arte Reina Sofia, Madrid (organized by ARCO 2003)
Harlem Postcards II, The Studio Museum in Harlem, New York, NY
Air Guitar, Angel Row Gallery, Nottingham, UK
Telephones, Anthony Wilkinson Gallery, London, UK
Stutter, Stutter, Shaheen Gallery, Cleveland, OH
“…Message sent…,” City Art Center, Edinburgh, Scotland
Mirror Image, UCLA Hammer Museum, CA
Shoot the Singer: Music on Video, Institute of Contemporary Art, Philadelphia, PA
Whitney Biennial, Whitney Museum of American Art, New York, NY
Rock My World, California College of Arts and Crafts, Oakland, CA
Media Field: Old New Technologies, Wiilliams College Museum of Art, Williamstown, MA
40 Years of Fluxus events, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
do it (home version), online project at www.e-flux.com, curated by Hans Ulrich Obrist
The Second Phase: Interpretations of the Photographic Portrait, Deutsches Museum, München, Germany
Expo 2002, Yverdon-les-Bans, Switzerland
Air Guitar: Art Reconsidering Rock Music, Milton Keynes Gallery, Milton Keynes; Travelling to Turnpike Gallery, Leigh; Angel Row Gallery, Nottingham; Tullie House, Carlisle
Art Downtown; New Photography, Wall Street Risini, NY
Jack, Cinch & XLR: Amplified Images, Le Crestet Centre d’Art, Crestet, France
The LP Show, Andy Warhol Museum, Pittsburgh, PA
Something/Anything, Matthew Marks Gallery, New York, NY (Curated by Nayland Blake)
Fluxus und die Folgen, Kunstsommer Wiesbaden, Germany
Guitar Drag, Post-Fluxus Exhibition, Wiesbaden
The Passing, Galeria Helga de Alvear, Madrid, Spain
Unexpected Selections from the Martin Z. Margulies Collection: Art from 1985 to the present, The Art Museum at Florida International University, Miami, FL
Some Assembly Required: Collage Culture in Post-War America, Everson Museum of Art, Syracuse, NY
The Body in Music, Cité de la Musique, Paris, France
Mirror Mirror, Mass MOCA, North Adams, MA
Electric Body: le corps en scéne, Cité de la musique – Musée de la musique, France
Audible Imagery: Sound and Photography, The Museum of Contemporary Photography, Columbia College, Chicago, IL
Remapping the City, New Ears Festival, Kortrijk/Begium, Lille/France
Re:Direct, Künstlerhaus Stuttgart/Germany
Zero Visibility, Vilnius, Ljublijana and Genazzano/Rome
Now Playing: Audio in Art, Susan Inglett Gallery, New York, NY
art>music, Museum of Contemporary Art, Sydney, Australia
In Sync, Cinema and Sound in the Work of Julie Becker and Christian Marclay, Whitney Museum of American Art, New York, NY
The LP Show, Exit Art, New York, NY
Body & Sin, Valencia Biennial, Valencia, Spain
Looking at You, Kunsthalle Fridericianum, Kassel, Germany
Video Streets, Downtown Arts Festival, New York, NY (Screening of “Mixed Reviews”)
Recasting the Past: Beneath the Hollywood Tinsel, Main Art Gallery, California State University Fullerton, CA
Best of the Season, The Aldrich Museum of Contemporary Art, Ridgefield, CT
Wiederaufnahme (Retake), NAK Neuer Aachener Kunstverein, Frankfurt, Germany
Translated Acts: Performance and Body Art from East Asia 1990-2001, Queens Museum of Art, New York, NY
Record All-Over, 9th Biennial of Moving Images, Centre pour l’image Contemporaine, Saint-Gervais Geneva
Feature: Art, Life & Cinema, Govett-Brewster Art Gallery, New Plymouth, New Zealand
Le temps, vite!, Centre Georges Pompidou, Paris, France
Group exhibition at Teachers Insurance and Annuity Association College Retirement Equities Fund organized by Viart
Group Video Exhibition; The Badischer Kunstverein, Karlsruhe, Germany; travelled to Gallery for Contemporary Art Bunkier Sztuki, Krakow, Poland; House of Contemporary Arts Trafo, Budapest, Hungary; Lux Centre, London
Human Gender and Being, Kwangju Biennale, Kwangju, Korea
Sonic Boom: The Art of Sound, Hayward Gallery, London
Making Sense: Ellen Gallagher, Christian Marclay and Liliana Porter, Contemporary Museum, Baltimore, MD Umedalen Skulptur 2000, Galleri Stefan Andersson, Umea, Sweden
Group Show, Paula Cooper Gallery, New York, NY
Volume: Bed of Sound, P.S. 1 Contemporary Art Center, Long Island City, NY
Presentation House Gallery, Vancouver, British Columbia, Vancouver
Internationales Videoprogramm, Badischer KunstVerein, Karlsruhe, Germany
La Biennale de Montreal, Centre International D’Art Contemporain de Montreal, Montreal
Off the Record: Music in Art, Center Gallery, Bucknell University, Lewisburg, PA
Berlin Open, Trafo Galeria, Budapest, Hungary
Print Publishers’ Spotlight, Barbara Krakow Gallery, Boston, MA
S.O.S.: Scenes of Sound, Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY
To Infinity and Beyond: Editions for the Year 2000, Brooke Alexander Gallery, New York, NY
Hard Pressed: 600 Years of Prints and Process, AXA Gallery, 787 Seventh Avenue, New York, NY
Wanted! International Video Program, Bunkier Sztuki
Art on Paper, Weatherspoon Art Gallery, Greensboro, NC
dAPERtuto, La Biennale di Venezia, Venice
Releasing Senses, Tokyo Opera City Art Gallery, Tokyo
Notorious, Alfred Hitchcock and Contemporary Art, Museum of Modern Art, Oxford, England
Talk Show, Von der Heydt Museum, Wuppertal; Haus der Kunst Munich
Musique en Scène, Musée d’art contemporain, Lyon
Videodrome, The New Museum of Contemporary Art, New York, NY
The International Artist-in-Residence Program, ArtPace, San Antonio, Texas
Group video exhibiton, Badischer Kunstverein Karlsruhe, Karlshruhe, Germany; Gallery for Contemporary Art Bunkier Sztuki, Krakow, Poland
I love New York, Ludwig Museum, Cologne
Dust Breeding, Fraenkel Gallery, San Francisco, CA
In vitro e altro, Cabinet des estampes, Geneva
Freie Sicht aufs Mittelmeer, Kunsthaus Zurich
Crossings, Kunsthalle Vienna; Rudolfinum, Prague
White Noise, Kunsthalle Bern, Bern
Technoculture (Computer World), Fri-Art, Fribourg
Archiv X, Offenes Kulturhaus, Linz, Austria
Composed, Angles Gallery, Santa Monica, California
Nonchalance, Centre PasquART, Biel, Switzerland & Akademie der Künste, Berlin
Rrose is a Rrose is a Rrose: Gender Performance in Photography, Solomon R.Guggenheim Museum, New York
Art and Film Since 1945: Hall of Mirrors, Museum of Contemporary Art, Los Angeles, CA
Transformers: A Moving Experience, Auckland Art Gallery, New Zealand
Model Home, The Clocktower, New York, NY
It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art, Contemporary Art Center, Cincinnati
Commercial Art, Gallery Paule Anglim, San Francisco, CA
Back Beat: Art Influenced by Rock & Roll, Cleveland Center for the Arts, Cleveland
Klangskulpturen-Augenmusik, Ludwig Museum im Deutschherrenhaus, Koblenz
Temporarily Possessed: The Semi-Permanent Collection, The New Museum of Contemporary Art, New York
Venice Biennial, Venice, Italy
Outside the Frame: Performance and the Object, Cleveland Center for the Arts, Cleveland, Ohio
Playoff, Art & Public, Geneva
Synesthesia: Sound and Vision in Contemporary Art, San Antonio Museum of Art, Texas, TX
Transformers: The Art of Multiphrenia, Center for Curatorial Studies, Bar College, NY
New Delhi Triennial, New Delhi, India
At the Edge of Chaos, Louisiana Museum, Denmark
The Saverage Garden, Fundacion Caja De Pensiones, Madrid; Dan Cameron, Curator
Fluxus Attitudes, Hallwalls, Buffalo, N.Y.; Cornelia Lauf and Susan Hapgood, Curators
Whitney Biennal, Whitney Museum of American Art, New York City
Hidden Reflections, Israel Museum, Jerusalem
Post Human, FAE Musée d’art contemporain, Pully/Lausanne. Travelled to Castello di Rivoli, Torino; Deste Foundation for
Contemporary Art, Athens; Deichtorhallen, Hamburg; Israel Museum, Jerusalem
Status of Sculpture, Bernard Brunon, Curator
Espace Lyonnais d’Art Contemporain, Lyon; ICA, London; Provinciaal Museum, Hasselt, Belgium
Assembled, University Art Galleries, Wright State University Dayton; Barry A.Rosenberg, Curator
Laurie Rubin Gallery, New York City
Regarding Art; Artworks About Art, John Michael Kohler Arts Center, Madison, Wisconsin; Tom Graver and Stanley Grand, Curators
Loving Correspondences, Massimo Audiello Gallery, New York City
Althea Viafora Gallery, New York City
The Stendahl Syndrome, Andrea Rosen Gallery, New York City
Feature, New York City
New Work For New Spaces: Into the 90’s, Wexner Center, Columbus, Ohio
Broken Music, Musée d’Art Moderne Montreal; Ursula Block, Curator
Musée De Carouge, Génèva
Môtier ‘89, Outdoor Exhibition at Val de Travers, Switzerland
Tom Cugliani Gallery, New York City
Strange Attractors: Signs of Chaos, New Museum of Contemporary Art, New York City; Laura Trippi, Curator
The Second Second, (The Disconfort of Recent History), Althea Viafora Gallery, New York City; Bill Arning, Curator
John Gibson Gallery, New York City; John M. Armleder, Curator
Extended Play, Emily Harvey Gallery, New York City; Christian Marclay, Curator
Redefining the Object, University Art Galleries, Wright State University, Dayton; Barry A. Rosenberg, Curator
Cleveland Center for Contemporary Art, Cleveland
Daniel Newburg Gallery, New York City
Ecart, Basel Art Fair
Tom Cugliani Gallery, New York City
Kunstverein Freiburg, West Germany
Paul Kamin Gallery, New York City
Group Material Politics and Election, Dia Art Foundation, New York City
Art Edition, Ecart, Galeries Jean-Francois Dumont, Bordeaux
Ecart, Basel Art Fair
Emily Harvey Gallery, New York City
Multiples, Galerie Daniel Buchholz, Köln
Tom Cugliani Gallery, New York City
Craig Cornelius Gallery, New York City
Ecart, Basel Art Fair
Künstler Schallplatten, Galerie Vorsetzen, Hamburg
Soundwave, City Gallery, New York City
On the Wall/On the Air: Artists Make Noise, Hayden Gallery, Massachusetts Institute of Technology, Cambridge
Visual Sound, Brattleboro Museum, Brattleboro, VT
Ecart, Basel Art Fair
Sound Seen, Washington Project for The Arts, Washington, D.C.
Christian Marclay's Cochlear Implants by Philip Sherburne
Taking the musical world as his primary material, Christian Marclay fuses the documentary with the imaginary, merging the public and private worlds of listening. Many sound artists have traversed the limits of silence—beyond John Cage, of course, see Francisco López, or Reynols, or Richard Chartier—but Marclay’s work is different. It either emits sound or it does not.
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The Sounds Of Silence. Marclay at the Hirshhorn by Michael Welzenbach
In the large, wood-floored, echoing gallery, the bell-like white noise of continuously trickling water is decidedly at odds with the bright, antiseptic surroundings. The sound issues from a reel-to-reel tape recorder perched high on a wooden ladder that joins the floor to the 14-foot ceiling. From the recorder a constant stream of fine brown tape snakes down to the floor, sinuously folding itself into an ever-growing shiny heap behind the ladder.
This is “Tape Fall,” part of a large installation by avant-garde musician, sculptor and performance artist Christian Marclay, which opened at the Hirshhorn Museum June 27 as the most recent of the ongoing “Directions” series of solo exhibits by contemporary artists. And it’s the most interesting thing in the show.
Marclay is essentially a postmodern conceptualist in the mold of Haim Steinbach and others of New York’s New Museum of Contemporary Art crowd, and his graphic and sculptural endeavors are intimately tied to his musical interests. But you will be forgiven for believing you’ve walked into some sort of recording industry museum, or perhaps a novelty shop for record buffs. More a collection of separate pieces than one integrated idea, this installation seems intended to function as a sort of walk through the mind of its patently obsessive creator.
Everything but the tape recorder piece is related to the age of the phonographic record: There are suitcases with speakers set into them, and a giant clear vinyl sheet of pressed but untrimmed recordings. There is an antique side table inset with 12-inch speakers, and a glass-topped case full of colorful collages constructed of cut up and reassembled albums. On the floor are five cubes made from melted and compacted records, reminiscent of John Chamberlain’s compacted car-part sculptures of the early 1960s, and there is a large beeswax candle cast from the interior of an old Victrola horn. (Just so there’s no confusion about that, the horn itself sits nearby.) There are allusions to the work of Marcel Duchamp and Man Ray, both of whom evidently made quite an impression on this young artist, despite the fact that they had pretty well summed up the conceptual possibilities of mass-produced objects some 50 years before he was born. The most obvious of these homages is an old wooden door in which Marclay has cut violin “f”-holes, a direct reference to Man Ray’s famous “Le Violon d’Ingres.” But the artist also bows to the work of such trendy art stars as Sherrie Levine and Sarah Charlesworth. You know, the popular- commercial-product-as-signifier-and-icon-of- the-postmodern-age gang. The folks who take photographs of photographs and “appropriate” magazine advertisements.
Marclay takes old album covers and collages them to form new designs, with the occasional word or non sequitur highlighted-just to make you wonder why it’s there. There’s a crucifix constructed of speakers, and an arrangement of photographs of the mouths of the rich and famous, just as a divertissement. If you look hard you might recognize the open maws of John Lennon, Alfred Hitchcock and others, some of whom would be better off for a visit to the dentist. There is, however, no music to be heard. Only the tape of the water. Supposedly something profound is implicit in all of this. Wait a minute… . Yes, by George! It’s all about the absence of the music that can be heard only when records are played on a phonograph.
There are, I’m sure, other associations to be inferred from the choice of materials, such as they are. In the essay for the catalogue, assistant curator Amanda Cruz writes, “Because of the fragility of their surfaces and because every nick can be heard when played, records must be carefully tended: kept clean and stored in a dry, cool place. They are becoming increasingly rare commodities and can be fetishes for those who resist new technology. Marclay exploits these associations in his record-objects.” All of which is mildly interesting, if not pretty obvious. But after a while you can’t help but get the impression that if you had an obsession, say, with ashtrays-which are surely just as valid as icons signifying the passing of a 20th-century American phenomenon-you could presumably be invited by the Hirshhorn to mount an exhibit, provided you could come up with enough different ashtrays and ways to display them. It might even be more interesting.
The Washington Post, July 7, 1990
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Marclay, Hoberman, Sound And Fury by John Rockwell
Christian Marclay and Perry Hoberman have created a curious mixed-media monster this weekend at the Kitchen, 512 West 19th Street, with the last of four evening performances set for tonight at 8:30.
Entitled ”No Salesman Will Call” and seen Friday evening, it consists of a 75-minute barrage of audio and video images, juxtaposed in a way that sometimes sounds freely improvised but in many respects is clearly very minutely planned.
Visually, the effect recalls a Laurie Anderson show, only denser in its imagistic
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Arte Povera Installations: Engineering and Alchemy by Roberta Smith
Gilberto Zorio, whose work is on view at the Sonnabend Gallery in SoHo, is a practitioner of Arte Povera, the unusually elegant and poetic installation art that emerged in Italy in the late 1960’s and early 70’s. Like their American counterparts – such artists as Richard Serra, Robert Smithson and Robert Morris – the ”poveristi” avoided portable, studio-made sculpture. They opted instead for work that was concocted, often quite casually. on the spot
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Performance Art: 'Dead Stories' by John Rockwell
THE downtown performing arts have recently been dominated by ”performance art,” which is not as tautological as it sounds. Instead of music or dance or poetry or theater or video, the scene has been taken over by solo and group ”performances” that owe no particular allegiance to any of those disciplines. Performers lap happily from art to art, most often in an atmosphere of cheerful
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Books and Catalogues
Clauβ, Ingo (ed.), KABOOM! Comics in Art. Museum für moderne Kunst, Bremen 2013, pp. 126-127; illus.
The Unphotographable. Fraenkel Gallery, San Francisco, CA 2013, pp. 49; illus.
Estrella de Diego, Sobre Papel/On Paper. Cáceres: Fundación Helga de Alvear, Centro de Artes Visuales, 2013. pp. 274.
Francisco J. Ricardo. The Engagement Aesthetic: Experiencing New Media Art Through Critique, Bloomsbury, Vol. 4., London 2013 pp. 51, 53; illus.
Moving. Norman Foster on Art, Carré dʼArt-Musée dʼart contemporain, Nîmes, France 2013, pp. 302-303; illus.
Kent, Rachel, Marking Time, Marking Time, Museum of Contemporary Art Australia, Sydney 2012; pp. 24-38; illus.
The Art Book, London, Phaidon Press Limited, 2012, p. 351; illus.
This Will Have Been: Art, Love, and Politics in the 1980ʼs, Museum of Contemporary Art, Chicago 2012.
Museum of Contemporary Art Chicago and Yale University Press, New Haven and London, 2012, pp. 94-96; illus.
Roman Kurzmeyer, Friedemann Malsch (eds.), Example: Switzerland, Unbounding and Crossing Over as Art, Kunstmuseum Liechtenstein, Hatje Cantz, pp.141-143.
Notations: The Cage Effect Today, Hunter College/Times Square Gallery, New York, NY 2012 .
Christophe Cherix (ed.), Print/Out, The Museum of Modern Art, New York 2012; illus.
Paper, Musée dʼArt moderne et dʼArt contemporain – Nice 2012, pp. 82-85; illus.
Dieter Daniels, Inke Arns (eds.), 4’33” Sounds Like Silence, Spector Books, Leipzig 2012. pp. 264; illus.
Behold, America! Art of the United States from Three San Diego Museums. Museum of Contemporary Art San Diego/The San Diego Museum of Art/Timken Museum of Art, San Diego 2012. pp. 314; illus.
Microsoft Art Collection: 25 Years of Celebrating Creativity and Inspiring Innovation, Microsoft Corporation, Redmond, WA 2012, pp. 64; illus.
Colección Helga de Alvear, El Arte del Presente/ The Art of the Present, Madrid. 2013
Christian Marclay, Scrolls, Gallery Koyanagi, Tokyo 2011; illus. Dis Connecting Media, co-ed. by U. Autenrieth, A. Blattler, R. Buschauer, D. Gassert. Christoph Merian Verlag 2011, p. 209; illus.
Alice in Wonderland, The Finnish Museum of Photography, Helsinki, Finland, pp. 96-97; illus.
Cyanotypes: Christian Marclay, Graphicstudio | Institute for Research in Art, University of South Florida, Tampa, FL and JRP/Ringier, Zürich 2011.
Krauss, Rosalind. Under the Blue Cup, Massachusetts Institute of Technology, Boston, MA pp. 19, 102-103; illus.
Foster, Hal, Rosalind Krauss, Yves-Alain Bois, Benjamin H.D. Buchloh, and David Joselit, Art Since 1900: Modernism, Antimodernism, Postmodernism, 2nd ed. Thames & Hudson, London 2011, pp. 718-22; illus.
Leader, Darian, The Clock: Christian Marclay, White Cube, London 2010; illus.
Christian Marclay: Festival, The Whitney Museum of American Art, New York, NY 2010; illus.
La musique nʼa pas dʼauteur: Gradhiva: Revue dʼanthologie et dʼhistorie des arts, Musee du quai Branly, Paris 2010, pp. 150-151; illus.
Schoonmaker, Trevor, The Record: Contemporary Art and Vinyl, Nasher Museum of Art at Duke University, Durham, NC 2010, pp. 15,19, 129- 136, 192, 207; illus.
Criqui, Jean-Pierre, Fourth of July, Paula Cooper Gallery, 2010.
Du Lourd et du Piquant, Les Rencontres dʼArles, Actes Sud, Arles, 2010, pp. 180- 181, 216-217; illus.
Bajac, Quentin, Après la photographie? De lʼargentique a la révolution numériuque, Découvertes, Gallimard 2010, p. 81; illus.
Drutt, Matthew, DreamWorks, Artspace San Antonio, San Antonio, TX 2010, p. 15; illus.
Furthermore, Fraenkel Gallery, San Francisco, CA 2010, pp. 9, 71; illus.
Márgenes de Silencio/ Margins of Silence, Helga De Alvear Collection, Centro de Artes Visuales Fundación helga de Alvear, Cáceres 2010.
Sarmiento, Jose Antonio, La musica del vinilo, Centro de Creación Experimental, Cuenca, Spain 2009, pp. 364-366; illus.
Grau Zero, Paço das Artes, Sao Paulo, Brazil 2009, pp. 16-19; illus.
Stop.Look.Listen, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY 2009, pp. 83-83; illus.
Fumihiko, Sumitomo, Deep Images, Yokohama, Japan 2009, p. 32; illus.
Young, Paul, Art Cinema. Taschen, Cologne 2009, pp. 146-147; illus.
Yale University Art Gallery Bulletin 2009, State of the Art: Contemporary Sculpture, Yale University Art Gallery, New Haven, CT 2009, p. 162; illus.
See This Sound: Promises in Sound and Vision, Verlag der Buchhandlung Walther König, Köln, Lentos Kunstmuseum Linz, Linz 2009, p. 127; illus.
Schubiger, Irene (ed.), Reconstructing Swiss Video Art from the 1970s and 1980s, JRP /Ringier, September 2009, p. 65; illus.
Tallman, Susan and Deborah Wye, 200 Artworks – 25 Years Artistsʼ Editions for Parkett, Parkett Publishers, Zürich-New York 2009, pp. 260-261; illus.
Stahel, Urs (ed.), Darkside II, Fotomuseum Winterhur, Winterthur, Switzerland September 2009, p. 46; illus.
Christian Marclay: Snap!, Edited by Valérie Mavridorakis et David Perreau (dir.), Les presses du reel, Dijon/Genève/Rennes 2009.
The Sickness of the Hunting Part I, Curated by Gilbert Perlein, Mamac Nice 2008, pp. 72-73; illus.
Sonic Youth etc.: Sensational Fix, Verlag der Buchhandlung Walther König, Köln 2008, pp. 530-31, 623; illus.
Sound of Art: Musik in Der Bildenden Kunst, Les Grandes Spectacles IIII, Museum der Moderne, Salzburg/Mönchsberg 2008, illus.
Order. Desire. Light. Contemporary Drawing, Irish Museum of Modern Art, Dublin 2008, p. 100, illus.
Attention to Detail, The Flag Art Foundation, New York, NY 2008, illus.
This Is Not To Be Looked At: Highlights from the Permanent Collection of The Museum of Contemporary Art, Los Angeles, The Museum of Contemporary Art, Los Angeles, CA 2008, pp. 180-181; illus.
Zorn, John, Arcana III: Musicians on Music, Conversation Between Christian Marclay and David Toop, Hips Road and Granary Books Inc., New York, NY 2008.
Heartney, Eleanor, Art & Today, Phaidon Press, New York, NY 2008, pp. 148-149; illus.
Blom, Ina, On the Style Site Art, Sociality, and Media Culture, Sternberg Press, New York, NY 2007, p. 251; illus.
Art Works: The Progressive Collection, Distributed Art Publishers, New York, NY 2007, p. 63; illus.
Molon, Dominic, Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago 2007 pp. 36-37, 259; illus.
Exhibitionism: An Exhibition of Exhibitions of Works from the Marieluise Hessel Collection, curated by Matthew Higgs, Hessel Museum of Art, Annandale-on-Hudson 2007.
Contemporary + Cutting Edge: Pleasures of Collecting, Part III, Bruce Museum, Greenwich, CT 2007.
Trummer, Thomas (ed.), Voice and Void, The Aldrich Contemporary Art Museum, Connecticut 2007, pp. 126-131; illus.
Criqui, Jean-Pierre, Christian Marclay Replay, JRP Ringier, Paris 2007.
The Freak Show, Musée dʼArt Contemporain de Lyon, Lyon 2007.
Crossfire, White Cube, London 2007.
Knode, Marilu (ed.), Celebrity, Scottsdale: Scottsdale Museum of Contemporary Art, 2007, p. 24; illus.
All About Laughter: Humor in Contemporary Art, Mori Art Museum: Tokyo 2007, pp. 203-205; illus.
Art Metropole: The Top 100 National Gallery of Canada, Ottowa, Canada 2006. pp. 33, 74, illus.
Block, René, Barbara Heinrich and Svetlana Petrovic, Art, Life & Confusion, 47th October Salon, Belgrade Cultural Centre, Belgrade 2006, pp. 98-9; illus.
Kamera Los: das Fotogramm, Museum der Moderne, Rupertinum, Salzburg 2006, pp. 4, 42; illus.
34th International Film Festival Rotterdam (catalogue), Rotterdam 2005, p. 407; illus.
Gonzalez, Jennifer, Kim Gordon and Matthew Higgs, Phaidon Press Ltd., London 2005; illus.
Material Matters, Herbert F. Johnson Museum of Art, Cornell University, New York, NY 2005; illus.
.ipeg bild.ton.maschine, Künstlerhaus Bethanien, Berlin 2004; illus.
Basilico, Stefano (ed.), CUT Film as Found Object in Contemporary Video, Milwaukee Art Museum, Milwaukee, WI 2004; illus.
Disparities & Deformations: Our Grotesque, SITE Santa Fe, New Mexico 2004; illus.
Doronick, Jim (ed.), Aural Cultures, YYZ Books, Toronto, Canada, 2004; illus.
In Extremis; Printemps de septembre in Toulouse Festival of contemporary images, Les Abattoirs, Toulouse 2004; illus.
Lovejoy, Margot, Digital Currents: Art in the Electronic Age, Routledge, New York, NY 2004, p. 281; illus.
Playlist, Palais de Tokyo – Site de Création Comtemporaine / Éditions Cercle dʼArt, 2004.
Reactivity: unpredictable past, NTT Publishing Co., Ltd., Tokyo 2004, pp. 49-55; illus.
Sons & Lumieres, Centre Pompidou, Paris 2004 illus.
Taylor, Terry. Altered Art, Lark Books, New York, NY 2004, p. 13; illus.
The Bell and the Glass, Philadelphia Museum of Art in collaboration with Relache Inc., Pennsylvania 2003.
Christian Marclay, UCLA Hammer Museum, Steidl, Los Angeles 2003, pp. 148-151, cover; illus.
Go Johnny Go, Kunsthalle Wien, Wien 2003.
Goetz, Ingvild and Stephan Urbaschek. >>fast forward: Media Art Sammlung Goetz, Kunstverlag Goetz GmbH, Karlsruhe 2003, p. 425.
Incommunicado (published on the occasion of the exhibition), Hayward Gallery, London 2003, pp. 74-77.
Lavigne, Emma (et al.), Electric Body: Le corps en scène, Beaux Arts Magazine/Cité de la musique, October 19 – July 13, 2003.
Neri, Louise (ed.), ANTIPODES: Inside the White Cube (exhibition catalogue), White Cube, London 2003, illus.
The Sound of Video – Voice and Rhythm in Audiovisual Art, LAB, Copenhagen 2003.
Block, René and Regina Barthel, Kunstsommer Wiesbaden 2002 – 40 Jahre: Fluxus und die Folgen, Kulturamt der Landeshauptstadt Wiesbaden, Berlin 2002.
Higgs, Matthew, Ann Powers, and Ralph Rugoff, Rock My World: Recent Art and the Memory of Rock ʻnʼ Roll, California College of Arts and Crafts, Oakland 2002.
Kemp, Cornelia, and Susanne Witzgall (eds.), Das zweite Gesicht: Metamorphsen des fotografischen Porträts (The Other Face: Metamorphoses of the Photographic Portrait), Prestel/Deutsches Museum, Munich, March 8 – August 11,2002.
Mahoney, Emma, Air Guitar: Art Reconsidering Rock Music, Milton Keynes Gallery, Great Britain, July 12 – September 1, 2002, pp. 44-5.
Pécoil, Vincent (ed.), Prières américaines, Dijon: Les presses du réel, 2002.
Some Assembly Required: Collage Culture in Post-War America, Everson Museum of Art, Syracuse, NY, September 28, 2002 – January 26, 2003, p. 69.
Stewart, Mary, Launching the Imagination, a Comprehensive Guide to Basic Design, McGraw Hill, 2002, pp. 4-7.
Toop, David, Christian Marclay, in Look at the Music/SeeSound, Ystad Art Museum, Ystad, Sweden 2002, pp. 39-44.
Cramer, Sue. Art>Music: Rock, Pop, Techno, Museum of Contemporary Art, Sydney 2001.
Getlein, Mark, Gilbertʼs Living with Art, 6th edition, McGraw Hill 2001, p. 550.
Groos, Ulrike, and Suzanne Titz, Wiederaufnahme (Retake), NAK Neuer Aachener Kunstverein, Aachen, October 14-December 2, 2001, pp. 97-101.
Chérix, Christophe, Christian Marclay: Guitar Drag, in 9e Biennale de lʼImage en Mouvement, Centre pour lʼimage contemporaine Saint Gervais, Geneva 2001, pp. 82-85.
Burke, Gregory and Hanna Scott (eds.), Feature: Art, Life & Cinema, Govett-Brewster Art Gallery, New Plymouth, New Zealand 2001, pp. 30-31.
Schaffner, Ingrid, Fred Wilson, and Werner Muensterberger, Pictures, Patents, Monkeys and More…on Collecting, Independent Curators International, New York 2001.
Steiner, Rochelle. Currents 84: Christian Marclay, Saint Louis Art Museum, Saint Louis 2001.
Anastas, Rhea, Christian Marclay: Video & Fotografi, Museet for Samtisdskunst Roskilde, Denmark, March 24-May 14, 2000.
Art i Temps, Centre de Cultura Contemporania de Barcelona, November 28, 2000-February 25, 2001.
Art on Paper 2000 (exhibition catalogue), Weatherspoon Art Gallery, Greensboro, NC, 2000.
Beauvais, Yann, and Jean-Michel Bouhours, eds. Monter, Sampler: Lʼéchantillonnage généralisé, Scratch Projection/Centre Pompidou, Paris, November 2000, pp. 24, 26, 74, 78, 80, 141.
Beil, Ralf and Marc Fehlmann. Eiszeit: Kunst der Gegenwart Aus Berner Sammlungen, Kunstmuseum Bern, Switzerland, July 21-October 1, 2000.
Bradley, Fiona, Sonic Boom: The Art of Sound (exhibition catalogue), Hayward Gallery, London, April 27-June 18, 2000.
Criqui, Jean Pierre, and Daniel Soutif, Le Temps, Vite!, Centre Georges Pompidou, Paris, 2000 (also translated into Spanish and Italian).
Gale, Peggy. Tout le temps: Every Time, Biennale de Montréal, CIAC, Montréal, 2000, pp. 106-109.
Marclay, Christian, Le son en images, in Lʼécoute, ed. Peter Szendy, LʼHarmattan, Ircam – Centre Pompidou, Paris 2000.
Platzker, David, and Elizabeth Wyckoff, Hard Pressed: 600 Years of Prints and Process, Hudson Hills Press, New York, in association with International Print Center New York, 2000.
Portis, Ben, Christian Marclay: Cinema, Oakville Galleries, Oakville, Ontario Canada, December 9, 2000 – February 4, 2001.
Tempo!, Palazzo delle Espositioni, July 28-October 2000.
Umedalen Skulptur 2000, Galleri Stefan Andersson, Umeå, 2000, pp. 20-21.
Brougher, Kerry and Michael Tarantino. Notorious: Alfred Hitchcock and Contemporary Art, Museum of Modern Art, Oxford 1999.
Doswald, Christoph. Missing Link: Menschen-Bilder in der Fotografie, Kunstmuseum, Bern, Switzerland, September 3-November 7, 1999.
Frankel, David, Christian Marclay, ArtPace, A Foundation for Contemporary Art, San Antonio 1999.
Kataoka, Mami (ed.), Releasing Senses, Tokyo Opera City Cultural Foundation, Tokyo 1999.
Meyer-Bueser, Susanne, and Bernhart Schwenk, Talk Show: Die Kunst der Kommunikation in den 90er Jahren, Von der Heydt-Museum Wuppertal, March 28-May 25, 1999. Haus Der Kunst, Munich, October 8, 1999-January 9, 2000.
Curiger, Bice, Freie Sicht aufs Mittelmeer, Kunsthaus, Zurich, June 5 – August 30, Zürich 1998.
Fibicher, Bernhard, White Noise, Kunsthalle, Bern, May 21-June 28, 1998.
Godfrey, Tony, Conceptual Art , Phaidon Press, London 1998.
Goldberg, RoseLee, Performance: Live Art Since 1960, Harry N. Abrams, New York 1998.
Pichler, Cathrin, René Block (et al.), Crossings: Kunst zum Hören und Sehen, Kunsthalle Wien, May 28 – September 13, 1998.
Poetter, Jochen, I love New York: Crossover der aktuellen Kunst, Ludwig Museum, Cologne 1998.
Ritter, Michel, Fri-Art Centre dʼart contemporain Kunsthalle (annual catalogue), Fri-Art, Fribourg 1998.
Smolenicka, Maria, Foto Relations, Kunsthaus, Brno, Czech Republic, 1998.
Bezzola, Tobia, Dan Cameron, Simon Maurer, Catherine Quéloz, Philip Ursprung, Birgitt Wiens, Arranged and Conducted, Kunsthaus, Zurich, September 5-October 26, 1997.
Blessing, Jennifer, Rrose is a Rrose is a Rrose: Gender Performance in Photography, Solomon R. Guggenheim Museum, New York, NY 1997.
Doswald, Christoph, and Andreas Meyer, Nonchalance, Centre PasquART, Bienne/Biel 1997.
Marcoci, Roxana, Diana Murphy, Eve Sinaiko (eds.), New Art, Harry N. Abrams, New York, NY 1997.
Obrist, Hans Ulrich, and Guy Tortosa, Unbuilt Roads: 107 Unrealized Projects, Hatje Cantz, Stuttgart 1997.
Tsai, Eugenie. Pictures at an Exhibition, Whitney Museum of American Art at Philip Morris, October 24, 1997-January 25, 1998.
Bogle, Andrew. Transformers: A Moving Experience, Auckland Art Gallery, Aukland, New Zealand 1996.
Brougher, Kerry. Art and Film Since 1945: Hall of Mirrors, The Museum of Contemporary Art, Los Angeles (traveling), March 17-July 28, 1996.
Damsch-Wiehager, Renate, Helvetia Sounds, Villa Merkel, Galerie der Stadt, Esslingen 1996.
Klangkunst, Prestel & Akademie der Künste, Berlin 1996.
Ritter, Michel, Fri-Art Centre dʼart contemporain Kunsthalle, Fri-Art, Fribourg 1996.
Exposition Suisse de Sculpture Môtiers 1995, Editions Acatos, Lausanne 1995.
Ferguson, Russell, Christian Marclay: Amplification, Chiesa San Stae, Venice Biennial, 1995, and Lars Müller, Bern 1995.
Klangskulpturen-Augenmusik, Ludwig Museum im Deutschherrenhaus, Koblenz 1995.
Ritter, Michel, Fri-Art Centre dʼart contemporain Kunsthalle, Fri-Art, Fribourg 1995.
Rubin, David S., Itʼs Only Rock & Roll: Rock and Roll Currents in Contemporary Art, Prestel, New York, NY 1995.
Brentano, Robyn, Olivia Georgia, et al. Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art, Cleveland 1994.
Glasmeier, Michael, and Douglas Kahn, Christian Marclay, daadgalerie, Berlin & Fri-Art Centre dʼart contemporain, Fribourg 1994.
Ritter, Michel. Fri-Art Centre dʼart contemporain Kunsthalle, Fri-Art, Fribourg 1994.
Rugoff, Ralph, Transformers, Independent Curators Incorporated, 1994.
Soejima, Teruto, The Stream of Contemporary Jazz, Maruzen Books, Tokyo 1994.
Veenstra, Irene, My Home Is Your Home, Het Apollohuis, Eindhoven, and Stadsgalerij, Heerlen 1993.
Bourriaud, Nicolas, Not Quiet, Galerie Jennifer Flay, Paris 1992.
Cooke, Lynne, Bice Curiger, and Greg Hilty, Doubletake: Collective Memory and Current Art, Parkett, The South Bank Centre, London 1992.
Deitch, Jeffrey. Post Human, FAE Musée dʼArt Contemporain, Pully/Lausanne 1992 (also traveled toTorino, Athens and Hamburg), pp. 114-115.
Koestenbaum, Wayne, Masks, Galeria Valentina Moncada, Rome 1992.
Landau, Suzanne, and Jim Lewis, Réflexions Voilées, The Israel Museum, Jerusalem 1992.
Macioce, Michael, Light & Dark, Shimmy Disc Publication, New York, NY 1992.
Ritter, Michel, Fri-Art Centre dʼart contemporain Kunsthalle, Fri-Art, Fribourg 1992.
Armstrong, Richard (et al.), 1991 Whitney Biennial (exhibition catalogue), Whitney Museum of American Art, New York, NY 1991.
Cameron, Dan, The Savage Garden, Fundacion Caja de Pensiones, Madrid 1991.
Just What Is It That Makes Todayʼs Homes So Different, So Appealing?, The Hyde Collectionʼs Charles R. Wood Gallery, Glens Falls, New York, NY 1991.
Celant, Germano and Paula Marincola, Residue Politics, Beaver College Art Gallery, Glenside, PA 1991.
Christov-Bakargiev, Carolyn. Storie, Galleria Campo, Rome 1991.
Jaguer, Edouard, and Jean-Jacques Lebel, After Duchamp, Marcel Fleiss Galerie 1900-2000, Paris 1991.
Lauf, Cornelia, and Susan Hapgood (eds.), FluxAttitudes, Hallwalls Center & The New Museum, 1991.
Brunon, Bernard, Status of Sculpture, Espace Lyonnais d’Art Contemporain, Lyon 1990.
Cruz, Amada, Christian Marclay: Directions, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. 1990.
Hosokawa, Shuhei, Aesthetics of Records, Keisoushobou, Japan 1990.
Lander, Dan, and Micah Lexier (eds.), Sounds by Artists, Art Metropole, Toronto 1990. Insert by Marclay.
Lieberman, Rhonda, Catherine Liu, and Lawrence Rickels, Stendhal Syndrome: The Cure, Andrea Rosen Gallery, New York, NY 1990.
Block, Ursula, and Michael Glasmeier, Broken Music: Artists’ Recordworks, daadgalerie, Berlin 1989.
Cooper, Dennis, and Harm Lux, Christian Marclay, Shedhalle, Zürich 1989.
Exposition Suisse de Sculpture Môtiers 1989, La Chaux-de-Fonds, Môtiers 1989.
Trippi, Laura, Strange Attractors: Signs of Chaos, The New Museum of Contemporary Art, New York, NY 1989.
Arteau, Gilles, and Louis Oellet, Obscure 1982-1988, The Canada Council, Quebec City 1988.
Block, Ursula, Peter Frank, Christian Marclay, et al. Extended Play, Emily Harvey Gallery, New York, NY 1988.
Cameron, Dan, Redefining the Object, University Art Galleries, Wright State University, 1988.
Schwartz, Dieter, Kunstverein Freiburg, Kunstverein, Freiburg, 1988.
Frank, Peter (et al.), Fri-Art: Made in Switzerland (exhibition catalogue), Fri-Art, Fribourg, Switzerland, 1985.