«Christian Marclay was born in California and grew up in Switzerland, and for nearly 30 years he has approached music from the standpoint of a visual artist. As a student at the Boston Massachusetts College of Art, from which he graduated in 1980, he performed in a punk band called The Bachelors, Even, inspired by the title of Marcel Duchamp's The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (La mariée mise à nu par ses célibataires, même [Le grand verre], 1915–23). Though an early pioneer of turntablism (the use of records and turntables as musical instruments), Marclay is less interested in music composition per se than in exploring the relationship between sound and image, which he does through collage, photography, sculpture, and video. He is influenced by the chance-determined operations of avant-garde artist and composer John Cage, and often incorporates Cageian procedures of creating a framework through which any external event or act becomes part of or contributes to the work of art. […] Marclay's work has been exhibited widely, and he frequently performs, usually by spinning records and often in collaboration with other musicians, in conjunction with his exhibitions. He has had solo exhibitions at Kunsthaus Zürich and Whitney Museum of American Art, New York (both 1997); ArtPace, San Antonio, Texas (1999); Armand Hammer Museum of Art and Cultural Center, University of California, Los Angeles, and Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York (both 2003); and Seattle Art Museum and Barbican Art Gallery, London (both 2004). The Whitney mounted a survey of his graphic scores, Christian Marclay: Festival, in 2010, and Paula Cooper Gallery, New York, screened Marclay's 24-hour video work, The Clock, in 2011. The work was also shown at the 2011 Venice Biennale and, due to it, Marclay received the Golden Lion award for best artist at the exhibition.» -- www.gugghenheim.org