Following last week's post, I have just read that Christian Marclay will be playing live as part of Steve Beresford's 60th birthday celebrations at Dalston's Cafe Oto this weekend.
The line up will feature the following:
Christian Marclay on turntables, Veryan Weston and Tania Chen on pianos, Lol Coxhill and John Butcher on saxophones, Satoko Fukuda on violin, Ute Kanngiesser on cello, Guillaume Viltard on contra bass and Steve Beresford on piano and electronics.
Expect an atonal celebration of all things free and improvisational.
A mini documentary, a video work and some links to performance documents by Christian Marclay.
Marclay emerged from 1980s New York's experimental music and performance scene. Developing turntablism in parallel with, but entirely separate from, Hiphop artists such as Grandmaster Flash, Marclay's approach is abstract and more inspired by experimental and avant-garde music than soul and funk breaks. Preoccupied with the cracks, pops and skips as much as the recordings on his records, he puts his records and turntables through some unbelievable abuse. Perhaps none quite so severe as in this piece though.
This video features a 15 minute performance on 3 turntables and a range of samplers, and interview in which Marclay discusses a number of his most famous pieces including Record Without A Cover and Guitar Drag (below). The presenter is a little bizarre, but Marclay explains his thoughts on his work and methods eloquently.
Guitar Drag 2000 14 minutes
This video, an audio and visual document in which Marclay ties an amplified guitar to the back of a truck before driving around the town of San Antonio, Texas, is rich with cultural references; Fluxus performance, incidental music, rock'n'roll stage-trashing and road movies are all apparent. More specifically it addresses the racially-aggravated murder of James Byrd Jr. who was dragged to his death behind a pickup-truck in 1998.
If you're left wanting more, there's another performance from 1989 here.
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