When the experimental artwork meets the musical sense, it puts into question the visitors’ fundamental notions of music.  It is time to pass the front door of the Whitney Museum, an impressive modern granite building, to explore one of the world’s major collections of the 20th-century American art.  This summer, the museum chooses to feature Christian Marclay, a sound artist.

As you exit the elevator on the second floor, you immediately dive in the all music-related universe of the modern-day artist.

All around the first room, some onomatopoeias “Keras”’, “Conk” seem to arise from some collages of Manga comics.  On the next table, you will be delighted to see on display some sweets boxes from all over the world.  This collection reminds everyone that music has no borders.  In the left corner of the room, your eyes will be attracted by a collection of clothes, “Prêt-à-Porter,” made out of fabrics decorated with some musical notations.  In the artist intention, these clothes are meant to be either exhibited as a visual piece of art, or worn during a concert.

Christian Marclay’s installations are audio and visual at the same time.  The artist declares that: “Sound and image are very closely intertwined in his work.”  By using different artistic techniques, such as collages, photography, videos, he creates some so called “graphic scores” which can be used to improvise musical performances.

Marcel Duchamp invented the readymades, defined by the Surrealist leader –André Breton– as “manufactured objects raised to the dignity of works of art through the choice of the artist.”  Christian Marclay, by collecting found objects, follows the same process.  Walking in the next room of the exhibition, you will be surprised to see some collaged vinyls records, used as instruments.  Thanks to these creations, Christian Marclay is considered today as the precursor of the turntablism, the art of manipulating records to create music.

Along with these visual installations, some experimental musicians interpret the so-called Graffiti Composition.  From my seat, I can see Mary Halvorson, holding a wooden guitar, and Ikue Mori behind a laptop.  This unique concert begins and every spectator can relax while the guitarist is playing finger picked.  But, all of the sudden, some electronically sounds, in turn piercing high or low-pitched, take over.  The reactions of the audience seem to be part of this experimental performance.  Some remains unmoved, while others shake their body in rhythm.  By closing my eyes, I glide away towards a beach thanks to the noise of stones skipping.  The dissonant tunes and complexed rhythms of this performance bring the most skilled listeners back to some other performances, such as Georges Asperghis’s latest production: Les Boulingrins.  In this French Opera, the music clearly expressed the actions and the feelings of the characters on stage.  In Graffiti Composition, there is no staging: it’s up to the visitors to link the sounds of the performance with the pictures and the videos exhibited. Straight after the concert, the guitarist interprets the visitors’ creation: a wall-sized Chalkboard delineated with musical staff lines.  As a result, the music is collective and ephemeral.

Christian Marclay’s unconventional music might leave some visitors puzzled.  To get your own idea of his music, just listen to the track: Jane Birkin & Serge Gainsbourg from More Encores.  No matter your feelings, Christian Marclay’s work widens contemporary sound art. Should Christian Marclay’s compositions be considered as a turning point in the world history of music?
***
Check out an excerpt from Christian Marclay’s “Jane Birkin & Serge Gainsbourg”

As well as a mini-documentary on the turntable pioneer himself: