Christian Marclay Voices of Venus 1992 seven album covers and thread 29 1/2 x 29 7/8 in. (75 x 76 cm) Signed and dated "Christian Marclay, 1992" on the reverse.
Provenance Galleria Valentina Moncada, Rome Literature J. Gonzalez, K. Gordon, and M. Higgs, Christian Marclay London, 2005, pp. 138-139 (illustrated) Catalogue Essay 'I found Christian Marclay appropriately situated between Annunzio Mantovani, the easy-listening orchestra leader whose ‘cascading strings’ were enormously popular in the 1950s, and the futurist Filippo Marinetti, who thought the roar of a racing car engine more beautiful than ancient Greek sculpture. For Marclay both poles are equally appealing. All music and all sound comprise the vocabulary with which he works. From sugary orchestration to screeching noise, it is sound – and our culturally determined reactions to it – that forms the basis of his art. Marclay is fascinated by the translation of the audible into visual, and the theme that informs all his work is the space between what we hear and what we see.' (R. Ferguson, "The Variety of Din", Christian Marclay Los Angeles, 2003, p. 19) Read More
Christian Marclay Voices of Venus 1992 seven album covers and thread 29 1/2 x 29 7/8 in. (75 x 76 cm) Signed and dated "Christian Marclay, 1992" on the reverse.
Provenance Galleria Valentina Moncada, Rome Literature J. Gonzalez, K. Gordon, and M. Higgs, Christian Marclay London, 2005, pp. 138-139 (illustrated) Catalogue Essay 'I found Christian Marclay appropriately situated between Annunzio Mantovani, the easy-listening orchestra leader whose ‘cascading strings’ were enormously popular in the 1950s, and the futurist Filippo Marinetti, who thought the roar of a racing car engine more beautiful than ancient Greek sculpture. For Marclay both poles are equally appealing. All music and all sound comprise the vocabulary with which he works. From sugary orchestration to screeching noise, it is sound – and our culturally determined reactions to it – that forms the basis of his art. Marclay is fascinated by the translation of the audible into visual, and the theme that informs all his work is the space between what we hear and what we see.' (R. Ferguson, "The Variety of Din", Christian Marclay Los Angeles, 2003, p. 19) Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
