Since the early 1980s, Christian Marclay has been working on the edge of the visual arts and music.
In the 1970s he began exploring alternative realms of art and music, incorporating elements of punk and performance into his work, which is often iconoclastic, echoing the Fluxus movement. Drawn to vinyl records, he breaks, scratches and glues them back together to create music made up of a series of chaotic sounds, or uses them in sculptures and installations. In his video Guitar Drag (2000), he explores new sounds by mistreating rock music's favourite instrument. One of the most radical precursors of sampling, Marclay conceived spectacular video installations during the 1990s and created “sonic images” drawn from the depths of cinema.