Los Angeles

Christian Marclay, Footstompin’, 1991, album covers and thread, 17 1/4 x 36". From the series “Body Mix,” 1991–92.

Christian Marclay

Hammer Museum

Karlheinz Brandenburg is a name that would probably ring few bells for visitors to Christian Marclay’s midcareer retrospective at the UCLA Hammer Museum, but in critical respects, he stands as a kind of shadow figure to the artist’s investigations into the intersection between sound and visual culture. Surveying Marclay’s output of the last two decades—collaged album covers, altered vinyl, and musical instruments retooled into sculptural objects, as well as video and photography—one confronts a host of musical references as a matter of course: John Cage, Sonic Youth, any number of mixmasters and turntablists. But Brandenburg? The principle inventor of MP3 compression technology, Brandenburg recently slammed the practice of illegal file sharing while kneeling at the altar of analog music. “My sympathy is always with the artists and even with the record labels,” he remarked. “I don’t like

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