Marclay’s fascination with music, or more specifically sound, has produced a rather interesting exhibition showcasing her latest body of works.

From attaching a guitar to the back of a pick-up truck (Guitar Drag, 2000) to a quad of continually holstering guns set on four walls of a square room (Crossfire, 2007), vinyl covers, cut and collaged to form meticulously reassembled Frankenstein figures (Recycled Records, 1980-86) to an orchestra playing improvised music from a series of pictorial playing cards (Shuffle, 2007) Marclay explores the recesses and possible limits of making and presenting sound in unconventional ways.

His latest work, Solo, was given its first screening at the Whitechapel Art Gallery as the climax to TOD’S Art Plus Film party. Moving away from found material, which forms the matter of his previous works, Solo is the first time Marclay himself has directed and filmed the footage used for the final piece. It features an actress, Tree Carr and an electric guitar (the guitar, signed by both was auctioned at the party) and plays with the very many symbolic associations attached to the latter.

Over 20 minutes Carr plays the guitar not with her hands but her body and clothes, simultaneously undressing so that she’s left naked but for the guitar by the end. The resulting combination of visual and audio is mesmerising, not just in a voyeuristic sense, but in the extraordinary feeling of possibility and spontaneity. Carr is not a guitar player and with each second one isn’t sure what she might produce, which creates a sense of connection between her and the viewer.

The allusions are plenty given the female-phallic shape of the electric guitar together with the historical and cultural associations we have with the music it produces but as a whole, Solo goes further than the sum of its symbolic references. It’s a comment on the way we view and the way we hear simultaneously and in turn how these two senses are affected by our own cultural responses.