[4] Working in Final Cut Pro, he edited clips together, standardising the video formats and smoothing the audio. It also leads you through a century of cinema history, like a high-art version of the pop culture supercut. There is real pleasure in following yet subverting cinematic grammar: A door opens in a scene from a silent comedy and a ’90s movie star walks through it. [4] In order to ensure that the full video would be exhibited, he required that museums agree to be open for all 24 hours at some point during its run. [15], The Clock has been described as "addictive" and "mesmerizing". Next to me, a woman nods off. Its six editions were purchased by major museums, allowing it to attract a widespread following. He instead focused on incidental moments; his head assistant Paul Anton Smith explained that Marclay wanted to show scenes that were "banal and plain but visually interesting." [32] In The New York Review of Books, Zadie Smith stated that The Clock "is neither bad nor good, but sublime, maybe the greatest film you have ever seen". Perhaps because my body is busy digesting a sandwich, my brain’s ability to digest what’s going on in front of me fails. [39][41] His 2002 installation Video Quartet is a 13-minute video with four continuous screens of clips from commercial films. [4][13] During the first week of The Clock's exhibition, Marclay continued fixing continuity errors and working on the audio. The Clock, "Kunsthaus Zürich extends Christian Marclay's 'The Clock' until 9 September", "Christian Marclay's 'The Clock' to Have Month-Long Winter Run at MoMA", "SFMOMA Presents Christian Marclay's 24-Hour Cinematic Masterpiece The Clock", "Christian Marclay: The Clock | Guggenheim Museum Bilbao", "Christian Marclay at Copenhagen Contemporary, Denmark - White Cube", "The Clock, de Christian Marclay – Instituto Moreira Salles", https://en.wikipedia.org/w/index.php?title=The_Clock_(2010_film)&oldid=997977963, Creative Commons Attribution-ShareAlike License, 21 January to 19 February 2011 – Paula Cooper Gallery, New York City, New York, US, 4 June to 27 November 2011 – Corderie dell'Arsenale, Venice Biennale, Italy, 5 July to 7 September 2015 – Los Angeles County Museum of Art, Los Angeles, California, US, 17 September 2016 to 29 January 2017 – Museum of Fine Arts, Boston, Massachusetts, US, 10 November 2016 to 4 December 2016 – Contemporary Arts Center, New Orleans, Louisiana, US, 1 June to 3 September 2017 – Copenhagen Contemporary, Copenhagen, Denmark, This page was last edited on 3 January 2021, at 04:35. It arranges them into clusters to illustrate Hitchcock's techniques and motifs. "[13] Because of the film's copyright status, museums have offered it as part of their general admission instead of charging for separate tickets. Christian Marclay’s 24-hour installation, “The Clock,” is currently showing at Tate Modern in London. At the stroke of midnight, in a scene from “V for Vendetta,” Big Ben explodes. However, difficulty with lighting and sound made it impractical. Three years, six assistants and 8,000 film clips went into the making of “The Clock,” a time-linked, video montage installation created by multimedia artist Christian Marclay. "[42] In 2005 Étienne Chambaud presented L'Horloge, a piece of software that displays the time using images of clocks in films. [4], Between 4 p.m. and 5 p.m., transportation becomes important as characters travel on planes, trains, and automobiles. . The artwork itself functions as a clock: its presentation is synchronized with the local time, resulting in the time shown in a scene being the actual time. The midafternoon slump hits. The room is still packed, with dedicated cineastes on the sofas and less-than-sober club kids sprawling on the floor, but others who have been here all day are clearly struggling: The soundtrack is augmented by surround-sound snoring. They miss out on a thrilling, second-by-second countdown, cutting from birthday candles to the cancan to a punk concert. It’s hard to quit “The Clock;” it tantalizes, yet never provides a narrative resolution, so you never feel sated. The artwork itself functions as a clock: its presentation is synchronized with the local time, resulting in the time shown in a scene being the actual time. A 24-hour-long montage of thousands of film and television clocks, the film is edited so they reflect the actual time. You can’t lose track of time, and yet somehow it runs away from you. The Museum of Modern Art presents Christian Marclay’s groundbreaking video installation The Clock (2010), from December 21, 2012, to January 21, 2013. Christian Marclay’s The Clock has toured galleries around the world since 2010 and has undoubtedly altered the perception of many audience members when it comes to looking out for or listening to clocks, and to noticing time passing. At some point, a scarf wrapped around my head (the space is seriously over-air-conditioned), I start sliding down the sofa and into sleep. Scenes from various films and TV programs that feature clocks, or some verbal mention of time, combine to make a 24 hour timepiece movie. [20] The sale became one of the largest purchases of video art and one of the highest purchases to happen on the primary market. Each folder suggested different themes to him, allowing him to form loose narratives. 24-hours long, the installation is a montage of thousands of film and television images of clocks, edited together so they show the actual time. [29] MoMA heavily promoted its run with a silent disco, a New Year's celebration, and a dedicated @TheClockatMoMA account on Twitter. Longer, more languorous scenes drift dreamily into each other now, as characters battle insomnia, or nightmares. Some text for this article was copied from article Christian Marclay. [11] He cited Bruce Conner's "odd transitions" as an influence on his editing. [2] Since then, it has attracted hundreds of thousands of visitors and found crossover success beyond art patrons. I slip off my shoes and settle on one of the white Ikea sofas that fill the room. [10] After his partner Lydia Yee accepted a position at the Barbican Centre, Marclay moved from New York to London in mid 2007. Directed by Christian Marclay. There are 1440 minutes in a day. Girardet and Müller use low-quality footage from VHS tapes to draw attention to their appropriation. The Guardian called it "a masterpiece of our times". Marclay debuted The Clock at White Cube's London gallery in 2010. Admission to the installation is on a first-come, first-served basis, with no time limits for viewers. Christian Marclay’s 24-hour video installation The Clock (2010) is presented at Tate Modern. LONDON — Christian Marclay’s video installation “The Clock” is functional: The 24-hour montage of film and TV clips featuring clocks and watches actually … There’s a black-and-white chase through a London Underground station, intercut with a full-color race through a New York subway. Christian Marclay ’s acclaimed installation The Clock 2010 has captivated audiences across the world from New York to Moscow. Even over 24 hours, there simply wasn’t time to get bored. I watch time’s relentless march, but it doesn’t feel even: It can speed up, but right now, it’s slowed down. Girardet wanted to show how interchangeable the cinema footage could be. This is a free display, and only Tate Members will have access to a Members-only 24 hour screening and Members Hours on select dates. Christian Marclay—The Clock is on view in the Museum’s Contemporary Galleries during regular hours throughout its run, and is free with Museum admission. “The Clock” has become a sensation around the world since it was first shown at the White Cube gallery in London in 2010. Marclay organised files by hour, which became like chapters for him. The work was played continuously during regular museum opening hours. After midnight, characters go to bars and drink. It is a looped 24-hour video supercut (montage of scenes from film and television) that feature clocks or timepieces. [15], The Clock premiered 15 October 2010 at White Cube's gallery in central London. Tea is poured in one decade and drunk in another; a bomb goes off and a petal softly lands. ", "Christian Marclay: The Clock, Mason's Yard 2010", "LACMA Presents 24 Hour Screening of Newly Acquired Artwork", "Christian Marclay's The Clock Winner of Golden Lion Prize at 2011 Venice Biennale", "Christian Marclay and Damien Hirst at the Yokohama Triennale 2011", "Kunsthaus Zürich presents 'Christian Marclay. He realised that he needed a way for musicians to synchronise with film footage. Christian Marclay, The Clock, 2010, Single-channel video installation, duration: 24 hours The artist/Courtesy White Cube, London and Paula Cooper, New York 10/11 The thought of bedding down for the duration is tempting, then, but also alarming: Will it feel like time well spent, or time wasted? Due to overwhelming demand, for one last time Tate Modern is keeping the free display of Christian Marclay ’s The Clock 2010 open outside of regular museum hours. [12], In mid 2010, Marclay recruited Quentin Chiappetta, a sound designer with whom he had worked before, to work on the audio for The Clock. But given that the clip-gathering was done by a team of movie-watchers in the city, its arrival at Tate Modern feels like something of a homecoming. [5] Five copies were designated to be sold to institutions for US$467,500 each under the condition that The Clock can't be played in more than one location at the same time. We’re outside Tate Modern’s normal hours now, and there’s a new buzz around the place. “I really liked the idea of someone going in and out of sleep while watching these dream sequences, you become part of this thing,” Mr. Marclay said. The little-seen portion from 3 a.m. to 5 a.m. was the trickiest to craft, Mr. Marclay explained: There simply aren’t that many clips. Demand for The Clock is expected to be high; please expect significant wait times. It is a looped 24-hour video supercut (montage of scenes from film and television) that feature clocks or timepieces. Marclay’s 2010 project is the culmination of years of research and production, with excerpts from 70 years of famous and obscure films alike, including westerns, science fiction and thrillers. Chambaud's use of still images give L'Horloge a slower, more regular pace, whereas The Clock experiments with the rhythm of commercial films.[44]. Girardet's 1999 Phoenix Tapes, a collaboration with Matthias Müller, is composed of footage from Alfred Hitchcock's films. [24][38] Petit remarked that the impact of repeated reactions lacking context "comes over as incredibly weird". As the number of scenes available increased, Marclay was able to start working on transitions between scenes. Another classic: Orson Welles in “The Third Man” reflects on how “500 years of democracy and peace” in Switzerland produced only “the cuckoo clock.” Mr. Marclay is half Swiss, I remember; is “The Clock” a grand riposte to this mocking of his nation’s invention? In The Clock, Marclay samples thousands of excerpts from the history of cinema that indicate the passage of time. The line at 11:40 p.m. stretches down two flights of stairs; the average age has fallen to around 30, although a few people seem to have brought intrepid parents. [4] The program continues running while a museum is closed so that it remains synchronised. In the relentless hurtle from clip to clip, minute to minute, it is constantly new, always stimulating. But it’s so busy, most won’t. [30] He stated that although his use was illegal, "most would consider it fair use. The hour striking offers an exit in a work of art with no beginning and no end. It was an early experiment in the effect of synchronization, where viewers naturally attempted to find intersections between the two works, and it developed the editing style that Marclay employs for The Clock. [16], Marclay made six editions of The Clock, plus two artist's proofs. You can set your watch by it. About. In 2010, he created The Clock from thousands of edited fragments, from a vast range of films to create a 24-hour single-channel video installation. [4] Marclay gave museums specifications for the exhibitions' screening rooms. In mid 2012, the Lincoln Center for the Performing Arts showed it to 18,000 people over six weeks. [13] In contrast to the escapism that cinema provides, The Clock draws attention to how much time the audience has spent watching it. “You cannot conquer time” says Ethan Hawke, quoting Auden in “Before Sunrise,” and I wonder if I’m foolish for trying. They used a Google Spreadsheet to record and search through clips. [20] In February 2012, yet another version was acquired jointly by the Tate in London, the Centre Pompidou in Paris, and the Israel Museum in Jerusalem. Christian Marclay: The Clock 2010.Courtesy White Cube, photograph by Ben Westoby. He spent three years editing scenes together. Not that everyone feels the thrill. Its combinations of coinciding sounds and images were a model for the synchronicity of The Clock. “It’s a work that can be very deep if you want to dig into it, spend more time with it,” he told reporters at Tate Modern in September. “The Clock” has taken a delirious dive into the subconscious: Pupils dilate in close-up, metronomes tick, plugholes spiral. Boston Society of Film Critics Awards 2011, Musée des Beaux-Arts du Canada/National Gallery of Canada, "Christian Marclay's 'The Clock' is the World's Most Elaborate Timepiece", "Punching my timecard: a weekend with Christian Marclay's 'The Clock, "As in Life, Timing Is Everything in the Movies", "For Christian Marclay, 'The Clock' continues to tick", "Christian Marclay: art's man of the moment", "Time is ticking at 'The Clock' exhibit in Minneapolis", "A 24-Hour Movie That May Be the Biggest (and Best) Supercut Ever", "LACMA acquires 'The Clock' by Christian Marclay and a sculpture by Ai Weiwei through annual collecting event [UPDATED]", "How Toronto Patrons Jay Smith and Laura Rapp Brought The Clock to Canada", "Ai Weiwei Retrospective at the Hirshhorn", "LACMA acquires 'The Clock' by Christian Marclay and a sculpture by Ai Weiwei through annual collecting event", "Tate buys timeshare in Christian Marclay's Clock", "MoMA Clocks 40,000+ Visitors to Marclay Video", "Time lord Christian Marclay is one to watch at the MCA", "Christian Marclay's The Clock: a masterpiece of our times", "2012 TIME 100 Includes Artist Christian Marclay", "ARTINFO's Rundown of the Winners of the Golden and Silver Lions at the 54th Venice Biennale", "The Most Important Artworks of the 2010s", "Ist Christian Marclays 'The Clock' ein Plagiat? 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