Christian Marclay has found a film clip for each in turn (and, often, more than one) so that his dazzling, 24-hour installation piece—the quintessential loop—really does function as a clock. Marc Glassman is the editor of POV, artistic director of Pages Unbound, film critic for Classical 96.3 FM and an adjunct professor at Ryerson University. The clocks are glorious: on walls in constructions that mirror castles or churches, outdoors, keeping time for the world—London’s Big Ben is a character actor in this work—or on a table with wooden “shoulders” rounded out of oak, protecting a proud “face” that is recording the passage of every second. The ease and boredom of the familiar is contained in that measure of time too, part of the realism of The Clock, potentially experienced in the gallery for a full 24hrs or for a lifetime in the world outside. A montage composed of over 12,000 clips, spanning 100 years of film and television,screened over 24 hours in real time may sound like a work tailor-made for film geeks. 2. Deceptively simple, The Clock is a conceptual work involving paradoxical pairings of inevitability and contingency. Then five. If it’s being shown in London then nowhere else is allowed to run it. However, the beauty of this clip lies in the clarity of the edit, which presents us with objects of association, in that moment and for all time. Sometimes they die and are discovered lying on it. Evoking old-time cinema, Marclay is able to resurrect and repurpose another device that the public has always enjoyed—coming attractions or, as they’re called now, movie trailers. 12. For example, John Wayne, ‘the Duke,’ appears in the generalized past of a Western so conventionalized it feels like I have seen it before, but I can’t be sure. Please read our statement on the matter here with more to follow. Representation and reality are thus brought into parallel registers and the outward manifestation of time on a timepiece functions as a common denominator to plug viewers into a relation of simultaneity with the screened clips. At the David Rubenstein Atrium, Lincoln Center. Control A ‘where’s Waldo’ of time ensues as we are conditioned by the film to look for clocks. To be clear, it is not the seamless reproduction of reality that is brought to the surface but the temporality of a viewing experience that The Clock makes visible. They make love in it. The ways we are driven and shaped by time, as concept and physical reality, permeate every frame in ways that are playful, ironic and visionary. Like a minimalist composition by John Adams, Christian Marclay has created something apparently simple that plays out in increasingly complex ways. If the clocks, intended for the public, are extraordinary, Marclay offers the same treatment in the selection of wristwatches worn “privately” for characters in the film clips. Narrative devices It’s part and parcel of our ADD culture. In The Clock, Fine Art meets mass media in ways that the internet has failed to democratise. The expectation is that a reference to time will be found embedded in the next clip. Early mornings become hectic as time rings down like a hammer and repeated images of the time roust a sleepy subject to life, to work, and to responsibility. The Clock. Seward. In the late afternoon, a clip from the 1950’s presented a Marclay induced fable about apowerful Sultan with control of time, coupled with the dangerous, all-consuming need to know how time is spent. In the century after Proust’s exploration of the meaning of time, Marclay has distilled the pleasures of narrative cinema into a form that allows us to appreciate and critique key moments in temporal existence. Marclay’s single-channel video is a compilation work comprised of thousands of film clips depicting clocks and watches synchronized to the actual time of viewing. 10. 4. You can set your watch by it. Viewers are kept continually in a state of perpetual and anxious receptivity. It made me wonder how British I’d become and if other screenings around the globe carried their own nuanced etiquette. In joining the audience and sharing viewing space normally made more comfortable and anonymous by individually designated seats, lines between public and private domains blur.There is also the blur of time we encounter in the near dark, a meeting of generations and memories, invoking human ritual, storytelling and spirituality from prehistoric cave to modern auditorium. Some viewers appeared to be checking the time, simultaneously visible on screens, both private and public. Punctuated with humour, suspense and sublime poetry, The Clock is a work that illuminates beyond expectation. Audiences enter a darkened gallery to find, if lucky, a seat on one of the couches to view the images on a large screen; if not, they crouch or sit on the floor, absorbing the images and sound. The staggering thing about this big piece is that it functions as a twenty-four hour clock. As comforting as this is, the linear structure of the work and the rapid exchange of one temporal reference by another reminds one that time never stops. One of the visual pleasures of The Clock is that Marclay and his team took a Euro-centric approach to their film materials. Robbers are workers too, and in The Clock, they are alienated from the fruits of their labour. At the time of its release, technology was just reaching its peak, which is why Telephonesbecame a breakthrough piece that is often celebrated today for its pioneering role in the history of video art. In The Clock, Christian Marclay has offered 24 hours of fragmented time, a day’s worth of transformative moments. The audience is part of the rhythm of the work and the ingenious way it constructs moments of identification and clarity. Clocks If you don’t before sitting down to view this installation, one can only hope you do by the time you leave. Marclay’s command, not just of film language and genre, but the ways we see, is so astute, that my trust in where I was being taken was absolute. If the bedside stand is littered with cigarette butts, drugs or alcohol, we suspect that the subject will awake impaired and suffer from some sort of anxiety for sleeping in or for sleeping with the wrong person. Lovers wake up and want to know what time it is; so do office workers and housewives. Marclay’s piece surveys the places where timepieces are central to a scene. Suddenly his repose is shattered by an alarm clock. See available prints and multiples, photographs, and paintings for sale and learn about the artist. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. Over the past 35 years, Christian Marclay has explored the fusion of fine art and audio cultures, transforming sounds and music into a visible, physical form through performance, collage, sculpture, installation, photography and video.Marclay began his exploration into sound and art through Gardner photographed Payne, who was awaiting execution for the attempted murder of the U.S. Secretary of State W.H. If they’re alive, the reveries of the bed are changed as soon as the clock comes into play. Single-channel video installation, duration 24 hours. The clock is a dictator and the ultimate Panopticon. In this example of collapsing temporality, I hear the faint echo of Roland Barthes and his writing about a photograph of Lewis Payne by Alexander Gardner. Childhood is extolled because it’s a time of first impressions, primary experiences. For more information, visit MoMA’s website.). But this is how the video functions overall, as one scene is exchanged for the next in a continual flow of visually disconnected clips. In the original film, the human absence of soldiers gone over the top at the designated time becomes the injustice of life wilfully extinguished by man. So is old age: the end of life allowing for moments of reflections and revelations. Of course, the boy doesn’t know. Scenes from various films and TV programs that feature clocks, or some verbal mention of time, combine to make a 24 hour timepiece movie. It’s a journey through cinematic history. Christian Marclay. His mother was American so he held a double nationality. 8. That hypnotic quality feels like a comfort and release from the crazy spin of 21stCentury life outside, doubly so circa 2018. By Marc Glassman • Published April 11th, 2013 • Issue 89, Spring 2013 • Comments. She remembers seeing a melting clock but can’t be sure if it was in the film. It’s the same when we hear a symphonic piece of music. … We realize that he’s carrying explosives wired to a clock, which is ticking. In The Emergence of Cinematic Time, film theorist Mary Ann Doane notes that toward the end of the 19th century there was a rapid diffusion of pocket watches in the general population and that “[m]odernity was characterized by an impulse to wear time.” Reproducing clips from films produced throughout the modern period, The Clock depicts many scenes in which actors wearing time pry open a pocket watch or look down upon a wristwatch. Despite its modern materials and contemporary masterwork status, Marclay’s Clock transcends the time it was made. I place ‘sound’ first, because Marclay’s craft and foundation as an artist is making objects from audio. Many people are cynical about contemporary art, the value and spaces it occupies, but here is a work that places value on the imagination and intelligence of audiences, to do what we do naturally as human beings. And yet into this chronological sequence of inevitability, of a ‘tick’ that follows a ‘tock,’ the video takes unexpected turns as it directs us to a diverse range of cinematic scenarios that introduce contingency into this temporal system. Time is money and we mustn’t waste either. The Clock by Christian Marclay. This is what makes The Clock such an enriching experience, the sense of being part of something bigger, but no less powerful than an independent mind. Your email address will not be published. There are elaborately crafted pieces, made out of the best wood—mahogany and chestnut and oak—constructed to hang on walls or tower in an entranceway or sit on a mantelpiece above a fireplace. Nuit Blanche was, however, not the only night the gallery stayed open to screen the video in its entirety. My feeling is that The Clock, in concept, execution and reception, constitutes more than a fleeting moment of recognition. Being eclipsed, suspended and enslaved by time is our real-time immersion in modern life, moving inevitably towards eternal midnight.Christian Marclay takes what it is to be human and winds it into the mechanism of TheClock so seamlessly, with such artistry and grace, that words like ‘genius’and ‘masterpiece’ are entirely justified. Each ring is different, some shattering in its intensity. Consisting of hundreds of Hollywood film clips depicting time in real-time as it plays, Christian Marclay’s The Clock was quite revolutionary at its release. The 24-hour montage of film and TV clips featuring clocks and watches was designed to be functional, in that it actually told the time. Christian Marclay: The Clock is a 24-hour single-channel montage constructed from thousands of moments of cinema and television history depicting the passage of time, excerpted and edited together to create a functioning timepiece synchronized to local time wherever it is shown. In the century after Proust’s exploration of the meaning of time, Marclay has distilled the pleasures of narrative cinema into a form that allows us to appreciate and critique key moments in temporal existence. We watch the clock and the clock watches us. Marclay has managed to create a work as addictive as the multidimensional concept of time and existence it encapsulates, an unrelenting and strangely beautiful meditation on time running out for us all. Marclay’s final destination may be unknown, but the journey is knowingly crafted and deeply empathic in terms of the visual creatures we are. Columbus, OH—December 9, 2012—The Wexner Center for the Arts announced today that it will exhibit The Clock, an internationally acclaimed tour de force by artist Christian Marclay, on view January 27–April 7, 2013.This marks the first Midwest presentation of The Clock since its London debut in 2010. For film fans, The Clock takes the viewer through the last … In The Clock, Marclay offers one precisely chosen clip after another, modulated to the sharpened sensibility of contemporary art and media consumers. Christian Marclay was born on January 11, 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. Have notification of new issues and content delivered to your inbox. 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. Commentary ontime takes many forms, through image, dialogue and sound. In this work, telling time takes place through images as well as words. Christian Marclay: The Clock To produce this tribute to time and the moving picture, Marclay and his assistants spent three years gathering thousands of film and television clips from every era. The clocks are visible to all in the bank and typically mounted high on the wall. Telling time Whatever the reason, viewers are offered many scenes in lustrous black and white as characters wave goodbye over the plumes of train smoke and the less romantic departures in the cool colours of modernist airports. Withal the principle remains the same: to feature timepieces either as counterpoints to scenes or as the main element in a short, taut scene. Common experiences at different times of day like waking or clocking off connect audiences, together with genres of popular entertainment. Out of my life’s memories, of all the art I’ve ever seen, this moment is true. The relentless drive for knowledge and progress is acknowledged by another character in our fellow cast of millions; ‘when my clock stops, I die.’  Without awareness, arguably there is no point in living, which is why we need art. The Clock is relentless. The light from the screen creates an otherworldly glow and the movement of people coming and going, mirrors the progression of arrivals and departures on screen. This issue looks at police brutality, Black Lives Matter, No Ordinary Man, the new hybrid drama and more! First answer from a long viewing of The Clock: the bed. The illusion of continuity, the gap between each stilled image that has us reaching and constructing the next, to continue the sequence because our lives depend on it. As mainstream Hollywood film looks to three-dimensional cinema to heighten the real, Marclay has turned his attention to temporality as the basis upon which to make visible the now time of our experience in the gallery. Very quickly, the viewer grasps what is being presented: a series of clips from films, all of which feature clocks in dramatic ways. People wake up on it. But given that this is a gallery piece, intended for appreciators of fine art, their reaction to understanding the work is surprising. The genius of Marclay is in realizing that time as signified in film and as marked in real life could achieve one of the most sought-after goals of modern cinema—the linking of image to reality. Christian Marclay’s Telephones, created in 1995, was a skilfully edited arrangement of black-and-white, as well as color film clips that highlighted different subjects utilizing an array of telephones, all designed before the smartphone era that we live in today. Making connections and creating meaning is the elusive essence of life we’re all trying to grasp in one way or another. As a species we’re hardwired to construct meaning and aspire to dreams, a trajectory held in tension with the fact that as time marches on, we edge closer to becoming dust, akin to celluloid ash. There aren’t many works of “NOW” I’d want to spend that kind of time with, but The Clock is something else. Capitalism The Clock fits snugly into that paradigm. Christian Marclay is a London and New York based visual artist and composer whose innovative work explores the juxtaposition between sound recording, photography, video and film. Marlcay was born in California in 1955 and raised in Geneva, Switzerland. Human mortalityand vulnerability are part of what makes The Clock tick. In any case, there’s a reaction—sometimes as many as three in a minute. View Christian Marclay’s 224 artworks on artnet. Comment document.getElementById("comment").setAttribute( "id", "a01fbec410a1f48f6edfee0ede6971f1" );document.getElementById("a2e74c39aa").setAttribute( "id", "comment" ); Your email address will not be published. It also contradicts that familiarity, shattering time with the suggestion that it is an invention; a ‘clock on a mantlepiece [was] a magician’s trick a few hundred years ago.’ The worlds of Art and Science merge in human ingenuity and invention, driven by our ageless desire for knowledge and control. Christian Marclay is working on a 24-hour film called The Clock. Construction and Reaction In a work that celebrates and investigates pop cultural history, he has managed to create a timeless piece of his own. Christian Marclay’s The Clock (2010), which makes its American debut at Paula Cooper, is big. The faces for the bizarre and brilliant timepieces, so elaborate in early film clips, become more functional during World War II and the post-war era and then become cool again in the ’60s. Christian Marclay/White Cube, London and Paula Cooper Gallery 4:30 a.m. “The Clock” has taken a delirious dive into the subconscious: Pupils dilate in close-up, metronomes tick, plugholes spiral. The locus of domestic activity, the kitchen, is the perfect place for eat-and-runs while clock-watching. Finding the temporal signifier resolves the expectation but this resolution is short-lived, replaced immediately with the expectation that the next scene will provide another image of time. Waking and Dreaming Actors whose emotions are the key to every scene in the installation proudly wear them. These editing tricks are used to create this sense of continuity, this flow, and this make believe…”. 1. Paradoxically, we might say that John Wayne predicts a future we discover in the past. It’s an investment of time and energy that can transform how we see and the world around us. 9. Although there are human hands at work in The Clock’s construction, it’s the individual and collective minds of the audience that are the beating heart of this work. Marclay appeals equally to instinct and intellect, beating seconds out with a watch on railings and percussive fingertips, bodily ticks that are part of the film’s dramatic acceleration, moving in and out of consciousness. The superlative difference here is the structural intricacy of Marclay’s work and its emotive core, led by the his chosen discipline. Share: Twitter Facebook Pinterest Email. After a soft launch, starting the week before, The Clock truly opened at the Power Plant on the night of Nuit Blanche, the annual event that displays art all night long. 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