[15], The Clock premiered 15 October 2010 at White Cube's gallery in central London. He spent three years editing scenes together. Directed by Christian Marclay. Marclay himself was often unfamiliar with the source works. [4] Working in Final Cut Pro, he edited clips together, standardising the video formats and smoothing the audio. At the stroke of midnight, in a scene from “V for Vendetta,” Big Ben explodes. The Polygon Gallery presents Christian Marclay: The Clock, a cinematic montage synchronised with actual time on a 24-hour clock.. Recognised as one of the most important contemporary artworks of our time, The Clock is an audiovisual tour-de-force.Presented in a custom-built cinema within the gallery, the work montages film and television footage from the last 70 years. 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. This is a picture book, consisting of “1440 stills excerpted from Christian Marclay’s 24-hour video The Clock. A D.J. “The Clock” is the perfect work for 2018, feeding our short attention spans until they stretch out overnight. Single channel video. 24 Hours Inside the Christian Marclay Installation ‘The Clock’. Mr. Marclay insists that any gallery that wants to show “The Clock” must have some overnight screenings. “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. 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. [13] In contrast to the escapism that cinema provides, The Clock draws attention to how much time the audience has spent watching it. But “The Clock” is strangely addictive, and visitors often stay much longer than they had intended. [43] Müller described it as The Clock "in a conceptual, minimalist nutshell. 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. Marclay organised files by hour, which became like chapters for him. "[4] He did not get copyright clearances for any of the films used. By contrast, I feel surprisingly eager, and fully in the zone. @ the artist. With Rosanna Arquette, Bette Davis, Leonardo DiCaprio, William Hurt. Yet this is also where the real-time identification by the viewer can be most profound. [4][26] Marclay disapproved of other screening locations suggested by the Boston Museum of Fine Arts and the Tate. In contrast, Marclay seeks to replicate Hollywood production through high-quality footage with standardised sound production and aspect ratios. The thought of bedding down for the duration is tempting, then, but also alarming: Will it feel like time well spent, or time wasted? [5] As noon approaches, a sequence of action scenes build up to bells ringing in High Noon. In The Clock, Marclay samples thousands of excerpts from the history of cinema that indicate the passage of time. There are 1440 minutes in a day. 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. It’s typical of how Mr. Marclay stitches time together, finding sly visual rhymes across clips. When I open my eyes, a wave of blood is gushing toward me, down a hotel corridor in a clip from Stanley Kubrick’s “The Shining.” It’s a shock and a wake-up call. It appears that every sharply-dressed hipster in London had the same thought: Get there for midnight. The work garnered critical praise, winning the Golden Lion at the 2011 Venice Biennale. Next to me, a woman nods off. I’ve always liked 3 a.m.; perhaps a quick freshener at that all-night bar helped, too. [1] Around 8 p.m., orchestras and theaters begin their shows. 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. Some seek intimacy while others are angry to have been awakened by the phone. Tel Aviv Museum of Art is proud to present Christian Marclay’s The Clock (2010). A 24-hour-long montage of thousands of film and television clocks, the film is edited so they reflect the actual time. They miss out on a thrilling, second-by-second countdown, cutting from birthday candles to the cancan to a punk concert. [29] MoMA heavily promoted its run with a silent disco, a New Year's celebration, and a dedicated @TheClockatMoMA account on Twitter. With the support of the London-based White Cube gallery, he assembled a team to find footage, which he edited together over the course of three years. “The Clock” has become a sensation around the world since it was first shown at the White Cube gallery in London in 2010. Christian Marclay ’s acclaimed installation The Clock 2010 has captivated audiences across the world from New York to Moscow. There he proposed the film to the White Cube gallery, unsure of the project's feasibility. Collectively, his works tap into and comment on the subliminal power of mass visual and audio culture. Single channel video installation, duration: 24 hours. Longer, more languorous scenes drift dreamily into each other now, as characters battle insomnia, or nightmares. Every Thursday for the duration of … Not that everyone feels the thrill. To make this theme more explicit, Marclay included symbols of time and death in connecting shots. He realised that he needed a way for musicians to synchronise with film footage. Girardet and Müller use low-quality footage from VHS tapes to draw attention to their appropriation. [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. The Clock is an art installation by video artist Christian Marclay. 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. [2] At 6 p.m., characters eat dinner and have shootouts. While The Clock examines how time, plot and duration are depicted in cinema, the video is also a working timepiece that is synchronised to the local time zone. Video artist Christian Marclay’s installation The Clock is a 24-hour montage of some 12,000 moments from film and television that references time by the minute and functions as a clock itself, so that the time you see on screen is the actual time of where you are. [30] He stated that although his use was illegal, "most would consider it fair use. Christian Marclay: The Clock 2010.Courtesy White Cube, photograph by Ben Westoby. [2][4], The Clock was conceived in 2005 while Marclay was working on the video score Screen Play. [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". [27][28] The Paula Cooper Gallery exhibited it in early 2011, where it attracted 11,500 visitors over the course of a month. White Cube helped him assemble a team of six people to watch DVDs and copy scenes with clocks or time. But I have no desire to throw my watch in. [2] Newsweek named Marclay one of the ten most important artists of today. [28], Marclay made several forays into video art that informed The Clock. The little-seen portion between 3 a.m. and 5 a.m. was the trickiest to craft, Mr. Marclay said: There simply aren’t as many clips to choose from. (It runs through Jan. 20, with 24-hour screenings on Nov. 3 and Dec. 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? I slip off my shoes and settle on one of the white Ikea sofas that fill the room. [39] It was a link between Marclay's audio and video art, and its discontinuous structure was a template for The Clock. A shot indicating the time is followed by a reaction shot with a character's emotional response, often one of anxiety, fear, or boredom. It is a looped 24-hour video supercut (montage of scenes from film and television) that feature clocks or timepieces. In the afternoon, a mixed crowd came and went at the installation at Tate Modern. Its six editions were purchased by major museums, allowing it to attract a widespread following. Christian Marclay, The Clock, 2010. The Guardian called it "a masterpiece of our times". [29], When he started to make The Clock, Marclay expected that copyright would not be a substantial obstacle, theorizing that "If you make something good and interesting and not ridiculing someone or being offensive, the creators of the original material will like it. [21] In 2011, Steve Tisch pledged the money needed to buy the work for the Los Angeles County Museum of Art. One assistant who focused heavily on scenes of violence was fired, and the remaining assistants began to specialise in individual film genres. [32] The sequence interpellates viewers into The Clock's flow, and they often experience a detached, hypnotic effect. You will be able to see the late night and early morning sections of the installation, which are not normally possible to view. Everyone seems to be waiting, or rushing. [2][3] Several dream sequences occur between 3 a.m. and 5 a.m.[4] At around 7 a.m., characters are shown waking up. 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]. I watch time’s relentless march, but it doesn’t feel even: It can speed up, but right now, it’s slowed down. [17] The last copy was sold to hedge fund manager Steven A. 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