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So, it is a timepiece but it’s also a history of cinema. The great idea of ‘the clock’ is that you will never have enough time to see it all yes, that was the initial idea, me and my research assistant watched films all day.ĬM: the material was stored on computers. at that time, I was working on a project called ‘screenplay’ which was about the process of making music live and I wanted to mark time – important for musicians -, and so I looked for some footage of clocks in films. I didn’t really know if it was possible to find every minute of the 24-hour cycle within the history of cinema, within 100 years of cinema.
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5 years prior to moving, I didn’t think it was possible, and I was full of doubts. but it’s still a challenge and so I had a lot of time on my hands. it’s always the challenge as an artist because you don’t necessarily have an office to go to… thank god.
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I found myself not having a real studio and not quite sure how to get to work. I was moving from new york to london, following my wife, who got a good job there. We would like to explore the origins of how ‘the clock’ (2010) actually came about. at what moment and how did the notion of doing a 24-hour artwork that was a timepiece but also a montage of moments from films, when did that crystallize?Ĭhristian marclay (CM): well it took a long time before I actually started to work on it. ’60 minutes with christian marclay’, BMW art talk with tim marlow and the artist (right) during frieze london 2018ĭuring frieze art week 2018, the historian and artistic director of the royal academy of arts, tim marlow, moderated the BMW art talk - ’60 minutes with christian marclay’. presented earlier by tim marlow, designboom gained further insight from christian marclay into some of the main themes behind ‘the clock’, and his other artwork, ahead of the TATE screenings. now, with the new blavatnik extension, there is finally an ideal setting in the TATE for marclay’s meticulously edited art-piece. marclay worked tirelessly on the acoustics of the installation, assisting with curtains and carpets, and therefore had previously declined to screen it in the TATE as the turbine hall’s acoustics would interfere with the carefully edited soundtrack. Soon after its premiere in 2010, paula cooper gallery and white cube offered ‘the clock’ for sale in a limited edition of six, and one was bought jointly by the centre pompidou, paris, the israel museum in jerusalem and london’s TATE modern. Video still © christian marclay, courtesy of white cube gallery playing to huge crowds across the world since it’s first release, it has become the most popular video art work ever and also won the coveted golden lion award at the 2011 venice art biennale.
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the looped supercut is a 24-hour montage of thousands of film and TV clips of clocks, edited together to show the actual time (to which it can be locally synchronized). Below: Russell Ferguson.Eight years after its premiere, ‘the clock’ finally arrives at the TATE modern in london where it will be screened until 20 january 2019, including an overnight 24-hour screening on 1-2 december! the california-born, swiss-raised and london-based marclay, originally debuted the acclaimed installation at the white cube gallery in london in 2010.
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This event is generously sponsored by the Embassy of Switzerland and the Swiss Arts Council Pro Helvetia. The artist will discuss his creative process with Damage Control co-curator Russell Ferguson, professor of art at UCLA. “I’ve always used found objects, images, and sounds and collaged them together,” explains Marclay, “and tried to create something new and different with what was available.” His politically resonant fourteen-minute video installation Guitar Drag, 2000-part of the exhibition Damage Control: Art and Destruction Since 1950-depicts a loudly amplified electric guitar being violently dragged along a Texas country road by a pickup truck, alluding to the 1998 murder of James Byrd Jr. Much of the artist’s work is based on readymade images, objects, texts, and films. His oeuvre spans a range of mediums, including performance, solo recording, compilation, sculpture, photography, painting, video, and multimedia installation. Over the past three decades, Christian Marclay has produced a remarkable variety of works exploring the convergence of sight and sound, including his award-winning 24-hour film The Clock, 2010. Length: 1:17:08 Download | Listen in iTunes Still from Christian Marclay’s Guitar Drag, 2000. Installation view of Damage Control: Art and Destruction Since 1950 at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC, 2013.
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