Here are a few clips from Christian Marclay’s The Clock that have been surreptitiously filmed and uploaded to YouTube and Vimeo.
The clips are crappy bootlegs that cut off part of the screen, but I still totally get sucked in after 30 seconds of each clip.
I can’t find any other information about this online or anywhere else, but tucked away in a fall arts preview in today’s NY Times is the juicy news that MoMA has picked a date for their screening of Christian Marclay’s 24-hour movie, The Clock. The show will open on Dec 21 and run through Jan 21. It sounds like the screening will happen in the contemporary galleries and won’t show continuously except on weekends and New Year’s Eve. Which is lame. Just keep the damn thing running the whole month…get Bloomberg to write a check or something.
Anyway, probably best to check this out on the early side during the holiday season because it’ll turn into a shitshow later on.
For the next two weeks, Christian Marclay’s 24-hour supercut of clocks from movies will be on display at Lincoln Center. The Clock shows Tue-Thu from 8am to 10pm and continuously over the weekend.
The Clock is a spectacular and hypnotic 24-hour work of video art by renowned artist Christian Marclay. Marclay has brought together thousands of clips from the entire history of cinema, from silent films to the present, each featuring an exact time on a clock, on a watch, or in dialogue. The resulting collage tells the accurate time at any given moment, making it both a work of art and literally a working timepiece: a cinematic memento mori.
Admission is free, the space air-conditioned, and the couches only slightly uncomfortable. Seating capacity is 96, so the venue is posting updates on Twitter about how long the line is. I popped in earlier today expecting to wait 20 minutes or more and walked right in…quicker than the Shake Shack. I think the MoMA is supposed to be showing it in the next year or two and that is sure to be a complete mob scene so this is your chance to check it out with relative ease.
Earlier this year, Daniel Zalewski profiled Marclay for the New Yorker about how the artist created the film.
Marclay had a dangerous thought: “Wow, wouldn’t it be great to find clips with clocks for every minute of all twenty-four hours?” Marclay has an algorithmic mind, and, as with Sol LeWitt’s work, many of his best pieces have originated with a conceit as straightfoward as a recipe. The resulting collage, he realized, would be weirdly functional; the fragments, properly synched, would tell the time as well as a Rolex. And, because he’d be poaching from a vast number of films, the result would offer an unorthodox anthology of cinema.
There were darker resonances, too. People went to the movies to lose track of time; this video would pound viewers with an awareness of how long they’d been languishing in the dark. It would evoke the laziest of modern pleasures-channel surfing-except that the time wasted would be painfully underlined.
Chirp Clock finds tweets containing the current time and displays them on the site.
Nearly every second, a user on Twitter tweets about what time it is. It could be groaning about waking up, to telling a friend when to meet, to an automated train scheduler altering when the next one is coming. By searching Twitter for the current time we get a tiny glimpse of how active and far reaching the social network is.
Christian Marclay is working on a 24-hour film called The Clock.
“The Clock” is a montage of clips from several thousand films, structured so that the resulting artwork always conveys the correct time, minute by minute, in the time zone in which is it being exhibited. The scenes in which we see clocks or hear chimes tend to be either transitional ones suggesting the passage of time or suspenseful ones building up to dramatic action. “If I asked you to watch a clock tick, you would get bored quickly,” explains the artist in remarkably neutral English. “But there is enough action in this film to keep you entertained, so you forget the time, but then you’re constantly reminded of it.”
Love that Marclay. Back when I was still doing 0sil8 — man, what a time capsule that is — one of the projects that I started working on but never got close to finishing was a clock made up of photographs…1440 photographs, one for each minute of the day.
Thru You is a site that showcases remixed YouTube videos…the singing from one video combined with the drums from another and the piano from a third and so on. I was skeptical but these are really well done. Do I even need to say that this reminds me of Christian Marclay’s Video Quartet? (via sfj)
In a compilation of 64 videos all shown on the same page, one man recreates Thriller — the beats, the howling, the singing — all by himself. This is pretty awesome, like Christian Marclay on speed. (thx, christopher)
3x3 video mashup call and response old commercial row row row your boat. Oh, just go watch it, it’s cool, especially if you like The Clapper and Christian Marclay. (via waxy, from whom I’m detecting signs of life re: his blog)
Artist Christian Marclay says that Apple contacted him about using his short film Telephones for their iPhone commercial. He refused and they went ahead and made the commercial using the same idea with different footage. Says Marclay, “the way they dealt with the whole thing is pretty sleazy”. TouchExplode gets credit for spotting the reference. (via df)
A commercial for the iPhone aired during the Oscars last night. Rick Silva noticed that it was a lot like artist Christian Marclay’s 1995 piece Telephones (the relevant clip starts at 3:40) and, to a lesser extent, Matthias Mueller’s film, Home Stories. Nice detective work!
Update: Here’s a list of all the actors in the iPhone commercial (except one).
Update: The missing “French Woman” is Audrey Tautou from Amelie. (thx to several folks who wrote in)
Christian Marclay will be premiering his new piece, Screen Play, at Eyebeam on Nov 11th. Damn the luck, I’ll be out of town. I loved Marclay’s Video Quartet piece.