Representing Time: On Christian Marclay’s “The Clock”
by Thomas Brett
While I was in Ottawa last week, timing would have it that Christian Marclay’s epic video installation piece The Clock was showing at the National Gallery. I of course made a point of going to see it.
The Clock is a 24-hour video collage composed of thousands of film clips (culled from the entire history of global cinema, not just Hollywood), each of which makes visual reference to time via glimpses of all manner of clocks and watches. At any given minute in the 1,440 minutes that make up its twenty-four hour length, The Clock shows one or several visual representations of that precise moment in time. And here’s the best part: the work is synced to the real world time zone you happen to be in as you’re watching. So as I wandered in the National Gallery with a friend at 2:45pm on a Friday afternoon, Marclay’s movie was showing clips of time pieces showing 2:45pm. Very cool.
Marclay creates in a variety of media, but is particularly well-known for his pioneering sound work as a turntable artist, manipulating records and record players in live performances since the late 1970s. One of the pleasures of The Clock is that Marclay brings a DJ’s sensibility to the film’s soundtrack. You can hear it as one clip segueways to another, the incidental sounds from one scene dovetailing seamlessly with the next in endlessly inventive ways. The soundtrack never cuts, only flows, which lends the visuals an enhanced coherence. And while The Clock as a whole may not mean anything specific–aside, I suppose, from chronicling the passing of time itself and documenting its representation in film–as you watch you can’t help but search for meaning and connections through its endless stream of clips. It’s quite the immersive experience too: sitting on the couches in the pitch dark room watching the large screen, you sense the real minutes effortlessly ticking away. Watching The Clock feels like watching a clock, only it’s a clock that is constantly metamorphosing and superimposed with multiple visual and sonic narratives.
By the way, I watched The Clock with a somewhat impatient friend for about 15 minutes. Ironically enough, he kept looking distractedly at his phone to check . . . the time!
Here is a short BBC news report on the work:
And a fascinating profile of Marclay in The New Yorker is here.