Something a little different for us today, as we visit the Tate Modern to view Christian Marclay’s 24 hour long video art installation, The Clock. It’s a looping supercut of clips from film and television that involve clocks, watches, and people telling each other the time, synchronised to the real world. If you watch it at 8:10pm, it’s 8:10pm in the film too. Supported by London’s White Cube gallery, some 12,000 clips were assiduously located and assembled over three years by Marclay and his team of six researchers to create The Clock, and since its first exhibition in 2010 it’s been popping up every now and again. We jumped at the chance to see it.
The Clock‘s scarcity, ambition, and strength of concept have arguably been partially responsible for its uniformly positive reception since 2010. We, however, find plenty to criticise, including a certain imperial flavour to the overwhelmingly Anglo-American choices of source films, not to mention the whiteness that pervades the entire project and lack of imagination displayed by its reluctance to explore outside the canon. If one of the ideas behind the piece is to draw commonalities between cultures and eras, as Mike suggests, then this is a failure not just to please our sensibilities but to achieve its own purpose. The few non-English language clips that do intermittently show up serve only to highlight their own absence.
There’s also a discussion to be had about the piece’s presentation. On the one hand, housed in a vast, purpose-built room, entirely darkened, with sofas lined up in perfect geometric alignment, it’s an unadulterated joy to be in the room and let the time fly by, even when you know full well that you’ve been stood up for two hours because no seat is available and the specific time is right there mocking you. José decries the dismissive, contemptuous treatment cinema receives in art galleries, on which he has also recently written – https://notesonfilm1.com/2018/12/22/the-museums-disdain-for-cinema/ – but finds The Clock‘s presentation in this respect faultless. On the other, likely for the sake of a smooth viewing experience, the source clips have all been cropped (and in a few cases, stretched) to fit the same aspect ratio, a decision that we feel shows disrespect for the images and people behind them that far outweighs any benefit it has as to unifying them.
There are, though, ways in which Marclay manipulates the source material that we find valuable. Indeed, the entire piece assembles clips from thousands of films, and editing is what it’s all about. When The Clock edits clips together along thematic lines, such as when we see people in different films, places, and eras all taking their seats for concerts and plays at the same time, or formal exercises it plays in cutting together car doors slamming or people smoking, it qualitatively changes its source footage into something different, achieving interesting and sometimes simply swoony effects. At other times, a character in one film will pick up the phone and speak to a character in a different film (often in a different era), the piece using humorous juxtaposition to connect them. And the piece constantly edits and mixes its own soundtrack, using the source films as a basis and typically fading between them, again smoothing the viewing experience, and occasionally building a soundtrack that sits behind an entire section of clips, binding them and creating something new, such as the anticipation generated by Run Lola Run’s soundtrack at the film chases down noon. It’s at these times that Mike is most impressed, seeing a marked difference between when The Clock is a film and when it’s a film project, finding that too often is it the latter. But those moments of filmmaking are quite fantastic.
The Clock is a singular work and one we’d urge anybody to see given the chance, but with room for significant and fair criticism. Keep an eye out for it.
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