Skip to main content

Doing time: what I learned from 24 hours watching The Clock

Christian Marclay’s film at Tate Modern knits together thousands of clips in an era-defining artwork. And I viewed the whole thing

Anyone who’s ever had a monotonous job will know all about watching the clock. How each minute seems to take hours, moving at a deathly pace – 10.07 … 11.13 … 11.27 … Is it really only 12.01? – until you can finally head home.

Clock-watching became a daily endurance for me in the summer of 2018. I would sit under bleaching white lights on the anonymous fourth floor of a tower block on the edge of the City of London, feeling under-utilised and bored to tears, doing little more each day than simply watching the time pass. By the time I resigned, I resolved to do something more productive with my hours. Instead of watching an office clock, I would watch Christian Marclay’s 2010 film The Clock – the 24-hour artwork made of thousands of film clips representing every minute of the day – in its entirety. In doing so, I hoped to reconfigure my relationship with time, and understand ways in which watching the clock could be enjoyable.

Continue reading...

from Culture | The Guardian https://ift.tt/2QofGzu
Labels:

Comments

Post a Comment

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4
Post a Comment
Read more

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV
Post a Comment
Read more

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...
Post a Comment
Read more