{"id":2699,"date":"2014-10-21T10:01:27","date_gmt":"2014-10-21T17:01:27","guid":{"rendered":"http:\/\/artelectronicmedia.com\/document\/the-clock\/"},"modified":"2021-01-14T04:30:53","modified_gmt":"2021-01-14T12:30:53","slug":"the-clock","status":"publish","type":"document","link":"https:\/\/artelectronicmedia.com\/en\/document\/the-clock\/","title":{"rendered":"The Clock"},"content":{"rendered":"

Ironically it took the passing of several years for Christian Marclay’s montage The Clock  <\/em>(2011) to come together. The twenty-four hour long cinematic timepiece is a carefully assembled series of film clips centered on the subject of time, and all the while in synch to real time. [1] One may ask, “What makes Marclay’s montage any different from the innumerable cinematic homages screened at award ceremonies?” In fact, numerous critics of Marclay’s cinematic piece make that same exact point. However, the artist himself noted, \u201cBy putting the clips back into real time, it\u2019s contradicting what film is.\u201d [2] The montage was not necessarily intended to pay homage to cinematic film, but rather to accommodate this conceptual deconstruction of time.                                                                                                                      <\/p>\n

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Christian Marclay and a team of six assistants dedicated three years to masterfully editing the twenty-four-hour long medley in a smooth methodic fashion while the audio seeps and oozes from clip to clip. However, as suave as the transitions are from scene to scene, from decade to decade, or from mood to mood; the true beauty and remarkability of the piece is found in the juxtaposition of these clips. The story-less storyline actualizes and virtualizes the actual act of time passing.<\/p>\n

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