Christian Marclay’s The Clock (2010) is an ambitious 24-hour montage stitched together from feature films and TV shows. Each clip, ranging from a split second to a few minutes, takes place during the time of the day at which it plays. Over the next few months, I will attempt to see all twenty-four hours at the Tate Modern in London, documenting the experience in a way as haphazard as the fractured experience of watching the work itself.
Voyage au bout de la nuit
Part 6 of 6 of this series. I wrote this article after viewing 18:39–21:55 (3 hours, 16 minutes) on 11 January 2019. Seen: 18 hours 29 minutes. I will be unable to see the remaining 5 hours and 31 minutes.
Read Part 1: Introduction, in which I discuss my initial excitement about the return of The Clock.
Read Part 2: Matineé, in which I reflect on familiarity, recognition, tension, time’s passage, simultaneity, and death.
Read Part 3: Graveyard Shift, in which I stay up all night and misidentify noir.
Read Part 4: Interstice, in which I ponder the expectations set by Hollywood continuity style.
Read Part 5: Sunrise, in which I link up The Clock‘s morning montages.
It has been nearly a month since I’ve written on The Clock, mostly because I’ve been drafting a novel. Since last I wrote, The Clock itself has left London and found a new home at a museum in Melbourne,
The experience of seeing The Clock, even after all these hours, remains surreal, as perhaps the best cinema always is. The final night that I went, there weren’t such recognisable features as there were in the morning hours, and I found its impressions less distinctive, the sequences more obscure. But maybe that was just my own fading vigour.
As I wrote above, my final tally, for now at least, will remain at the 18.5 hour mark. I think this is a respectable amount of conceptual art to have seen over a few months, though I’m still in awe of Ari Haque who did all 24 hours in one go.Continue reading