For TNI Vol. 14: Time, both Sarah Nicole Prickett and Masha Tupitsyn wrote reflections on Christian Marclay’s 24-hour film, The Clock. Winner of the Golden Lion at the 2011 Venice Biennale, The Clock is a supercut of clips from films in which the characters are talking about or alluding to the time, it runs synced to the actual time of day where it’s being shown. The Clock ran at NY MoMA from December 21 to January 21 of this year. Click the titles to read more.These essays appear in TNI Magazine Vol. 14, “Time.” Subscribe for $2 here
First thought upon exiting the MoMa’s all-weekend, last-weekend showing of Christian Marclay’s The Clock, which we watched for nearly three hours, uninterrupted: What time is it? It was, of course, the time last seen on screen plus 10 or 20 seconds, The Clock being set to EST, New York City. Was it my failure to integrate “virtual” and “real” that made me want to know what had been told to me every minute, on the minute, all evening? Was it merely reflex?
Sarah Nicole Prickett, “No End in Night”
While The Clock is itself a clock that goes around the clock — that goes through every hour of the day — it is not linear. The film time jumps and shifts tenses every minute. Chronology is scrambled like code. Time is a Matryoshka doll: time inside of time inside of time. The Clock uses time to make and break time.
Masha Tupitsyn, “Remains of The Day“