Christian Marclay "The Clock"
So today's post was supposed to me talking with James Yeh in Greece, however that has been postponed due to my yet-to-be formally diagnosed problem of taking on 5 million jobs at once. Then I was on set all weekend long dealing with way more than I had allotted time for, meaning I didn't even get to go with the back up plan, which was interviewing my crew about their take on experimental video... so today I'm posting "The Clock"
Have you seen The Clock? I haven't and I've been kicking myself over it time and time again. First I missed it at Lincoln Center and now I will have missed it at MOMA, due to the problem I mentioned above.
In short Marclay is the creator of sound "collages" or sound design, using only turn tables, records, gramophones and instruments. He is well known in the experimental genre and has even performed with Sonic Youth (!!!). He is also well known for his visual art.
According to The New Yorker article I read, Marclay spends A LOT of time sitting in a chair going through footage. I remember it saying something like, he aged 3 years just sorting footage. Sounds kind of horrible, until he puts together this amazing piece (I'm saying "amazing" based on the conceptual aspect of it, as I noted I've not actually seen it) which is a clock of sorts in and of itself. "...it is made of a 24-hour montage of thousands of time-related scenes from movies and some TV shows, meticulously edited to be shown in “real time”: each scene contains an indication of time (for instance, a timepiece, or a piece of dialogue) that is synchronized to show the actual time".
So there you have it. Hopefully someday I can see "the cinematic tour de force" and winner of the Golden Lion award at the 2011 Venice Biennale, in real time.
Randomly, someone messaged me on Facebook asking me to show their poetry videos. I truly love when people like Erin J. Mullikin write me to comment on the posts I'm making here. I wish more people would write me with their work (wink, wink).. so check out their link.
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