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DTSTAMP:20260721T234319Z
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DTSTART;VALUE=DATE:20260726
DTEND;VALUE=DATE:20260721
DESCRIPTION:Jul 26 - Aug 23\, 2026\n“The universe confounds me!\,” Volt
 aire once exclaimed. “I cannot imagine that such a ‘clock’ can exist
  without there being a Clockmaker.” Did a spark of such dizzying mechani
 cal divinity also touch off the Swiss and American dual citizen Christian 
 Marclay’s maximum opus\, The Clock (2010)? This is the video that revers
 e-engineers a century of international cinematic history into a 24-hour mo
 ntage of time-stamped film clips synchronized to all the 1\,440 minutes th
 at make up a day. “She thinks to intimidate me with the use of quarter h
 ours\,” Maggie Smith’s caustic schoolteacher Miss Jean Brodie scoffs w
 hen summoned to see the headmistress—and in The Clock\, there’s Maggie
 \, sweeping into the headmistress’s office as a timepiece chimes 4:15. A
 ssembling and ordering such clips took Marclay’s team of over a dozen co
 llaborators some three years—but setting the timeline may have been the 
 easy part. On screen\, a minute is a very long time. Shots of wristwatches
 \, digital readouts\, Big Ben\, and so on that pinpoint our momentary wher
 eabouts on the daily continuum may take barely a second\, leaving Marclay 
 no end of potential dead air. Even where he piles on half a dozen or more 
 separate time-stamps for the same minute\, it takes a nonstop flow of zing
 ers\, executions\, sex acts\, rude awakenings\, air strikes\, stagecoach c
 hases\, train departures\, and much\, much more to eke out the hours. (Ami
 d thousands of quick cuts\, Hamlet’s “Alas\, poor Yorick!” speech—
  delivered by Laurence Oliver—lands like a Handel aria.) Film historians
  have documented the way clips from certain Marclay favorites recur like l
 eitmotifs in Wagner’s “Ring\,” not that a casual viewer won’t noti
 ce this\, too. For extra fun\, join the marathon game of “Name That Star
 !” (Gregory Peck! Denzel Washington! “Her again!” Meryl Streep—flo
 at in and out a lot.) Part way-beyond-Proustian Search for Lost Time\, par
 t way-beyond-Joycean Ulysses\, The Clock manufactures cosmic continuity fr
 om an astronomical barrage of random moments\, even as it fuses dialogue\,
  music\, and sound effects into one seamless supersymphonic soundtrack. He
 aring about The Clock\, some suppose the experience is like watching paint
  dry. Tick tock! The opposite is the case.
LOCATION:Los Angeles County Museum of Art\, 5905 Wilshire Blvd\, Los Angele
 s\, CA 90036\, USA
SUMMARY:Christian Marclay: The Clock
URL;VALUE=TEXT:https://airmail.news/arts-intel/events/the-clock-copy
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