White Cube Mason’s Yard
15 October–13 November 2010
Christian Marclay studied art in New York and Boston in the late 1970s, while also performing music. He is cited as one of the first musicians to use a turntable as an instrument in itself, manipulating vinyl records (just as the same techniques were
emerging in hip hop). Since then, Marclay has found various unorthodox ways to mediate both records and miscellaneous music ephemera, transforming them into instruments or artworks.
Picking up from where John Cage left off, Marclay has long pursued the notion of found sound as music, and, in turn, explored how the aural presence of music can translate into a physical, visual artwork. This has manifested in various forms, from sculpture, prints and paintings to film, performance and interactive installations. Marclay has spliced records together, smashed them, built impractical instruments and created collages from films, music and record sleeves alike.
Taking over White Cube’s Mason’s Yard, and two years in the making, Marclay’s new work ‘The Clock’ is a multi-screen installation. Similar in vein to his outstanding work ‘Video Quartet’ (2002), ‘The Clock’ is a collage of thousands of film clips, all of which feature a scene depicting the titular time-piece, a watch or a specific temporal or chronological reference. As a result, ‘The Clock’ not only effectively reinvents the use of film stock but seems to question the phenomenon of time itself.