SYDNEY – Christian Marclay’s The Clock is a 24-hour video collage that is attracting audiences in the art world. Sydney’s Museum of Contemporary Art hosted the Southern Hemisphere premiere of the piece, working with Jands’ staging department to create the proper curtained cinema environment for the three-month art installation.
More details from Jands (http://www.jands.com.au):
SYDNEY – To coincide with the opening of their major redevelopment, Sydney’s Museum of Contemporary Art hosted the Southern Hemisphere premiere of Christian Marclay’s groundbreaking 24-hour video work, The Clock, which has attracted record crowds wherever it has been shown.
The Clock comprises several thousand short extracts from cinema history, each suggesting a particular time of day or referencing a specific moment, often through the appearance of a watch or clock-face. Marclay has stitched these extracts together to form a continuous visual sequence synchronised with the real time of your visit – if it is noon you’ll be watching a scene referencing noon. Even more impressively, the scenes suggest countless interlocking narratives despite the constant changes in genres, eras, locations and plotlines.
“A number of galleries were vying for the rights to show the piece but the MCA’s ability to deliver the required specifications and equipment meant they managed to get the rights,” said Mark Brown, MCA’s AV Coordinator.
The Clock is held in the largest gallery of the new extension which is a conventional, white gallery space. This space had to be transformed into what is essentially a cinema.
“As well as transforming the visual requirements of the space we also had to address the acoustic requirements which was quite challenging,” Brown said. “It was decided to use black drapes to black out the space and create the ideal acoustic environment. Also, the aesthetic of the drapes and the feel of them in the space worked well.” The Museum’s technical staff worked closely with the Jands Staging department.
“It’s not a permanent installation – after three months it all has to come out,” Brown said. “Consequently we’re using a temporary system with battening and small hooks rather than tie ropes or hemming. Obviously it is fire rated, too. It was a massive undertaking and now we inherit lots of wonderful curtains.”
Photographer: Alex Davies. All images are courtesy the Museum of Contemporary Art Limited.
