Due to popular demand, it was today announced that Christian Marclay: The Clock will stay open overnight on 12-13 January 2019, offering Tate Modern visitors one last chance to see the work in its entirety. This free event offers a special opportunity to experience this acclaimed installation outside of gallery opening hours.

Captivating audiences since its debut in 2010, The Clock is a thrilling and poignant montage of thousands of film and television clips that depict clocks or reference time. Following several years of rigorous and painstaking research and production, Marclay edited these excerpts to create an immersive visual and sonic experience. This landmark work operates as a gripping journey through cinematic history as well as a functioning timepiece. The installation is synchronised to local time wherever it is on display, transforming artificial ‘cinematic time’ into a sensation of real time inside the gallery.

Combining clips spanning 100 years of well-known and obscure films, including thrillers, westerns and science fiction, audiences watching The Clock experience a vast range of narratives, settings and moods within the space of a few minutes, allowing time to unravel in countless directions at once.

Frances Morris, Director, Tate Modern said, “The enthusiasm for Christian Marclay’s The Clock continues to grow and we are thrilled to stage one final 24-hour screening of this exceptional installation at Tate Modern, for what promises to be an unforgettable experience.”

Christian Marclay’s internationally celebrated 24-hour film installation has been on display in Tate Modern’s Blavatnik Building since September 2018 and will continue until 20 January 2019. Access to the installation and 24-hour screening on 12-13 January 2019 is free.
Christian Marclay is recognised as one of the foremost contemporary artists working in sound and image. He received the prestigious Golden Lion Award at the Venice Biennale in 2011 when The Clock was shown. Tate jointly acquired this celebrated video work in 2012 together with the Centre Pompidou, Paris and The Israel Museum, Jerusalem.

Born in San Raphael, California, based in London and New York, Christian Marclay (born 1955) first came to prominence in the underground music scenes of late 1970s Boston and New York, where he developed a unique mode of music and performance using altered vinyl records. Renowned as a seminal figure in the development of DJ culture and ‘turntablism,’ Marclay has subsequently developed a major international career spanning aural and visual collage and performance, sculptural objects, video and photography. His fascination with all aspects of popular recorded sound and cinema has led to sophisticated sampling and appropriation techniques in which obsolete cultural forms are given renewed life through new media.


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