Museum of Fine Arts, Boston and National Gallery of Canada Acquire Christian Marclay’s ‘The Clock’


Still from Christian Marclay’s “The Clock” (2010). Photo: Todd-White Art Photography. (Courtesy White Cube, Paula Cooper Gallery, and Museum of Fine Arts, Boston)

Those who didn’t have time to catch Christian Marclay’s 24-hour chronological odyssey, “The Clock” (2010), when it debuted stateside earlier this year at New York’s Paula Cooper Gallery are in luck: the critically acclaimed video work has been acquired jointly by the Museum of Fine Arts, Boston and the National Gallery of Canada, the institutions announced this week. One of the five other editions was snapped up last month—for a reported $467,500—by the Los Angeles County Museum of Art.

“The Clock” is a particularly (you guessed it!) timely acquisition for the MFA, which in September will unveil the Linde Family Wing for Contemporary Art, a seven-gallery showplace housed in the museum’s fully renovated I.M. Pei-designed building. Marclay’s work will have its Boston premiere on September 17 and 18, when the MFA hosts a 24-hour celebration of the new wing. “This first screening of ‘The Clock’ will be an unforgettable way to mark a new era and historic moment for the MFA’s contemporary art program,” says Jen Mergel (pictured at right), the museum’s Robert L. Beal, Enid L. Beal, and Bruce A. Beal Senior Curator of Contemporary Art. Mergel made time to answer our questions about the work, the acquisition, and how two institutions share a video (an armored truck is not involved).

How would you describe “The Clock” to someone who hasn’t seen it?
I’d have to describe what Marclay does as an artist to explain what “The Clock” is as an artwork. With his background as a pioneering DJ, Marclay samples and splices popular recordings into smart, resonant, profound new sequences of image and sound. For “The Clock” Marclay assembles thousands of film and TV clips that include watches, clocktowers, sundials, alarm clocks, countdowns, and more into a 24-hour cycle of footage that, scene by scene, breaks films’ narrative time but keeps the local time on screen, in sync with the local time zone wherever it is shown. So in “The Clock,” when a famous actor in a sci-fi clip launches a rocket at 11:59, another in a western meets for a duel at high noon, and another in a thriller catches a train at 12:01, you can be sure that these scenes and all of the clips in between will always accurately match the passage from a.m. to p.m., wherever it is shown.

So what is “The Clock”? It’s fair to say it’s a paradox: it’s both a working timepiece and a time capsule, it at once breaks chronology to redefine chronology, and it takes time as it gives time. It’s a space where worlds collide but never meet as they keep marching forward.
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New Cadbury’s ad and more nice work

Cadbury’s has released the latest spot in its Glass and a Half Full Productions film series for Dairy Milk. The new ad sees various items of clothing in a charity shop burst into a choreographed piece of dance once the shop has closed. The commercial, by Fallon London, is set to Jermaine Stewart’s 80s salute to the delights of abstinence and ‘cherry wine’ You Don’t Have To Take Your Clothes Off. Be warned, if you watch this, you will have this song in your head all afternoon… Exec creative director: Augusto Sola; Creative: Sam Hibbard; Director: Megaforce; Prod co: Riff Raff Films.

Also from Fallon is an inventive new campaign for Skoda. Skoda Puzzle is part of the car brand’s sponsorship of US crime drama on Channel 5, and links the TV idents that appear at the beginning and end of each ad break to an online trail to find the location of a hidden virtual Skoda Fabia vRS car. Participants are encouraged to follow the trail until the final week of the campaign in early July, picking up clues each week. As the weeks pass, the answers to the ident clues will bring the participants closer and closer to the exact location of the virtual car, which they will have an opportunity to win. Players can watch the TV idents and answer the questions at Skoda’s YouTube channel at skodapuzzle.com. Creative director: Augusto Sola; Creatives: Peter Gatley, Richard Hale; Head of digital & integration: Matt Groves; Director: Justin Stokes; Prod co: HLA.

This new ad for Volkswagen Australia from DDB Sydney emphasises the importance of pleasure before business. ECD: Dylan Harrison; Creative director: Steve Wakelam; Creatives: Adam Ledbury, Karen Ferry; Director: Steve Ayson; Prod co: The Sweet Shop.

Goodby, Silverstein & Partners has created this animated spot for the French AIDES campaign. It stars Willy the Tourist, who aims to encourage viewers to always use protection during any sexual adventures they have when travelling. ECD: Erik Vervroegen; Creatives: Antonio Marcato, Raphael Milczarek, Will Elliott; Director: Luciana Jordao; Prod co: Seagulls Fly.

Hayfever season has arrived in the UK, and this new, somewhat sinister, print and poster campaign for Benadryl from JWT London aims to emphasise the threat that allergies cause sufferers. The ads feature masks created by Steve Whinnery – two are shown above. ECD: Russell Ramsey; Creative director: Dominick Lynch-Robinson; Creatives: Adam Scholes, Hugh Todd. Photographer: Graeme Stuart.

This lovely new print work for Honda is from Wieden + Kennedy in London. Part of the Power of Dreams series, the ads aim to recognise the car brand’s constant search for new, surprising and unexpected ideas. Creative directors: Chris Groom, Sam Heath: Creatives: Sean Murphy, Sophie Bodoh.

We end this week’s round-up with this intriguing short film that the Barbarian Group in New York has created as part of an ongoing campaign – the GE Show – for General Electric in the US. The film illustrates the power of the sun’s energy by creating a 360 degree portrait of a miniature sun. BG’s blog tells us how it was done, here.

 

CR’s current issue is The Annual, our biggest issue of the year featuring an additional 100 pages of the best work of the past 12 months. If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine. If you subscribe before Wednesday April 27 you will receive the May issue/Annual as part of your subscription.

Matières à Chaud by 5.5 Studio

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This pane of glass supported by wood, metal and marble sticks is a sculptural radiator designed by 5.5 Designers of Paris for French company Saazs.

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Called Matières à Chaud (Hot Matters), the design features a glass panel coated in a thin layer of metal that conducts electricity and radiates heat.

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This glass pane is sat on edge in a marble or metal base, which also houses interchangeable sticks and rods.

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More design stories on Dezeen »

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The following is in the designers (in French):


Matières à Chaud by 5.5 Studio

Quand on dessine un radiateur, c’est en quelque sorte de la chaleur que l’on cherche à mettre en forme. Il se pose alors la question de la matière qui va le mieux incarner cet élément invisible et immatériel tel que nous l’a proposé SAAZS à travers la technologie de verre chauffant Thermovit.

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Plus qu’une machine à faire de la chaleur nous avons donc envisagé cet objet comme un paysage artificiel dans lequel des matériaux symboliseraient une certaine chaleur ambiante. La collection HEAT est donc une série de supports, bases et pics que l’on a constitué pour offrir la possibilité à chacun de créer une chaleur boisée, colorée ou minérale.

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THERMOVIT ELEGANCE est un panneau chauffant thermo-régulé en verre clair, miroir ou personnalisé. THERMOVIT Elégance est une solution d’un esthétisme inégalé qui diffuse une chaleur enveloppante, similaire au rayonnement thermique du soleil.

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QUANTUM GLASS™ est une nouvelle marque du groupe SAINT-GOBAIN dédiée aux verres actifs avec un portefeuille de technologies innovantes.

SAAZS est un laboratoire de création et de diffusion de mobiliers et de concepts innovants.

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Il promeut une dimension inédite du design qui associe avant-garde technologique, poésie, sensibilité écologique et réflexion architecturale.  
SAAZS a initié en 2004 une réflexion sur le renouveau de la lumière avec le département Recherche & Développement de SAINT-GOBAIN (technologie PLANILUM) et des créateurs.

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Fort du large succès de ces premiers travaux, dont témoignent divers prix internationaux, SAAZS collabore aujourd’hui en partenariat avec QUANTUM GLASS™, entité du groupe SAINT-GOBAIN dédiée aux technologies les plus avancées de verres actifs.

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Lieu de créations prospectives, SAAZS multiple les échanges avec des designers, artistes, architectes internationaux pour matérialiser des visions du monde de demain au travers des installations, objets ou interview vidéo. SAAZS s’affirme ainsi comme un producteur de concepts innovants, un acteur précurseur, passerelle privilégiée entre les créateurs (designers, artistes, architectes …), les innovations technologiques et les éditeurs.

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See also:

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Heatwave Radiator by Joris LaarmanDomestic Animal Radiator
by Guus Van Leeuwen
Radiator Humidifiers by
Giulio Lacchetti and other
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Cardboard Elements

Zimoun s’est spécialisé dans la créations d’installations sonores. Jouant avec des matières légères comme le carton, sa dernière oeuvre en collaboration avec l’architecte Hannes Zweifel est actuellement exposée à Bucarest au Musée d’Art Contemporain. A découvrir en vidéo.



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"LIMP" lamps by Studio Arnaud Lapierre

limp-1.pnglimp-2.JPGSaint Foy Church By Havang(nl) (Own work) [CC-BY-SA-3.0], via Wikimedia Commons

Last weekend in the beautiful South of France, Studio Arnaud Lapierre installed 40 “LIMP” lamps in the historic Saint Foy church, a popular stop for pious pilgrims and a UNESCO World Heritage site in Mirmande for the design festival. Each lamp was created from recycled rubber. Check out more images after the jump!

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Ask Unclutterer: Is Google Docs safe for backing up confidential information?

Reader OB submitted the following to Ask Unclutterer:

I am in the process of scanning all of our tax returns older than seven years and am considering storing them on Google Documents. Do you consider that safe, since they contain a lot of confidential information? Thanks for your opinion.

To answer your question, I contacted Timothy B. Lee who is a computer science researcher at Princeton University. Here’s what he told me:

It really depends on the user’s tolerance for risk and what her other options are. If you place confidential information on Google Docs, the risks include: Google being compromised by hackers, Google itself using the documents for nefarious purposes, your account being compromised, governments or other third parties requesting and obtaining access to the documents, and Google losing your information. None of these outcomes are very likely, but they’re all risks to keep in mind.

Personally, I wouldn’t put confidential information on Google Docs because I keep regular backups of the data on my hard drive and I’m vigilant about the security of my machines. If you run a business or are in a profession where you regularly handle confidential data, you have an obligation to do the same in order to safeguard your customers’ confidential data. But I know that, in practice, ordinary users don’t always follow these best practices. For those users, there may be a larger risk of losing information in a personal hard-drive crash or malware infection than having something bad happen to data in Google Docs. So trusting Google Docs may be a rational, calculated risk.

If you do decide to put confidential information in Google Docs, you should strongly consider signing up for 2-step authentication. This is a free service that greatly improves the security of your Google account. It won’t protect you from all the threats I listed above, but it will at least protect you in case a malicious party gets your password.

Thank you, OB, for submitting your question for our Ask Unclutterer column. I hope Timothy’s information helps you come to a solution that is best for you.

Do you have a question relating to organizing, cleaning, home and office projects, productivity, or any problems you think the Unclutterer team could help you solve? To submit your questions to Ask Unclutterer, go to our contact page and type your question in the content field. Please list the subject of your e-mail as “Ask Unclutterer.” If you feel comfortable sharing images of the spaces that trouble you, let us know about them. The more information we have about your specific issue, the better.

Like this site? Buy Erin Rooney Doland’s Unclutter Your Life in One Week from Amazon.com today.


BMW GUGGENHEIM LAB

W Hotel Taipei

Créé par le cabinet d’architecture de Londres GA Design International, le W Hotel Taipei se dévoile avec de superbes visuels. D’un aspect très luxueux, ce bâtiment situé au centre de Taipei dispose de 405 chambres et suites avec un design intéressant. Plus de visuels dans la suite.



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Stewart Lee: the social media strategy

Comedian Stewart Lee is somewhat sceptical of social media. He doesn’t do “the tweets”. His face isn’t on Facebook. Here, quite possibly, is why…

Social Stew was posted on the BBC’s website earlier and shows Lee in a meeting with BBC Marketing (Online), discussing the web and social media angle for the launch of the second series of his Comedy Vehicle. Ideas such as Stewart’s Long Arm (on Facebook, above) and the Angry Stew app are suggested.

The clip features a brilliant portrayal of a BBC social media strategist by Kevin Eldon, plus an ironic piece (given the fact the film is being blogged and tweeted) on rap star Ironik from the new series.

Con Form Lab’s CNC’d Plywood Expanding Dining Table

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Walter Zesk was a Philosophy major at Wesleyan; Seth Wiseman studied both Building Science and Industrial Design at Appalachian State U. Eventually the two gravitated towards getting Masters of Architecture Degrees at RISD, where they presumably met, and now the two run Con Form Lab, a design firm that strives to “make design, and the digital tools relevant to design, accessible to everyone.” Scale-wise their projects range from designing jewelry to 15,000-square-foot industrial facilities.

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