Sandra em frente à White Cube Gallery em Londres, onde assistimos ao filme “The Clock” de Christian Marclay, em uma sala de projeção excelente, guarnecida de sofás confortáveis.
Leiam aqui sobre o filme, é único!
American artist Christian Marclay, now living in London, has spliced together all these moments from B-movies and cult films, forgotten third-features and international classics, to make a filmic 24-hour clock. Currently on show at White Cube in London’s Mason’s Yard, The Clock can also be seen at the New Art Exchange, in an inner-city Nottingham suburb, as part of the seventh British Art Show. The Clock is at once unmissable and unwatchable, in that it is impossible to sit through the whole 24-hour cycle at one go, even when galleries stay open all night to screen it, as White Cube recently did.
The Clock is full of continuity gags, branching fragments of stories you can almost grasp, and moments you recognise from the movies you’ve seen – here’s a bit of Bergman, and there’s Dandy Nichols, the “silly old moo” in Till Death Us Do Part. There’s William Holden, menacing and dangerous, and here’s Tom Courtenay, camping it up in The Dresser. Much more than merely clever, The Clock is relentless and compelling, and it’s hard to drag yourself away. Like life itself, it is one damn thing after another, and sweeps you along.
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