London, Van Gogh, Martin Bailey discussed on The Art Newspaper Weekly

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Starry night. Van Gogh for the asylum is published by white lion publishing the herbeck is twenty five pounds and it's valuable. Now you could also read Martin Bailey's weekly blog adventures with van Gough at the art newspaper dot com. And Martin Bailey is also co. Q. rating take Britain's exhibition fan, Gough in Britain. Opening in March. Next year. Martin gave us the yellow house is still imprint of years after it was first published and his latest books are modernist Mavericks bacon. Freud hooked me a melon painters published by Thames and Hudson, and Lucian Freud, a two volume opus published by fighting. I'll be back to into Krisztian Markley after this. The art newspaper podcast is brought to you in association with bombs this year. The hundred fiftieth anniversary of the Meiji restoration. Key event on depends path to modernism out when the militaristic took go as shogunate, which will countries in sixteen hundred income semi constitutional government under the emperor Meiji in the new capital Tokyo to celebrate this verse. We Jeff Olson ritual Japanese autobahns New York of a twenty treasures Japanese metalwork from a private collection. One of the highlights of the auction was an outstanding bronze. Incense burner with a classical style winged Pegasus motif, not seen in traditional Japanese. Now earlier this week, Christie, Mark lease the clock opened at Tate. Modern this twenty four hour video installation is a moving image Co. large pondering thousands of clips from one hundred years of film and television history that depict clocks or reference time. One of the first masterpieces of twentieth century art. It was made in a three year period between two thousand seven and two thousand ten. It premiered at the white cube gallery in two thousand ten and has since been shown all over the world to enormous public and critical acclaim, potato quiet work with this entrepreneur in Paris and the Israel museum in Jerusalem into twelve and this is the tights first showing the work in a dedicated space and its new extension. I went to take modern early this week to Christian. Christine, the clock as far as I was made in London, and yet it's the first time that it's been shown a tight model, which is the national institution of of of modern art in London. Does it? Does it feel like hung coming for this work. Spend eight years since it was shown in London, so very excited to have it back here. Yeah, it was made in London. It features big Bama lot. And. It's exciting, especially in this new building, and especially the fact that it's free and people can come back to it as as many times as they want to. If the if they're lucky enough that there isn't too much of a cue, the fact that it was made in London. I wondered if that affected the actual nature of the clips that were used in the sense that you had you and a team of people research. Do you feel that some of the inevitable? So to buy a series of collections of videos in London affected the nature of the material with anywhere? Absolutely. Yeah. I mean, it's very much in a way. Portrait of all the video rental shops that have since disappeared in the last ten years, or you know, gone, everybody downloads their films. So it's very much about what was available available in London during those three years. That was making the clock. Yeah, very much. So. And and like I said, Big Ben, a lot of a British movies were featured in and. Because they were available. And of course, they if if the action happens in London, you pretty sure there's gonna be a Big Ben shot. Tell me about the process between conceiving of this idea and the actual making of it. Was that a speedy transition, or did you have to Mallow over how you going to do it for quite a while before you actually put it into action. I have one year that I was just basically messing around to see if it was possible. I didn't believe it was. I didn't totally believe it'd be possible and only after a year of experimenting finding material and seeing how I could put it together to make an interesting series of sequences and into blended all together. Yeah. So it was bit of a gamble at first and but it it worked out after year was convinced it could be done. And if I was missing a minute, I could find a way to. Replace it with something else. You know, did you find yourself so the carrying like Booker remedy will noting down moments in films that you've seen the clock call? No, no. I didn't watch any of the films I just edited. I was busy enough doing that, and I had a bunch of assistant who. Were watching films on day and bringing me these these clips. And now I was I was totally focused on the editing and finding ways to link all these fragments into to create this illusion of continually. And that was in a way that the more interesting part I think of kind of knitting all this fabric. I mean, I think that's that's one of the most joyful things about this. It's not just a selection of random clips of certain times of day. You've actually found ways to almost correct mini narratives between the individual clicks in a way. That's the most inspiring part of it from my pun view. Yeah, but you know when because everything is sink to the present, so I tend to him, I will, of course, see a lot of similar action taking place at ten AM and finding the links between these these clips is sometimes easier. I mean, if if it's noon and everybody's eating or starting to cook, you know, there's a lot of scenes happening in restaurants kitchens. So there is. It's easier to link them. And yeah, midnight. There's a lot of clips. Of course. I mean, the, there's always a build up in a way to the hour because that's the material that I found. So I had more choices, you know, leading up to to the hour being midday or midnight. Or three in the afternoon or three in the morning. That was a bit harder though three in the morning. It's different sort of Pisces occurred during the films they sort of, you know that you have long sometimes longer sequences clips. It's sort of love, but then these amazingly frenetic moments of activity. Yeah. I mean, it's very much based on the material that I found and. You know, sometimes the hardest I think was just before five AM from, let's say, three to five at five AM everything starts people wake up. They go to work. And, but after three. It gets a bit tougher for two five is difficult, but it's also just before you wake up is the time when you dream a lot, and there's a lot of fabulous dream scenes in history of film that I could use. And those maybe fillers when I couldn't get the exact clock on the bedside the before the alarm clock went off. But there's a lot of things idea. Lot of people unable to sleep tossing around hearing sounds. So I was always a way to to fill that time. I wonder about during the editing process would affect it had on your mind? I mean, we having strange straightens at the time that you doing the editing? No, it was more physical. You know, being in the same position editing sitting down front of the computer. I had some problems with my hand after seven point calluses. I had to start yoga to relieve the tension and which was a good thing because I still do it. So physically it was it was tough. And now it's been ten years since I started or eleven years since I started that project. I don't. You know, I find sitting front of computer all the editing more and more difficult you know and the origins of this worker manifold, but there were still seeing it seems to me. So the two landmark moments one is the nineteen ninety five film telephones. And then video kotecki which seemed like a big leap in the direction of the clock is, is that the sort of secrets that you are? Did you see? All is continuum from your very earliest experiments, collage music. Yeah. I mean, all these, these things influence my way of working and definitely the. DJ and sound editing. I always been, you know, collage fragments from from found sounds so that was very much there and especially in the soundtrack, which is so important and. You know, it really came out of that experience and and and that that knowledge that you can sort of force things together, even if they don't quite fit and try to make something interesting out of all these fragments. And yet telephone was my first kind of video. Collage and video quartet was also quite a an important piece. And yeah, that led to the clock. Tell me about the importance of muscle de show in terms of the aesthetic of your work run away through into, in other words, the found objects in how that sort of is to fundamental principle of your work to certain degree. Deschamp is gnarly, said Meyer lart, and he has opened a lot of doors away, allowing us to work with whatever is in front of us and and.

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