Is Christian Marclay a one-hit miracle?

The latest super bends to Christian Marclay, worst words, Doorthis is an art lover’s movie.

Door He is a famous actor who has 50 minutes in the movie, just opens and closes the door. Now after stopping in Boston and Europe at the Brooklyn Museum clock (2011), Markley’s biggest hit song. Over the past 14 years, clock, The 24-hour Moma-Headlining Video-Clock enjoys a rare Barbenheimer blockbuster in the art world. It’s a live video edited by thousands of movies excerpts from a bad-looking DVD tear, where viewers’ time of day is synchronized to match the clock and watch that appear on the screen. These movies are like When Harry meets Sally (1989), a colorful black and white laurels and Hardy short film, and some Godard-style movies, girls really want to fuck Fidel Castro. So at 1:23 pm, you’re watching Robert Shaw’s terrorist Pelham one or two(1974) announced to the New York Police Department that his subway hijacking happened to begin at 1:23 pm.

Tidy, right? This mm head ensures that the crowd like an electric ball will always be there clock Arrive in the city near you.

But Artie’s point of view is clear: in real life, especially in movies, time is a fantasy structure that still rule our lives. Yes, don’t say it!

This false practice revelation did not prevent Zadie Smith from New York Book Review As “neither good nor good, but sublime, perhaps the greatest movie you’ve ever seen.” Let’s ignore Markley’s clock Not even the greatest movie clock You will see it. (This honor is attributed to the melodrama led by Vincente Minnelli and his 1945 Judy Garland). Until recently, what clock Sublime blah-ness, but it’s all too plain Door, This is how slavery is in Thall Marclay’s work, the principles that AI now touts, its dislocation, corral and the way it blends into mechanical commands. Until recently, in the short history of cinemas, images cut with another image might have created new meanings in a trembling way. But in the era of Tiktok/GPT, the cutters brought together uncovered images to appeal to the audience with the power of shrugs and MEH. and clock, Marclay predicted that this media landscape was too beautiful. and Door, He was prejudiced to the obvious.

Maybe my reaction was like the aggravation of Andy Warhol by the 60s New York artists, his machine ammunition, accelerated love letters to grocery items, Death Star and John Giorno. But that’s still like Letters; Warhol shot with soul and silk impression. Even the Volkswagen sales face in Warhol’s hands is more than just a face. It points to a feeling, dead. Who cares about any actor, whether it’s Peter Sellers or Brigitte Bardot, in the hands of Markley? Where is gentleness Door? On its hinge?

I searched for this feeling in a recurring scene showing Audrey Hepburn Funny face. (Neither the Markley nor the Brooklyn Museum will provide me with a list of movies, most of which seem to be from the United States and France. Obviously, it is not important to be curious about movies in the movie. She is about to enter another portal – Doom, Joy. Who knows. Who cares. The movie keeps going, cut to the next door.

Based on my dealings with Brooklyn Museum representatives, the purpose of not knowing or discussing the film is to “preserve the conceptual focus of the work by avoiding focusing on a specific title and turning it into a reference list.” I don’t buy it. There is a very limited, even political idea here. This is the same idea clock It seems to herald something if not totally indulgent: Marclay encourages a historical mix of movies, which is more boring than your regular YouTube compilation. At some point in your life, take the time to watch the full movie of the door guru Ernst Lubitsch. I promise you will experience a more fun, more fun, melancholy and destructive reflection on the door – their weirdness, their isolated lovers, their sadness they prevent and their seductive choices.

As a cinema lover, not only narrative, history and context, the fanatical dedication to concept logs is so unpaid Door. It seems that the entire cinema can be disassembled and pieced together into discrete elements to create a heroic intervention in the final cut career, and at the Marclay workshop a team of unattended workers glittered with white cubes. It doesn’t matter. I love playing and mixing. But, in the case of Maclay, what is the result? A billboard narrative idea, it’s the best artistic fable I’ve ever encountered, it’s the best artistic fable for me to feed: a peeling super spin, endless event, some friends pop up with something you expect these particular friends to do (i.e., all these repetitive, all endless doors are in Audrey Hepburn, Mia farrow, Mia farrow and the Events and yney the Events and sosedney poities, and other similar events, among other similar events. Female horror, screaming women Shuangfengfeng: Walk with me [1992],,,,, Night porter [1974]and American Psychiatric [1998]) Flying, as we wait for the next image to distract us, is ignored. Only once you get tired of it, the feed will only end.