E' una proiezione continua in forma di loop il nuovo collage concepito - anzi, scolpito - da Christian Marclay come un inesauribile labirinto tra suoni e immagini di porte che si chiudono e si aprono incessantemente entro ingannevoli ambienti spazio-temporali creati e manipolati a partire da frammenti filmici preesistenti: Doors, in visione fino a fine mese presso il White Cube di Mason's Yard a Londra.
Constructed from cinematic footage collected over a decade, Doors constitutes a montage of short, sampled film clips featuring the opening and closing of doors. Continuing the vocabulary of some of Marclay’s most celebrated video works including Telephones (1995), Video Quartet (2002), Crossfire (2007) and The Clock (2010), this new moving image collage is made of film sequences of all genres, black and white and colour, from French New Wave to Hollywood blockbusters. Deftly edited by the artist, the result is a visual narrative that follows actors as they walk through a door to enter a new space. The passage marks the editing point, facilitating the transition not only from one film to another but also from one soundscape to another. Marclay harnesses the potential of the medium to construct non-synchronous, palimpsestic notions of tempo-spatiality. As he states, ‘the trick is to create a flow, an illusion of continuity’. With no defined beginning or end, each cut acts as a fulcrum to another film, allowing the actors to move through endless passageways, navigate architectural spaces and traverse timeframes. The resulting virtuosic montage suggests a labyrinthine wandering; a realm in which the protagonists get lost and then find themselves again. ‘This video is very sculptural’, Marclay remarks, ‘it’s a sort of mental architecture that the viewer might or might not follow and get lost in.’