
When the French symbolist poet rewrote the words of Cervantes “history, the mother of truth” he suggested the famous quote as a meaning of a certain multiplicity of truths to a composite present. Adam Chodzko takes a similar approach with his work when social situations and stories are conducting to their own gestation of narration. Something which might not be immediately evident and visible but reached by a complex and wide range of evidences of anthropology.
Born in 1965, Adam Chodzko is an artist living and working in London, in his work he explores the interactions of human behaviour through several domains from posters to photograph and video installations. Among the large amount of his video works, he poses the question of how can we engage with the existence of the others, exploring both community and private spaces, documents and fictions, and choosing to work directly with places and people surrounding him.
Graduated in history of art in the University of Manchester and then at the Goldsmiths college between 1992 and 1994, he intensively exhibited, since 1991, in international solo and group exhibitions.
Chodzko's work is thus often an introduction or a request on the public space and one of these signals are seen in the Secretors, lead crystals of manifestation juice approximatively of 60 cm long each. And one of his first manifestation in video was the insertion of one Secretor placed behind the Shadow chancellor of the Exchequer Gordon Brown in an interview broadcasted on ITV news at ten the 27th July of 1994. These Secretors come from a sort of kit where Chodzko put them everywhere, perceived in the corner of your eye falling into a space like tears. The title of thousands KM/HR meant to be the speed they travel at, creating falling energies, Chodzko is here trying to work with a surreal that leaks out of the everyday reality by inserting fictional feature in an ordinary situation
History and the past takes a great signification in the work of Adam Chodzko, when he gave a voice to the actors of Russel's movie The Devils and Pasolini's Salo or the 120 days of Sodome in respectively the works From Beyond and Reunion: Salo. By recalling them and giving them a second voice, Chodzko recreates and disrupts at the meantime the films, he make us realise that it takes a place in the individual life, one significant fictional event in their own experience.
Salo, or the 120 Days of Sodom, was the last film by Pier Paolo Pasolini, one of the most famous Italian director murdered in 1975. Salo is a violent film at times unbearable but sorrowfully poetic about Fascism, it's no longer widely shown but those who saw it cannot forget it. The movie evidently made a strong impression on Adam Chodzko when he made the work Reunion: Salo. He tried by placing ads in the newspapers, to reunite the sixteen people who, in Pasolini's movie played the role of sixteenth adolescents tortured to death, using again communication as a tool for creating the work of art. After three months of research the only person who had reappeared in the present was the only one who didn't died in the movie as she asked to the director who had respected her wishes. Thus, Chodzko had just one actress who already had eluded her fictional death, he clearly had to change his project when all the others, maybe traumatized by the extreme sadism they'd staged, didn't respond to the reunion. He then replace real actors by boys and girls doubles who resembled them as closely as possible. Thus at the end, the piece resulted to documentation of the project comprising explanatory texts, photographs of the doubles and a video capturing the encounter between them and the original actress covered by a voice over of Chodzko explaining the construction of the work.
So here even if the really work didn't resulted as it had to be in the original idea of the artist, Chodzko is creating once again a recall to the past through communication which has been slightly revelating when the reaction of the actors tell us that they didn't forget and they were kind of eternally traumatized by what they did in the past equally as the spectators were. We also can see the gap between reality and fiction, when the only real actress whose part of the work didn't act her fictional death. Thus Chodzko tell us a story which seems to be true in first instance but then reveals its falseness with fake actors which look like they're eternally young since the movie.
The same year, Chodzko created a similar reunion with Nightvision a thirteen minutes long video projection on two screens. The work presents a selection of technicians from rock concert, rave and theatre lighting companies who were asked how they would light heaven. On the first screen we can see a woodland groove filmed with a night-scope lighted by the group of the technicians covered by the soundtrack of their talking about lighting heaven. The superposition of these barely visible people working to light a wood and the poetic speculations of their vision of light heaven creates a strange atmosphere connecting again the reality in terms of specific and technical language and the imagination of these people. When we hear at the end a loud electrical charge of a heavy switch being thrown, the projection crosses the room and goes on the second screen of the opposite wall. Thus the viewers turn and the realisation of the technicians is at least revelated in brilliant blue, orange, gold and green lights. Here perhaps, is a visual formulation of the biblical pronouncement Let there be light. Here we can see that there is a religious dimension in Chodzko's work when he reveals existential questions through the human reflex of constantly wondering “what if...?” when sometimes, art could respond to it by clarifying our relationship to reality and create a non-space known by everyone.
A place for the End, is also dealing with some kind of end space. It presents a DVD with sound installation of ten minutes showing places that seems almost inhabited or habited by a couple of figures mostly showing them turning back to the camera or in darkness. Chodzko is clearly preoccupied with end spaces, considering it like gap places between fiction an reality.
The project of this work consist of group of strangers asked by the artist to choose a location where they thought a film might end, they all picked kind of non-spaces around the city, emotionally charged and quite dramatic looking. After that, Chodzko placed a plaque in each location stating them as a place for the end of a film without describing what really happened here because it was not really places where something happened but where something only might happened.
It is obvious that the central key in Chodzko's pieces is people. These people, strangers who were asked to reunite, are certainly not stereotypes or archetypes but much more individuals marginalised choose for their relationship with something special or someone else like the mother in Producing Siblings or the big guy himself in the God look-alike contest. They are all caught to reconstruct their identities significant of inner truth in the human experience of living through fiction and reality.
With the work Involva of 1995, Chodzko explored more deeply people's reaction after posting a pencil drawing of a forest above the inscription “Please will you join me?” in the pages of the sex contact magazine Experience. Submerged by responses and requests about the mystery place, Chodzko then photographed the letters in a forest resembling to the one of the drawing. He is thus confronting the place in the drawing which could be both an actual place or a state of mind, real and fictional, with real letters mixed to a real place which could respond to the imagination of their authors. We can see here that all his interest is to break down the systems of communication to analyse them more closely.
There is often a return to the past in Chodzko's work through video. In that sense he used again communication to construct his new work Recall: Strange child in 1997 by putting an ad in the newspapers which text was: Recall, where you a strange child? All people who were strange children are invited to make a beautiful place for ourselves. He thus made a reunion in which participants, now adults, described their peculiarity into the narration of a film, all the strange children were now unified into a familial group of temperaments. In this way he use to play sort of God creating new circumstances which will reveal questions about past and existence.
In several works, Chodzko wanted to create reunions and meetings of strangers using the strategy of placing and advertisement in the free ads newspapers. Among the very first ones were the works International god look-alike contest, From beyond and Reunion: Salo. With the international God look-alike contest contains an assemblage of pictures sent to the artist as he asked through an advertisement, of people who think they look like God. But he also created an idea of a reunion which never happened in the work Meeting. The work comprises a series of fifteen A2 drawings following the poster of a format. The poster announces “Meeting of people with stammers to describe a fire. Here. Everyone welcome.”, associated with a precise drawing of a fire mixed up with curve lines and arrows as it conducts the viewer to read the drawing. The statement of the poster seems clearly simple at first instance, there is a meeting and here is a picture of a fire for you to describe and discuss, but nearer, it appears much more intangible when it is addressed to stammerers. The drawing hits the eyes of the viewer and, the fact that it is involved in a seriality, make the work only on possibility among a large amount of others. Thus Meeting is not a realisation of a meeting, but a reason that might be for people to reunite and a probable result for what might happen.
In Loose Disclaimer created in 2000, Chodzko enters more precisely in the word of films and their ends. It presents a series of six one minute videos showing a film's disclaimer being illuminated by a marine distress flare around the periphery of a city at night, another marginal space. The disclaimer texts: “The characters and incidents portrayed and the names herein are fictitious and any similarity to the name, character and history of any person, living or dead, is entirely coincidental and unintentional.”
While the flame is burning the girl who performs explains in voice-over the difference between the fact that she experiences it and watches it.
Then Chodzko's added these six minutes videos at the end of six video tapes he rented from video shops, highlighting the fact that what you just watched was only a film, forcing the audience to realise that it was only a fiction while the performance girl is claiming that her experience of being in the video was surely better than what you just watched. Chodzko here is asking again the relationship between reality and fiction and makes us ask ourselves which one would be better or worse between watching a fiction, something often close to reality or living in a reality highlighting a fictional aspect of it.
Limbo and land, a 10 minutes and 40 seconds video (DVD) made in 2001, could be seen as different from Chodzko's previous works in video. It contains shots showing empty deserted landscapes and abandoned clothes cut with scenes of two people attending the beside of a third unseen character, confronting empty and emotionally scenes together. The camera makes some moves that place it as the viewer in the middle of the emotional scenes looking straight into the eyes of the actors. At other times, the camera moves through the landscape in a way that would be impossible for a human being. A women voice is covering these images, trying to understand the meaning of the work, letting the debate opened. We thus hear this woman trying to respond to a work which, as most of Chodzko's works, has been left with a meaning and purpose unclear. When it should be seen has a default to the work we thus understand that the process of the video is clearly trying to represent an event not totally comprehensible, something depicting certain situations or states of mind that cannot be filmed or expressed, never mind which domain we choose to depict it or constructing a coherent aesthetic.

Plan for a spell is a DVD created in the same year that Limbo Land, it is constructed by several images of social spaces from the contemporary British landscape filmed (a demolition derby for instance) , some shots concerned with movements and coincidences (like a weaver's hands or the blades of win turbines). The DVD is encoded to randomly assemble the sound, vision and subtitles so every time it is played it will play in a different order creating each time a new spell for the sequence. Chodzko here is playing with the notion of narration when it is infinitely evolving in a new scheme impossible to predict. His fascination with how our imagination and beliefs operate comes to mix itself here with society and communities. The work could be seen as a multiplicity of propositions for a social space set in the future.
We could see Plan for a spell “as a kind of requiem for an unmediated culture, for experiences that haven't been defined to death by their own representation, but there was a time (and this time was the 1970s) when it was possible to find footage like this on mainstream TV. It's more like a simulation of, or a metaphor for, a collective memory.”
When Chodzko made the work Hole in 2007 he made a variation of a myth through the relationship between a museum and a woman who, daily, inscribes a description of her emotional state on a juge Led sign mounted on the side of the Mambo museum in Bologna. Then the sign has been removed, leaving holes from where it was fixed. These holes could be seen as a kind of ruins when it is the only physical that remains from the work except the video which is telling the story. This video firstly shows a child watching through one hole and several people putting fingers in it. The voice over is the woman talking about her fictional relationship with the museum. Thus, this work shows a myth set in the future where the only rests are these holes as traces of something that was imagined to occur in the future. Here again, the viewer is disoriented by the narration of a fictional story while the holes take part of reality.
In Chodzko's use of film, art as a pure idea to communicate the meaning of the work is no longer sufficient. It often start with an open question that cannot be really answered in its own terms without stepping out of the work. There is a clear absence of meaning which can only be resolved subjectively by imagination and the viewer's own experience. Truth and meaning are mixed with personal ideas and your point of view of human behaviour where the inexpressibe can only be reached with imagination and the experience is the only real thing we can have in control.
Chodzko took part of the Young British Artists generation but his art is almost impossible to categorise in one special domain when he is mixing several mediums all together constructing only a suggestion of ideas when the meaning of the work is in the hands of the audience whose position becomes one of a kind of code-breaker. The strangers that he is gathering for his work does not present tangible and precise results, using art as a proof more than a result. As an artist he does not create his own language but his own system of dealing with the world, offering a work constructed by variables surrounded by fiction and a generous imagination.
Following Borges' theory when he wrote the immanence of a revelation that does not occur is, perhaps, the aesthetic phenomenon, Chodzko's art could be seen in that perspective when the artwork a proof-principle for a much wider and sometimes mystical idea. It is an opened question on multiple interrogations where the artist appeals the viewer to use all his senses to understand the codes and find the meaning-key. It is clearly all comes down to individual experience.
