‘This is all preparation, a kind of dressing, and at the same time a making and unmaking’, state the subtitles of Adam Chodzko’s Plan for a Spell 2001. At some point, we are told, we may reach ‘the right combination for the spell to work’, and it is possible that, for a moment, we may feel different – a subtlety, a clarity may be reached. A moment of revelation, perhaps?
Adam Chodzko is an artist who is constantly making and unmaking; fast-forwarding, back-tracking and overlapping; he likes to blur boundaries. He uses a wide variety of media including video, performance, posters, sculpture, sound, photography and installation. He also likes to work with people and places, and these various communities and locations inform and shape his work.
Chodzko’s work hovers somewhere between document and fiction. He loves to tell stories, but these stories often seem to slip away or overlap with others. He mischievously hints, here and there, that the narrative itself is perhaps not all it’s cracked up to be – that it is the gaps, the pauses or the insignificant details that create more sense and hold more meaning. Chodzko deliberately asks the ‘wrong questions’ and looks in the marginal and discarded places. His disruptions and strange juxtapositions draw our attention to different ways of looking and even to things not seen.
This exhibition at Tate St Ives offers, for the first time in the UK, a selected survey of Chodzko’s work from the past seventeen years. It also includes a major new commission, Borrowed Cold Lodge. The show has been conceived as a whole, and the location and building are directly addressed. They become part of the fiction that Chodzko weaves both inside and out, as the exhibition spills over into a work produced for Tate Etc. magazine, a poster sited on the coastal path between St Ives and Zennor and a concluding slide performance/talk in September 2008.