Download: CV & biography Chodzko – April 2024
CV
Adam Chodzko lives and works in Whitstable, Kent
Born in London, 1965
University of Manchester, BA (Hons) History of Art, 1985–88
Goldsmiths College, London, MA Fine Art, 1992–94
Leeds Beckett University (School of Arts), Practice-based PhD 2023-2026
Solo Exhibitions
2023
But as we looked it suddenly began to change, Wei-Ling Contemporary, Kuala Lumpur, Malaysia
2022
Renata, remember you are unconscious; you have no expression, no pain, you don’t yell, you are unconscious! British School at Rome, Rome
2015
Design for a Fold, Sidney Cooper Gallery, Canterbury.
Channel, Rupture, Fujiya Gallery, Beppu, Japan (Beppu Triennial)
Great Expectations, Guildhall Museum, Rochester
2013
You’ll See; This Time it’ll be Different, Benaki Museum, Athens
Room for Laarni, Image Moderator, Marlborough Contemporary
We are Ready for your Arrival (with Iain Baxter&), Raven Row, London
2011
Scenes from a Marriage, Neue Alte Brucke, Frankfurt.
2010
taken in, fall out, Siakos.Hanappe, Athens
2008
Proxigean Tide, Tate St Ives
2007
Signal, Malmö, Sweden
Then, Dublin City Gallery The Hugh Lane and various sites across Dublin
MAMbo – Museo d’Arte Moderna di Bologna, Bologna
2004
Carlier Gebauer, Berlin
Els Hanappe Underground, Athens
2003
Herbert Read Gallery, KIAD, Canterbury
2002
Fabrica, Brighton
Arizona State University Art Museum, Tempe, Arizona
Plains Art Museum, Fargo, North Dakota
Cubitt, London
2001
Sandroni.Rey Gallery, Venice, California
Galleria Franco Noero, Turin
Els Hanappe Underground, Athens
2000
Accademia Britannica, Roma
1999
Galleria Franco Noero, Turin
Ikon Gallery, Birmingham
1998
Gallery II, Bradford
Northern Gallery of Contemporary Art, Sunderland
Viewpoint Gallery, Salford
1996
Lotta Hammer, London
Selected Group Exhibitions
2024
Pasolini en clair-obscur, Nouveau Musée National de Monaco (NMNM), curated by Guillaume de Sardes
2023
A Screaming Comes Across the Sky, Pastor Projects, El Nopal Press, LA
2022
The Horror Show, Somerset House, London (2022)
Friendly Fire (Fierro Pariente) Contemporary Art Before and After the Crisis. City Museum, Tecate, Mexico
Where There’s Space to Grow, Arts Council Collection, Sunderland Museum & Winter Gardens
2021
Swedenborg Film Festival, curated by Nora Foster and Dave Griffiths, Swedenborg House, London
Ultra Magnetic, curated by Benedict Drew, Well Projects, Margate
Sunken Ecology, Margate NOW, Kent
All Alone, Croft Castle, Meadow Arts, Herefordshire
A Very Special Place: Ikon in the 1990s, Ikon Gallery, Birmingham
The Return of the Fleet Spring Heads, Estuary 2021, London
2020
Towner International, Towner, Eastbourne
Die Sonne does not shine like Słońce, Trafostacja Sztuki, Szczecin, Poland
The Botanical Mind, Camden Art Centre
Essex Road VI, TINTYPE, London
2019
The Romanians are Coming! …, Klara Kemp-Welch, STUDIO Teatrgaleria, Warsaw
24/7: A Wake-Up Call for our Non-Stop World, Somerset House, London
Dog Show, Southwark Park Galleries, London
Being Human, (permanent exhibition), commissioned work for the collection, Wellcome Collection, London
Experimenta Mixtape #3, British Film Institute, London
artworks that ideas can buy, by Cesare Pietroiusti, (with Massimo Bartolini, Jimmie Durham, Valentina Furian, Margherita Morgantin, Caterina Morigi etc), Artefiera, Bologna
Too Cute! Sweet is about to get Sinister, curated by Rachel Maclean with the Arts Council Collection, Birmingham Museum and Art Gallery
Paul Stolper + ICA Editions, Paul Stolper, London
2018
Ghost, Helston Town Band Room, (through Groundwork), Helston, Cornwall
David and Yuko Juda Foundation Award, 1-Day Exhibition for Award Ceremony, nominated by Richard Grayson, 7 September 2018, Annely Juda Fine Art, London
The Ash Archive, Studio 3 Gallery, University of Kent, 2018
Sleepers, 2017, The Film London Jarman Award: A Journey Through the First Decade, Whitechapel Gallery
Muster Station : The House of Beautifully Earned Trust, Whitstable Biennale
Knots, (2013) in Refuge, Whitechapel Art Gallery
Muster Station: The School of Beginnings, Tate Exchange
2017
Slow Violence (artists’ responses to aspects of climate change), Art and Design Gallery, University of Hertfordshire
Gossip Cluster in Future Refrains, ASC Gallery
All the People (with Ben Rivers, Luke Fowler, Sarah Miles). Screenings in Axbridge, Street and Wiveliscombe, as part of Somerset Art Week
Offshore: artists explore the sea, Ferens Art Gallery, Hull
a flight from reason, curated by Yuri Pattison from the LUX Collection, PLASTIK Festival of Artists Moving Image, Irish Film Institute
2016
Deep Above in UNFIX, Centre for Contemporary Arts (CCA), Glasgow.
Both Sides Now 3, touring to: TEMPORARY OSMOSIS, Audiovisual Media Festival, Taiwan and Korea,
Taiwan International Video Art Exhibition, Taipei, and screenings in China, Hong Kong and the UK
Estuary 2016, (Commissioned by Metal), Essex
Five Uneasy Pieces, UMPRUM gallery (Academy of Arts, Architecture and Design), Prague
Uncommon Chemistry, Observer BLD, Hastings
Deep Above, Templeman Library, Projections Festival, University of Kent, Canterbury
Stories in the Dark: Contemporary responses to the Magic Lantern, curated by Ben Judd, Beaney House of Art and Knowledge, Canterbury
2015
Postcard Views, at 1shanti road, Bangalore, India, as part of Experimenta film festival
Jarman Award tour; (FACT, Liverpool, The MAC, Belfast , CIRCA Projects at Tyneside Cinema ,CCA, Glasgow Chapter, Cardiff, Watershed, Bristol, HOME, Manchester, Nottingham Contemporary, Turner Contemporary, Margate, Towner, Eastbourne, CIRCA Projects at Tyneside Cinema, Plymouth Art Centre, Whitechapel Gallery)
Stay Illusion, Tenpm gallery, Copenhagen, (curated by Eoin Donnelly and Sara Knowland)
HY-BRASIL Film Programme, Sea Change, TULCA, Galway, Ireland
Video Art, curated by Gayatry Sinha, Dr Bhau Daji Lad Museum, Mumbai
To Pay Respect To The Generosity Of The Three-Minute Punk-Rock Song Pt. 2: Re-Edit, BEEF, Bristol
Sculpture in the City, Leadenhall Market, London.
Knots in Rencontres Internationales, Haus der Kulturen der Welt, Berlin.
Private Utopia: Contemporary Art from the British Council Collection. Dunedin Public Art Gallery, New Zealand
2014
Rising, National Maritime Museum
Alles Maskerade! MEWO Kunsthalle, Memmingen, Germany
Les Rencontres Internationales, Paris
Time Travel and the Interzone City, Sci-Fi: Days of Fear and Wonder. BFI, London
Programme curated by João Onofre, Fuso, Museu Nacional de História Natural e da Ciência, Lisbon
Fieldworks. Animal Habitats in Contemporary Art, Lewis Glucksman Gallery, Cork, Ireland
Bergé Collection, Real Círculo Artístico de Barcelona, Loop Festival, Barcelona
Somewhat Abstract, Nottingham Contemporary
Performance as Sculpture, Uovo festival, Milan
Leaping the Fence, Hestercombe, Somerset
Private Utopia: Contemporary Art from the British Council Collection. Tokyo Station Gallery touring to Itami City Museum of Art, Kochi Museum of Art, and Okayama Museum of Art
2013
Assembly: A Survey of Recent Artists’ Film and Video in Britain 2008–2013, Tate Britain.
Ghost, Art in Romney Marsh, Kent.
More than I Dare to Think About, Marlborough Contemporary, London
MAP Screen, Curated by Karen Cunningham
How is it towards the East? Calvert 22, London
The Pickers, Galeria Marlborough, Barcelona
Loop, Barcelona
Shortcuts and Digressions, Norwich Castle Museum, Norfolk.
Because… New commission as part of Schwitters in Britain, Tate Britain, London
Among Other Things, Ruskin Gallery, Cambridge
2012
Esquivalience, Mistaken Presence, GreyFrairs, Lincoln.
The Beaney, House of Art and Knowledge, Canterbury, Kent (until 2014)
Notes from Nowhere, Foreground, Frome, Somerset
Made in Britain – Contemporary Art from the British Council Collection 1980 – 2010, Benaki Museum, Athens, touring to Albanian National Gallery of Arts, Tirana.
Getting it Wrong, Weisses Haus, Vienna*
In the Belly of the Whale Part III, Montehermoso, Vitoria-Gasteiz, Spain
2011
Among Other Things, Camberwell Space, London.
To Pay Respect To The Generosity Of The Three-Minute Punk-Rock Song, Crate, Margate
The Profane Myth – The Mining Institute, Newcastle upon Tyne
Again, A Time Machine – Make the Living Look Dead, Bookworks, Spike Island, Bristol
Made in Britain – Contemporary Art from the British Council Collection 1980 – 2010, Hong Kong Heritage Museum and Suzhou Art Museum.*
Loophole to Happiness, Museum of Contemporary Art, Lodz, & Futura Centre for Contemporary Art, Prague & AMT Projects Bratislava
2010
Cinecity, Brighton festival.
Made in Britain – Contemporary Art from the British Council Collection 1980 – 2010, Sichuan Provincial Museum, Chengdu; touring to Xi’an Art Museum; Hong Kong Heritage Museum and Suzhou Art Museum.*
Apocalypse Now, Krowswork, Hot Springs Documentary Festival, Oakland, California.
Pier Paolo Pasolini; We are all in Danger, Australian Cinémathèque at the Gallery of Modern Art in Brisbane.
Loophole to Happiness, Trafo, Budapest, Museum of Contemporary Art, Lodz, & Futura Centre for Contemporary Art, Prague & AMT Projects Bratislava
Kraftwerk Religion. Deutsches Hygiene-Museum, Dresden.*
Here, There and Everwhere, Towner Gallery, Eastbourne.
BLOOD TEARS FAITH DOUBT, Courtauld Gallery, London.
Whitstable Biennale, Whitstable, Kent.
Future Fictions, Latitude Contemporary Art, Latitude Festival.
Journeys With No Return, A-Foundation, London & Galerie Kurt-Kurt, Berlin.*
The Gathering, Longside Gallery, Yorkshire Sculpture Park.
2009
Altogether Elsewhere, Zoo, London*
Dark Monarch, Tate St Ives touring to Towner Gallery, Eastbourne*
Journeys With No Return, Akbank, Istanbul Biennale*.
Artworks in Exchange for Visitors’ Ideas, curated by Cesare Pietroiusti, Wilkinson Gallery
Plot 09: This World & Nearer Ones, Governors Island, NY*
For the Straight Way is Lost, Athens Biennale*
Vlassis Caniaris, In Contrapunto, ITYS, Athens
Born Again Pagan, ISIS, London
English Lounge, Tang Contemporary Art, Beijing
2008
Martian Museum of Terrestrial Art, Barbican Art Gallery, London*
Tales of Time and Space, Folkestone Sculpture Triennial, Folkestone, Kent*
Print the Legend, Fruitmarket Gallery, Edinburgh*
Fact or Friction, Vox Populi, Philadelphia
2007
Breaking Step, Museum of Contemporary Art, Belgrade*
Gallery Exchange, Neue Alte Brücke, Frankfurt
Beyond the Country, Glucksman Gallery, Cork
2006
One Brief Moment, apexart, New York*
Responding to Rome, Estorick Collection, London*
Please close the gate, Roche Court, Wiltshire
From There, Bloomberg Space, London
Unfinished Business, Museum of Contemporary Art, Belgrade
Fire, Galleria Franco Noero, Turin
Belief and Doubt, The Aspen Art Museum, Colorado*
2005
Showcase, City Art Centre, Edinburgh*
Documentary Creations, Kunstmuseum Luzern, Switzerland*
Dance of the Seven Veils, Cooper Gallery, University of Dundee
Monuments for the USA, CCA Wattis Institute for Contemporary Arts, San Francisco and White Columns, New York*
Displacements: British Art 1900–2005, Tate Britain
British Art Show 6, Baltic, Newcastle, touring to Manchester, Nottingham and Bristol*
General Ideas. CCA Wattis Institute for Contemporary Arts, San Francisco
Video Spirit: Mysteries, Myths, Meditations & the Moving Image. Cheekwood, Nashville
Seeing God. Museum of Fine Arts of Thurgau, Kartause Ittingen, Warth, Switzerland*
Le Voyage Interieur, Espace EDF-Electra, Paris*
Pasolini e noi, Archivio di Stato in the Royal Palace, Turin and the Istituto Nazionale Per La Grafica, Rome*
Moving Home: Six Artists, Six Rooms, Towner Art Gallery, Eastbourne
2004
Off the Beaten Track, Longside Gallery, Yorkshire Sculpture Park
Tonight, Studio Voltaire, London, Sandroni.Rey, LA
Perfectly Placed, South London Gallery
Romantic Detachment, PS1, NY, touring to Chapter Art Gallery, Cardiff*
2003
Electric Earth, British Council curated, the State Russian Museum, St Petersburg, then touring Russia, and Lithuania through 2004*
Micro/Macro: British Art 1996–2002, British Council curated, Mucsarnok Kunsthalle, Budapest*
Visionary Landscapes, Cecil Sharpe House, London
Independence, South London Gallery
In Good Form, Longside Gallery, Yorkshire Sculpture Park
Bad Behaviour, Longside Gallery, Yorkshire Sculpture Park, touring to other venues across the UK
2002
Life is Beautiful, Laing Art Gallery, Newcastle upon Tyne*
Tabu, Kunsthaus Baselland, Switzerland*
Location, Uk, Gimpel Fils, London
Fabrications, Cube Gallery, Manchester*
On a Clear Day, Sophienholm, Lyngby-Taarbæk, Denmark*
Networks, Chapter Art Centre, Cardiff and touring to Fruitmarket Gallery, Edinburgh* and other venues across the UK
2001
I am a Camera, Saatchi Gallery
The seat with the clearest view, Grey Matter Contemporary Art, Sydney
Bright Paradise, 1st Auckland Triennial, Auckland Art Gallery, New Zealand*
Night on Earth, Städtische Ausstellungshalle Am Hawerkamp, Münster*
Liquor, Trafo Galeria, Budapest*
Helle Nächte, Bottmingen, Baselland, Switzerland*
Sacred and Profane, Mappin Art Gallery, Sheffield*
2000
Dreammachines, (curated by Susan Hiller), Dundee Centre for Contemporary Art, touring to Mappin Gallery, Sheffield; Camden Art Centre, London; Glyn Vivian Art Gallery, Swansea*
Found Wanting, The Contemporary, Atlanta, USA
Somewhere Near Vada, Project Art Centre, Dublin*
Artifice, Deste Foundation, Athens*
Waiting, Mjellby Konstgård, Sweden*
Black Box Recorder, Museum Ludwig, Cologne, touring to Croatia, and the Czech Republic*
Tabley, Tabley House, Cheshire
Face On, Site Gallery, Sheffield touring to Milton Keynes Gallery; Open Eye Gallery, Liverpool; Stills, Edinburgh*
Better Scenery (with Peter Liversidge), Pand Paulus Gallery, Schiedam, Holland
Places in Mind, Ormeau Baths Gallery, (with Stan Douglas and Elizabeth Macgill), Belfast
1999
Holding Court, Entwistle, London
Sleuth, ffotogallery, Cardiff, touring to Oriel Mostyn, Llandudno, Wales; Barbican Centre, London
The Poster Show, Gavin Brown Enterprises, New York
1998
A to Z, Approach Gallery, London
Real Life, Gallery SALES, Rome
Wrapped, Vestjælands Kunstmuseum, Sorø, Denmark*
1997
It Always Jumps Back and Finds its Own Way, Stichting de Appel, Amsterdam*
3 wege zum see, Künstlerhaus Klagenfurt, Austria*
Sensation, Royal Academy, London* touring to Museum für Gegenwart, Berlin; Brooklyn Museum of Art, New York
At one remove, Henry Moore Institute, Leeds*
1996
Brilliant, Contemporary Art Museum, Houston, Texas
21 Days of Darkness, Transmission Gallery, Glasgow
Perfect, Jan Mot and Oscar van den Boogaard, Brussels
British Waves, curated by Mario Condognato, Rome
1995
Zombie Golf, Bank, London
General Release, British Council selection for Venice Biennale, Scoula San Pasquale, Venice*
Brilliant, Walker Arts Center, Minneapolis*
1994
High Fidelity, Kohji Ogura Gallery, (with Simon Patterson), Nagoya (January 1994); tour to Röntgen Kunst Institut, Tokyo*
Remote Control, Royal College of Art, London
1993
Making People Disappear, Cubitt Street Gallery, London
Okay Behaviour, 303 Gallery, New York
Wonderful Life, Lisson Gallery, London
1992–93
Instructions Received, Gio Marconi, Milan*
1991
City Racing, London
* exhibition publication
Selected Projects
2024
The Mysterious Return of the Fleet Spring Heads, Cement Fields, Northfleet
The Dreamshare Seer, Isle of Sheppey, Kent
2023
A way from Heaven, Tideway, Public Art sculpture commission (begun 2017 -), Barn Elms, London.
2022
Holding the Earth this Way. Permanent sculpture, installed in the courtyard of The Amelia Scott building (council run public museum, library etc), Tunbridge Wells, Kent. Commissioned by The Amelia.
2021
Growing from Moss, The Passing Game, 7th iSTART Children Art Festival, LUXELAKES·
A4 Art Museum, Chengdu, China
2020
What is shaping how you think about the planet’s future?, (performative video lecture), Forecast, Invisible Dust
‘Tele Vistas’, artist commission, More Than Ponies, New Forest, Hampshire
Artist in Residence, 2020 A4 International Artists’ Residency Program, Chengdu, China
A Hostile Environment, performative lecture video, for ‘Art and the Rural Imagination’ Conference, More than Ponies with Arts University Bournemouth.
Fluid Dynamics; The Quail is Rising https://www.soanywaymagazine.org/issue-six
O, you happy roots, branch and mediatrix https://www.botanicalmind.online/
2019
Ah look, you can (still) just about see his little legs…Publication Scaffold (curated by Sean Lynch, Michele Horrigan and Jo Melvin), Temple Bar Gallery, Dublin.
A Hostile Environment, artwork and talk for the Platforma 5 festival, Counterpoint Arts, Turner Contemporary.
Eden. We all used to live together…,’hmn’, edition 17, a quarterly sound-based test centre organised by Anne Tallentire and Chris Fite-Wassilak.
2018
Lead Artist in Residence, 2018-2019 The Ebbsfleet Project, (commissioned by Whitstable Biennale).
Ghost (2010-), process/performative/participatory work and generation of Ghost video archive, Groundwork, Cornwall, various locations from April – October.
Ash walk #3: Performance, East Blean Woods, Canterbury, August 25th, Whitstable Biennale and the Ash Project.
2017
Deep Above screening, Symposium: Adapt/Modify, Wellcome Collection, London.
Rising (performance), and Deep Above screening, Sounding the Sea Symposium, Middleton Hall, University of Hull
2016
Sleepers, Random Acts commission for Channel 4.
Deep Above, (via Invisible Dust, as part of Manchester Science Festival), Texture, Manchester
2015
Deep Above, (via Invisible Dust) , Watershed Cinema, Bristol
Deep Above (performance talk), Imaginarium, Shambala Festival, Northamptonshire.
Rising, National Maritime Museum.
Limbo Associates Members Show, selection and curation, Margate.
2014
Spare Room, Thinking City, Liverpool Biennale, Liverpool.
Art Moves, Olympic Park, London
Scene on a Navigable River, Field Broadcast, Dedham Vale, Suffolk.
2013
Rising, Tyneside Cinema performance and Basic.FM radio broadcast, Great North Run Culture, Newcastle.
Ghost, Peninsula Arts, Plymouth University, Plymouth
Runners, Athens, 5th February, Out of Focus, http://www.outoffocus.biz/#
2012
Wide Open School, Hayward Gallery, London
Road for the Future, Powerstock Common, Dorset
Ghost, The Tamar Project, Devon
2011
Each was Allocated One Part… Esopus 17, pp143-160
Something in the Water. A Search for the Turn of the Backwash. The Banff Centre, Alberta, Canada
2010
Although. Test Prints for the New Arrivals, Cubitt print portfolio.
The wrong map. Or, how to pass yourself returning, ocean currents, and missing feet, as part of Map Marathon, Serpentine Gallery.
2009
Longshore Drift, as part of Volatile Dispersal, Festival of Art Writing, Whitechapel Gallery,
2008
Memory Theatre, Tate etc (Double page magazine project) Issue no.13, pages 26 & 27
2007
Poster project, Mercer Union, Toronto
2006
M-path, British Art Show 6, Baltic, Newcastle; Cornerhouse, Manchester; Nottingham; Arnolfini, Bristol
2004
Night Shift, Frieze Art Fair, London, publication and event
2003
Looper, billboard project for centre of Turin, Italy, as part of the city’s ‘manifesTO’ series accompanying ‘Artissima’, Turin art fair
2001
Zu spät, Material, no. 3, Summer, pp.7–9
Cell Pace, Lo-Fi, website
Slipstream, Film & Video Umbrella website www.slipstream.uk.net/
Art for All. (edited by Mark Wallinger and Mary Warnock), Peer, pp.64, 94
Nothing, edited by Graham Gussin, August Publications, pp.98–99
Saturday, edited by Polly Staple, issue 1, pp.16–18
1999
Moonstruck, Tate, no.18, Summer, pp.34–36
A Place for The End, Birmingham, off-site project for Ikon Gallery, Birmingham*
Better Scenery, (Camden, London and Arizona desert, USA) off-site project for Camden Art Centre, London
1997
Le Petit Prince Recall, with Pierre Huyghe, Mobile TV, Dijon
1996
Involva in Jake and Dinos Fine Arts Inc., Dazed and Confused, no.16, pp.78, 84
Interview with Georgina Starr, Tate, issue no.6, Spring 1996, pp.35–38 and ‘3+3’ p.45
Cover of frieze, November
Red Herring, Artist’s Project, Dazed and Confused, no.27, pp.60–65
1995
Involva, Experience, vol. 25, no.3
1994
Slow Down Skin Shed, in ‘British Art Special’, The Face, no.68, May, pp.56–72
1993
Untelevision, project for frieze, Summer, no.3, p.21
2023
Ah, look, you can still just about see his little legs sticking out from it all! Book, published by Askeaton Contemporary Arts, Ireland. Published January, 2023. Designed by Daly & Lyon.
2022
Laggers, gun-jumpers, loose cannons…in Art and the Rural Imagination, pp87-95, 99-101, 105, 136, and cover image. Published by More than Ponies and Arts University of Bournemout
2021
A Very Special Place: Ikon in the 1990’s, Jonathan Watkins, pps.44 & 61, Ikon, Birmingham
thru hole I blind/O/thru hole oui see, ‘Traversing Terrains (a tonic)’, pp19-21, More Than Ponies
2020
Lockdown Lives, CAST newsletter
2019
24/7: Dreams of sleep in a non-stop world , Edited by Sarah Cook, pp50-51, Somerset House Trust, London
Project page for SIC Intertrashional Issue #5 ROOT. (Bea McMahon and Milena Bonilla).
2018
‘The Arboreal Health Centre’ Woods to Where Else?, UCA and Stour Valley Creative Partnership
THE ANNOTATED READER, edited by Ryan Gander and Jonathan P. Watts, p 123-124, Gipping Press
2017
Clay Gut Landscaping, an online text commissioned by Groundwork, CAST, Cornwall
How Important is Art as a Form of Protest? pp: cover,90,96, Frieze, no.186, April
2014
Mapping it Out, Ed. Hans Ulrich Obrist. pp22-23, Thames and Hudson.
‘It was just there; Less like an object and more like the weather’, Dialogue with Hannah Rickards, in Hannah Rickards. To enable me to fix my attention…, pp28-59, MOMA, Oxford.
‘Rising’, Cobra Res 1.3, Theodore Price and Samuel Stevens, (DVD and book), Pamphleteer Films, 2014
Adam Chodzko, Room for Laarni Image Moderator, Jennifer Higgie, Andrew Renton and Adam Chodzko, Marlborough Contemporary
Private Utopia. Contemporary Art from the British Council Collection, Japan pp50-53
2013
Artists’ Artists, Frieze Masters 2013, pp.94-95
Life in Film, Frieze, no.158, October, pp62-63
Schwitters in Britain, Tate, ed. Emma Chambers and Karin Orchard pp136-141
How is it towards the East? pp.8, 26, 27., Calvert 22
2012
‘Why are you Here?’, Two project pages, Kome til deg i Tidende, no.2
‘A Water Softening Plant’, Atlas of Kent, N. Mollett, pps80-84, 87. Kent County Council.
‘de Schuykill’, Monaco, no. 5
‘Props’, F.R David, pp.67-83, Spring 2012, de Appel
‘We are all very sorry’, On Apology, CCA Wattis, San Francisco, pp.10-11.
Loophole to Happiness, pp52-29, Translocal.
2011
Brian Dillon, Ruins, Documents of Contemporary Art, pp17, 163-8, Whitechapel Gallery
2010
Jane Rendell, Site-Writing, pp230, 232,233. IB Taurus.
Kraftwerk Religion, Deutsche Hygiene-Museum, pp193-200, Wallstein.
Grant Pooke, Contemporary British Art, An Introduction, pp206-8 ,Routledge
2009
Breaking Ground: 2001-2009, pp 68,69, 126,127.
Grizedale Arts – Adding Complexity to Confusion. Adam Sutherland & Jonathan Griffin,
Out of Place by Adam Chodzko, for Situation (Documents of Contemporary Art series) edited by Claire Doherty. pp. 15, 55, 65-66 co-published between Whitechapel and MIT Press
Art and Text, editors D. Beech, C. Harrison, W. Hill, pps. 262,263,268,269, Black Dog Publishing
2008
Calenture, Gagarin no. 17, pp.96-101, GAGA vzw
Folkestone Triennial, Tales of Time and Space, p.36-39, Cultureshock Media Ltd.
Proxigean Tide, essays by Martin Herbert, Lisa Le Feuvre, Andrew Wilson, Tate Publishing
‘Hey Hey Glossolalia (BEFORE/AFTER)’, cover & p.6, editor Mark Beasley, Creative Time Books, New York City/Article Press, Birmingham
Then, essays by Jaki Irvine, Andrew Wilson, Caoimhín Mac Giolla Léith, edited by Rosa Ainley, Breaking Ground, Dublin
2007
Adam Chodzko, texts by Lisa Le Feuvre, Alex Farquharson, Mark Godfrey, Andrea Villani, Skira, Italy
Breaking Step – Uraskoraku, Museum of Contemporary Art Belgrade, British Council, pp.32–41
Aernout Mik, files notes, Camden Art Centre
2006
Frieze Projects, Polly Staple, Jorg Heiser, Frieze, pp.13, 20, 22, 68–69,
2005
1+1+1, double agents, Jitka Hanzlova, Central Saint Martins College of Art and Design (exhibition and publication)
2004
‘Imagine this doughnut …’ artist’s project in Wonderful: Visions of the Near Future, pp.33–44, 99–101
Arttracks, Mathew Arnatt, pp.12–17, 35
Frieze Art Fair Yearbook, pp.1–2
Resonance FM broadcast
Annual, Kent Institute of Art and Design, pp.19–34
2003
Blog on www.thecentreofattention.org/
Whitstable Interiors fanzine
2002
Plans and Spells: Adam Chodzko, Film & Video Umbrella, texts by Chris Darke, Jeremy Millar, Polly Staple, Will Bradley
Romanov, Adam Chodzko, Bookworks
Speaking and Listening, Sheffield Hallam University and Site Gallery, pp.184–193.
2001
Bright Paradise, 1st Auckland Triennial, Auckland Art Gallery, New Zealand, texts by Allan Smith, etc
Out of the Bubble, edited by John Carson and Susannah Silver, pp.32–36
Night on Earth, Städtische Ausstellungshalle Am Hawerkamp, Münster
I am a Camera, Saatchi, Booth Clibborn
2000
Dream Machines, National Touring Exhibitions, text by Susan Hiller
Face On, Black Dog Publishing, text by Craig Richardson etc
The Saatchi Gift to the Arts Council Collection, South Bank Centre
‘Somewhere Near Vada’, Project Art Centre, Dublin, texts by Jaki Irvine and Shirley MacWilliam
1999
Adam Chodzko, August Publications, texts by Jennifer Higgie and Michael Bracewell
1998
Wrapped, Vestjælands Kunstmuseum, Sorø, Denmark
1997
It Always Jumps Back and Finds its Own Way, Stichting de Appel, Amsterdam, texts by K. Schippers and Cosima Rainer
3 Wege zum See, Künstlerhaus Klagenfurt, Austria
Sensation, Royal Academy
at one remove, Henry Moore Institute, Leeds, text by Penelope Curtis
1996
British Waves, British Festival, Rome, text by Mario Condognato
1995
General Release, British Council, Venice Biennale, texts by Gregor Muir and James Roberts
1993
High Fidelity, Kohji Ogura Gallery, Nagoya, Japan, text by James Roberts (exhibition catalogue)
Instructions Received, Gio’ Marconi, Milan (exhibition catalogue)
1992
Innocence and Experience, Stichting Air, Amsterdam, text by Andrew Wilson
Selected Articles and Reviews
2024
Stefan Krämer, Period Rooms. Von Zeitreisen und imaginierten Begegnugen im Museum, published by Transcript
Dream Theory on Sheppey, Martin Herbert
Not a photographic collection, the Yerassimos Yannopoulos art collection, pps 49, 53, 291
Gian Maria Annovi, Salò after Salò: the Artistic Afterlife of Pier Paolo Pasolini’s Last Film in A Force of the Past…More Modern than Any Modern: Pier Paolo Pasolini and the History of Art. Ed. Ara H. Merjian, University of Manchester Press.
2023
Hettie Judah, Nick Goss catalogue, p.13, Ingleby Gallery
Theevya Ragu, British artist’s latest ‘dream’ exhibition inspired by Malaysia, Free Malaysia Today, 20th May
Chin Jian Wei, Adam Chodzko explores ever-changing dreams in latest exhibition, BASKL (Bandar Aktiviti Seni, Kuala Lumpur), 25th May
Ong Chin Huat, British Artist Adam Chodzko on How Dreams and Art Shape Our World, Luxurious Magazine, 13th July
FVU Watch, Plan for a Spell (2001) Film and Video Umbrella
Jennifer Higgie, The Other Side: A Journey into Women, Art and the Spirit World, p.263, Weidenfeld & Nicolson
2022
Polina Kosmadaki, The past is present. Curating multi-temporality: the contemporary and the classical, CLARA, Vol. 8, Special issue no. 2, p.14.
Jennifer Higgie, Donna Huddleston’s Witch Dance, The Essay: Artists and the Spirit World, BBC Radio 3.
Andrew Sneddon, The pleasure of not knowing and the importance of serendipity in contemporary art practice in Wendy Ross; Serendipity, Springer International Publishing AG pp239-267
2021
Paul Carey-Kent, Estuary, Art Monthly 449, September 2021, p.29
Ellen Mara de Wachter, Sunken Ecologies, Art Monthly 451, November 2021, p.27
Madeleine Collie, Ash: Stories of Living and Dying in Tree Story, Edited by Charlotte Day and Melissa Ratliff, Monash University Publishing, pp50-51
A wild seen: some modalities of perception in Adam Chodzko’s recent outings, Ellen Mara de Wachter.
2020
https://camdenartcentre.org/in-conversation-michael-marder-and-martin-clark/
The Botanical Mind, Ed. Martin Clark and Gina Buenfeld, Camden Art Centre, London, pp.40-41
Figgy Guyver, Bottom of FormArtists: The New Paranormal Investigators, ArtReview, 27th October,
Charlotte Higgins, Forget Titian, here’s a talking dog! Is this digital art’s big moment?
Klara Kemp-Welch, ‘The Romanians are Coming’. Labour Migration and the Politics of the Observational Documentary, Third Text, Routledge
Caitlin DeSilvey, in Hydroplutonic Kernow, Urbanomic, pp27-28
2019
Being Human, Wellcome Trust: https://www.theguardian.com/culture/gallery/2019/sep/05/astronauts-breast-milk-chewed-gum-being-human-in-pictures
2018
Hettie Judah, Groundwork, Cornwall – where a trip in a kayak becomes a work of art, The i (newspaper), June 1st
Rachel Spence, World-class contemporary art comes to Cornwall, Financial Times, July 6th
Jonathan Jones, Whitstable Biennale review – art with a fish-and-chips flavour, The Guardian, 4th June
Francisco Sousa Lobo, Forty Thieves, (graphic novel about artists and inspiration)
Kaspar Thormod, Rome reconfigured: Contemporary visions of the Eternal City, 1989-2014, Brill.
Änne Söll, Evidenz durch Fiktion? Die Narrative und Verlebendigungen des period rooms in Evidenzen des Expositorischen: Wie in Ausstellungen Wissen, Erkenntnis und ästhetische Bedeutung erzeugt wird (German) 2018. Editors: Klaus Krüger, Andreas Schalhorn and Elke Anna Werner, Transcript.
2017
Penelope Curtis, Sculpture Vertical, Horizontal, Closed, Open. Yale University Press
Sara Baume. A Line Made by Walking . Heinemann, p.230
2016
Artrage. The Story of the BritArt Revolution. Elizabeth Fullerton. pp.99, 111-117, 150, 177, 261, Thames & Hudson
Maria Walsh, “Adam Chodzko: Deep Above”, Art Monthly , 393, Feb 16, p.31
inspire, Canterbury Christ Church University Magazine. Spring, pp20, 24-25
2015
Jessica Brinton, Amuse, (I-D-Vice) https://amuse-i-d.vice.com/adam-chodzko-wants-you-to-wake-up/
Mark Sheerin, Hyperallergic, https://hyperallergic.com/193209/from-18th-century-tool-chest-to-21st-century-public-art-project/
James Gormley, This is Tomorrow, http://thisistomorrow.info/articles/adam-chodzko-great-expectations
Skye Sherwin, the Guardian, http://www.theguardian.com/artanddesign/2015/feb/21/this-weeks-new-exhibitions
Jonathan Jones, the Guardian, http://www.theguardian.com/artanddesign/jonathanjonesblog/2015/feb/13/love-stories-lionel-messi-mingering-mike-week-in-art
Ben Miller, Culture24, 26 February 2015 http://www.culture24.org.uk/art/art518917-adam-chodzko-sends-artworks-to-b-and-q-a-pumping-station-and-the-guildhall-museum-in-kent
2014
Rui G. Cepeda, “Where Do We Go Now!”, VASA, http://vasa-project.com/gallery/chodzko/
Christopher Marinos, Aica Hellas, http://www.aica-hellas.org/el/topic67/adam-chodzko/f7_5_2_1
Coline Milliard, “Adam Chodzko: Room for Laarni, Image Moderator”, Modern Painters. February.
Helen Sumpter, “Adam Chodzko: Room for Laarni, Image Moderator”, Art Review, January/February
2013
Francesco Dama, “Adam Chodzko: Room for Laarni, Image Moderator”, Drome Magazine.
Beatrice Schulz, “Adam Chodzko: Room for Laarni, Image Moderator”, This is Tomorrow,
http://www.thisistomorrow.info/viewArticle.aspx?artId=2172&Title=Adam%20Chodzko:%20Room%20for%20Laarni,%20Image%20Moderator
Eddy Frankel, Time Out, https://www.timeout.com/london/art/adam-chodzko-room-for-laarni-image-moderator
Pari Spinou, “Benaki Museum in the Time Machine”, Efimerida ton Syntakton, 19th November, p33
Zeykili Despina, “What will the Benaki be showing in 2076?”, Athinorama, 14th November, pp92-93
Dan Fox, “Then and Now”, Frieze, 159, November, pp103, 106.
Martin Herbert, “IAIN BAXTER& and Adam Chodzko”, Art Monthly, 369, September, p22
Coline Milliard, “Schwitters in Cumbria”, Modern Painters, January, p22
Maja And Reuben Fowkes, “Identity Crisis,” Art Monthly, 365, p11
2012
Pamela Peter-Agbia, ‘Adam Chodzko On Tour’, Nom de Strip , no 2, p16-17.
2011
Iris Aspinall Priest, ‘The Profane Myth’, a-n, November
David Trigg, ‘A Fire in the Master’s House is Set’, Art Review, September
Morgan Quaintance, ‘In the Belly of the Whale’, Art Monthly, no. 348, p32
2010
Sean Ashton, ‘Embedded Art and the Perils of Patronage’ MAP, 24, pp. 86, 87,89
Stella Sevastopoulou, ‘Theatre of the absurd, for art’s sake,’ The Athens News, 15-21 October 2010, no 13412, (Arts) p.30
Despina Zefkili, Athinorama #541, 23-29 September 2010, pp. 88-89
Waldemar Januszczak, ‘Pearls Among Oysters’, The Sunday Times, June 27th, p.8
Klara Kemp-Welch, ‘Journeys with No Return’, Art Monthly, no. 355, p.25
2009
Veronica Kavass, ‘On spells, ants, islands and shoes’ Stretcher, www.stretcher.org
Roberta Smith, ‘Island as Inspiration and Canvas’, New York Times, pC27, June 26th
Mike Stanley, Lizzie Carey Thomas, ‘Best of 2008’, Frieze, Jan, p.98, 108
2008
Pae White, ‘Best of 2008’, Artforum, December, p108
Pryle Behrman, Folkestone Triennial, Art Monthly, September, no. 319, p.25
Marianna Liosi, Drome magazine, no. 14, p.110-115
Sam Thorne, ‘Adam Chodzko’, Frieze, September, pp.186-187
Ed Atkins, Postcard from St. Ives — Adam Chodzko ‘Proxigean Tide’, artvehicle, 23
Jonathan Griffin, ‘Folkestone Triennial’, Frieze, September, p191
Michael Glover, ‘Seaside hide-and-seek’, New Statesman, 3rd July
Brian Dillon, ‘Time and Tide’, Art Review, no. 24, July, pp.108-110
David Barrett, ‘Bad Timing’, Art Monthly, no. 318, July, cover, pp1-6
Tom Lubbock ‘Folkestone Triennial’ Independent, 14th June
Jane Withers, Preview, ArtForum, May, p.176
Martin Behr, ‘Du sollst dir kein Bildnis machen’, Salzburger Nachrichten, Austria, 22 March
Niamh Ann Kelly, ‘Art in the Life World,’ Art Monthly, no.315, April, pp.30, 31
Jason Oakley, ‘Is that what it is going to be?’ The Visual Artists’ News Sheet, January/February
Cameron Cartiere and Shelly Willis, ‘The Practice of Public Art,’ Routledge Research in Cultural and Media Studies, p.40.
2007
Matthew Miller, Fabrica. The first 10 years, pp.23–27
2006
Jane Rendell, ‘Art and Architecture: A Place Between,’ I B Tauris & Co Ltd, pp.30, 32–33
Neal Snowdon, ‘Art and sole laid bare’, Manchester Evening News, 1 February, pp.22-23
2005
David Barrett, ‘From Here,’ Art Monthly
Patricia Bickers, Showcase; Contemporary Art for the UK, Contemporary Art Society, pp.20, 34
Mark Crinson, ‘Explaining Urbanism to Wild Animals’, Mute, Winter/Spring, pp.62–66
Mark Crinson, ‘Mnemotechny of the industrial city,’ Urban Memory, Routledge. pp.202–208
Helen Luckett, British Art Show 6, Hayward Gallery Touring, pp.204–207
Jeremy Millar and Tacita Dean, Place, Thames and Hudson, pp.64, 65–67
Susanne Neubauer, Documentary Creations, exhibition catalogue, Museum of Art Lucerne, pp.19–21, 30–37, 108
2004
Mark Beasley, Frieze, no. 82, April, pp.84–85
Gabriel Coxhead, ‘Who let the wolf out?’ Times T2, 13 October
Brian Dillon ‘No Right of Light or Air,’ Annual, Kent Institute of Art and Design, pp.19–34
Maria Fusco, ‘Whitstable Interiors,’ Art Monthly, No. 280, October, p.35
Rachel Greene, Internet Art, Thames and Hudson, pp.206–207
Despina Zevkili, Athenirama, Athens, p.91
2003
Michael Bird, Modern Painters, Spring 2003, p.116
Martin Coomer, Time Out, 8–15 January, p.51
Foundation for Contemporary Performance Arts 2002, NY, pp.16–18
Dan Glaister, The Guardian, 23 May 23, p.27
Pablo Lafuente, ArtReview, July/August, p.49
Jeremy Millar, ‘A New Start,’ Visualise the Future publication
Dan Smith, Art Monthly, no.263, February, pp.29–30
2002
Dave Beech, ‘Location;UK’, Art Monthly, no.259, September, p.28
Neal Brown, ‘Romanov,’ Modern Painters, Winter, p.165
Martin Clark, Untitled, no.28, Summer, p.59
Downtowner, Arizona, November, p.2
Laura Gascoigne, ‘Fear and Laughter,’ What’s on in London, 4–11 December, p.23
Mark Godfrey, Douglas Heubler, Camden Arts Centre, p.14
Phil Green, Memory Lanes, The Architect’s Journal, October, p.53
Sally O’Reilly, ‘The Games Artists Play’, [a-n], November, pp.24–25
Mick Robertson, Flux, no.32, Aug/Sept, pp.26, 27
Helen Sumpter, Evening Standard, Hot Tickets, 26 April
Deborah Sussman Susser, ‘Final Cut’, New Times [Az. USA], 21–27 November, p.63
John Villani, The Arizona Republic, 17–24 November, p.28
Rachel Withers, ‘Critics Picks’, www.artforum.com/picks/place=London – picks3923
2001
Steven Bury, Artists’ Multiples 1935–2000, p.159
Jonathon Jones, ‘21st Century Arts,’ The Guardian, 21 September, p.5
Jonathon Jones, ‘Drawn, quartered, hung,’ The Guardian, 1 November, p.12
Emily King, Restart: New Systems of Graphic Design, Thames & Hudson, pp,95–97
Michael Wilson, ‘These Days’, Untitled, no.25, Summer, p.7–9
2000
Massimo Carboni, ‘Adam Chodzko’ Art Forum, 38, no.8, April, p.14
Mariuccia Casadio, ‘Personal Ads’, Vogue Italia, no.597, May, p.242
Mario Codognato, ‘Cosa resta di “Sal ò,”’ Il Sole 24 Ore, 30 January
Richard Cork, ‘Remember kids, just say no’, The Times, 4 October
Michael Corris, ‘FaceOn’, Art Monthly, no.240, October, pp.30–31
Jerry Cullum, ‘Boredom and Disgust as Art’, The Atlanta Journal, 7 April
Guido Curto, ‘Art & Facts,’ Flash Art, April–May
Martin Herbert, ‘Sleuth’, Time Out, no.1539, 16–23 February, p.54
‘How to get back to your routes’, Ham & High, 14 January
Daniel Jewesbury, ‘Places in Mind’, Art Monthly, no.242, November, p.46
Jonathon Jones, ‘Arizona, NW3’, Guardian G2, 15 January, p.25
Jonathon Jones, ‘Adam Chodzko’, frieze, May, no.52, p.95
Gideon C. Kennedy, ‘Filling Want’, Atlanta Press, 24–30 March, p.15
Liliana Madeo, ‘La dentista reduce di “Sal ò”’, La Stampa, 18 January
Graham Parker, ‘Tabley’, Art Monthly, no.240, October, p.42
Lisa Parola, ‘L’artista che s’infila nella cronaca’, La Stampa, 2 March
Michael Wilson, ‘Sleuth’, Art Monthly, no.234, March, p.34
ZOO, Purple House, January, pp.168–169
1999
David Barrett, ‘Adam Chodzko’, Art Monthly, no.229, September, pp.29–31
Interview with David Barrett, Art Club, Habitat, pp.16–22
Laura Cherbini, ‘I video crudeli di …’ Il Giornale, Italy, 24 May
Robert Clark, Review, The Guardian, 29 June, p.13
‘Commerce to Art’, Hotshoe International, July/August
Charles Darwent, ‘Who do they think they are?’ Independent on Sunday, 4 July
Dawn Fulcher, ‘Sleuth’, Contemporary Visual Art, issue 25, pp.78–79
‘Holding Court’, What’s On, London, 27 January, pp.20–21
Paolo Levi, ‘La Mostra,’ la Republica, 9 May
John E. McGrath, ‘Sleuth’, Portfolio, p.64
Heidi Macleod, ‘chodzko’s children’, I-D Magazine, August
Adam Chodzko in discussion with Robin Rimbaud’, Everything, no.24, pp.16–20
‘Reunion: Salo’, Blocnotes, no.17, Autumn, pp.133–137
John Russell Taylor, ‘The Big Show: Sleuth’, The Times: Metro, 20–26 November, p.42
Interview with John Slyce, ‘Looking in the Wrong Place,’ Dazed & Confused, August, no.57, pp.100–106
John Slyce, ‘Adam Chodzko’ Flash Art International, 32; no.208, October, pp.120–121
Tema-Celeste, ‘Adam Chodzko’, May–June
Terzoocchio, no. 91, June
Elisabetta Tolosano, ‘Adam Chodzko,’ Flash Art, October/November, no.133
David Vincent, ‘Selective Subjects’, Gallery, Express and Star, 17 July
Rachel Withers, Preview, Artforum, May, p.77
Young British Art-The Saatchi Collection, Booth-Clibborn, pp.17, 40, 105
1998
Louisa Buck, Moving Targets, Tate, pp.150, 156, 170, 175
Christie’s Contemporary, London, 8/9 October, p.172
Dazed and Confused, no.49, December, pp.148, 149
Helen Duff, ‘A reunion of one’, City Life, no.361, 5–27 August, p.5
Tony Godfrey, Burlington Magazine, ‘At One Remove,’ January, p.54
I-D Magazine, no.180, October, p.165
Jonathan Jones, ‘Faces of Evil’, The Guardian, August, pp.12, 18
1997
Hilary Alexander, ‘Keeping our Cool’, The Daily Telegraph, 3 January, p.13
Mathew Collings, ‘Blimey’, 21, pp.124, 126, 132–133
Susan Corrigan, I-D, December
Penelope Curtis, ‘At One Remove’, Henry Moore Institute Foundation Review, no.5, Autumn, p.10
Antonia Donajgrodzka, ‘The naked truth’, Yorkshire Post, Yorkshire Live, At One Remove, 3 October
Michael Gibbs, ‘It Always Jumps Back and Finds Its Way’, Art Monthly, p.34
Mark Goodall, ‘Space Invaders’, The Big Issue in the North, At One Remove, no.184, November, pp.10–16
Martin Herbert, Time Out ‘Sensation’ supplement, September, p.14
Karen Joyner, ‘A highly individual view of the world’, Yorkshire Evening Post, At One Remove, 25 September
Tom Lubbock, ‘Who are they pointing at?’ Independent, Eye, 18 September, p.3
Teresa Macri, ‘In cerco di “Salo”’, il manifesto, 8 November
Charlotte Moore, Elle, October, pp.118–122
Charlotte Mullins, ‘Reality, but not as we know it’, Tate, no.13, Winter
Contemporary Visual Arts, At One Remove, no.16, October
Johnny Shand Kydd, Spitfire, pp.97, 148
Helen Sumpter, ‘Are You Strange?’ Big Issue, 13 October, p.32
Paul Usherwood, Art Monthly, no.211, October, p.32
Godfrey Wordsdale, ‘Reality Bites’, Artists’ Newsletter, February, pp.14–16
1996
Catherine Anspon, ‘brilliant’, Public News, Houston, 6 March, pp.8, 10
Vito Apuleo, ‘Da Londra arriva a Roma un’arte post-umana, Il Messaggero, 10 June
Patricia Bickers, ‘The Young Devils’, Art Press, no.214, p.34
David Bonetti, ‘Brilliant’, San Franscisco Examiner, 7 April
Hans-Jurgen Buderer, ‘Between Shock and Banality’, Dimensions, Kunsthalle Mannheim, p.82
David Burrows, Art Monthly, July/August, no.198, pp.28–29
Susan Corrigan, ‘Twisted Mister’, I-D, no.148, January, p.10
Shaila Dewan, ‘England’s Edge’, Houston Press, 21–27 March, p.35
Kevin Jackson, ‘Brit Pop Art’, Arena, April, pp.60–66
Patricia C. Johnson, ‘British exhibit shows attitude’, Houston Chronicle, 15 February, Section D, pp.1, 6
Sarah Kent, ‘Adam Chodzko’, Time Out, 12–19 June, p.44
Katrijn Klinger, Der Spiegel, no.24, pp.212–213
Andrew Lambirth, ‘Adam Chodzko’, What’s On, 12 June, p.19
James Roberts, ‘Adult Fun’, Frieze, issue 31, pp.62–67
Kate Spicer, ‘Nearly God’, The Face, no.93, June
Andrew Wilson, ‘Spatialised Time, Unchecked Duration’, Art and Design, Art and Film, p.85
1995
Dave Barrett, ‘Contained’, Art Monthly, no.186, May, p.31
David Barrett, ‘Zombie Golf’, frieze, issue 24, Sept/October, p.74
Daniela Bezzi, ‘Biennale’, L’Espresso, no.23, 9 June, p.126
British Council Visual Arts News, Summer, no.38, p.6
Diane Eddisford, ‘>alt.zombie.golf.the.earth’, Mute, issue 2, Summer, p.2
William Furlong, ‘Venice Biennale 1995’, Audio Arts, vol. 15, nos.1&2
Tony Godfrey, ‘Venice Biennale Report,’ Untitled, Summer, p.4
Simon Grant, ‘Playing God’, Art Monthly, issue no.189, September, pp.28, 29
Sarah Greenberg, ‘Hard to Love, Impossible to Forget’, Art News, vol. 94, no.7, NY. September, pp.130–132 Roberta Smith, ‘A Show of Moderns Seeking to Shock’, New York Times, 25 November, pp.B1/B6
Calvin Tomkin, ‘London Calling’, The New Yorker, December, p.116
Neville Wakefield, ‘Quite Brilliant’, Tate, No.7, Winter, pp.33, 39
1994
Julia Cassim, ‘Chodzko, Patterson Weak on Public Participation’, The Japan Times, Sunday, 13 February
Ekow Eshun, ‘British Art Special’, The Face, no.68, May, pp.56–72
Carl Freedman, ‘Acting Out/Remote Control’, frieze, May, issue 16
Kaori Makabe, ‘London Strikes Back’, Bijutsu Techo, Tokyo, vol. 46, no.688, pp.53–55
James Roberts, ‘Out in the Real World’, Bijutsu Techo, Japan, vol. 46, no.688, pp.36–39
Angela Vittesse, ‘Domestic Violence’, frieze, October
1993
Richard Dorment, ‘Hypnotised by a Handful of Stars’, The Daily Telegraph, London, 11 August
‘Galleries: Okay Behaviour’, The New Yorker, July
Simon Grant, ‘Making People Disappear’, What’s On, London, 21 April
Simon Grant, ‘Wonderful Life’, What’s On, London, 25 August
Ruiko Harada, ‘From London’, Bijutsu Techo, vol. 45, no.678, pp.148–149
Rob Legge, ‘The Faces of God’, The Independent on Sunday, London, 19 September, pp.40-41
K. Levin, ‘Okay Behaviour’, The Village Voice, 13 July
Tom Lubbock, ‘Stupid like a Conceptualist’, The Independent, London, 10 August
David Alan Mellor, ‘Wonderful Life’, Untitled, Winter, no.3
James Odling-Smee, ‘Life’, Art Monthly, London, October, pp.26–27
Richard Shone, ‘God’s Bods and Odd Bods’, The Observer, London, 8 August
John Windsor, ‘Art to Hang on the TV Screen’, The Independent, London, 25 September
1992
Andrew Wilson, ‘15/1’, Art Monthly, London, September
Awards
2023
Funded Practice-Led PhD, School of Arts, Leeds Beckett University, (2023-2026)
Arts Council National Lottery Project Grant for a project evolving from a community’s collective dream descriptions, translating them via Artificial Intelligence into animations.
British Council Connections Through Culture Grant to create a project focused on collective dreaming in Malaysia
2018
Shortlist for the David and Yuko Juda Foundation Award
2016
Art360 Award from DACS Foundation
2015
Shortlist for Jarman Award
2011
Liberty Kent Public Art Award
2010
Visual Art Residency, Cove Park, Argyll and Bute, Scotland.
2007-2010
AHRC Creative Research Fellowship, University of Kent
2002
Foundation for Contemporary Arts Award, NY, USA
1998
British School in Rome, Scholarship
Selected Judging Panels:
British School at Rome: Bridget Riley Award & Creative Wales. ARTiculation: Regional Final, 2018, Jarman Award 2016, Of the Sea (Chatham Historic Dockyard) 2016, Platform Art Award 2014, Contemporary Art Society Annual Award for Museums 2011,
Faculty etc
Faculty of Fine Art, British School at Rome, British Academy.
Artist Patron: Auto Italia
Collections:
Arts Council Collection, Auckland City Art Gallery, Benaki Museum; Athens, British Council Collection, British Film Institute, Colección Bergé; Madrid, Contemporary Art Society Collection, The Creative Foundation, Frac Languedoc-Rousillon, GAM – Galleria d’Arte Moderna; Turin, Grizedale Arts, MAMBo – Museo d’Arte Moderna di Bologna, Plains Arts Museum; North Dakota, USA, Saatchi Collection, South London Gallery, Tate Gallery, Towner Gallery Eastbourne, Wellcome Trust and international private collections
Selected Judging Panels:
ARTiculation: Regional Final, 2018, Jarman Award 2016, Of the Sea (Chatham Historic Dockyard) 2016, Platform Art Award 2014, Contemporary Art Society Annual Award for Museums 2011,
Faculty etc:
Faculty of Fine Art, British School at Rome, British Academy.
Artist Patron: Auto Italia
Teaching:
2014-2018: Senior Lecturer in Fine Art (as a .8) at the University of Kent’s School of Music and Fine Art, based at Chatham’s Historic Dockyard. He was the module convenor for MA Fine Art and BA Fine Art Stage 2 modules and was supervising PhD’s.
He has been the External Examiner for a practice based PhD’s at Goldsmiths College and at Northumbria University. He was the External Examiner for: BA Fine Art at Slade, UCL (2016-2019), and the External Examiner for the MA by Research in Media Art and Design at Canterbury Christchurch University (2018). He was External Examiner for the MFA Fine Art, National College of Art & Design (NCAD), Dublin (2019-2022) and External Examiner MA/MFA Art in the Contemporary World, National College of Art & Design (NCAD), Dublin (2021).
Since 1996 Chodzko has been a visiting lecturer on BA and MA Fine Art courses, at numerous HE and FE institutions internationally including, in the UK; Open School East: Margate, Central Saint Martins, Chelsea College of Arts, Slade School of Fine Art, Goldsmiths University of London, University of Kent, Dartington Trust, University for the Creative Arts, Sheffield Hallam University, Liverpool John Moores University and Ruskin College, Oxford.
In the US: Carnegie Mellon University, Rutgers University. In Canada: Banff Centre.
Forthcoming and Recent artists talks/conferences etc
Inside/Out Lecture, Leeds Beckett University, (April 2024)
Performative Artists Talk: Wei-Ling Contemporary, Kuala Lumpur, Malaysia (May, 2023)
Performative Artists Talk: MA Fine Art Online symposium, ‘Distance … Learning’ (25th May) Falmouth School of Art, Cornwall
“…Little legs…” Book Launch: discussion with Michele Horrigan (Askeaton Contemporary Art) at Camden Art Centre, London.
Performative Artists Talk: whole School of Fine Art (and public); Nottingham Trent University, Arts University Bournemouth, Liverpool John Moore’s University, University of Lincoln, and Leeds Arts University (November 2o22- March 2023)
Performative Artists Talk: British School at Rome. (November 2022)
Conference presentation: RENEW Biodiversity Parliament, University of Exeter;
Lecture/workshops: MA Art and Place: Dartington Arts School, Devon (May-August 2022)
Artists Talk: whole School of Fine Art + public; Anglia Ruskin University (January 2022)
Artists Talk: whole School of Fine Art + public; University of Leeds (January 2022)
Artists Talk: whole School of Fine Art + public; University of Worcester and Meadow Arts (September 2021)
workshop programme, Open School East, Young Associates, Margate (September 2021)
workshop programme, Unit 5, Fine Art year 2, Central Saint Martins, (June 2021)
workshop programme, MA Fine Art, Slade School of Art, UCL, London (March 2021)
Artists Talk: Fine Art BA and MA, Slade School of Art, UCL, London (March 2021)
Artists Talk/ Symposium XD Climate Emergency Event – BAFA XD1, MA Art|Science and MRes Moving Image, UAL, London, with Ruth Maclennan (February 2021)
Artists Talk: Bunker Talk, Manchester School of Art (January 2021)
Artists Talk: Fine Art BA and MA, UCA, Canterbury (January 2021)
What is shaping how you think about the planet’s future?, (performative video lecture), Forecast, Invisible Dust (2021)
Botanical Mind, Patrons Talk, Camden Art Centre (July 2020)
Art and the Rural Imagination, More than Ponies (July 2020)
A Hostile Environment, talk for the Platforma 5 festival, Counterpoint Arts, Turner Contemporary. (November 2019)
Embodiment and performance , Aller Park Studios, Dartington, Devon. (October 2019)
Artists Talk and seminar; Royal College Art (Making Art Public) (March 2019)
Artists Talk; Open School East (March 2019)
Artists Talk; Falmouth University, (Feb ‘19)
Artists Talk; Stage 2 , Architecture BA, UCA, Canterbury (Oct ’18)
Artists Talk; MAXXI, Rome and Museum Macro, Rome (Nov ’18)