Biography

Download as .pdf

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

Solo Exhibitions

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 outSiakos.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

2018
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 Nächt, Bottmingen, Baselland
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

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
A way from Heaven, Tideway, Public Art sculpture commission (to be completed 2021), Barn Elms, London.

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

2005

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

 

Bibliography
Selected texts, books and catalogues

 

2018
ANNOTATED SAX COMPENDIA, Ryan Gander and Jonathan P.Watts

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

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, Hyperallergenic, 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
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

Jonathan Griffin, “Folkestone Triennial’, Frieze, September, p191

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 Barratt, ‘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

Kim 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

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    

Paul Hamlyn Award

Foundation for Contemporary Arts Award, NY, USA

1998    

British School in Rome, Scholarship

 

Collections
APT, Arts Council Collection, Auckland City Art Gallery, Benaki Museum, Athens, British Council Collection, British Film Institute, 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, 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 is supervising PhD’s.

He has been external examiner for a Practice based PhD at Goldsmiths College and External Examiner for BA Fine Art at Slade (2016-2019), UCL and for MA by Research in Media Art and Design at Canterbury Christchurch University.

Since 1996 he has lectured and, or, tutored on BA and MA Fine Art courses, at numerous HE and FE institutions internationally including, in the UK; Central Saint Martins, Chelsea College of Arts, Slade School of Fine Art, Goldsmiths University of London, University of Kent, 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.