'A Place for The End '
DVD with sound installation, 10 minutes.
8 x (50 x 80cm) B&W photographs


Excerpt from interview between David Barratt and Adam Chodzko

DB You mentioned A Place for The End, would you like to describe that piece?

AC This also deals with some kind of end space. I’m preoccupied with what, in our culture, is the separation point between things that are obviously fictions and things that are obviously real, and what happens to perception as you move between the two spaces. I always think that when the credits come up in the cinema there’s a weird feeling of embarrassment, because people have to re-engage with the person they’re sitting next to, and the fact that they’ve been in a social space the whole time, sitting with a lot of strangers [and the smell of popcorn].

DB It’s only when you leave the cinema that you realise everyone else has also been in that extremely personal space of fiction too: a place where you think you’re alone.

AC I always love watching people coming out of the cinema because they have this look of having been somewhere else.[back from holiday or something]. Standing there blinking in the sunlight, not yet willing to give their verdict on what they saw. [I think this expansion and contraction of our perception into real and fictional spaces is a very major part of our contemporary experience]
A Place for The End is about that awkward [space] of endings, and it began with a question asking where [should] a film end?

DB So what does the project actually consist of?

AC I put together a group of strangers and I asked them to choose a location where they thought a film might end. I don’t know why they picked certain locations, but they tended to pick places that had some sort of emotional charge for them. Some of them are quite innocuous looking and some of them are quite dramatic looking, but they’re all kind of non-spaces around the city that you probably wouldn’t acknowledge otherwise.
Having selected these places, we filmed what looks like the ending of a film happening in each location, with the group of people disappearing off into the background of their own spaces. It’s as though they’re disappearing into these choices that they’ve made.
And one element of the work is a series of plaques at each location, which simply describes a widescreen rectangle. ‘Two metres from this plaque, crouching down at waist-level, from the trees on the left to the tower block on the right. Imagine a widescreen rectangle’ — that sort of thing.

DB So they’re public works, the plaques?

AC Yeah, they’re the kind of things that you come across when walking your dog. [ (I assume everyone has a dog )] They don’t describe what happened; they just state it as a location for the end of the film. They create an auratic buzz around a certain section of space [in the city], which the space around it doesn’t have.