The common denominators of Adam Hejduk’s realizations are his work with symbols, imaginative mystery, and tension. In his prolific, and continuously evolving work with different media, there are similar practices to those found in the treatment of language in literature: precise word order directed to the point described, however, not revealed. It is no coincidence that he is interested in the material of glass and its fragility also on the level of linguistic metaphor.
Glass and its properties have long been the focal point of his material experiments: large glass panels breaking the laws of gravity thanks to stretched steel strings, which over time become musical instruments and components of sound performances, or glass panels as house windows that let in light from the inside and mirror their surroundings from the outside. It was a video sketch of a double reflection in the window of a moving train and a randomly recorded conversation between fellow passengers that started off Adam’s work with film docu-fiction, with glass panels beginning to act as projection surfaces.
In the projection installation, I see by Adam Hejduk, we observe and revise the role of cinema projection conditions in gallery management along with the author. In a reference to Rare Window by Alfred Hitchcock, we follow fragmented conversations recorded without the knowledge of the actors taking place in the open windows of Brno’s courtyards. The voyeuristic lo-fi quality of both the sound and the image contrasts with the added sounds of the overall audio composition reminiscent of a radio play. As a result, it constructs an unfinished crime story full of suspense.
