In summer, the projection room of CIT Cinema at Radnická turns into a space for site-specific installations, revising the medium of moving pictures and the conditions of cinema projection. Adam Turza’s Spectacle: Residuum stops time in the middle of one sequence or film frame as we find ourselves in a black space between action and reaction, at the point of completed destruction, just before fully realizing the consequences of this action.
The act of extinction is, however, not a sudden and unpredictable accident, rather it puts us in the animal skin from the fable about a boiling frog.
The metaphor of the apocalypse is, in the case of Adam Turza’s installation, materialized in a spatial installation responding to the physical space of the auditorium and stage. The central stage consists of a civil altar with remains of ceramic vases and an electric grinder. The volume and extent of the omnipresent clay dust testifies to the number of destroyed objects and also to the hours of grinding.
The dusty landscape inside the black box of the cinema room and the clay material evokes a plethora of images: a somewhat strangely skewed archeology of the future, the demise of civilization through the destruction of the tradition of pottery that goes back to prehistoric times, but also biblical motifs of the creation and demise of men: “The Lord God formed the man from the dust of the ground (...) until you return to the ground, since from it you were taken; for dust you are and to dust you will return.” (Genesis) The delicacy of the material and the whole scene brings forth a strong contemplative impression. Only the polished grinding wheel and the deliberate reference to the legendary Horst Fuchs, a symbol of the spinning and grinding mechanism of consumer apocalypse, pulls us out of the excessive absorption and pleasant aesthetic melancholy.