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huttcollective@gmail.com

44 Douglas Road,
Nottingham,
UK
NG7 1NW







Asbjørn Skou
Algrthm Shudr ~ June 8th 2017

"Nottingham 1816. Flashing from fires of broke stocking frames. The giant Head of State floating above the city as a curse. Voices of the opposition drowned in spite, pestilence and wage labour. Everyone is in debt. Server-beings, multiplex non-organisms, a pack of victorian ghosts envisioning society as a vast machine, programmable and algorithmic. Posterity is leaking. Chemically sour as summer broke awesome, smelling of teargas.

"Socially necessary Labour time". Necrotic tissue of fixed capital - wormfuckers. Fluorescent magic numbers, dates of mourning and the riots that previously performed time as something becoming. The law a mouth, the police force a mouth, everything that those opaque suits labelled a condition of the ersatz productive power, by labour by year, by the reverberations of bailouts and job-centres. Enigmatic radiation, incantations and quarantines. August 1816, 2012, 2021 - you can take the dates and turn them into a magical equation. A vacuum against the day.

The breathing societies of industrial history swallowed mathematics, ghost bureaucrats, scab unions, forcefields and soforth. This city, full of abstract plagues, singing plagues of the precarious, metabolism - eating crisis & glass. The undead at the production wheel, that-which-labours sang the waiting oppression. To get clock on the future - labour one into the ground, or something, basic grinding metaphor, on work.

Stoffwechsel of a ringing carbon vibrato, that devil steam. Each basilica a pore split open to a new 19th century. For the production of death-parties, particles molding to engage in some sad future carnival. Futures constructed on floating capital, machinery parades, new oddities, a chain form of anti-unemployment measures, nosferatu-time and the zombie bourgeois. History as a means to an end, sufficient for a dead totality.

Each gear, the means of a future, Comrade Ludd transformed, Stewed down to pulp, scraped up and sculpted and sold as a human. There are strategies to chant, sabotage, not today. It's August and ahead of political succession time. Somewhere the engine loom, bastard of this logistical revolt, bare eaten fingers. After all Europe dies a commodity. Shudr and chant, that will out first! Our fists, dissolved in lethargic drool. Elsewhere all of the phosphorous data of innovation, parades eating fertilizers, Persephone reformed in that radiant technosphere. The years worth of organism in cash."

Asbjørn Skou is a visual artist from Copenhagen, Denmark. He works with drawings, text, installation and objects, to stage and examine relations between human and nonhuman agencies, and their possibilities for production of crisis and critique. He holds a MFA from the Academy of Arts in Bremen, Germany. He has previously exhibited at among other; Kunsthal NORD (DK), Overgaden Institute of Contemporary Art (DK), Tranen - Contemporary Art Centre (DK), Museum of Cycladic Art (GR) Vejle Art Museum (DK), Ileana Tounta Contemporary Art Centre (GR), Munch Gallery (USA) Contemporary Art Museum of Estonia (EST), Photographic Centre (DK) Westwerk (DE) Rauma Art Museum (FL).

Exhibition supported by The Danish Arts Foundation.




Charlotte Cullen,Craig Fisher,Emily Simpson,Emii Alrai,Suzanne van der LingenVictoria Grenier, (/w isthisit?)
Limbo Lambada ~ February 23rd 2017 - February 27th 2017

Limbo Lambada will manifest as a pop-up show at HUTT from the 23rd-27th February, and will be documented and reconfigured as an online exhibition on Isthisit? from the 17th-24th March.

Limbo Lambada will feature work by:
Charlotte Cullen
Craig Fisher
Emily Simpson
Emii Alrai
Suzanne van der Lingen
Victoria Grenier


Liminal spaces, borders, binaries as a source of tension and investigation, a language, code or system of understanding.
A binary opposition creates a dialogue or conversation, but how do binaries operate as part of our digital image culture? One binary holds a non-physical space, and is a coded language which operates a system of interaction, the internet. The internet was once considered to be a space without borders, a utopian zone. Today the proliferation of images and their consumption online, brings into question its validity as a venue for artistic and cultural exchange. The web holds an importance, as an archive documenting the exchange through physical movement and migration of language and cultural practices. Another binary, whose presence can be felt universally, is a border between nations. The binary and politics of borders, the physical definition, transience or temporality of these spaces in relation to contemporary ideas of hybridity and in-betweeness.

www.youtube.com/watch





Felicity Barrow
I am a Shapeshifter within a Shifting Space ~ September 29th 2016

Felicity Barrow presents a series of videos and performances developed during her recent residency at 'The Writing Room' and HUTT. During her time here, she chanced upon Gaston Bachelard's 'The Poetics of Space', and opened this book directly on a chapter entitled 'The Significance of the Hut'. This text held a strong resonance with Felicity's experience of living at HUTT, and subsequently underpinned much of the work produced.

'We are hypnotised by solitude, hypnotised by the gaze of the solitary house; and the tie that binds us to it is so strong that we begin to dream of nothing but a solitary house in the night.'

For a second, self initiated part of the residency; the artist conducted six days of solitude with the space. Here, she spent time watching and waiting within HUTT, following the passage of falling, fading lights that travelled through the gallery.

'A lamp is waiting in the window, and through it, the house, too, is waiting'.

Join us for an evening of videos and performances that seek to explore the subtle shifts, drifts and synchronistic occurrences that manifest between strangers and spaces.



Victoria Grenier
Sand Cities ~ April 15th 2016 - April 24th 2016

In "Sand Cities" Victoria Grenier presents a body of work constructed around the imagined consciousness of a pair of 4000 years old Mesopotamian lion sculptures. They were discovered in Mari, a buried city in Syria. Half of one lion is in the Louvre, half of the other was, until recently, in The National Museum in Aleppo. Both their backsides are still in a wall in Mari.

More than 25 000 cuneiform clay tablets were found in Mari from around the same time as the lions (give or take a few centuries). Written in Akkadian, they are mostly admin, legal documents, or to do with commerce, but not all. Now here is a letter, translated by A. Leo Oppenheim:

Tell Nur-Samas, Awel-Adada, Sin-pilah, Silli-Adad, and the over-seer of the ten-man team: Samas-nasir (the governor of Larsa) sends the following message: This is really a fine way of behaving! The orchardists keep breaking into the date storehouse and taking dates, and you cover up time and again and do not report it to me. I am Sending you herewith this letter of mine; bring these men to me --after they have paid for the dates. And also the men from the town Bad-Tibira (end broken)







Elin Karlsson
The Best Mess ~ April 14th 2017 - April 28th 2017

Elin Karlsson is an artist from Gothenburg, Sweden, now living and working in Sussex.
Acknowledging that the home is changing, as more European adults cohabit with their parents, I am wondering if the domestic environment and the family are both idealised concepts that will always fall short of expectations? My work welcomes wrongness and invites multiple, sometimes contradictory perspectives that recognise how complex family life has perhaps always been.

Recent shows include:
'Life is On', Jakob Kroon Galleri, Stockholm, 2016. 'Whatever You Say I am, That's What I am' Unit 8, Brighton, 2015. 'Familiar Constructs', Gallery 40, Brighton, 2014. 'The Heart Grows Fonder' Format Festival, Derby, 2014. 'F Book Show', 72Gallery, Tokyo, 2014.



Gregory Herbert
Already Stale ~ November 18th 2016 - December 2nd 2016

"It was risky however, to brazenly chase the contemporary. These artist were gambling that future generations would understand the interplay between their materials and their imagery as signs of general and lasting issues - biopolitics, dematerialisation anxiety, networked life - rather thanks the soon-to-be-be-stale nowness." Seth Price

In his first solo exhibition, 'Already Stale' Gregory Herbert questions the need to be a trend setter. Herbert's research explores the tangle of contradiction in art, and questions what you thought it meant, versus what you wanted it to mean. The abstract against the representational, the cool against the banal.

'Already Stale' uses humour and cases from the natural world, as a source to open a self-reflective discussion on the art scene and how we advocate ourselves as artists, by looking at art's socio-economic context and how it can take influence from different models.

Gregory Herbert (B. 1990, London, UK) is an artist and director of The Royal Standard, Herbert studied Fine Art at Liverpool Hope University. His recent exhibitions include Company - Summerhall, Edinburgh (2016), Sell Out - SEIZE, Set The Controls For The Heart Of The Sun, Leeds (2016), Treat Yo Self - It's All Tropical, Bloc Projects, Sheffield (2015), Scouse House - Model&Syson Gallery, Nottingham (2015), and a residency in Nantes at Temple du Goût, France (2016). Herbert has recently completed a publication for Liverpool Biennial.



Charlie Duck
Peskey Doncker, Foolish Barnet ~ June 17th 2016 - July 3rd 2016

I am the sum of a thousand follies
Sallies picked up and put down
Perpetually I roll
Wilfully I gather stuff
Gleeful in pursuit of my quarry

Matter clings to me
And I to it
Loose of foot
I dance the old jig
My face a lumpen blob
Brow beaten
By the thug in the sky

Pesky Doncker
And Foolish Barnet
I am they and they are I
A mad half-masted wobble
Still, even when in the soup
A ship remains a ship

Charlie Duck (b. 1985, Kent) lives and works in London and Norfolk. Recent exhibitions include A Noble Brim, (with Lloyd Durling), Arcane, London, These Sticks, (solo), Coleman Projects, London, Suspended Fruit, Centre for Recent Drawing, London, The Community, Gildengate House, Outpost, Norwich and Footloose, (solo), Soft Circuit 4 for Landfill Editions/Site Office, Nottingham and Good Press, Glasgow.



Beth Kettel
Blend Blend, or, The Caretaker and other Detritus ~ March 25th 2016 - March 27th 2016

Come join us for a one-night only live music video / DIY dance routine / series of short stories / songs introduced by lead singer / dancer / story teller Beth Kettel. Accompanied by two concealed beauties / masked cuties doing their duties, and The Caretaker / DJ / health and safety eccentric taking care of risky moves and the music. Once described as eclectic & electric (dyslectic?), which one might interpret as so current it causes currents.

Taking place at HUTT, situated downstairs of the Caretaker's House at an old primary school. Where one might imagine the old caretaker used to watch sticky, obscure music videos on his lunch break. I bet it was a real tip and trip hazard down there too.

Anyway, the performance will follow on from a residency at HUTT, where notions of exaggerated devotions, mixed emotions and private parts will be played with. Making motions with gestural movements taken from various points of reference (sex, sign, pop culture), which will develop different meaning through associations with text, object, costume, repetition and turned into dance moves, which might upset what they stand for (and possibly any nauseas in the audience).

Create your own 'meaning' with your own dance moves at the afterparty in the gallery.
Feat. DJ Caretaker (Simon Raven).

The recorded music video will be screened as part of a solo show at HUTT by Beth Kettel over the weekend 26th and 27th March.









James Findlay & Stasis (w/ EMBASSY Gallery)
Best Of ~ March 16th 2017

Hutt Collective in collaboration with EMBASSY Gallery present James Findlay & Stasis ~ Best Of, a one night only performance event. A short performance will be repeated three times across the night, please only book for one of the slots, 6pm, 7pm or 8pm.

James St Findlay, a 2016 graduate of Edinburgh College of art who's work exists in a nebulous void that I will just call "experiential performance". My work is usually concerned with the creation of rich narratives;
- I tried to get my wife pregnant through the visualisation of our perfect child without making love to her even once
- I walked arm in arm with a honey fed 15 year old girl called Naia who fell down a sinkhole and died 30,000 years ago
- I found a series of recordings inside different cave systems throughout the world
- I reenacted Rhea's giving of a rock swaddled in cloth to Cronos
- I ritualistically drowned a snake and carried it through a crowd of dancing people
I endeavour with each performance to create an experience for those present
I just want you to have a good time.

I am trying my best to give you guys a good time, I am trying to get healthy and I am trying to leave it all behind me, to move on, to start fresh. These things take time and all I ask of you is patience, compassion, and love.

Stasis is Aniela, Isabel, Olivia and Paloma. Their collaborative practice was born out of a shared desire to probe the intricacies of femininity through performance. They work between Glasgow and London and met whilst studying at Edinburgh College of Art and The University of Edinburgh. Their work includes performance-installations at Inverleith House and Summerhall in Edinburgh, dance choreography for Glasgow International Festival alongside Marvin Gaye Chetwynd, Zoe Walker and Neil Bromwich, and a collaboration with fellow Glasgow-based artists Pester & Rossi for Baltic 39 (all 2016). They last worked with James Findlay for Galitzine and Mackenzie's anti-Frieze march 'Pompe' in London in October and they look forward to treading the boards with him again in Nottingham



The White Pube
The (Leaf) of Pablo ~ October 17th 2016 - October 31st 2016

The White Pube's new exhibition, The (Leaf) of Pablo, runs from 17th-31st October at Hutt Collective, Nottingham. The show presents The White Pube's research on Pablo Larios' essay Network Fatigue which describes a system of collaborative working within the personal. Network Fatigue untethers the artist from documentation, takes the network offline, and pushes for physical proximity and visible relationships. In line with this, The (Leaf) of Pablo, will open with a coffee morning at 11AM-1PM on Monday 17th October. The White Pube invite you to join them then for water, biscuits, and conversation.

The White Pube is an art criticism website by Zarina Muhammad and Gabrielle de la Puente.

They publish exhibition reviews, baby essays, and podcasts weekly at thewhitepube.co.uk. Recent The White Pube events include, the 'Live Laugh Love' exhibition at Muesli, Liverpool. The film screening, 'Zayn Malik Zindabad' at Lewisham Art House, and 'Water droplet, dark Moon, brown Angel', at A Small View, as part of the Liverpool Biennial Fringe.



Andrew Sim
Why Can't I Fly Supersonic Anymore? ~ May 6th 2016 - May 29th 2016

The accepted trajectory of progression is a linear one. Civilizations handing over the baton from one to the next, illuminating the savage and the barbarian.

In his solo exhibition "Why Can't I Fly Supersonic Anymore?" Andrew Sim questions this narrative and draws attention to the network of links that show human nature hasn't changed as much as institution would have us believe.

Taking visual cues from classical spirituality, votive shrines and the "totems of progress" Sim's sculptural assemblages and installations seek to challenge the notion of constant progression, highlighting the failures of Concord and the demise of supersonic flight to illustrate the holes in the thin veil of the accepted historic trajectory. Sim exposes the culture of history being written by the winner – progress by defeat – the civilizing of the barbarian by Rome; to critique through similarity. The totems of the past have uncanny parallels with those of the present. They try to capture the potency of beings, places and things of perceived power. They emulate and celebrate the gods of progress both historic and current; the Apollo space missions and the entrance of the verb "to Google" into the accepted global lexicon.

This need to not only believe in constant progress but also to constantly remind and reassure ourselves of it highlights the fragility inherent in the system. What happens if that system breaks down? Maybe we should all be asking "Why Can't I Fly Supersonic Anymore?".