Giles said...
Opening Tuesday 8 June, 6.30 – 8.30pm
Open Thursday – Saturday, 11am – 6pm and by appointment
Open until Saturday 17 July 2010
He drinks his soup in rapid spoonfuls. Although he makes no excessive gestures, although he holds his spoon quite properly and swallows the liquid without making any noise, he seems to display, in this modest task, a disproportionate level of energy and zest. It would be difficult to specify exactly what way he is neglecting some essential rule, at what particular point he is lacking in discretion.
Avoiding any noticeable defect, his behaviour nevertheless does not pass unnoticed. And, by contrast, it accentuates the fact that A... has just completed the same operation without having seemed to move – but without attracting any attention, on the other hand, by an abnormal immobility. It takes a glance at her empty though stained plate to discover that she has not neglected to serve herself.
Memory succeeds, moreover, in reconstituting several movements of her right hand and her lips, several comings and goings of the spoon between the plate and her mouth, which might be considered as significant.
To be still more certain, it is enough to ask her if she doesn't think the cook has made the soup too salty.
“Oh no”, she answers, “You have to eat salt so as not to sweat.”
Which, on reflection, does not prove beyond a doubt that she tasted the soup today.
Chris Bird, B. 1971, Birmingham; Ian Evans, B. 1982, Glasgow; Alec Steadman, B. 1983, Sidcup, and all based London, UK. The Hut Project is an artist collective formed in 2005. Evans and Steadman completed their BAs in Sonic Art and Fine Art respectively in 2005, while Bird graduated BA Fine Art in 2006, all at Middlesex University, London. Evans also has a PGDip in Contemporary Art History from Goldsmiths College, London (2007). Recent shows include BolteLang, Switzerland and ICA, London, as well as international group shows.
Passage taken from 'Jealousy' by Alain Robbe-Grillet, published by Les Editions Minuit, Paris in 1957.
‘Which creature in the morning goes on four legs, at mid-day on two, and in the evening upon three, and the more legs it has, the weaker it be?’, 2010, Pair of Cast Concrete Sphinxes, Gold Foil Paper
‘The Space of the Work and the Place of the Object (Bringing the Sexy Back)’, 2009/10, DVD
Installation view ‘Giles said...’
‘Too Hot For Love’, 2010, DVD, 14" Video Monitor, Smoked Perspex Box, Record Player, 12" EP: ‘Two Hot For Love’, 1977 by THP Orchestra, Amplifier, Speakers, DVD player
Installation view ‘Giles said...’
‘Lost at Sea’, 2010, ‘Its Not You Its Me’, 2008, Packing Crate, Buoy, Rope, C- Type Print on Fuji Flex Paper
‘Step Over to the Dark Side My Son’, 2010, 3 Nielsen Pearl Matt Black A2 Frames, Paint, Found Object
‘Besides, it is always others who die (a meeting with Jonathan, 00:00, 01/01/10)’, 2010, C-print, Aluminium, Wood, and Gold Leaf Frame
Background: ‘Un-Fair’, 2009, Bronze cast of a stone from outside the artists' studio, worn in the Gallery Director's shoe during installation of 'The Fair Show', Bronze, 2-Way Acrylic Mirror, Black Perspex, MDF
Foreground: ‘Galleria, Galerie, Gallery’, 2010, Bronze cast of a stone from outside the artists' studio, worn in the Gallery Director's shoe during installation of ‘Gallery, Galerie, Galleria’, Bronze, White Perspex, MDF
Detail ‘Galleria, Galerie, Gallery’, 2010
‘Machine Gun Corridor’, 2009/10, DVD