Goldendean is honoured to present a new work commissioned by HETHEM for Chapter 4OUR: Abundance curated by Simon(e) van Saarloos.
Large Scale Inflatable gold sculpture with airblower
approx 5m x 4.5m x 2.5m
Invite a manifestation of Goldendean into your sacred/ safe spaces for a moment of reflection with the help of the FNB ARTJOBURG augmented reality platform. Represented by Drea Projects, Goldendean presents moments of radical softness celebrating the right of bodies like theirs to be seen as beautiful, safe, and loveable. In these “comfort objects”, glowing, breathmaking sculptures that tenderly defy the social violence that would rather see bodies like ours triggered and traumatised, invisible and erased – the tenderqueer resists – developing intimate works at the intersection of art and love… asking us to feel, even from the centre of attention.
VISIT https://www.instagram.com/ar/793216594571629/ to view the installation in AR (Augmented Reality)
The sculptures, designed in 3D for an AR experience are also available for purchase in limited editions, please see below.
Made as research objects, these drawings, doodles, stencils and digital works many of these marks were often made as self-care, in defiance of threats of violence, transphobia and body shaming against the artist’s body, gender expression and right to free expression. This process lays the framework for the design of sculptural works bridging the poetic and material potential of Goldendean’s transmuta(n)t body. These include a range of amorphous “comfort objects” that prioritise the haptic experience. Art that disrupts the convention that says the fine art object should not be touched. Art that is an invitation to consensual contact – as innocent as a hug, art you can hold, art that holds you. Or an object of bold eroticism, unashamedly sensuous…
In an evolving public performance, as Goldendean, Dean Hutton’s strategy of simple and often improvised, disruptive actions by a “Fat Queer White Trans body” share moments of soft courage to affirm the right of all bodies to exist, to be celebrated and protected. By bringing their body onto display Goldendean and welcoming selfies and documentation by the audience their body becomes a monument the moment that image is made, to be shared, forever frozen at that point in memory. And when it is not possible to bring an exhibition to life, particularly for safety sake they have worked to develop virtual exhibitions into being. Unconstrained by budget and gravity, they design spaces as soft and curvy as their own body, and invite all to a potential for future collaborations beyond the physical world.
Hutton’s practice does not approach any medium in isolation. Their installations are affective on more than the aesthetic of the seen, but by an invitation to feel – the experience of lived moments referenced from real-life. Particularly effective in public space where an audience can be an unexpected participant in the projection of meaning, transgressing the fourth wall separating artist, art object, and audience – Their body enacts the sculptural and inhabits the temporary monument at every stage of their performance and performativity, in an innovative approach that reinforces direct engagement – whether as installation in an experiential space to reference, or exploit the emotional resonances of real life or imagined happenings.
Skirt Invaders by Dean Hutton, 2010.
Multiple Arcade Machine Emulator
Arcade machine with original hacked flash game, screensaver and 550 extra games.
SABC Art Collection.
Dean’s Bed is Love, intimacy, dreams, longing, conceit, queerness, identity, authenticity and beauty.
Made by Dean Hutton, with people, not of subjects – Chosen family, old friends, new friends, artists. Working, playing, with the participants to reveal, but not capture, ultimate expressions of self… a naked… bare self that holds agency. Shifting photographer to participant, creating relationships and abandoning distance.
Like much of the artist’s work, this series of intimate portraits challenges what is “normal” outside of binary concepts of gender, embracing fluidity and a comfortable expression of difference. These issues of difference are particularly complex within an African context where Hutton’s white skin often places them as foreign to the continent while belonging nowhere else. Hutton deals deeply with the issue of whiteness in much of their work, particularly in their attempt to deconstruct the destructive possibilities of the white gaze and working with participants, never subjects, to disrupt the power relationships in the act of photography.
Dean’s Bed was presented at the 2014 Liste ArtFair Basel and FNB Joburg Artfair by Maria Fidel Regueros and ROOM gallery.
Saturday 4 May 2019 (Zürich) PERFORM Breathe Goldendean, 3pm @Kulturehaus Helferei, Kirchgasse 13, 8001
Friday 10 May 2019 (Lausanne) PERFORM Breathe Goldendean La Fête du Slip, 6pm
Saturday 11 May 2019 (Lausanne) PERFORM Breathe Goldendean 6pm
Arsenic Rue de Genève 57, 1004 Lausanne
Tuesday, 14 May 2019 (Basel)artist talk and exchange in the frame of the exhibition „May: Month of Work” at Kaskadenkondensator
www.kasko.ch/ Project space for contemporary art and performance
Wed, 15 May 2019 (Geneva) Mxnifest(u)topia collage Workshop with trans-activists 6.30pm
Thursday, 16 May 2019, (Geneva) PERFORM Breathe Goldendean 8 to 10pm
www.outragecollectif.noblogs.org/ decolonial ANTIRACIST collective
www.facebook.com/FluidRadikal.FLURAX Platform programming artists with anti-oppressive positioning (queer feminists, transforms, trans *, non-binary and / or racialised persons)
Saturday, 18 May 2019 (Bern) PERFORM Goldendean Bread in Bern Bethlehem, followed by a gathering (traditional cake production)
Sunday, 19 May 2019 (Bern) BRAINSTORM QUEER SUMMERCAMP/ ACADEMY and artists talk.
Annual Zurich dance festival has been running since 2006. It was organized by the dance network Reso throughout Switzerland and in cooperation with local partners in various cities. The City of Zurich recognized the potential of this event and decided to focus on dance within the framework of the legislative focus on the cultural and creative city of Zurich. Since then, the dance festival has been called the annual Zurich dance festival under the new name ZÜRICH TANZT.
La Fête du Slip
a multidisciplinary festival that explores the themes of body, gender, and sexuality in art. Our shortflim competition aims to reward films that present a high artistic quality, explore fresh ideas about gender and sexuality, in new and innovative ways. We particularly encourage films that explore new approaches to erotic narratives, and that renew traditional representations of bodies, genders, and sexualities.
CULTURAL EXCHANGE RESIDENCY with MARCEL SCHWALD IN BASEL, GENEVA AND BERN “ART AND ACTIVISM WEEK
Marcel Schwald works as a director, dramaturg and writer in Switzerland, and currently also in Greece and India. He is active in the fields of theatre, dance and performance art.
In his work, he mixes practices of theatre, performance art, community work, journalism and sociology. Besides a strong collaborative aspect, Marcel Schwald’s pieces often question some of the predominant eurocentric/western narratives in the social, political and aesthetic discourse and try to formulate different proposals considering the interrelations in a globalized world. The material for this can be an avant-garde novel, telling a western migration story such as Gertrude Stein’s THE MAKING OF AMERICANS, as well as narratives of transgender identity in India, like in EF_FEMININITY
www.kasko.ch – Kaskadenkondensator Basel
www.frauenraum.ch – Frauenraum Bern
Wagenplatz Bethlehem (no website)
www.outragecollectif.noblogs.org – Outrage Collectif Lausanne & Geneva
www.facebook.com/FluidRadikal.FLURAX – FluidRadikal Geneva
ADDITIONAL FUNDING BY PROHELVETIA SWISS ARTS COUNCIL
First presented at the Bag Factory, and then Newtown’s Mary Fitzgerald Square Alex Dodd writes of The Crucible in the Art Times: “The viewer must crouch down and enter through razor wire portals into the smoke- lled interior surrounded by a crucible of projected ames blazing around a small altar on which lies a South African ID book. It’s the closest I’ve come to experiencing what it must have felt like to be a victim of one of the violent attacks on foreigners. Better than reading so many life-sapping newspaper reports… ”