The Gold Ones
2015-2022
A performance-fiction inhabited by characters collectively known as the Gold Ones – an undetermined cohort of higher spiritual beings that exist across time, and reside in the 'Cosmic Care Home' (CCH). Although supposedly existing on a higher astral plane, and capable of affecting aspects of our mere mortal existence – the place they inhabit resembles a ‘total institution’; they are cut off from a wider community, and lead a bureaucratically controlled existence, watched over by an elusive staff of 'Helping Hands'.
This project has resulted in video installations, performances, public sculpture and a video game. More recently, within group workshops The Gold Ones move through cycles of activity - rest, affirmation, meals, exercise, games, care, treatment - developing the trajectory of the work through structural conditioning and ‘what needs to be done’.
Forthcoming:
Ivan Poe
Online
2019-22
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Archive:
Here, the Gold Ones flatter
Bonington Gallery
26 March-21 May 2022
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Here, the Gold Ones meet
Bonington Gallery
7 April-29 May 2021
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MAX GOLD BROADCAST: GIVE ME A REAL BIG HAND
Kunstraum
18 September 2020
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Ivan Poe, Tannoy
TEK-ANIMAL-LIFE Rendezvous
Primary
15 February 2020
RAM_Fest
Quad
2-3 November 2019
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Ivan Poe, Tannoy
A Friends Rendezvous
Dilston Gallery
Southwark Park Galleries
19 October 2019
Polymorph Other
Queen's Hall, Hexham
19 October-23 November 2019
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The Gold Ones
Video Days
Bonington Gallery
10 May 2018
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Five Gold Ones
A Weekend of Weird
Radar
26 November 2016
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The Gold Ones
Plymouth Art Weekender
24 & 25 September 2016
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Peeza Peel
Wysing Polyphonic
2 July 2016
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The Gold Ones
Kunst Vardo
Online
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The Gold Ones
Gallery North
14 April–7 May 2016
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The Gold Ones
xero, kline & coma
31 October–22 November 2015
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Everything is dumb, stupidity is a tool - a blunt force trauma - not to be mistaken for faux-naivety or dialogues surrounding authenticity
The occult institution of The Cosmic Care Home, which might be situated outside normal reality, or may not exist anywhere but in those characters’ own heads.
A carnival bold enough to rival the debauchery of Rabelais’ ‘Pantagruel’ … the bathetic operates on a primordial level, concerned with base desires, the anticlimax and vulgarity.
I am acting as my own avatar in a half-real space, built by others for their own opaque purpose
Masked figures dance, prance, dawdle, they spew the odd word intermingled with uncategorizable noises, bodily sounds and burbling gurgling mumbles.
The Gold Ones suggested an intention to work as both absurdist satire on the corporate marketing of privatised services and a pure spectacle
