Simon Denny

New Zealander, born 1982

blue chip status
Blue Chip Representation

In the context of new technological advances rendering devices obsolete almost as soon as one grows accustomed to the latest model, Simon Denny reflects on media production, distribution, and consumption. The television, having considerably diminished in bulk and cultural dominance over the artist’s lifetime, serves as a recurring motif throughout Denny’s installations and videos. In Deep Sea Vaudeo (2009), for example, six sets in various sizes and states of sleekness (some placed on stands or shelving units) play different footage, ranging from underwater shots of coral reefs, to relaxation videos, to sales displays. “What looks almost banal or cobbled together,” notes Catrin Lorch in Frieze, “is a multi-layered farewell to the triangular relationship between performance, sculpture and media art—a relationship now overtaken by flat screens, computer monitors and online personas.”

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Career Highlights
Learn more about artist insights.
blue chip status
Blue chip representation
Represented by internationally reputable galleries.
Solo show at a major institution
Serpentine Galleries, and 2 more
Group show at a major institution
The Museum of Modern Art (MoMA), and 8 more
Collected by a major institution
Museum of Modern Art (MoMA)
Reviewed by a major art publication
Artforum, and 5 more
Included in a major biennial
Venice Biennale National Pavilion, and 3 more
Articles Featuring Simon Denny
Christchurch Shooting Gives New Sense of Urgency to Simon Denny Show
Mar 21st, 2019
The Tech behind Bitcoin Could Help Artists and Protect Collectors. So Why Won’t They Use It?
Dec 16th, 2016
DIS’s Berlin Biennale Isn’t a “LOLhouse” or a Fashion Spread—It’s Charting Art’s Future
Jun 22nd, 2016
The Top Emerging Artists of 2015
Dec 16th, 2015
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