Simon Denny
New Zealander, born 1982
Blue chip
Represented by internationally recognized galleries.
Collected by a major museum
Museum of Modern Art (MoMA)
Selected exhibitions
Hammer Projects: Simon Denny,
Hammer Museum
New Zealand Pavilion,
56th Venice Biennale
Simon Denny: Products for Organising,
Serpentine Galleries

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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