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Simon Denny

Formalised Org Chart/Architectural Model: Zappos 1, 2015

Plexiglass, MDF, LED strips, UV print on Revostage platform
78 7/10 × 84 3/5 × 39 2/5 in
200 × 215 × 100 cm
location
London
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About the work
Exhibition history
Serpentine Galleries
London
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Model by: MMB - Modellbau Milde Berlin

Model by: MMB - Modellbau Milde Berlin

Image rights
Photo: MMB - Modellbau Milde Berlin. Courtesy Galerie Buchholz, Berlin/Cologne
Simon Denny
New Zealander, b. 1982
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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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share
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About the work
Exhibition history
Serpentine Galleries
London
Follow

Model by: MMB - Modellbau Milde Berlin

Model by: MMB - Modellbau Milde Berlin

Image rights
Photo: MMB - Modellbau Milde Berlin. Courtesy Galerie Buchholz, Berlin/Cologne
Simon Denny
New Zealander, b. 1982
Follow

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.”

Simon Denny

Formalised Org Chart/Architectural Model: Zappos 1, 2015

Plexiglass, MDF, LED strips, UV print on Revostage platform
78 7/10 × 84 3/5 × 39 2/5 in
200 × 215 × 100 cm
location
London
Want to sell a work by this artist? Consign with Artsy.
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