detail from the exhibition Chronic Expectation: CFS/ME Documentary Restoration
at T293, Rome, March-May 2011
image courtesy of T293, Rome

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detail from the exhibition Chronic Expectation: CFS/ME Documentary Restoration
at T293, Rome, March-May 2011
image courtesy of T293, Rome

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detail from the exhibition Chronic Expectation: CFS/ME Documentary Restoration
at T293, Rome, March-May 2011
image courtesy of T293, Rome

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detail from the exhibition Watching Videos Dry
at T293, Rome, May-June 2009 
image courtesy of T293, Rome

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detail from the exhibition Watching Videos Dry
at T293, Rome, May-June 2009 
image courtesy of T293, Rome

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detail from the exhibition Watching Videos Dry
at T293, Rome, May-June 2009 
image courtesy of T293, Rome

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Channel Document, 2012
installation view at Art Statements, Basel, June 2012

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view from the exhibition Made In Germany Zwei at Sprengel Museum Hannover, May-August 2012. photo: RAIMUND ZAKOWSKI

 

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view from the exhibition Corporate Video Decisions
at Michael Lett, Auckland, August-October 2011
image courtesy of Michael Lett, Auckland

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view from the exhibition Corporate Video Decisions
at Michael Lett, Auckland, August-October 2011
image courtesy of Michael Lett, Auckland

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Analogue/Digital Transmission Switchover: London, 2012
Samsung 40″ D8000 SMART 3D LED TV, digital prints on plexiglas, rubber, wood, aluminium, steel 

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3-D Chroming Factory Walkthrough, 2011
3-D video, 40” Samsung 3-D LCD TV Series 7750 Class, Samsung 3-D active glasses, Panasonic HDC-SDT750 High-Definition Video Camera with 3-D conversion lens, wood. Courtesy of the artist and Galerie Buchholz, Cologne/Berlin. photo: CARL VOSS

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SIMON DENNY by SEBASTIAN KIM, 2011
© SEBASTIAN KIM

all images courtesy of the artist and their respectives galleries (unless otherwise stated)

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Employing a hybrid approach located somewhere between research project, retail display, and promotional campaign, SIMON DENNY‘s diverse artistic practice reflects on the production, distribution, and consumption of media in an age of accelerated technological obsolescence and relentless cultural overproduction. Through a variety of media, including photographs, sculpture, video, and printed ephemera, DENNY invites us to consider the evolution of television and video as both technologies and cultural forms.

His recent works have included investigations into the form and “architecture” of the TV set itself (the physical depth of which, we are reminded, has shrunk along with the medium’s loss of dominance as a content provider), the genre conventions of documentary, and the myriad processes by which content is translated from one medium to another.

By deconstructing and demystifying the language, content and technology of television, he established a radical syntax densely layered with witty intertextual references and transcultural content. These disjunctive assemblages function as a stream-of-consciousness flow of images, tech appliances and consumer product displays in order to question our accepted notions of these streams of content.

Born in Auckland, New Zealand, in 1982, SIMON DENNY moved to Frankfurt in 2007 to attend post-graduate courses at the Städelschule. He now lives and works in Berlin. His work is currently on view at Aspen Art Museum, Aspen until July 15, 2012 and at the Sprengel Museum for the Made in Germany Zwei exhibition, Hannover until August 18, 2012.