Simon Denny
Speculative accountability trial courtroom sketch: Brisbane supreme court, Transmin Semi-autonomous rock breaking boomer
2020
Watercolor courtroom sketch on paper by Brisbane supreme court artist Sharon Gordon 15.75 x 38.19 inches
40 x 97 cm
Frame dims: 16 x 38 x 2"
Simon Denny
Transmin semi-autonomous rock breaking boomer HD-100 RockLogic promotion screen video token
2019
Aluminum, UV print on Plexiglas, fluorescent light tubes in original cardboard packaging 26.77 x 47.24 x 3.94 inches
68 x 120 x 10 cm
Simon Denny
Transmin semi-autonomous rock breaking boomer HD-100 RockLogic Extractor pop display
2019
UV print on honeycomb cardboard, shrink- wrapped Extractor board games
36.22 x 137.01 x 172.44 inches
92 x 348 x 438 cm
Simon Denny
8_BNY Mellon
8_Plexiplinth with Stones and Tombstone 2016
Lian Li computer case, UV print on Aludibond cutout, lasercut plexiglas letters, LEDs Screenprint on wooden thombstone, lava stones, plexiglas
Casemod:
12.6 x 13.39 x 14.17 inches
32 x 34 x 36 cm
Plexiplinth:
19.69 x 18.5 x 14.57 inches
50 x 47 x 37 cm
Simon Denny
Blockchain Future State Fintech Gamer Case Mod Deal Toy: 21 Application Programming Interface (API) Marketplace
2016
UV print on In Win computer case Screenprint on wooden tombstone, lava stones, plexiglass
Casemod:
23.5 x 22.9 x 11.7 inches
59.7 x 58.2 x 29.7 cm
Plexiplinth:
19.69 x 27.17 x 15.35 inches
50 x 69 x 39 cm
Simon Denny (b. 1982, Auckland, New Zealand) graduated from the Staatliche Hochschule für Bildende Künste (Städelschule) in Frankfurt am Main, Germany.
Simon Denny was the winner of Art Basel’s annual Baloise Art Prize (2012).
His work has challenged numerous themes entrenched in modern society’s globalized culture: the Internet, technological obsolescence, corporate culture, television broadcasting, and national identity. Recent solo exhibitions include MINE, Museum of Old and New Art, Tasmania (2019); Hammer Projects: Simon Denny, Hammer Museum, Los Angeles (2017); Innovator’s Dilemma, MoMA PS1, New York (2015); Envisaging Vocational Rehabilitation, Westfälischer Kunstverein, Münster, Germany (2012); Cruise Line, NAK Neuer Aachener Kunstverein, Aachen, Germany (2011); Chronic Expectation: CFS/ME Documentary Restoration, T293, Rome (2011); Corporate Video Decisions, Michael Lett, Auckland; Friedrich Petzel Gallery, New York (2011); Negative Headroom: The Broadcast Signal Intrusion Incident; Halle für Kunst, Lüneburg, Germany; and the Contemporary Art Museum, St. Louis (2010).
Recent group exhibitions include Uncanny Valley: Being Human in the Age of AI, de Young Museum, San Francisco (2020); Fluidity, Kunstverein, Hamburg, Germany (2016); Secret Power, New Zealand Pavilion, Venice Biennale 2015, 56th International Art Exhibition, Venice (2015); That's The Way We Do it: The Techniques and Aesthetic of Appropriation from Ei Arakawa to Andy Warhol, Kunsthaus Bregenz, Austria (2011); and Based in Berlin, KW Center for Contemporary Art, Berlin (2011).
