Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Deep Sea Vaudeo; 2009.
Courtesy of the artist and Galerie Buchholz Berlin/Cologne/New York.
Galerie Daniel Buchholz, Cologne, 2009:
On the eve of the disappearance of the tube television from retail stores, Simon Denny presents a misleadingly vivid system of multimedia works that tip their hats to the regular sensibility of sobriety. In a logically fallacious gesture, the exhibition will attempt a level-headed analysis of the physical thinning out of the television set and link it to the depth of represented space in the presented imagery, the ubiquitous TV-store display regular of aquatic scenery.
By misusing this underwater imagery, the logic of the symbolic games touched on in Aquarium Videos, 7 Drunken Videos and Watching Videos Dry are brought to a no-nonsense end point, a sober small-screen comedy. Denny constructs a four-dimensional Tetrad diagram of the outmoded hardware of the domestic lounge room’s 4th wall, making confusing switches between author and media, leading to a final display which is as thin as the argument it propounds.
An unnecessary opposite to Gerry Schum’s production and transmission of landmark land art fifty years ago, Denny’s sea art presents a series of paintings from Auckland-based painter Nick Austin, and an amateur advertisement filmed with local television actor Theresa Underberg within the show, linking artist to broadcast culture in a dry glance backward.
The dematerialisation of the video screen from the cathode ray tube to the LED monitor is so noted in a cumbersome bow to the passing of a style of video art presentation now being outmoded by the computer screen and the ephemeral hardware and distribution systems that enable the accelerated flow of information through the shallows of the internet.
