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Artist Simon Denny standing in front of an installation for Secret Power from Venice Biennale 2015 at Te Papa in 2016.
Paradoxes
Paradoxes
Denny had been the recent single representative from the New Zealand shore to the international Venice Biennale, 2015 with his installation Secret Power. A way of viewing any artist contributing to life’s paradoxes has been to see them in awake days and asleep days. I think I got that early from d'Alembert's Dream - one book in 1968 that I was set to read in a BA course English class. The author is Diderot. The character D’Alembert opens one’s eyes to animate everything. On the basis of that one reading when I was seventeen I really started some amazement for what awakeness could be. A piece of Secret Power, came back from Venice into Wellington and to Te Papa. I went to the city and looked at this at the City Gallery. Denny was an artist living in Berlin in 2015. Four years later, in an almost lighthearted rush, he made The Founders Paradox. He was commissioned to do something. The commission was from a journalist who was Bernard Hickey. Hicky’s concern was a seeming’ rising’ at economic preferential treatment in the country. Hamish Coney, an art critic, ccompanied Hickey to the Lett Gallery to look. They recognized this difference in treatment of the ‘ fly in, fly out ‘ blood crossing the New Zealand border. They were thinking about the implication of the idea of New Zealand being perceived as a ‘bolthole’ for high-end investors. Denny, as an installation sculptor known for his capacity to make intense scrutiny of technology and society, set up in his exhibition on a range of ideas to provide challenge about the moral philosophy of sovereignty, whether for the State of individual. The exhibit first showed in Michael Lett gallery and then came to. Christchurch. I had been quite fired up in the second decade of the twenty-first century, having gone over the Pacific to America to meet and talk with video game designers and engineers using code. ( correctives.co.nz/films) Seeing Denny arrive in the city, I was excited knowing that I was up to speed to see and respond to an artist making fast critical responses to his zeitgeist time. Denny had had a youth with gaming. He delivered dramatically to our country's Galleries as well as in the USA with this exhibition that took him only three months to create. Te Papa made a purchase of a Secret Power piece that year. Denny’s statement for this had started, ‘ Secret Power will address the intersection of knowledge and geography in the post-Snowden world.’
Denny works categorically with information that is about the 'Hi tech race'. He provokes the questions.
I wrote an Art Bite on Ascent, one of the games Denny manipulated. He flipped ideas from the game Descent, a Board game written by an AI graduate in the USA. As well, Thiel was cameoed for his early investment in a Utopian speculation for modern day habitation possibilities, a sea farm. That idea faded conceptually as having poor viability. It had struck me, though, that the PayPal investor, that by then most of the Pacific Coast intellectual world knew of, was forging ahead as a creative entrepreneurial thinker. The idea of people building boltholes, aka any brilliant Sci Fi writing, though, didn't seem to go down well. Too Doomer perhaps. None of this was Denny thinking. Denny got commissioned in by a curmudgeonly journalist because of the citizenship question. I was hyped by what Denny could do, with his knowing board games, being so alert to the ideas about the matrix of high level security systems and having well refined his perceptual thrust to a fine tuning.
By the time I was inside an exhibition curated for June to November 2024, the title From the Ground, took my eye. By this time I was onto my Art bite no nine. ( Art Bite. In the Quarry. Ngaio Marsh. 2024 ) I delivered a talk on the nature of being presentable to the mind’s eye. On several tangents, the topic and the situation of dress and perspective caught my attention in a painting.
Paradoxes
Denny had been the recent single representative from the New Zealand shore to the international Venice Biennale, 2015 with his installation Secret Power. A way of viewing any artist contributing to life’s paradoxes has been to see them in awake days and asleep days. I think I got that early from d'Alembert's Dream - one book in 1968 that I was set to read in a BA course English class. The author is Diderot. The character D’Alembert opens one’s eyes to animate everything. On the basis of that one reading when I was seventeen I really started some amazement for what awakeness could be. A piece of Secret Power, came back from Venice into Wellington and to Te Papa. I went to the city and looked at this at the City Gallery. Denny was an artist living in Berlin in 2015. Four years later, in an almost lighthearted rush, he made The Founders Paradox. He was commissioned to do something. The commission was from a journalist who was Bernard Hickey. Hicky’s concern was a seeming’ rising’ at economic preferential treatment in the country. Hamish Coney, an art critic, ccompanied Hickey to the Lett Gallery to look. They recognized this difference in treatment of the ‘ fly in, fly out ‘ blood crossing the New Zealand border. They were thinking about the implication of the idea of New Zealand being perceived as a ‘bolthole’ for high-end investors. Denny, as an installation sculptor known for his capacity to make intense scrutiny of technology and society, set up in his exhibition on a range of ideas to provide challenge about the moral philosophy of sovereignty, whether for the State of individual. The exhibit first showed in Michael Lett gallery and then came to. Christchurch. I had been quite fired up in the second decade of the twenty-first century, having gone over the Pacific to America to meet and talk with video game designers and engineers using code. ( correctives.co.nz/films) Seeing Denny arrive in the city, I was excited knowing that I was up to speed to see and respond to an artist making fast critical responses to his zeitgeist time. Denny had had a youth with gaming. He delivered dramatically to our country's Galleries as well as in the USA with this exhibition that took him only three months to create. Te Papa made a purchase of a Secret Power piece that year. Denny’s statement for this had started, ‘ Secret Power will address the intersection of knowledge and geography in the post-Snowden world.’
Denny works categorically with information that is about the 'Hi tech race'. He provokes the questions.
I wrote an Art Bite on Ascent, one of the games Denny manipulated. He flipped ideas from the game Descent, a Board game written by an AI graduate in the USA. As well, Thiel was cameoed for his early investment in a Utopian speculation for modern day habitation possibilities, a sea farm. That idea faded conceptually as having poor viability. It had struck me, though, that the PayPal investor, that by then most of the Pacific Coast intellectual world knew of, was forging ahead as a creative entrepreneurial thinker. The idea of people building boltholes, aka any brilliant Sci Fi writing, though, didn't seem to go down well. Too Doomer perhaps. None of this was Denny thinking. Denny got commissioned in by a curmudgeonly journalist because of the citizenship question. I was hyped by what Denny could do, with his knowing board games, being so alert to the ideas about the matrix of high level security systems and having well refined his perceptual thrust to a fine tuning.
By the time I was inside an exhibition curated for June to November 2024, the title From the Ground, took my eye. By this time I was onto my Art bite no nine. ( Art Bite. In the Quarry. Ngaio Marsh. 2024 ) I delivered a talk on the nature of being presentable to the mind’s eye. On several tangents, the topic and the situation of dress and perspective caught my attention in a painting.