黑料不打烊

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 
levelheaded 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 鈥淎quarium Videos鈥�, 鈥�7 Drunken Videos鈥� and 鈥淲atching Videos Dry鈥� 
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鈥檚 
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鈥檚 production and transmission landmark 鈥淟and art鈥� 
fifty years ago, Denny鈥檚 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 form 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.