Two shows by New Zealand artist Simon Denny, in New York and Berlin, look at competing views on how the little-understood technology underpinning the digital currency bitcoin should develop – and helps translate them for viewers, the Wall Street Journal reports.. Denny uses everyday objects like Pokémon, postage stamps and the strategy board game Risk to illuminate how technology shapes the. Oct 07, · Contemporary artist, Simon Denny, brings Bitcoin’s founding history to life in the first room of his exhibit, Blockchain Future States, hosted in the Chelsea based Petzel Gallery. Simon Denny and Matt Goerzen, which forms the basis for the open-source digital currency Bitcoin. Denny’s timing was perfect, in that the extensive commercial and political implications of blockchain are just beginning to become broadly recognized, even as they have been obvious to .
Simon denny bitcoinSimon Denny's "Blockchain Future States" - Features - art-agenda
To be blunt, the question is not just about whether the DIS aesthetic works, either as art, as fashion, or as some sort of post-critical critique; it is about what sort of ideological work it performs, insofar as it links creative labor and cultural production with new modes of desire, consumption, and subjectivation, and with new routes for the circulation of both symbolic and actual capital.
Some understanding of this larger context is necessary if we are to make sense of the recent successes of the young artist Simon Denny. The pieces on view at PS1 aimed to repurpose the conventions of contemporary art to investigate numerous aspects of digital capitalism, including startup culture, corporate language and display, and pirate economies.
Yet while some critics have interpreted this work as a kind of Institutional Critique 2. An artist is also a business The values associated with entrepreneurship seem very close to me. Highly motivated people with high-risk precarious ideas mixed with efficiency and metrics.
What could be more beautiful? Denny has the credibility to be taken seriously by Texte zur Kunst , but he also has no problem speaking of his sincere respect for the advertising industry, glibly telling DIS about the contents of his DLD swag bag, or giving an interview to Bloomberg for a fawning video profile. The show styled itself as a sort of introductory overview of blockchain technology—a mode of storing encrypted data across distributed locations, which forms the basis for the open-source digital currency Bitcoin.
It is clearly the moment to reckon with the potential impact of globally available encryption, whether in social, economic, or geopolitical terms, and to begin thinking through the ways that these changes will play out on the aesthetic level. In a rather transparently didactic gesture—whether earnest or ironic was, not surprisingly, somewhat tough to judge—the show functioned as a kind of primer, with one gallery devoted to the history and founders of Bitcoin, and the others to three of the most prominent blockchain ventures Digital Asset Holdings, 21, and Ethereum.
Although there was plenty to look at and think about, much of the work seemed inert, lacking convincing evidence of effective mediation. One often felt beguiled, but much more by the subject matter than by its representation. They come off like a beta test, leaving one wishing that Denny had done more research or thought more carefully about the kind of discursive site he means for his work to occupy.
In some sense these are questions about how we evaluate contemporary art, especially practices that work on or with new media. Enter search below: Combined Shape. Path 2. Editor's Note. Combined Shape. As New Yorkers, we reflect so much that is best about this great democracy.
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