The capricious churn of internet-charged culture is producing more major characters, apocrypha and relics than we will handle. Remember when the Canadian musician referred to as Grimes — former partner of one in every of the world’s strongest men, the tech entrepreneur Elon Musk — brought a sword to the 2021 Met Gala? The image of a futurist pop star lugging a medieval blade (comprised of a smelted AR-15, no less) down the red carpet summed up the mystifying way contemporary culture seems to run in all directions, chasing myths each latest and old.
Simon Denny, an artist working in Berlin, creates sculptures, installations, videos and prints inspired by the aesthetics of tech firms. In two concurrent shows in Manhattan he has seized on omens just like the blade to explore the sociopolitical fallout of the technology industry’s taste for medieval lore. In Denny’s telling, dreams of wizards and blacksmiths, dark forests and dank castles shape the latest digital realms.
“Dungeon,” Denny’s fifth show with Petzel Gallery in New York, encompasses a sort of heaving shrine to Grimes: Puffs from an automatic steamer inflate a black “Game of Thrones” T-shirt once owned by the star, installed in a Plexiglas case like a suit of armor. The sculpture is plugged into an influence strip that Denny sourced from a liquidation sale at Twitter during its Musk-mandated transition to X.
Downtown, “Read Write Own,” Denny’s first show with Dunkunsthalle, an artist-run space within the financial district, offers recent paintings from his “Metaverse Landscape” series alongside sculptures made using whiteboards auctioned off by Twitter after Musk took the reins. The work suggests that web culture, and by extension our heavily networked society, resembles the fantasy landscapes evoked by Dungeons & Dragons, or “The Lord of the Rings.” Tech-augmented life, in other words, could be understood as a large role-playing game, by which physical and virtual realms merge, and Musk et al. make the foundations. (Denny also curated a current group show at Petzel featuring like-minded artists exploring fantasy genres with latest media equivalent to 3-D printing.)
“Dungeon” encompasses a latest series of paintings of top-down views of assorted role-playing game maps — really digital prints on canvas, smeared with oil pigment, for a photorealistic yet decaying effect. In a rendering of a HeroQuest board, gray, blue and green bricks simmer within the blocky darkness like a geometrical abstraction. Other paintings deepen the thought of “dungeon”: One smeary figure eight is the board for a Hannah Montana-branded version of the tabletop game Mall Madness. A beguiling iridescent pattern on one other painting might be ranks of columns or shelves, but the corporate name Nvidia within the corner tells you it’s actually a graphics card of the type often adapted for handling cryptocurrency transactions.
Denny’s skeptical view of the tech industry in “Dungeon” is slightly obvious; it deepens upon viewing the show at Dunkunsthalle, where the “Metaverse Landscapes” depict virtual real estate. One smooth earth tone map highlights a “waterfront” lot. Others resemble pixelated blueprints of streets and storefronts.
The idea of metaverse “landscapes” plays on the history of landscape paintings, which in Europe historically served as boasts about royal possessions, and within the United States as advertisements for westward expansion, offering (false, romantic) pictures of virgin wilderness for the taking. By including the metaverse on this lineage, Denny underlines the grim proven fact that today’s land grabs often don’t involve actual land. So many persons are unable to afford an actual house that the thought of investing in a digital plot is a bitter mockery. QR codes on the works’ sides link to blockchain entries that track these weightless parcels’ current owners. The visual charm of the paintings is second to the heady appeal of owning a painting of another person’s virtual property, and that, as Denny seems to indicate, this canvas image is, fundamentally, the more real of the 2.
Denny doesn’t push artistic style in latest directions a lot as study the aesthetics of the tech industry. Part of his tradeshow-like 2015 exhibition at MoMA PS1 in Queens showcased replicas of objects seized within the spectacular downfall of Kim Dotcom, also referred to as Kim Schmitz, a German Finnish web entrepreneur. Included was an enormous statue of a Predator from the sci-fi motion movies. Denny’s previous show at Petzel, in 2021, handled an Amazon patent for a comically bulbous delivery drone.
Viewing these objects in the total light of reality, tech’s aesthetics look slightly crummy. But the toylike silliness of the long run shouldn’t make us laugh, Denny suggests — it should unnerve us.
There’s a sword at Petzel, too: Across the room from the T-shirt shrine hangs a duplicate of Anduril, an Elven blade from “The Lord of the Rings,” which Denny fashioned from resin tinted with coffee. It’s based on the sword owned by Palmer Luckey, the defense contractor and inventor of the Oculus Rift virtual reality headset (he sold the corporate he founded to Facebook for $2 billion). Luckey once modified a headset — as a joke — with explosives in order that in case your avatar dies in a game, you die in real life. He also founded a defense technology company, Anduril Industries. (Several of his partners in that enterprise got here from the big-data company Palantir, also named for a “Lord of the Rings” treasure.)
That a V.R. guru would make very real military drones and robotic sentries, under the brand of an imaginary weapon, doesn’t encourage confidence. Neither does the slogan, emblazoned at Petzel on a shadowy UV print depicting one in every of Anduril’s autonomous fighter jets: “Fight Unfair.”
Is all of it a game to those digital pioneers? Do they know where virtual reality ends and “meatspace” begins? Denny reminds us that the more networked our lives turn out to be, the more tech’s rules bind our fantasies.
Dungeon
Through March 30, Petzel Gallery, 35 East 67th Street, Manhattan; 212-680-9467, petzel.com.
Read Write Own
Through March 31, Dunkunsthalle, 64 Fulton Street, Lower Manhattan; 917-382-4744, dunkunsthalle.com.
