{"id":10624,"date":"2014-11-07T08:56:00","date_gmt":"2014-11-07T08:56:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=10624"},"modified":"2023-04-18T09:01:25","modified_gmt":"2023-04-18T09:01:25","slug":"managing-materialism","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/managing-materialism\/","title":{"rendered":"Managing Materialism"},"content":{"rendered":"\n<p><a href=\"http:\/\/www.portikus.de\/1476.html?&amp;L=1#c3634\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Simon Denny, \u201cNew Management\u201d<\/strong><\/a><\/p>\n\n\n\n<p><a href=\"http:\/\/www.portikus.de\/8.html?&amp;L=1\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Portikus, Frankfurt<\/strong><\/a>&nbsp;(Alte Br\u00fccke 2 \/ Maininsel, D \u2013 60594 Frankfurt, Germany),&nbsp;<strong>Jul 12\u2014Sep 7, 2014<\/strong><\/p>\n\n\n\n<p>In his most recent exhibition at Portikus Frankfurt, Simon Denny\u2019s point of departure lies in a conference held by Samsung in Frankfurt in 1993, after which the company would go on to revolutionize its image and the state of the tech industry at large. Samsung\u2019s then-chairman Lee Kun-hee gathered together the company\u2019s top executives in Frankfurt\u2014Germany\u2019s financial capital and transportation hub\u2014to hold a three-day meeting now known as the \u201cFrankfurt Declaration\u201d of 1993. The declaration announced the company\u2019s shift to a \u201cNew Management\u201d model: geared towards quality, development and internationalization. It was a catalytic moment for Samsung\u2019s march towards international prominence.<\/p>\n\n\n\n<p>A graduate of Frankfurt\u2019s St\u00e4delschule (Staatliche Hochschule f\u00fcr Bildende K\u00fcnste), Simon Denny hails originally from New Zealand. His works and exhibitions often take the form of sculptures, archival works and installations, all exploring the history and development of enterprise, corporations and technological phenomena. Now, over twenty years after the \u201cFrankfurt Declaration,\u201d Denny\u2019s work at Portikus researches Samsung in an attempt to explore the influence the conference continues to exert on the economy today.<\/p>\n\n\n\n<p>Placed in the center of the gallery is an executive office chair printed with a photograph of Lee Kun-hee speaking at the conference, along with a table, both similarly symbolic of a company conference space. In the process of research, the artist heard a rumor that Samsung had had a conference space somewhere in Korea, built specifically in memory of the \u201cFrankfurt Declaration.\u201d This exhibition, with its plexiglass and metal frameworks, is the artist\u2019s re-imagining of that memorial meeting room. The farcical pairing of a forged Antonio Canaletto painting and a pink patterned tablecloth serve to undermine the importance the suspended space would otherwise assume, while each end of the structure is home to a pair of air conditioning units paradoxically connected to heaters: a futile circulation of air. What\u2019s more, the air conditioners are branded with Samsung\u2019s trademark slogans, which come across as absurd in this context\u2014thinly veiling the artist\u2019s true opinion of their bullishness. Phrases coined include \u201cChange everything but your spouse and kids\u201d and \u201cChange begins with me\u201d\u2014representing a model of corporate propaganda that stresses the maximization of profit and efficiency, and implies the complex relationship between individual, family and career when it comes to the pursuit of success. Texts and photographs on the walls look back on the history of Samsung\u2019s development, and readymade manga cartoons further illustrate the \u201cNew Management\u201d philosophy. We find the Samsung of twenty years ago portrayed as a young wolf in the face of fierce lion and tiger competitors\u2014companies like Sony, Panasonic and so on. The wolf says to himself, \u201cOne country alone isn\u2019t enough. Only the strong survive. I must conquer an entire jungle of competition!\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"576\" height=\"1024\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-38-576x1024.png\" alt=\"\" class=\"wp-image-10625\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/jSRdjudD-image-38-169x300.png 169w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-38-576x1024.png 576w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-38-84x150.png 84w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-38.png 660w\" sizes=\"(max-width: 576px) 100vw, 576px\" \/><figcaption class=\"wp-element-caption\">Simon Denny, \u201cNew Management\u201d, exhibition view at Portikus, Frankfurt.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"370\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-39.png\" alt=\"\" class=\"wp-image-10628\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-39-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-39-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-39-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-39.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Simon Denny, \u201cNew Management\u201d, exhibition view at Portikus, Frankfurt.<\/figcaption><\/figure>\n\n\n\n<p>The combination of objects and materials in this exhibition resonate with a strong sense of control. The black metal frame\u2019s segmentation of the space conforms to the laws of symmetry. In Portikus\u2019 exhibition space\u2014once a church\u2014this symmetry is especially noticeable. The texts and images hung on the wall parallel the rows of high church windows, and skyscraper models erected atop air conditioner packaging boxes look out from them at their life-size counterparts in the Frankfurt financial district. Perhaps it is only when we experience an association between the Samsung products on display and the Samsung products in our pockets that we can fully grasp what Denny is attempting to show us: the depth of an international corporation\u2019s influence on the masses in an age of expanding global capital. And yet, with each new company-wide slogan, we note that the nature of this propaganda diverges completely from the advertising language we are accustomed to seeing in our everyday lives. The latter includes Samsung\u2019s trademark slogans, which come across as absurd in this context\u2014when we would otherwise think that the consumer and visual culture that advertising represents ought to be more closely linked to the corporate lexicon.<\/p>\n\n\n\n<p>Samsung itself is frequently there within art exhibitions\u2014usually via its flat-screen LCD monitors. The difference in this instance is that the company\u2019s presence is not taken for granted. The exhibition includes textual records as well as objects symbolic of Lee\u2019s famous speech, provoking a discussion of how products and other media can be harnessed to demonstrate Samsung\u2019s management philosophy and ideas. Samsung products are displayed here to reflect the company\u2019s guiding principles; the history of the physical evolution of Samsung cell phones is laid out on the wall to hit home the company\u2019s hungry ambition for expansion: both are examples of objects demonstrating values. Conversely, in researching the management philosophy, one can indeed begin to see how these products physically embody the unceasing evolution of enterprise: i.e, values elucidating objects. In short, this is an exhibition concerned with the sequenced relationship between objects and the principles behind them, such that materials and materialism can shed light on one another simultaneously.<\/p>\n\n\n\n<p>Denny has gradually built up his own language, consistently creating research exhibitions focused on commercial situations or events\u2014a \u201cmanagement\u201d model for artistic creation comprising of readymade objects, recycled material and fictional entities. As a series, Denny\u2019s exhibitions all center on a unique commercial\/technological\/historical phenomenon, whether in his detached recording of events at Munich\u2019s annual Digital Life Design (DLD) conference or his re-interpretation of the police raid on the home of Mega Upload founder Kim Dotcom. The artist\u2019s exhibitions often include the reconstruction of an event or a space and a combination of readymades and texts to take the lead. These exhibitions represent one strain in the evolution of pop art\u2019s reaction to the economic zeitgeist in the latter half of twentieth Century. This may be why Denny\u2019s solo exhibitions tend to draw audiences in more than his appearances in group exhibitions or in the case of isolated displays of single works. However, though he lets us read an extensive account of Samsung\u2019s family history, the artist only gives us limited freedom to sit back and consider it all. Our everyday cognitive indigestion in the face of excessive information is reflected in the exhibition\u2019s heavy reading load, while oxymoronically, the very editing down of information is part of what the project preaches.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/11\/SD1.jpg\"><img decoding=\"async\" src=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/11\/SD1.jpg\" alt=\"\" class=\"wp-image-51164\" title=\"SD1\" \/><\/a><figcaption class=\"wp-element-caption\">Simon Denny, \u201cNew Management\u201d, exhibition view at Portikus, Frankfurt.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"370\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-40.png\" alt=\"\" class=\"wp-image-10631\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-40-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-40-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-40-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-40.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Simon Denny, \u201cNew Management\u201d, exhibition view at Portikus, Frankfurt<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Simon Denny, \u201cNew Management\u201d Portikus,  &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/managing-materialism\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":10634,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[6388,6557,6558,6560,6559,1273,6561,6562,6563,6564,2864],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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