Daniel Canogar was born in 1964 in Madrid. He lives and works in Madrid and New York City. He has received an M.A. from NYU and the International Center for Photography in 1990. Photography was his earliest medium of choice, but he soon became interested in the possibilities of the projected image and installation art. His fascination with the technological history of optical devices, such as magic lanterns, panoramas and zoetropes, inspired him to create his own projection devices. The resulting artworks were mobile-like hanging sculptures that projected images onto the surrounding walls. With the advent of digital technology, the artist continued re-conceptualizing visual media as sculpture. By projecting animations onto salvaged obsolete electronics, for example, he was able to metaphorically reveal the collective dreams trapped within DVDs, old calculators, video-game consoles or found computer hard drives. Also notable are Canogar's public artworks using flexible LED screens. Like with fiber optic cables a decade earlier, he once again reinvents an existing technology to suit his artistic explorations; by fabricating flexible LED tiles, he is able to create twisting ribbon-like screens for atriums and public spaces. Other public works include his Asalto series, projected onto emblematic monuments in several cities. Depicting climbing bodies, these projects references historic events, such as the storming of the Bastille and the collapse of the Berlin Wall, or present migratory border crossings. Memory, and its loss, are a central theme in his work. Unless we remember, we are condemned to an amnesiac present, textureless and flat, lacking the perspective of time. His recent artwork tackles such issues in different ways. He has scoured junkyards, recycling centers and flea markets, looking for examples of aging technologies that defined our existence in the not-so-distant past. What we throw away holds an accurate portrait of who we were. VHS tapes, 35 mm film, hard discs, CDs, to name just a few obsolete mediums that he has used in art, are all depositories of our memories. When tossing them out, we are also discarding an important part of ourselves. By projecting video animations onto old media, he attempts to reignite life back into them so as to reveal the shared memory they hold within.he has also projected large-scale video animations on emblematic monuments and historic buildings in cities across the globe. He contacts local communities and create events that allow participants to project themselves literally, and metaphorically, onto their surroundings. In this way they claim the history of their city as their own. Using green-screen technology, he often records performers acting out climbing motions that when projected onto a building's façade, create the illusion of their ascent to the top. By "conquering" these buildings, they become active participants of a shared history, rather than mere spectators of an urban reality. He likes to break away from the confines of the flat screen and create three-dimensional installations that conceptualize media as sculpture. His LED screens are clear examples of this approach. After years of research, he has developed a flexible LED tile that allows him to create screens with complex curving shapes. Thus, he can make screens that bend and twist and respond to the specific features of the architecture that contains them. These works invite viewers to seek out multiple perspectives in discovering the artwork, incorporating their movements in and around the work as a crucial component of their experience. To be a spectator all too often means to remain on the sidelines of what we are watching. He wants my artwork to activate an engaged viewer, one that experiences seeing as grounded in a moving sentient body. With this full-bodied gaze, he believes we not only have a richer experience of our world, but are also able to claim a place in it for ourselves. Also notable are Canogar's public artworks using flexible LED screens. Like with fiber optic cables a decade earlier, he once again reinvents an existing technology to suit his artistic explorations; by fabricating flexible LED tiles, he is able to create twisting ribbon-like screens for atriums and public spaces. Other public works include his Asalto series, projected onto emblematic monuments in several cities.Depicting climbing bodies, these projects references historic events, such as the storming of the Bastille and the collapse of the Berlin Wall, or present migratory border crossings. He has created numerous public art pieces, including Waves, a permanent sculptural LED screen for the atrium of 2 Houston Center, Houston; Travesías, a sculptural LED screen commissioned for the atrium of the European Union Council in Brussels during the Spanish Presidency of the European Union in 2010;Constelaciones, the largest photo-mosaic in Europe created for two pedestrian bridges over the Manzanares River. His recent work includes Storming Times Square, screened on 47 of the LED billboards in Times Square, New York; "Small Data", a solo exhibition at bitforms, New York, and Max Estrella Gallery in Madrid; "Quadratura", a solo exhibition at Espacio Fundación Telefónica in Lima. He has exhibited in Max Estrella Gallery, Madrid (2017); bitforms Gallery, New York (2017); Galleria Guy Bärtschi, Ginevra (2014); Mimmo Scognamiglio Artecontemporanea, Milano (2013); Borusan Contemporary Museum, Istanbul (2012); American Museum of Natural History, New York (2010); Museo di Arte Contemporanea Reina Sofia, Madrid (2008); Kunstsammlung Nordrhein; l'Andy Warhol Museum, Pittsburgh (2008); Mattress Factory Museum, Pittsburgh (2008); Palacio Velázquez, Madrid (2007); Galleria Filomena Soares, Lisbona (2006) ; Hamburger Banhof Museum, Berlino (2002); Offenes Kulturhaus Center for Contemporary Art, Linz (1999); Wexner Center for the Arts, Ohio (1998); Centro d'Arte Santa Mónica, Barcellona (1994).
Eduardo Secci Contemporary s.r.l soc. unip.
Cap. Soc. IV 1.000.000,00 €
IT C. F. P.IVA N. ISCR. REG. IMP. FI 06421100485
Sede Legale Piazza Carlo Goldoni 2
50123 | Firenze | Privacy & Cookies