MIRRORS: THE DATA WORKS BY DANIEL CANOGAR

Canogar’s artworks are not data visualization tools, but rather artistic reinterpretations of electronic information. Cannula invites users to create liquid compositions using YouTube queries. Ripple is connected to news webpages and downloads videos from these outlets as they come online. The resulting artwork is a textile-like animation created with the news of the day. Ooze melts logos from the companies that form the NASDAQ index fund, creating a dynamic animation determined by the ascending and descending market value of the traded companies. The Draft Series uses texts from foundational documents of our democratic system – the US Constitution, the Declaration of Human Rights and the Magna Carta - and distorts them with real-time wind data of the cities where these documents where signed. All these artworks resort to abstraction to capture the unrelenting excess of this new algorithmic reality.

It is with great pleasure now we include five of his most recent "Data Works" as an online exhibition on ARTSY viewable at the following LINK HERE.

One of these works is "Cannula", a piece debuted in 2016 at the Luz y Vanguardias Festival in Salamanca, Spain. Electronic animation of Cannula refers directly to the pictorial tradition of abstract expressionism. But in this case, the palette of this artwork projected onto the facade of the historic building of the University of Salamanca (Patio de Escuelas) is not painting, but videos posted on Youtube. A keyboard placed in front of the building will allow the public enter a search in this audiovisual portal of Internet. Then a video of the introduced subject is downloaded. Projected onto the façade, it will eventually merge with the amalgam of videos from previous searches.

The public can guess some details - a face, a hand, a car - between the report mass in constant mutation. According to the chosen themes, the colour of the work, or the rate of abstraction changed. Behind the walls of the building envelope which projected animation is the famous library of the University of Salamanca founded in the 13th century. The artist wants to connect this famous library with Youtube, which has become the new universal library of the 21st century.

Some recent searches introduced in Cannula include "Roles of Panama", "The 10 most popular videos of cats" or "Fire in Seseña". From the most sinister, to the more banal, through educational, playfulness or testimonial, Youtube has blown the audiovisual order in recent years. All mobile phone carrier can potentially become audiovisual producer. The result is an overwhelming excess of material - 300 hours of new material per minute and more than 1 billion videos accessible on the portal - it would take in 60,000 years of uninterrupted viewing. It is impossible to categorize or decrypt this new audiovisual encyclopedia.

You create a mismatch in our heads, saturated and unable to cognitively make order between the intractable mass of information. Cannula tries to represent this cognitive imbalance through abstract forms which have lost contact with the original reference. Often the artist creates content with waste that is in your environment. In this case, investigates how Youtube converts the audiovisual information into scrap. It tries to represent fragmented visual mosaic containing our brains after years of being plugged in that new window to the world called Internet.

To view a short video of this incredible work installed, please double-click on the following link.

Internet has created an unrelenting flow of information. Previous news consumption rituals – including purchasing the daily paper or the concentrated viewing of television’s nightly news – have been disrupted by a perpetual flow of information that leaves us in a constant state of update anticipation. Despite this anxiety-provoking state, we can’t stop gawking at our screens that feed us news that ranges from the numbingly banal to the profoundly traumatic.

Ripple attempts to capture the constant stream of information of our digital world via a generative artwork. The palette used to create it’s abstract video animation are CNN videos. Each time this ubiquitous media outlet uploads a video to it’s webpage – approximately one every 10 minutes - it appears in the artwork, dropping from the top of the screen and leaving behind an undulating wake that covers up earlier news items. The result is an artwork shaped by global news that is constantly mutating and never repeats itself.

The abstraction created with the videos looks like a textile, an effect that explores the relationship between the electronic image and textiles that so fascinate the artist. Ripple uses abstraction to capture the social fabric created by the incessant flow of electronic news.

Xylem features a generative animation created with real-time data from 383 global financial indexes. The incessant flow of financial information is a true vital energy that moves the world’s economy. The vertical movement of the animation faithfully reflects rising or dropping prices of daily trading quotes updated every 10 seconds.

The palette of colors in the artwork has been taken from the hues of the main currencies in the world, including the verdant color of the greenback, the pink tone of the 500-euro bill, and other international notes including the British pound and the Chinese Yuan. Also included are colors of traded commodities including gold, silver, copper and platinum.

The artwork evokes cascading fluid motions as those found in rain or waterfalls, as well as biological processes of animal and vegetable circulatory systems. As markets open and close across the globe, financial data is incessantly circulating through the arteries of our global digital web. As a generative artwork that never repeats itself, Xylem attempts to capture the ceaseless ebb and flow of financial data that touches us in more ways than we can imagine.

The title Xylem comes from the vascular tissue in plants which conducts water and dissolved nutrients upwards from the root and also helps to form the organic element in the "stem" of the composition.

Visible on The Draft Series screens are generative animations created with foundational texts of the democratic system, including the Magna Carta, the Universal Declaration of Human Rights and the American Constitution. These texts become progressively distorted, the result of a real-time reaction to the direction and intensity of the wind of the cities that gave birth to these texts: Runnymede, Paris and Philadelphia.

Nasdaq (National Association of Securities Dealers Automated Quotation) is an electronic and automated stock market, in which the securities of companies related to cutting-edge technologies are quoted. The work Ooze shows a generative animation created with the logos of the more than one hundred companies that make up the fund. The vertical movement of the animation faithfully reflects the ascending or descending market value of the companies, updated every ten seconds.

Ooze’s color palette is created with the logos of the companies that are part of Nasdaq. These logos appear liquefied, dissolving their bold designs into a hodgepodge of bright colors, which can momentarly be identified with the "data reveal" button. Being a generative work that never repeats, Ooze tries to capture the incessant flow of financial information that affects us in more ways than we can imagine.

Canogar recent works includes Storming Times Square, screened on 47 of the LED billboards in Times Square, New York; "Fluctuations" at Sala Alcalá 31, Madrid; "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; “Vórtices”, an exhibition exploring issues of water and sustainability at the Fundación Canal Isabel II in Madrid; Synaptic Passage, an installation commissioned for the exhibition "Brain: The Inside Story" at the American Museum of Natural History in New York and two installations at the Sundance Film Festival 2011 in Park City, Utah.

Using methods of public intervention and video installation, Storming Times Square is born from a desire to have viewers project themselves, literally and metaphorically, onto their immediate environments. The visitors to Times Square were filmed crawling horizontally on a green screen, and now, the film will be projected vertically on the buildings of Times Square, giving the illusion that the participants are scaling the buildings. This project is a first in the history of Midnight Moment to use a live action performance to create an artwork for the screens.

Check out “Storming Times Square” by Daniel Canogar on Vimeo. The video is available for you to view at the following link: https://vimeo.com/107272144

About The Artist:

Born in Madrid (1964) to a Spanish father and an American mother, Daniel Canogar´s life and career have bridged between Spain and America. 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. Fox example, in the late Nineties he created a multi-projection system with fiber optic cables. The resulting artworks were mobile-like hanging sculptures that projected images onto surrounding walls.

With the advent of digital technology, the artist continued re-conceptualizing visual media as sculpture. By projecting video animations onto salvaged obsolete electronics, he was able to metaphorically reveal the collective dreames 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 his earlier fiber optic cable installations, he once again reinvents an existing technology to suit his artistic explorations; by using flexible LED tiles, he is able to create twisting ribbon-like screens for atriums and public spaces.

Daniel Conogar has exhibited in the Reina Sofia Contemporary Art Museum, Madrid; the Palacio Velázquez, Madrid; Max Estrella Gallery, Madrid; bitforms Gallery, New York; Filomena Soares Gallery, Lisbon; Guy Bärtschi Gallery, Geneva; Mimmo Scognamiglio Artecontemporanea, Milano; the Santa Mónica Art Center, Barcelona; the Alejandro Otero Museum, Caracas; the Wexner Center for the Arts, Ohio; the Offenes Kulturhaus Center for Contemporary Art, Linz; the Kunstsammlung Nordrhein Westfallen, Düsseldorf; Hamburger Banhof Museum, Berlin; Borusan Contemporary Museum, Istanbul; the American Museum of Natural History, New York; the Andy Warhol Museum, Pittsburgh and the Mattress Factory Museum, Pittsburgh.

You can view this exclusive ARTSY online exhibition of the works of Daniel Canogar now at the following link: https://www.artsy.net/show/mark-moore-fine-art-daniel-canogar-mirrors

The exhibition will include alternate views of these works, all particulars, in addition to all pricing information.