Daniel Canogar

Daniel Canogar - Wayward Stills, 220624210042

Técnica: Pigmented printing on cotton paper. Captures of the generative work Wayward processing journalistic images of recent events.

Biografía del Artista: Daniel Canogar is a Spanish contemporary artist born in Madrid in 1964. He is known for his work at the intersection of art, technology and science, exploring the relationship between humans and technology through multimedia installations. Canogar graduated in Fine Arts from the Complutense University of Madrid in 1985, and in 1989 he moved to New York to continue his studies at the Pratt Institute, where he specialized in photography and video. In the 1990s he began working in multimedia installations, using video projections and screens to create works that engaged the viewer in an interactive dialogue. Throughout his career, Canogar has exhibited his work in galleries and museums around the world, including the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museum of Contemporary Art in Seville, and the Denver Museum of Contemporary Art in the United States. He has also worked on several public projects, such as the permanent installation "Wave" at Charlotte-Douglas International Airport in North Carolina. One of Canogar's best-known works is "Assault", a 2005 installation consisting of a giant LED screen suspended in the air, displaying a series of moving images taken from action movie scenes. The work was exhibited at the group exhibition "Infinite Painting" at the Museum of Contemporary Art in Sofia in 2012. In addition to his work in the visual arts, Canogar has also been a professor at the European University of Madrid and has collaborated with several technology companies on research and development projects. In 2014, he was awarded Spain's National Electronic Art Award for his contribution to the discipline of digital art.

With frame: 6,000 EUR Without frame: 5,000 EUR Wayward is inspired by post-war artists who began manipulating photographs taken from the press, including Andy Warhol, Martha Rosler, Wolf Vostell and Robert Rauschenberg. The social protests of the 1960s motivated many artists of this era to intervene in press photos of wars, political demonstrations and various social upheavals. They master silkscreens, photomontages, collage and other techniques of photographic appropriation. Fifty years later, Wayward once again processes photojournalistic images, but this time filtered through the digital tool. Images from the news of the day are digitally manipulated with visual effects that evoke analogue and photochemical techniques of the past. As a generative work, its processual character stands out, which is never finished due to the incessant flow of new news.