Memory, and its loss, are a central theme in Daniel Canogar’s work. Addressing the impact of technology on society, Canogar examines the transition from electromechanical to digital systems and investigates the position occupied by the individual in a technologically interconnected age.

From Gutenberg’s printing press to the DVD, a significant historical arc of material culture has come to a close. Knowledge is now deposited in liquid-like libraries that are ever-expanding, virtual, and in constant mutation. The epistemological challenges of this shift are profound, ones that we are only beginning to understand. Canogar’s data works are an attempt to capture, and cognitively process, the implications of these dramatic technological changes. These artworks are generative and driven by algorithms coded and developed in the artist’s studio. They react in real-time to different data sets, including climate-change information, the barrage of 24/7 news cycles, or trending searches on Google. The data works are also an attempt to insert generative art into the history of art, exploring unsuspected aesthetic influences including postwar Abstract Expressionism, Performance Art, and Op-art from the 1960s.

He has created permanent public art installations with LED screens, including Brushstrokes, a permanent LED screen artwork for the new DeKa Bank headquarters’ lobby (Frankfurt, 2022); Oculus, a generative animation featured on Novartis Pavillon zero-energy media façade (Basel, Switzerland, 2022); Dynamo, a site-specific audiovisual project designed for the Spanish Pavilion in Dubai Expo 2020 (Dubai, 2021); Currents a suspended artwork in the atrium of the renovated Evangelische Bank (Kassel, 2020); Aqueous at The Sobrato Organization (Mountain View, CA, 2019); Pulse, at Zachry Engineering Education Complex in Texas A&M University (College Station, TX, 2018); Tendril for Tampa International Airport (Tampa, FL, 2017) and Cannula, Xylem and Gust II at BBVA Bank Headquarters (Madrid, 2018). He has also created public monumental artworks in different mediums such as Oculus a generative animation features on Novartis Pavillon zero-media façade (Basel, Switzerland, 2022); Brushstrokes a screen installation for DeKa Bank’s lobby (Frankfurt, Germany, 2022);Bifurcation, a multi-laser projection at Noor Riyadh Light & Art Festival (Riyadh, 2021); Amalgama Phillips (Washington D.C., 2021) and Amalgama El Prado (Madrid,2019), generative video-projections projected on the Phillips Collection and the Museo Nacional del Prado façades’ and created with the painting collections of both institutions; Fulgurations, a project in collaboration with the Spanish National Cancer Research Center - CNIO (Madrid, 2021); Bifurcation, a multi-laser projection for the Noor Riyadh Light & Art Festival (Riyadh, 2021); Constellations, the largest photo-mosaic in Europe created for two pedestrian bridges over the Manzanares River, in Madrid Río Park (Madrid, 2010) and Asalto, a series of video-projections presented on various emblematic monuments, including the Arcos de Lapa (Rio de Janeiro, 2009), the Puerta de Alcalá (Madrid, 2009) and the church of San Pietro in Montorio (Rome, 2009). Also part of the series is Storming Times Square, screened on 47 of the LED billboards in Times Square (New York, NY, 2014).

PROJECTS