Light & Mapping

The title of the exhibition, Quadratura, refers to the Renaissance pictorial techniques of creating three-dimensional effects on flat surfaces. The installations that are part of Quadratura equally try to give three-dimensionality to the image, but in this case the moving image. Cinema becomes sculpture, and in this way, explores the uneasy space between material presence and projected illusion.
The legacy of cinematic invention and the fast-paced rhythm of technological innovation has served as inspiration for Daniel Canogar. For this exhibition the artist showcases nine multi-media projection installations in which he appropriates and repurposes obsolete technologies, particularly audiovisual media such as 35 mm film, VHS tape, analogic television screens and the soon-to-disappear DVD. These media are sculpturally arranged so as to become screens, surfaces onto which video animations are projected. This effect seems to bring them back to life, exploring in this way the phantasmagorical properties of the moving image, and its psychic associations to desire and illusion. The artist attempts to liberate both personal and collective memories trapped within these technologies that not too long ago were part of our quotidian life. Accelerated technological obsolescence seems to discard these memory-containers all too easily, and with them our sense of our past and our identity.

El título de la exposición alude al recurso pictórico renacentista de crear efectos tridimensionales sobre superficies pintadas planas. Las instalaciones de Quadratura igualmente intentan dar una dimensión tridimensional a la imagen, pero en este caso a la imagen tecnológica. Celuloide de 35 mm, banda magnética de VHS o pantallas de televisiones analógicas, por ejemplo, son medios asociados a la historia del cine que el artista utiliza para reinventar la imagen como escultura.

Encuadrando proyecciones de video sobre diversos medios tecnológicos – muchos de ellos obsoletos o en vías de extinción – éstos parecen mágicamente moverse y cobrar vida. Se explora de esta forma las propiedades fantasmagóricas del cine y la imagen, cuyos destellos y parpadeos imitan el pulso de la vida a pesar de ser inertes. El artista pretende liberar las memorias personales y colectivas que hay encerradas en estas tecnologías que nos han acompañado en un pasado no tan remoto. La acelerada obsolescencia tecnológica condena estas memorias al olvido, a pesar de que sin ellas, dejamos de ser quienes somos.

j vimeo.com/55763391

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