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Daniel Canogar

Daniel Canogar is a visual artist from Madrid. He works with photography, scultpture, and installation. He delves into ozone generator themes linked to mass consumption, excess, and the archeology of media. Amongst other ozone air purifier venues, his work has been exhibited at the Kunstsammlung Nordrhein Westfallen Museum, Dusseldorf; the Hamburger Banhof Musuem in Berlin; the Wexner Center for the Arts, Columbus; the Andy Warhol Museum, Pittsburgh; the Palacio Velazquez in Madrid; Centro de Arte Santa Mónica, Barcelona; the American Museum of Natural History in New York; the Offenes Kulturhaus Center for Contemporary Art in Linz; and the Reina Sofia Contemporary Art Museum, Madrid. His ozone generators publications include Ephemeral Cities: Universal Expositions, Spectacle and Technology, published by Julio Ollero, Madrid, 1992; Ingrávidos, Fundación Telefónica, Madrid, 2003; and assorted essays on the architecture of the image, modern photography and new media art, as well as ongoing exhibits of new work. He is currently the artistic director of VIDA: Art and Artificial Life, a yearly international microdermabrasion machine contest for artists working with robotics and A-Life. Matadero Madrid, Daniel Canogar, and Fuegos Fatuos: Matadero Madrid unveils, Fuegos Fatuos, a set of five sweeping, large-scale light installations especially produced for the Abierto x Obras space by the artist Daniel Canogar. These sculptural pieces are created from disposed of electronic materials such as: colored cables, thousands of burnt-out bulbs, meters of videotape, and old slot-machine screens. Light animations projected onto the installations seem to free the energy stocked up in the electronic waste, arousing the memory of their past lives. The artist explains, “Through my work I try to bring dead materials back to life, reveal their secrets, revive the collective memory they bury to construct an accurate portrait of a society and an age.” The installations reverberate with Matadero Madrid’s former incarnation: the city’s former slaughterhouse. In both cases, the space has been used for the suspension of dead matter. Additionally, like the transformation of the space for creative use, Daniel Canogar’s installations aspire to reanimate the lifeless, the currently useless. Fuegos Fatuos investigates the short life expectancy of the technologies we cast off, and its connection to organic death. As we view the light course through the installations parallels are drawn between the human circulatory system and the energy that animates our information society. Fuegos Fatuos is a component of Abierto x Obras’ program of site-specific installations, initiated in 2006, that take place in the former cold-storage facility of Matadero Madrid, a 150.000 m2 complex in the heart of the city, that is undergoing a transformation into a new center for contemporary creation.

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Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.