CANOGAR DANIEL: SPIN
MAX STAR GALLERY: 02/03/1911 to 03/26/1911
to heed Gonzalo Suárez and his brilliant film "Rowing in the wind", a favorite subject by that gang of poets who gathered at the summer of 1816 in Villa Diodati was about the possibility of giving life to matter with the simple gesture of ideas, of thought. Sublime act of creation, the artist as high maker of new forms, made it impossible to romanticize radicalism of the world: the subject becomes eminent genius and scope fills all the cracks of the art-world. Romantic irrationalism is nothing but that carnage of the very reason he sees ghosts everywhere: pantheism hipersubjetivista soon be discovered as the hidden side of badness and Satanism.
And in some ways, the circle is closed. The world-nature-hipertecnologizada has risen to a preeminent ontological in the form of telematic simulation. The world turned and image of the world as prophesied Heidegger, takes own life and work toward the time-zero, accident, degree-xerox (Baudrillard ) experience.
And, after the collapse romanticote, after learning that all the power emancipated comes on top always on the side of our condemnation, the technique has learned well how to do the dirty work. Raising the 'lifeworld' above-or below, depending how you look "of their potential through a coagulation of all structures in a given image as a perfect match for the forces of production under which the power relates to the world, the world has become and accurate picture: nature has been transformed into medial or, which is the same, matter-nature-has taken a life (eerie) itself.
Thus, art triumph ends antithetical inherently denied their promises autonomy, the art does not perform the transfiguration of matter in life, but, given that the medial devices work as filling and collapse hyperconnector-constructed "the world, art stands as a critical process, as an instance from that constantly redefining the trade regime that produces the image-world.
Thus, as Benjamin would say , artistic practices would be guided, and indeed they do-to an appropriation of the means of production, appropriation art in its highest sense. If the world rather than romanticized, it has been modernized, the artist must be framed within the social imaginary producers to establish the visual critical devices.
And in a way, can we not say that the idea to romanticize the world that does not come to also emphasize a new way to understand the subject within the production system reality-all?, is not the postmodern artist-the artist as a media analyst, the precise mirror image of that melancholic poet who appealed to the powers of the night and the ghost? Only, if before it was the word which built the world if the world was transformed by dint of the sonnet, the world today image and is made-within the iconic turn postulated by Nicholas Mirzoeff - to critical construction processes of social imagination to where you need to eye the post-media artist.
In this sense it may have more reason Brea arguing that "the aesthetic regime that made our time deferred makes the project more critical of the Enlightenment: the birth of a form of mind-the formation of a formation of autonomous subjectivity and radically secularized unthinkable from the viewpoint of absolute materialism. "
And is that Is not giving life to matter demiurgic gesture can dream materialism? And, therefore, is not now, with the medial construction of reality, when, at last has been carried out?
Thus, says Juan Martín Prada , "artistic research in the media is an analysis and dramatization of emergency moments of the image, the process of staged, or, to put it on stage, produce. " And in this work, of course, the technique has to stop and be seen as the bad guy. The world we have said over and over again-has turned into an image or what is, As Heidegger argued , the technique is and what we essentially.
is to this work, thinking about our relationship with technology and the emergence to the surface of the visual, pointing to where the artistic production of Daniel Canogar and, in particular, facilities that can be seen today in the Star Max Gallery.
Gathered under the generic title of Spin , Canogar presents a series of installations where hundreds of DVDs - found in dumps or landfills, are recycled back to show what they contained. His images -Movies-are usually projected onto its surface, emphasizing the front wall thus creating a dual system of the visual: images that impinge on the DVD itself and others that bounced against the wall jump.
This bend in the projection allows Canogar much more lucid reflection of what in principle, simple installation, could be achieved. In principle, and upon entering the gallery, a slight whiff of Plato's cave to confront us, presumably, already seen: images in his capacity as medial devices remind us the phantasmagoria of the simulation, the implosion of images where, Baudrillard , nothing to watch.
But that is not: because, at our core tech, there are no longer any original or ideal worlds. Now, finally, the timing is instant and everything is in one hinc et nunc subject to the dictates of the past already, and ever-present.
What we believe-how Canogar is conducting a final difference, minimal resistance to the regime of hiperpresencia: If the media refer to as the immediacy of re-production and a match coming the actual production medium, Canogar us back to a previous moment, a generation ago, if you will-to make us think about the criticality of the device itself (re) production. In other words, reviving to the inanimate-romantic inheritance here before wearing them on the table, giving life and outdated materials and media, Canogar tell us about the world-come and pressing of the failures with which charged .
Because if it is true that, says Susan Buck-Morss , "this image-world is all our shared experience, all utopian potentials (e-utopian holding Brea ) seem to come up with a nothing more ominous than it seems will continue cloistered our "shared experience" within the regimes of the acclaimed hypervisuality the ideals of capitalism.
But if Canogar work can not be understood, at least hold it at first, with an outdated and refer to the forms of simulation and the overabundance of images-some of all the breaking point after martial ardor with which the political / police of the visual rages to settle what should / can be seen, if not be trivialized as to understand his work as a get on track cyclotomic speed of technological and process all the DVDs, once a leading technology and today almost absurdity of the past, may have to point to a paradox inherent within the very core of the work.
And, despite all this, Canogar deceives us to get the lure still-film images. Since this type of images that is contained in the DVD's, normal then you can operate a final difference, normal then you can bring up some of his memory and lost in the immediacy of time. Normal time, in short, that can 'map' and 'bend'; normal that emphasizes the processes of destruction of referring to the cycle technologies 'vital'.
For, in regard to-film images, there is still a difference between its production and re-production, a difference between this and the potential it brings from his past. That is, in them, in pictures, film, yet time is not wholly owned by the image. In the 'between' still worth something: some history, some memory, some time, etc.
This being so, the most plausible is that we exercise Canogar in production and groped, redundant in their ways and means of (re) produced, for only then show the need to refuse to encrypt all the more or less Panfila acquiescence with which seems to be now the ultimate visual system: the hiperespectáclo of almost unlimited profusion of images. The appearance, made the show, no longer be our cave.
In short, we let time still escapes from die-film images on the banks of his complicity with the sham hyper, and get down to work to treat heart to heart with a world and become time-image: out of memory, without history, without a fixed identity, no time at all.
Nothing, therefore, remains to bring to mind because nothing is as it brought to life. The utopian potential of a past that becomes overloaded always have vanished with the construction of a world not only as an image but an image as a world. Middle and support shall be canceled and the timing of a zero-e-images occur at speed limits.
Ya, finally, no difference, but differences intensive fields that never return, and, finally, no suspicion as that held by Boris Groys . Could it be, ultimately, these facilities Canogar a fantastic clear that never reach the degree-zero, something always need support to be played, always mediate a time difference? Thought and practice have never gone hand in hand but, in any case, we should always be as advanced as we dare in our thinking. Only then, once and for all, stop being romantic.
Or do not we?
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