Hector Canonge New Media Art Page



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		Solo Exhibitions and Projects Installations & Public Art Performance Art Film / Video Internet and CDRom
		New Media Art
			EYES WITHOUT A FACE, 2011 It references the use of the Balaclava face mask used by revolutionary movements and how their members are typecast as criminals or terrorists. Audiences experience confinement, anonymity and persecution as they make their way through various parts of a simulated underground shelter or cavernous torture alley.
			CAVEA, 2011 Explores themes of physical displacement and psychological entrapment as expressed in narratives some of which are inspired by the participation of the public. Canonge explores themes of displacement and psychological entrapment by writing and reciting his own narratives for the duration of the exhibition.
			XOCOLÄTL -sweetness of a bitter seed-, 2010 Interactive installation that explores cultural traits in relation to the production and consumption of chocolate in various countries around the world. The work explores the transformation, commoditization and codification of cacao seeds in various countries around the world.
			UNCOVERED: Not Judging By The Cover, 2010 Multimedia interactive project and site specific installation that explores cultural codes, archetypes of heroines and heroes, as well as notions of ‘good’ and ‘bad’ through the narrative hooks (first lines) found in Romance novels.
			SCAR, 2010 A site-specific new-media installation that reflects on the cinematic glamorization of violence, and the appropriation of cinematic narratives, stereo types, and attitudes of heroism by urban street culture. SCAR reflects on Hollywood's cinematic narratives and their transcendence to real life urban culture.
			GC2, 2009 A multimedia project that looks at the four-and-a-half-mile of the Grand Concourse Boulevard in the Bronx, NYC, and spins it into a time warp machine proposing a pseudo futuristic development where the appropriation, and fragmentation of the public realm exist through literary narratives, archival material, sounds, and digital collages.
			EPISTOLAR, 2009 Explores notions of memory and story telling in the creation of a family archeology and history. Through various narratives extracted fromletters, found footage, and photographs, the installation intertwines myths and facts, stories and histories, to re-create an account about life during and after the dictatorial regimes in Latin America.
			Schema CorpoReal, 2009 Explores the politics and cultural attitudes about gender and identity. Elements in the exhibition treat the cultural references of the “body image” as well as the manner in which language plays a determining role in the creation of Persona and Self.
			DECEPTIVE LANDSCAPES, 2009 Inspired by recent trends in eco-friendly products, organic produce, and green marketing campaigns, this media installation relates to the genetic manipulation of seeds, the politics of food production, and the effects of GMOs (Genetically Modified Organisms) on the natural landscape of farming.
			GERMINAL, 2009 Explores connections between the digital codification of seeds and their respective transformation as crops and food when entering the commercial distribution markets. The project examines the relationship, transformations, and adaptations of the natural habitat and man-made production crops as well as the economic forces controlling it.
			18 BEATS, 2008 Explores various ethnic communities along the #7 Train in Queens, New York. The project investigates how people experience cultures, traditions, ethnic heritage, and history through sound: language, music, fiedl audio, and interviews. Featuring the new interactive pieces URBIS18 and IRTag, plus the site-specific installation Tracking.
			PARALLEL GROUNDS, 2008 Explores the relationship, transformations, and adaptations of the natural habitat and man-made environments in the state of New Jersey. Based on geographical data analysis, and studies of land use, visitors experience various interpolations of urban / industrial, rural / suburban, and residential / commercial terrains.
			IDOLATRIES, 2007 Explores female representations on logos and labels used for canned, boxed or packaged food products. It treats the relationship between established archetypes of female imagery and cultural attitudes of consumption along with universal commercial codification embedded in a product’s barcode label.
			DYSTOPIC WALLS, 2007 New-media installation commissioned by the Queens Museum of Art, tracks the US-Mexican border using Global Positioning Systems (GPS), while raising awareness about the wall being built to stop illegal immigrants entering the United States.
			200mm3, 2006 Through the use of hand-held scanners, barcode labels, and laboratory equipment, audiences actively discover narratives about the lives, experiences, challenges, memories, and hopes of a group of women, men, and youth affected by the AIDS pandemic.
			CIUDAD TRANSMOBIL, 2004 Installation project designed to integrate wireless technologies, the Internet and the participation of the public to generate narratives based on the direct -real time- observations and experiences of immigrants residing in the five boroughs of New York City.