Daniel Canogar presents his recent work at Panoramic a solo exhibition at Galería Max Estrella. Panoramic reflects on the evolution of the ways we see —and are seen —from the 19th century to today. The exhibition explores the continuity between historical optical devices and contemporary technologies of representation and control. It draws inspiration from the panorama, a pictorial spectacle that placed viewers at the center of hyperrealistic scenes, anticipating the immersive logic of cinema and virtual reality.

In an era defined by streaming, gaming, and other forms of digital exposure “in real time,” Panoramic reflects on the evolution of the ways we see —and are seen —from the 19th century to the present. Putting forth a dialogue between art, technology, and visual culture, the exhibition explores the continuity between historical optical devices and contemporary systems of representation and control.

Panoramic takes its conceptual and visual starting point from the panorama: a pictorial spectacle that, from the 19th to the early 20th century, captivated European and American audiences with immersive images displayed in circular rooms. These hyper realistic landscapes gave viewers the illusion of finding themselves at the center of battles, historical events, or distant territories, thus anticipating the immersive logic of cinema and virtual reality. At the time, these panoramas were not only admired for their technique, but also for placing the viewer in an enveloping space, amplifying their sensory and psychological engagement with the represented scene.

Building on this historical phenomenon, Panoramic draws connections between 19th-century optical devices and contemporary technologies of live transmission: from satellites, surban surveillance cameras and meteorological radars to streaming platforms like Twitch or pornography sites. Works such as Margins, Grove, and Orbital explore themes of self-surveillance, the constant exposure of intimacy, and the capillarity of “real-time” visual culture. Through a custom-made software, these pieces process live data to generate visual animations, transforming virtual content into artistic material. Panoramic links the concept of the panoptic to the voluntary display that takes place on social media and digital platforms, where users simultaneously inhabit the roles of observer and observed.

Within the exhibition space, the 19th-century origins of spectacle culture are conceived not just as a curiosity from the past, but rather emerge as an active structure—one that continues to shape the way we see, and are seen, today.