“…It would be misleading, however, to attribute the artist’s interest in disorientation to purely biographical factors. For Hernández’s drawings and installations investigate a question which contemporary philosophy has also been addressing recently: that the world is multiple, not simply in the sense that experiences vary – that we all perceive the stuff around us differently from one another – but in that objects themselves are more complex, comprise more, than is divulged to us in the way we use or access them. The ontology of a hammer, a stool or a stone may far exceed what each implement means to us. A flint that I might use to start a fire also exists within the context of other relationships – to fish, water, insects or pieces of wood. By intimating stories while obscuring them from us, and by making us intuitively understand more than he lets us know, Hernández alludes to such multiplicitous realities. One project that embraces such an approach is the website lonelyfingers.com, launched in 2012 by Hernández and artist Anne Pöhlmann, which invites artists to expand artistically on their ‘finds’ – the objects that have inspired them while developing their art works, charting the networks of things…

…Hernández’s art works function like route planners whose coordinates have been deliberately entered incorrectly. They send us on our way, but never where we thought we were going. For Hernández, disorientation is less about being lost then about discovering, less about surren­dering to chaos than striving for signification. For if he undermines our sense of direction by exposing myths of totality and universality (Nazism, communism, capitalism), he also provides us with the tools – blemishes, shadows and fragments, auctorial decisions and artistic license – with which to imagine alternative paths. Just be careful where you tread…”

Ways of knowing. Timotheus Vermeulen on the installation, sculptures and drawings of Diango Hernández for Frieze magazine Dec. 2013


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Apparently yours a lonelyfingers project presenting: LaBeouf, Rönkkö & Turner | Cildo Meireles | P.R. | R.H. | Raddatz | HR. | K.S. | H.Bloch | M.H.

Lonelyfingers is happy to announce the opening of a workspace dedicated to presentations, conversations and workshops. The function of lonelyfingers workspace is precisely that of bringing transparency into the artist’s creative space. In Under the glass bell Anaïs Nin wrote “We (…) belong to the Middle Ages. We have this need of heroism, and there is no place for such feelings in modern life. That is our tragedy. Once I wanted to be a saint. It seemed the only absolute act left to do, for what is most powerful in me is the craving for purity, greatness.” At this moment the glass bell is the object that guides us in this new beginning. We will let you see, through a transparent glass, almost invisible, that matter that exist only ‘inside’, that body of ideas and things apparently absent…

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Spiritual Discovery by Timotheus Vermeulen for "Socialist Nature", book published by DISTANZ

The thought experiment Hernández has initiated here, one that I have tried to develop further here, is to think of what nature produced by ideology performs other than that ideology. He sets out on a journey to discover all the subplots that have been activated that run against or parallel to or divert from ideology—all the subplots, that is, that unexpectedly and effectively express agency…

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A drawing after life Simone Neuenschwander in conversation with Diango Hernández

A natural cataclysm is by itself not related with any form of ideology; it happens due to natural forces and can only be predicted up to a certain extent. Besides all the calamities brought on by events like hurricanes, they can also produce positive outcomes — one important one is how they bring people together. Under their devastating influences, people understand each other’s circumstances and problems and are willing to contribute and help out without asking for remuneration. The spirit that a natural catastrophe sparks is unique and transcends people’s political or ideological differences. For a few days after the passing of a hurricane, living in a city makes sense again; after those few days are gone is when “the real hurricane” called ordinary life hits us again…

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Commemorating Hurricanes Salon 2014 / 2015 Jahresgaben-Ausstellung, Kunstverein Nürnberg, Germany

Diango Hernández (*1970, Sancti Spìritus, Kuba; lebt in Düsseldorf) hat im Kunstverein Nürnberg dieses Jahr die Einzelausstellung „In hazard, translated“ präsentiert. In dieser hat er skulpturale Assemblagen ausgelegt, die sich mit einer vielschichtigen Lesbarkeit von Geschichte beschäftigen. Ausgehend von dem historischen Ereignis eines Hurrikans, der 1932 die Südostküste Kubas zerstört hat, entwickelte er eigene bildliche Übersetzungen, um einen differenzierten Blick auf die gegenwärtige Situation in seinem Heimatland sowie in Europa zu werfen.

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Diango Hernández in an interview with Gerhard Obermüller for "Socialist Nature", book published by DISTANZ

Gerhard Obermüller: In your art you often confront us with historical upheavals. These upheavals are omnipresent and leave behind traces even after events seemed to have passed over them. For you these traces specifically include processes of memory, overwriting, but also official omissions in the process of memory. Socialist Nature here in Linz is your latest experimental artistic set-up with which you set out to remodulate processes of memory…

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Socialist Nature or the utopia of the ordinary by Gerhard Obermüller for "Socialist Nature", book published by DISTANZ

Hernández circulates the concept of nature in a much more ambiguous manner in this exhibition, however. The ambivalence of socialism’s handling of nature and the environment has been a topic of concern for Diango Hernández for some time. Even if there may well have been more destruction of nature under capitalism than in many communist countries, the artist sees a fundamental difference in how people reflect on this handling…