“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