Diango Hernández art works and texts


THE SEEN Chicago’s international journal of contemporary and modern art

THE SEEN Chicago’s international journal of contemporary and modern art

THE SEEN announces the Fall Preview Titles launching Issue 01 in print this September. The full-color, oversize journal will be produced as a limited-edition 5,000 count run available for distribution at EXPO CHICAGO, September 17–20, 2015, and select outlets. With Staff Writers reporting from around the world, each issue of THE SEEN features in-depth writing on contemporary art, as well as highlight essays, artist profiles, and reviews. Issue 01 will feature exclusive pieces and new commissions on the best in international contemporary art. Articles will be available online September 17.


Issue 01: Preview Titles

Charles Ray: Sculpture, 1997–2014 // The Art Institute of Chicago
Review by Terry R. Myers

Afterword via Fantasia: The Freedom Principle // Museum of Contemporary Art Chicago
Review by Stephanie Cristello

Black Mountain College: An Interdisciplinary Experiment
1933–1957 // Hamburger Bahnhof
Review by Caroline Picard

Amie Siegel: Provenance // Museum Für Angewandte Kunst
Review by Heather Findling

Irena Haiduk: Seductive Exacting Realism // The Renaissance
Society & 14th Istanbul Biennale
Feature by Natalie Hegert

David Adjaye: Making Place // A Space For Untold Stories
Feature by Tara Plath

On Camouflage // Photography on the Level of the Object
Feature by Gan Uyeda

The Hairy Who & The Chicago Imagists // Reframing Rebellion
Feature by Kate Pollasch

Luigi Ontani // The Sublimation of the Self
Interview with Sara Rella

Sung Tieu // Views from the 10
Interview with Adam Carr

Guillaume Désanges // Profile of the Curator
Interview with Ruslana Lichtzier

Diango Hernández // Time Islands & Space Islands
Interview with Alfredo Cramerotti

Canadissimo // Profile of the Artists: BGL
Interview with Tina Gelsomini

Elina Kountouri // NEON Foundation: Terrapolis
Interview with Kostas Prapoglou

Pick up your free copy at EXPO CHICAGO at Navy Pier, and read online September 17

Diango Hernández at Nicolas Krupp by Quinn Latimer for Artforum, March 2012

But water, in all its forms―liquid flood, steamlike evaporation, crystal-like ice―was the point of Hernández’s show. See the suit of nine framed works on paper, Crsitales, 1936 (all works 2011), which opened the exhibition in one long, even row. The elegantly modern black-and-white prints of heavy and decorous Villeroy & Boch crystals goblets and glasses―arranged on tabletops like classically commercial rejoinders to Giorgio Morandi’s more abstracted assemblages of vases―were taken from a 1936 German catalogue. Besides the framing, Hernández’s touch could be located in the delicate pools of translucent watercolor that filled many of the glasses with lemon, sky blue, and rusty orange. Farther down the wall hung a set of larger, watercolor-on-linen paintings, from a series titled ‘Humid Memories,’ 2011-, the same bright colors illuminating their brown-linen grounds. Here the color assumed the form of cloudlike stains, hovering and blossoming from the canvases’ centers. It was as if a painting by Paul Klee and Marc Chagal had been distilled of both figure and form until just color―ever so subtle, without gesture―remained, gorgeously spectral yet oddly specific... Keep Reading


Diango Hernández. Lonely Fingers by Annelie Pohlen for Kunstforum International, March 2012

ls Georg Elben 2011 die Leitung des Skulpturenmuseum Glaskasten übernimmt, handelt er so wie nahezu alle neuen Direktoren in ihren Häusern. Er inspiziert die hauseigenen Güter und Leihgaben. Der im Museumsnamen ausgewiesene Schwerpunkt ist unübersehbar. Man begegnet ihm unweigerlich auf dem Weg durch die ausgedehnten Grünflächen im Außenraum. Einen überregionalen Rang hat sich das Institut… Keep Reading


Lonely Fingers A Book published by Distanz in the occasion of Diango Hernández solo exhibition "Lonely Fingers" at Skulpturenmuseum Glaskasten Marl, Germany

The works of Diango Hernández (b. Sancti Spíritus, Cuba, 1970; lives and works in Düsseldorf) examine his own experiences and personal relationships, which the artist embeds in larger social and political reflections. A central theme of Hernández’s artistic quest are his reflections on the traumatic and often unaccomplished transitions of Cuban society: the painful legacy of slavery... Keep Reading

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