Interviews

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Diango Hernández in conversation with Francesco Dama for keen on magazine “The dream of an island that once thought could be a continent”

One of my most recent problems has been how to transform the art-space into a positive space. This is what I call a challenging task because its starting point is the assumption that makes the art-space a negative space or better to say a non-positive space. I am still working on this one nevertheless I have found at the end of Concierto Barroco (by Alejo Carpentier, 1974) the first answer: “I Can’t Give You Anything but Love, Baby”.
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In conversation with Diango Hernández for L.ART en Loire by Teklal Neguib

Maybe the best way to understand “Eugene” is to see a heart in motion, the heart contracts (systole) and relaxes (diastole). One complete sequence is called a heartbeat. The exhibition “Eugene” as a heartbeat, is a model of motion that interest me deeply. There is not only distance between departure and arrival, there is emotional displacement…
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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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A drawing after life. Simone Neuenschwander in conversation with Diango Hernández for "In hazard, translated" Diango Hernández solo exhibition at Kunstverein Nürnberg

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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I haven’t found a better way to go back in time in conversation with Astrid Wege and Andrew Renton Diango Hernández, Astrid Wege and Andrew Renton in conversation

Memory is all we’ve got, so to remember is an essential task. Facts get recorded in us via individual experiences of all kinds, but it doesn’t mean that anyone else but us will remember these facts. I have assumed, for my practice and myself, that art is nothing more than transforming and exposing individual memories. Art as the reassembling of personal experiences that can be delivered to people in a new form of reality, and which is nothing other than fiction…
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