Diango Hernández -works-

Alexander and Bonin

Victor Grippo and Diango Hernández with Alexander and Bonin, NY at ARCO Madrid 22 – 26 Feb Dialogues Programme curated by María de Corral

This group of seven paintings, specifically made for ARCO 2017 over the last year, derives from excerpts of “Leyes del Gobierno Provisional de la Revolución” (“Laws of the Provisional Government of the Revolution”), a pamphlet published in Havana in 1959. This small document, though innocent in appearance, exposed the most radical and revolutionary directives that would come to define the social projects of Revolutionary Cuba. Placing a “new man” at the center of its new social idea, the pamphlet described the type of new nation that was to be ...

New Paintings Group exhibiton with Matthew Benedict, Robert Bordo, Diango Hernandez, Stefan Kuerten and Sylvia Plimack Mangold at Alexander and Bonin, NY

First shown in his recent solo exhibition, In hazard, translated, at Kunstverein Nürnberg, Diango Hernández’s new paintings, 'Fruits, I sell Fruits', present fresh fruits in precise arrangements on plywood panels. Comprised of mangos, lemons, watermelons, bananas, oranges and limes, Hernández examines the cultural and historical connotations of “tropical fruits” and colonial notions of ...

Four presidents and In a colonial style at Art Basel Miami with Alexander & Bonin, NY

our Presidents’ and ‘In a Colonial Style’ will be presented in ArtBasel Miami Beach by Alexander and Bonin NY at K06. The sculpture as well as the series of framed paperworks are new works. ‘Four Presidents’ is made out of four desk’s wooden and plastic displays that belonged to a parliament. ‘In a colonial Style’ is a series of pages coming from a German 1940′s book about furniture with ‘colonial style’. ...

Exeunt By Diango Hernández for solo exhibition "If I send you this" at Alexander & Bonin, NY

“Exeunt” by Diango Hernández n 1967 my great-grandfather wrote in a letter to my grandmother: If I would find a way to escape this country -and most important- if I would find a place where we can live all your sisters and brothers together, would you like to come with us? In an earlier letter sent also to my grandmother in 1958, my great-grandfather wrote: …What all my life I thought it was my homeland, in the last years has become a strange place but is not necessarily making me feel like a stranger. I guess many people have done it already nevertheless I ask myself -what is that thing that artists are restlessly looking for? My answers to this question are all narrow-minded and fluctuate like the weather.. So one could say, I’ve never been satisfied with any of my answers about this particular matter. Lately the idea of ‘exiting the complexity of reality’ earned a bit of my consideration:  it might be the starting point of a good answer to the subject. What Gordon Matta-Clark did in 1975 with his Day’s End artwork wasn’t a cut on a building’s facade but instead the construction of the ‘exit’ I am referring to. For many people, Day’s End was just a hole that could take their eyes from the inside of a building to the outside and vice-versa. Some people talk about this particular Matta-Clark cut as ‘the cat eye shape’; after I have geometrically and metaphysically processed this particular shape I decided to call it: Exeunt. Exeunt is the paradigm, which proves that I am not far away from a good answer to my question. It’s also Exeunt as the highest expression that a shape could achieve in terms of geometry and in terms of ideology. If I am not wrong and I will get a good answer from the study of Exeunt, then my next question would be – if what artists are looking for is ‘the exit’, where is this exit leading us to? Of course I won’t dare to answer this second question before answering the first one but yet I would say hypothetically that Exeunt is definitely not leading us to a place. The American Consulate in Havana, (built in 1953 by the architects, Harrison and Abramovitz), is nowadays one of the most visited public buildings in Havana. Hundreds of Cubans seeking  an American visa queue every day in front of it; entire families, couples, singles, old and young people, blacks, whites and mulattoes all looking for the same: a ‘ticket’ to another place. A place that is not that far, only 90 miles between one piece of land and the other. What would normally take no longer than 45 minutes by plane, takes a lifetime to reach for most of the people in those queues.  I have myself queued in front of the same building, listening to the desperation of strange people and hallucinating because of their stories, longings and hopes. After hours of waiting it is my turn to get inside the American Consulate.  On my way to the entrance I counted three guards; I crossed through the big gate that separates Havana from the ‘American soil’ and to my disappointment, a guard tells me that I must turn left and sit under a tent which has been built outside the main building, especially set aside for those Cubans that have a visa appointment. It meant that I couldn’t enter the main building; I was so curious about its interiors and the smells I would find in the offices. The night before my appointment I found myself fantasizing about how Havana would look from one of the American Consulate windows. I know that is impossible to ask my great-grandfather if he found that idyllic place he was referring to in his letter: his answer would have contributed immensely to my studies. Nevertheless instead I decided to ask my grandmother since she joined him before he died. A month ago I called her; I dialed her number and after couple of rings there was her voice saying, “Hello, is America speaking”. It was only then I realized how stupid my question was. My great-grandfather named his beloved daughter ‘America’; at least now a very large area of my puzzle is almost completed. Even if ‘Day’s End’ has been ‘erased’ long ago by the hunger of some NYC urban planners, I swear I have seen here and there the same Exeunt, sometimes even on the American Consulate’s facade in Havana. Gallery press release An exhibition of new work by Diango Hernández titled, If I send you this, will open at Alexander and Bonin on Tuesday, September 6th. The artist has transformed the architecture of the first floor gallery to accommodate two site specific installations. In these installations the artist has re-imagined the geometric ‘cat eye’ of Gordon Matta-Clark’s 1975 “Days End” as an escape from a space of restriction to a space of freedom. In the main gallery, Hernández is re-removing these shapes, ‘exeunts’ as he has termed them, from the walls and repurposing them as the tables of an imagined agency of international transit and transition. Each table is fitted with a center-piece; a square Plexiglas container within which international stamps circulate endlessly. By juxtaposing the ‘exeunt’ and signs of international correspondence, the artist draws from his experience of the American Embassy in Cuba; a building unused for its intended purpose since January 1961. Visible from this bureaucratic space through a Plexiglas window is a reliquary; a floor covered in carefully looped magnetic tape loomed over by yet another ‘exeunt’, this time cut from a large sheet of paper and lit from above by a neon tube. The magnetic tape, mute without its accompanying audio device, reiterates the barrier between audience and content, past and present. The motifs embodied in the installations recur in collages, sculptures, letters, and paintings on view through the first and second floor of the gallery. Born in Cuba ...

If I send you this Solo exhibition at Alexander & Bonin, NY (Press release / Installation views)

ernández has transformed the architecture of the first floor gallery to accommodate two site specific installations which re-appropriate the geometric ‘cat eye’ shape of Gordon Matta-Clark’s 1975 “Days End.” He has re-imagined this cut to represent an escape from a space of restriction to a space of freedom, and has re-termed it an exeunt. For the artist, the exeunt represents the highest expression of the merger of geometry and ideology. In the main gallery, narrowed by approximately three feet, one large exeunt has been sawed from a wall; adjacent to this cut, seven translucent envelopes contain parts of an incomplete image of an office in the American Embassy in Cuba – a building unused for its intended purpose since January 1961. For three neighboring exeunt sculptures Hernández has altered components of a 1940s desk. The desk top, in If a Desk, if Rose (2011), hangs vertically: dime-sized perforations in the wood hold carefully rolled Cuban stamps issued since the Bay of Pigs invasion attempt. The motifs embodied in the installations recur in collages, sculptures, letters, and paintings on view through the first and second floor of the gallery. The exeunt appears again, perhaps most mystically, protected by a Plexiglass window in the first floor rear gallery. A floor covered in carefully looped analog tape leads you to an exeunt cut from a large roll of wallpaper and lit from above by a neon tube. The dated technology represented by the analog tape, mute without its accompanying audio device, reiterates the barrier between audience and content, past and present. Born in Cuba in 1970, Diango Hernández began his artistic practice as a co-founder of Ordo Amoris Cabinet, a group of artists and designers who focused on invented solutions for home design objects to compensate for a permanent shortage of materials and goods. In 2006 he exhibited at the Biennale of Sydney and the São Paulo Biennial and in 2005 his work was exhibited in the Arsenale as part of the 51st Venice Biennale. His work has been the subject of several one-person museum exhibitions: Kunsthalle, Basel (2006), Neuer Aachener Kunstverein (2007) and Museum für Gegenwartskunst, Siegen (2009).   In November 2011, Hernández’ work will be the subject of a survey exhibition at Museo di arte moderna e contemporanea di Trento e Rovereto in Italy. “If I send you this” September 6-October 12, 2011 Alexander and Bonin, New York. Alexander and Bonin 132 Tenth Avenue New York NY – 10011 www.alexanderandbonin.com ...

El Manual del Tractorista Arrepentido Solo booth curated by Adriano Pedrosa at Zona Maco, Mexico City with Alexander & Bonin, NY

ookshelves can be organized using many different systems and preferences. In a bookshelf a book could have a fat “neighbor” telling maybe a love story and a tall one that talks about  how beautiful is the sea. Certainly there is a lot going on inside any bookshelf and I am sure that in any of them live perfectly together differences and contradictions coexist in a very peaceful way. I love to think that we are nothing but books that have been written by many different people, in may different places but if we are books what are books then? I know this question can’t be properly answered using words and we all know that the “real” books are still unwritten and will remain unwritten forever. A book is a box, a sort of folded drawer, books are the first object ever that were genuinely designed to be stored and classified; there are books permanently closed in a profound state of unconsciousness, in a sort of coma. To read a single book in a whole life is OK, I’ll suggest reading three to five books and I am sure you’ll have enough material to combine. But material to be combined with what? It is only with life that a book should be combined with. What is the relation between these five books? 1 – “Manual del Tractorista”. V. Anojin y A. Sájarov, 1970. Pueblo y Educación, La Habana. 2 – “P.E. Guerin, Inc. Manufacter of Period Hardware”. And all forms of art metal work, 1914. NY. 3 – “John Fitzgerald Kennedy, 1917 – 1963″. Urs Schwarz, 1964. Frankfurt. 4 – “American Case of Furniture”. Gerald W.R. Ward, 1988. Yale University Art Gallery, New Haven. 5 – “Girón: Una estocada a fondo”. 1976, Empresa de Medios de Propaganda, La Habana. These five titles are the ones involved in “Manual del Tractorista Arrepentido”. Five titles that could have many ways to be connected to each other but what interested me the most about working with them wasn’t the idea of constructing any fictional nor veritable relation in-between them but the idea of opening, transforming and displaying these books in a way that no one ever thought about when they were written, designed, printed or read. Any of the “truths” printed in these five books has been transformed into a subjective matter, these five books are not in a coma any longer, now they are open and they have became something other than a book. Diango Hernández, NY April 2009 ...

Th-ink Solo exhibition at Alexander & Bonin, NY

n exhibition of Diango Hernández’s Drawing (Third hand), 2006 will open April 4th at Alexander and Bonin. The work, a set of fifty ink drawings, evolved out of Hernández’s interest in the Polish artist Andrzej Wróblewski (1927 – 1957). Hernández was drawn to Wróblewski because, in him, he saw a “person confused and affected by a political system: confused because I no longer know how to judge the system that formed me, but at the same time deformed me.” It is the sense of deformity that is directly addressed in Drawing (Third hand). The work specifically references one of Wróblewski’s drawings that shows a man with a third arm protruding from his back. Hernández places the ambiguity of this symbolism within his own context of growing up in Cuba. The fifty drawing are a handmade “mass production”, each one a copy of the previous on pages torn from a 1940s German balance book. Each drawing is made unique by drops of water that serve to dissolve the strict repetition of the drawing. The artist states: “I don’t wonder what will happen to the political mistakes, because the mistakes are obviously mistakes that are always ready to recur again and again in different guises. The big challenge for each one of us in any case will be to become single drops.” Diango Hernández began his artistic practice in Cuba in 1994 as a co-founder of Ordo Amoris Cabinet, a group of artists and designers who focused on invented solutions for home design objects to compensate for a permanent shortage of materials and goods. Born in 1970 in Sancti Spiritus, Cuba, the artist moved to Europe in 2003 and currently lives and works in Düsseldorf. His work was the subject of solo exhibitions at the Kunsthalle, Basel in 2006 and in 2007 at the Neuer Aachener Kunstverein, Aachen. His work was exhibited in the Arsenale as part of the 51st Venice Biennale in 2005, and he exhibited in 2006 at the Biennale of Sydney and the São Paulo Biennial. In April 2009 he will exhibit a solo project at ZONA MACO in Mexico City. ...