- drawings 25
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- ordo amoris 7
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- michael wiesehöfer 9
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- nicolas krupp 2
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Archive for April, 2011
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‘Home means belonging – and vice versa’
Diango Hernández in interview with Patrizia Dander. DANDER: You were born in Cuba in 1970, just a decade after the Cuban Revolution of 1959 and Fidel Castro’s takeover, first as Premier, later as President of Cuba. That means you belong to a generation that grew up in a fully implemented Socialist system. In 2003 you left the country for Europe – first Italy, then, …
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Studio Diaries, excerpts 2006-2010 from ‘H’ a book about Diango Hernandez’s studio
ENTRY NO. 3 -Today I was confronted with a dilemma: to make a painting or to make a drawing. I don’t get in the habit of coming to the studio with a fixed idea, once I enter the studio, the things I have around me easily distract me. It seems the studio works as an accumulation of elements, ideas and thoughts; they all are connected …
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‘Crystal Clear’, Diango Hernández at Nicolas Krupp Gallery, Basel
The humid image. Diango Hernández, Düsseldorf. A massive amount of water particles went back, invisibly and slowly, to where they came from – to the sky. Only rests of colors, dissolved paper and fragments of plaster and terracotta remained on the floor. The shelves and some tables were still in good shape, but most of the sculptures were broken or just vanished because of …
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‘If I send you this’, Diango Hernández at Alexander and Bonin NY (installation views)
Hernández 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 …
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‘If I send you this’, Diango Hernández at Alexander and Bonin NY
Exeunt by Diango Hernández, Düsseldorf 2011. In 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, …
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Mr. Fantasy Trigger and me: The Lost Bullet
by Diango Hernández, Düsseldorf 2011. Judy: I was safe when you found me. There was nothing that you could prove. When I saw you again, I couldn’t run away. I loved you so. I walked into danger, let you change me because I loved you and I wanted you. Oh, Scottie, oh Scottie please. You love me. Please keep me safe, please… Scottie: It’s …
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‘H’ a book about Diango Hernández’s studio in Düsseldorf
H is an unique book about the studio of contemporary artist Diango Hernández. This book depicts with a subtle series of black and white photos the artist’s working space in Düsseldorf. By permanently documenting his studio Hernández lets us see how silent and intimate is his relationship with objects, books and memories. ‘Home’ contains an extensive interview with Patrizia Dander and Diango Hernández which allows …
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‘Interrogando a Marcel’ Diango Hernández
A veces pienso en Marcel cuando me decía -el espectador es un ser invisible, un elemento además volátil y por lo tanto incontrolable, e insistía -si conocieras mi plan comprenderías que un espacio solo puede ser ocupado por una idea. No obstante a mis esfuerzos por definir un nuevo tipo de espectador jamás pude convencer a Marcel, mis ideas eran demasiado imprecisas, mis argumentos todos …
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‘Interrogating Marcel’ by Diango Hernández
Sometimes I think about Marcel and I remember him telling me: ‘The visitor is an invisible being, a volatile element and therefore the visitor is by principle uncontrollable’ With vehemence Marcel would continue: ‘If you would know my plan, maybe you would understand that a single space can only be occupied by a single idea’. Yet to all my efforts towards defining a new type …
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‘a kiss, a hat, a stamp’ with texts by Jade Niklai. Published by Distanz
a kiss. Diango Hernández’s practice is frequently described as ‘conceptual’: inspired by versions and visions of many lived realities. It is deeply rooted in his Cuban upbringing of the 1970-80s and therefore resonates with the attitudes and visual semantics of the Soviet era. Objects are found, materials are (re)appropriated and political rhetoric engages lived intelligence, subtle humor and personal sentiment.
Blood Mountain Foundation, a …
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‘In relation with an accident’ by Diango Hernández
Most accidents are triggered by a combination of circumstances, sometimes these circumstances appear to us like mysterious and incoherent facts. A clear chain of intentional events or (CCHofIE) might not be considered an accident even though sometimes (CCHofIE) can cause irreversible damages to one or more of the factors that take part in a possible future accident. Accidental discoveries are clearly to me more relevant …
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‘Breaking the Isolation’ by Gerhard Obermüller
Kunst als Anamnese (trans)nationaler Geschichtsvergessenheit. Die Geschichte einer kleinen Insel in der Karibik bleibt weiterhin von Bedeutung für uns. Auch lange nach dem Ende der bipolaren Weltordnung und des Kalten Krieges, für dessen Höhepunkt Kuba und die Kuba-Krise stehen, bleibt das kubanische Dilemma bestehen. Der Ausnahmezustand einer über fünf Jahrzehnte prolongierten Revolution bestimmt weiterhin einen Alltag des Mangels und der Isolation, das Land bleibt …