‘Dictators’, Galerie Frehrking Wiesehöfer, Cologne –2006

Varadero beach and Guantánamo bay by Diango Hernández. Domestic objects twisted by political slogans, so twisted that they became art pieces. Dictators sometimes make us happy and sometimes very sad. They produce anthems, huge monuments, walls and wars, they have the power to be our only god and they last longer than marble. This exhibition presents a group of “phrases and drawings” that reflect …

‘Revolution’, Kunsthalle Basel (curated by Adam Szymczyk and Simone Neuenschwander) –2006

REVOLUTION – An interview with Diango Hernández. by Simone Neuenschwander. SN: The title of your exhibition is “Revolution”. You created a painting for the poster, in which you show this word in a way that is related to the typical aesthetic of socialist propaganda posters of the 1970s from Cuba. This promises a lot… how important will this term be for your show?

DH: …

‘Waiting’, ArtForum Berlin, Galerie Frehrking Wiesehöfer –2005

A Bolero by Diango Hernández. A revolutionary is a person who either advocates or actively engages in some kind of revolution. Since the term “revolution” may be used to refer to a sudden change in any field, one may speak of political revolutionaries, social revolutionaries, revolutionary scientists, inventors, artists, etc. In a political context, the term “revolutionary” is often used in contrast to the term …

‘The Museum of Capitalism’, Altes Museum, MG (curated by Susanne Titz) –2005

Diango Hernández, Museum of Capitalism, Altes Museum Mönchengladbach. by Dr. Doris Krystof, Curator K21. Ich freue mich sehr über die Einladung von Susanne Titz und Hubertus Wunschik, zur Eröffnung des „Museum of Capitalism“ zu sprechen, das der aus Kuba stammende Künstler Diango Hernandez im alten Museum von Mönchengladbach eingerichtet hat. Diango Hernández hält sich zur Zeit im Rahmen des durch die Josef und Hilde Wilberz …

‘Palabras’, Arsenale, 51. Venice Biennial (Always a little Further curated by Rosa Martínez) –2005

Palabras by Anke Kempkes. In the 1990s Diango Hernández was prodrucing an extended series of drawings which processed the political and economical crisis of Cuba after the colapse of the socialist systems in East-Europe. ‘I was acting artistically out of a collective consciousness. Havana was a backdrop, a big landscape of mistakes.’ The installation Palabras is a three-dimensional materialisation of this special drawing activity …

‘Revantgarde’, Paolo Maria Deanesi Gallery, Rovereto –2005

REVANTGARDE by Anke Kempkes, 2005. MOM DEMOCRACY IS A LIE. In the 1990s Diango Hernández started an extended series of drawings which processed the political and economical crisis of Cuba after the collapse of the socialist systems in Eastern Europe. ’We lost the last support of the Soviet Union, which meant confronting a big crisis. We knew about Perestroika and everyone was concerned: What …

‘doku/fiction’, Kunsthalle Düsseldorf (curated by Peter Gorschlüter) –2004

‘doku/fiction. Mouse on Mars – reviewed & remixed’. Wie kaum eine andere Band ist Mouse on Mars bekannt für die genreübergreifende Faszination ihrer Produktionen, in denen Pop, Club, A-Musik und neumusikalische Konzepte scheinbar mühelos zusammenfließen. Die beiden Musiker Jan St.Werner und Andi Toma, die 1994 ihr gemeinsames Projekt Mouse on Mars tauften und ihre Musik in dem selbstgebauten Tonstudio in Düsseldorf produzieren, verschreiben sich …

‘Democracy’, Kunstverein Arnsberg (curated by Dagmar Behr) –2004

The speeches’ room by Diango Hernández. The concept of democracy is used to legitimize governance; calling a government undemocratic implies it shouldn’t exist. The ideas of freedom, independence and liberation have been used in the post-revolutionary Cuba as fundamental political tools when Democracy has been a  very sensitive topic, a concept that Cuban government had refused even to discuss. To start a reflection about …

‘Amateur’ at Galerie Frehrking Wiesehöfer, Cologne, Germany –2003

Diango Hernández by Dermis Perez Leon. “Amateur” is Cuban artist Diango Hernández’s first individual show in Cologne, Germany. An active member of Gabinete Ordo Amoris(1). Hernández presents an impressive group of more than 2,000 drawings from the last seven years created on different kinds of paper, and some notebooks with sketches. Simultaneously, several “artifacts” were placed in the gallery space as object-sculptures that gave …

Ordo Amoris Cabinet ‘Mouse pads and Screen savers’, Artpace, San Antonio (curated by Cuauhtémoc Medina) –2001

Living and working in Havana, Cuba, Francis Acea and Diango Hernandez formed Ordo Amoris Cabinet in 1994. Acea was born in Havana, Cuba in 1967 and Hernandez was born in Sancti-Spiritus, Cuba in 1970. Attending the Havana Superior Institute of Design, Acea and Hernandez received their degrees in graphic and industrial design respectively and formed an artistic collaboration under the appellation of Ordo Amoris Cabinet, …

Ordo Amoris Cabinet ‘The Gabinete Ordo Amoris’ by Orlando Hernández –1999

There are many ways in which to understand the life of a country and many ways to explain it. One of these – and the only one of interest to us here – is through the observation and study of its every day objects, these being of great significance to some, of none to others. And I do not refer to those objects we normally …

Ordo Amoris Cabinet ‘The eternal object: Notes on a film’ by Sarah Lightbody –2004

SECTION 1: SYNOPSIS & TREATMENT (film synopsis – 32 minutes/B&W 16mm). The Eternal Object addresses a shift in Cuban art practices during the 1990’s toward issues concerning a crisis in national identity in view of Perestroika and the unrelenting American embargo. The film documents the construction of an art project built at the Banff Center for the Arts in 1997 by the Cuban artist …