May 21
May 22–August 28, 2016
Museum Morsbroich, Leverkusen
Gustav-Heinemann-Strasse 80
D-51377 Leverkusen. Germany
Curated by Stefanie Kreuzer
From artealdia.com
Museum Morsbroich presents Theoretical Beach. The title stands for the transition from sea to land. With simple materials and agile gestures, Diango Hernandez transforms the whole castle into an open processual space that enables visitors to make the transition between sea and beach and sense the tension between the different elements.
The exhibition addresses precisely that point where, in the metaphor of the sea, the “movement of being” meets “solid ground,” in other words, the place “where man establishes his institutions” (Hans Blumenberg). The place where the categories and value of being which shape and determine the cultural, social and political system become manifest.
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Jun 26
June 30 – Sept. 6, 2015
Opening: June 28, 2015 3 pm
Kunsthalle Münster
Hafenweg 28
48155 Münster
Germany
If a pessimist were to dismiss travel as pointless – that any journey entails consenting to the company of one’s self – then the sensually charged installations, material assemblages, drawings, photographs, and pictures of Diango Hernández sends the viewer on a journey that presents an inspired opportunity to be both simultaneously outside of one’s self and contained within it.
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Mar 3
March 14 – May 8, 2015
Opening March 13
Kadel Willborn
Birkenstrasse 3
40233 Düsseldorf
Laura Lamiel, Björn Braun, Jürgen Drescher, Diango Hernández, Vajiko Chachkhiani
“Opaque Waters is the title of an installation mainly composed by two objects, both of a familiar nature to us all. At your left hand -if you are standing in front of the gallery wall in which they hang from- there is a stretched fragment of a 1940’s table cloth that has been mounted on a heavy plexiglass, with same measurements, both the table cloth and the plexiglass, give you the impression that ‘something’ is hidden between them. The other object is a Hi-Fi sound amp that hangs from the wall as a picture frame does. In this case the amp is disconnected from the power so it is in silence, its only function is to be the support of a printed image, a digitally generated map of all Atlantic retired hurricanes.” Diango Hernández
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Jun 29
June 26 – July 31, 2014
Capitain Petzel
Karl-Marx-Allee 45
10178 Berlin
Diango Hernández, Matt Mullican, Christopher Williams
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Jun 2
June 3, 2014 – July 25, 2014
Alexander and Bonin
132 Tenth Avenue
New York, NY 10011
Our summer show includes paintings by five gallery artists: Matthew Benedict, Robert Bordo, Diango Hernández, Stefan Kürten and Sylvia Plimack Mangold. Most of the paintings in the exhibition are being exhibited for the first time.
Press Release
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Mar 23
The city of Cartagena has strong connections to cinema, music, dance and traditional artisanal crafts and this first edition of the biennial honors these cultural manifestations while introducing both national and international contemporary perspectives.
From February 7 to April 7, 2014 the entire city will be activated by multidisciplinary exhibitions in diverse venues throughout the city, including a number of installations and performance in public spaces, and a solid educational program of conferences, artist talks and workshops. All of the biennial programming is free and open to BIACI 2014 is a platform that brings contemporary artists from 45 different countries and across generations into the same context in order to promote dialogue and create connections between national and international artists. The Biennial is organized by the Fundación BIACI, a not for profit organization whose main purpose is to promote international and national contemporary art in Cartagena de Indias.
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Mar 2
Opening: Friday, February 28, 2014
March 1 – May 11, 2014
Kunstverein Nürnberg
Albrecht Dürer Gesellschaft
Kressengartenstraße 2
90402 Nürnberg
“Coming out there into the blackness the blast hit him in the mouth, stopping his breath. He tried to gasp, but he could not: something pungent had filled his lungs, so that they retched and shuddered in the attempt to breathe. The wind was wrapping it round him in hot, greasy blasts. His unseeing eyes poured with water, smarted as in mustard gas. He must be in a cloud of dense smoke: but he could not see it, of course—the night could be no darker than it was anyhow. He had no idea where it came from: possibly the fiddley. The thing to do now was to find his way to the Bridge—if his lungs held out. Keeping his head with an effort of will, he began to feel his way along, holding his breath (what little breath he had), resisting the dangerous temptation to hurry.” (1)
During the afternoon of November 9, 1932 in the southeast of Cuba, a powerful short blast of wind violently snatched thousands of pieces of fruit from their trees; for more than five minutes, oranges, mangoes and papayas flew frenetically around like only scared birds know how. The next morning, on November 10, the coastal village of Santa Cruz del Sur and its 3,000 inhabitants had disappeared. During the previous night and in the space of a few minutes, the sea, with gigantic waves measuring five metres high in places, flooded miles of land.
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Feb 18
published in Exhibits
tags : Anthony Goicolea, Carlos Garaicoa, Contemporary Cuban Art, cuban american art, Cuban American artist, Cuban Art, cuban artist, Diango Hernandez, Japan, The Marvelous Real, The MUSAC, Tokyo
February 15 – May 11, 2014
MUSEUM OF CONTEMPORARY ART TOKYO
4-1-1 Miyoshi,
Koto-ku, Tokyo 135-0022 Japan
The Marvelous Real
Contemporary Spanish and Latin American Art from The MUSAC Collection
To commemorate 400 years since the Keicho diplomatic mission from Japan to Spain, a wide-ranging program of events is being held in 2013 and 2014 under the banner of celebrating the “400th Anniversary of Japan-Spain Relations.” As part of this program, the Museum of Contemporary Art Tokyo, the Museo de Arte Contemporáneo de Castilla y León (MUSAC) and Acción Cultural Española (AC/E) are presenting “The Marvelous Real,” an exhibition featuring the works of 27 artists selected from the collection of the Museo de Arte Contemporáneo de Castilla y León (MUSAC), which focuses on Spanish works from the 1990s to the present day.
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Sep 22
18 Sep. – 26 Oct. 2013
Marlborough Contemporary
6 Albemarle St. London W1S 4BY
UK
Diango Hernández links personal and collective memory, blurring the line between conflicting poetic and political points of view. Born in Cuba and now living in Düsseldorf, Germany, after having travelled the world, Hernández has acquired a reversed perspective on colonialism and political structures. An outsider everywhere, as much in Cuba as in Europe, he has invariably been shaped by his communist education. Hernández believes that all art is autobiographical but also incorporates the collective organised structures that give shape to history.
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Aug 28
September 6–October 12, 2011
Alexander and Bonin
132 Tenth Avenue
between 18th and 19th streets
New York, NY
An exhibition of new work by Diango Hernández titled, If I send you this, will open at Alexander and Bonin on Tuesday, September 6th. For this exhibition 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.
Artist website
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May 14
April 13 – May 28, 2011
c/o BOUCHERIE Design des 20.
Jahrhunderts Mauritiussteinweg 74 D- 50676 Köln
There will be always a fundamental confrontation between an object and its drawing, the same kind of confrontation that can occur in between the idea and the words that express it. This confrontation happens not only in an abstract form it happens as a real fact, bringing the object to exist in a permanent disappointed reality, a reality that can’t be as perfect and ideal as a drawing is. ‘Line Dreamers’ is just a thought that pretend to transform a second hand furniture shop into an unexpected overlaying of objects and drawings. I can’t define yet what came first – The drawing or the object? and maybe ‘Line Dreamers’ could help me to find out.
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