In the contemporary art scene, Diango Hernández, born in Cuba in 1970, emerges as an emblematic figure. During the post-Soviet economic crisis of the 1990s, Hernández began to distinguish himself in the Cuban cultural scene through his involvement in various collective initiatives.

Founding the duo Ordo Amoris Cabinet with Francis Acea, he quickly gained notoriety by exhibiting his works in Europe and North America. Moving to Europe in the early 2000s, he continued his artistic investigation, establishing himself as one of the leading exponents of the American conceptual legacy.
Diango Hernández’s works, exhibited internationally, deal with themes such as cultural identity, the influence of politics on daily life, and investigate the relationship between light and desire, earning significant awards such as the Rubens Prize in 2009.

The works of Diango Hernández

Diango Hernández has quickly gained prominence in the art world.
His ability to represent issues of identity and politics through conceptual art led him to win the prestigious Rubens Prize. This award celebrates artists who leave a significant mark on the art world. However, Giango did not stop there and has exhibited at the Kunsthalle Basel and the Neuer Aachener Kunstverein, further solidifying his stature in the art field.

Diango Hernández’s works have been part of major biennials and exhibitions around the world.
Famous was his participation in the 51st Venice Biennale and the Sydney and São Paulo biennales in 2006, which were highlights of his career.
His project “Losing You Tonight” at the Museum für Gegenwartskunst in Siegen in 2009 was particularly critically acclaimed.
In the following years, Hernández continued to explore and develop new themes in his works. From 2011 to 2012, the Museum of Modern and Contemporary Art (MART) in Rovereto hosted the exhibition “Living Room, a Survey.

Recently the artist h apresented a series of works centered on the theme of desire and light.
The sequence “All Hands,” which features hands portrayed in search of light, has a crucifix as its focal point, signifying that human existence should be interpreted in light of a transcendence, an absolute. In this case, of a man who is “light of the world.”
He has also made a number of oil paintings that hint at luminous spaces, filtered as if through windows with translucent, corrugated glass, the frame of which is in the shape of a cross. Although we do not see precisely those places that appear blurred and distant, we sense the quiet peace of a beyond, as if we are standing before the diaphragm of the wave motion of a threshold to be crossed, of a watery veil to be broken because we dive into that light.

Also significant are the recent four large abstract canvases that the artist has created in shades of green and blue, reminiscent of the fluidity of the marvelous depths of the sea (Hernández is famous for his research of Olaismo, the language of the sea), but also the spaces of a luminous garden whose tree foliage is caressed by the breath of the wind.

Diango Hernández’s works, which can also be seen on his official website olaismo.com, are an ongoing exploration of themes that resonate deeply in contemporary society. Through his installations, paintings and multimedia projects, Hernández not only documents his personal experience but also offers a universal reflection on cultural and political dynamics.
His art, deeply imbued with personal and collective narratives, continues to inspire and provoke audiences around the world.