PinchukArtCentre

Rodrigo Hernández

Rodrigo Hernández (Mexico City, Mexico, 1983) lives and works between Lisbon and Mexico City. He studied at the Akademie der bildenden Künste in Karlsruhe with Silvia Bächli in 2010-2012, and at Jan Van Eyck Academie in Maastricht in 2013-2014. In the last years he has been awarded with a residency at Laurenz-Haus Stiftung in Basel in 2015 and at Cité International des Arts in Paris in 2016. His recent solo exhibitions include: he real world does not take flight, Pivô, Sao Paulo, 2018; Shadow of a Tank, Art Basel Statements, 2018; The Gourd and the Fish, SALTS Basel, 2018; Stelo, P420, Bologna, 2017; J’aime Eva, ChertLüdde, Berlin, 2017; Plasma, Madragoa, Lisbon, 2017; The Shakiest of Things, Kim?, Riga, 2017; I am nothing, Heidelberger Kunstverein, Heidelberg, 2016; Every forest madly in love with the moon has a highway crossing it from one side to the other, Kurimanzutto, Mexico City, 2016; El pequeño centro, Museo Universitario del Chopo, Mexico City, 2015; What is the moon?, Bonnefantenmuseum, Maastricht, 2015; Go, gentle scorpio, Parallel Oaxaca, Oaxaca, 2014; A Sense of Possibility, Weingrüll, Karlsruhe, 2014. His recent group exhibitions have taken place at Lulu, Mexico City, Sadie Coles HQ, London; ZKM Museum für Neue Kunst, Karlsruhe, 2019; Sesc Pompeia, São Paulo; Kunstverein Nürnberg, Nürnberg; Bonnefantenmuseum, Maastricht; Gladstone Gallery, Brussels; MendesWoodDM, Brussels, 2017; Bienal Femsa Monterrey, Monterrey; Hyperconected – 5th Moscow Bienal for Young Art, Moscow Museum of Modern Art, Moscow; Museum Haus Konstruktiv, Zürich; Queer Thoughts, New York, 2016; Kunsthalle Basel, Basel, 2016. Upcoming solo and group exhibitions include: Kunsthalle Winterthur; Gamec, Bergamo; Midway Contemporary, Minneapolis and Sala de Arte Público Siqueiros, Mexico City. www.rodrigo-hernandez.net Rodrigo Hernández is interested in the constitutive process of art and image making. In his practice he deconstructs and merges ancient iconography, art history as well as everyday imagery to develop his own formal vocabulary. Driven by the idea of the ambiguity of images, the artist proceeds by following his imagination and personal associations, suggesting that these can be crucial instincts to navigate in today’s world. Nothing is solid. Nothing can be held in my hand for long is an installation consisting of hand-hammered brass panels depicting fleeting moments of closeness and self awareness. In the difficulty to get hold of them, one could project a case in which they are constantly escaping the need to take a concrete form. A hand attempting to grasp is therefore the image Rodrigo Hernández uses for this installation to grow around. The viewer is invited to infer the work’s reference to monumental reliefs and the enduring quality of the materials and techniques traditionally used to fabricate it. The artist uses metal’s potential to gift images with a longer life with a preference for the personal, the intimate and the momentary, giving shape to a work where the gap between its formal and conceptual considerations is barely recognisable.
Rodrigo Hernández (Mexico City, Mexico, 1983) lives and works between Lisbon and Mexico City. He studied at the Akademie der bildenden Künste in Karlsruhe with Silvia Bächli in 2010-2012, and at Jan Van Eyck Academie in Maastricht in 2013-2014. In the last years he has been awarded with a residency at Laurenz-Haus Stiftung in Basel in 2015 and at Cité International des Arts in Paris in 2016. His recent solo exhibitions include: he real world does not take flight, Pivô, Sao Paulo, 2018; Shadow of a Tank, Art Basel Statements, 2018; The Gourd and the Fish, SALTS Basel, 2018; Stelo, P420, Bologna, 2017; J’aime Eva, ChertLüdde, Berlin, 2017; Plasma, Madragoa, Lisbon, 2017; The Shakiest of Things, Kim?, Riga, 2017; I am nothing, Heidelberger Kunstverein, Heidelberg, 2016; Every forest madly in love with the moon has a highway crossing it from one side to the other, Kurimanzutto, Mexico City, 2016; El pequeño centro, Museo Universitario del Chopo, Mexico City, 2015; What is the moon?, Bonnefantenmuseum, Maastricht, 2015; Go, gentle scorpio, Parallel Oaxaca, Oaxaca, 2014; A Sense of Possibility, Weingrüll, Karlsruhe, 2014. His recent group exhibitions have taken place at Lulu, Mexico City, Sadie Coles HQ, London; ZKM Museum für Neue Kunst, Karlsruhe, 2019; Sesc Pompeia, São Paulo; Kunstverein Nürnberg, Nürnberg; Bonnefantenmuseum, Maastricht; Gladstone Gallery, Brussels; MendesWoodDM, Brussels, 2017; Bienal Femsa Monterrey, Monterrey; Hyperconected – 5th Moscow Bienal for Young Art, Moscow Museum of Modern Art, Moscow; Museum Haus Konstruktiv, Zürich; Queer Thoughts, New York, 2016; Kunsthalle Basel, Basel, 2016. Upcoming solo and group exhibitions include: Kunsthalle Winterthur; Gamec, Bergamo; Midway Contemporary, Minneapolis and Sala de Arte Público Siqueiros, Mexico City. www.rodrigo-hernandez.net Rodrigo Hernández is interested in the constitutive process of art and image making. In his practice he deconstructs and merges ancient iconography, art history as well as everyday imagery to develop his own formal vocabulary. Driven by the idea of the ambiguity of images, the artist proceeds by following his imagination and personal associations, suggesting that these can be crucial instincts to navigate in today’s world. Nothing is solid. Nothing can be held in my hand for long is an installation consisting of hand-hammered brass panels depicting fleeting moments of closeness and self awareness. In the difficulty to get hold of them, one could project a case in which they are constantly escaping the need to take a concrete form. A hand attempting to grasp is therefore the image Rodrigo Hernández uses for this installation to grow around. The viewer is invited to infer the work’s reference to monumental reliefs and the enduring quality of the materials and techniques traditionally used to fabricate it. The artist uses metal’s potential to gift images with a longer life with a preference for the personal, the intimate and the momentary, giving shape to a work where the gap between its formal and conceptual considerations is barely recognisable.