Ricardo Miguel Hernandez

Ricardo Miguel Hernandez, (B. 1984, Cuba) is a memory researcher. He has built his work around the flexibility that exists between the authenticity and the ambiguity of historical memory through different aesthetic exercises such as photography and video to construct new stories, which are more in tune with the experience of the individual, vs the mega-stories of Cuban history.

Ricardo Miguel Hernandez studied at the Cátedra Arte de Conducta (created, directed by Tania Bruguera). Hernandez has participated in notable group exhibitions at Contemporary Art Center M17 in Kiev; Harn Museum of Art in Florida; PHotoEspaña 2019, 2020, 2023 in Madrid; KAOS 4th Festival of Contemporary Collage in Kranj, Le Lieu Centre en Art Actuel (Quebec, Canada); FestFoto Brazil 2019; Fundação Ibere Camargo in Porto Alegre; ESMoA El Segundo Museum of Art in Los Angeles, Foto Museo 4 Caminos in Mexico City, PAC Padiglione D Arte Contemporanea (Milano, Italy), ZAC Zisa Arti Contemporanee in Palermo, DOX Centre For Contemporary Art in Prague, 6th Contemporary Cuban Art Salon in Havana and other group shows in the USA, Europe and Cuba.

Residencies and scholarships include: Arte no es fácil Residency, Links Hall, Chicago’s Center for Independent Dance and Performance Arts; 21 Creation Study Scholarship, Visual Art Development Center, Havana.

Works by Ricardo Miguel Hernandez have been published in Granta Magazine, Harper’s Magazine and Forgotten Lands. Public and private collections of note are: The Museum of Fine Arts, Houston; Cuban Heritage Collection, University of Miami Libraries, Florida; Hood Museum of Art, Dartmouth College, Hanover; North Carolina Museum of Art; Retroavangarda´s Collection, Warsaw; The Rice Collection of Cuban Art, Florida and The Heckscher Museum of Art in Huntington, New York USA.

“I have cemented my work around the flexibility that exists between the authenticity and the ambiguity of historical memory through different aesthetic exercises…to construct new stories, which are more in tune with individual X, rather than the mega-stories of Cuban history.”

Writer’s Quote 

Yenny Hernández Valdés  Subverting realities: an exercise to dust memories, 2021

“From the language of photography itself, as a resource for the expression and re-creation of an internal sensitive desire, it refers to heterogeneous platforms seen through the artist’s intersubjective filter, autocrat, who chooses at his whim already disposable fragments of almost forgotten realities. Thus, it encourages us to perceive that reality is elastic,
that it is re-constructed beyond the literal limits. These works are not a final proposal of that original story, but a resurrected testament, technically and discursively rejuvenated
as a container of meanings and sensations of a society -mainly the Cuban one-
that rejoices in nostalgia, in worn out social narratological paradigms,
in the entelechy of an uncertain present and a blurred future.”