Fragmentos para apuntalar las ruinas
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Los fotocollages de Ricardo Miguel Hernández reincorporan fragmentos del archivo doméstico a la "cadena de significantes" del presente y futuro de la nación. Sin circunscribirse al contexto cubano, pero atadas a este de forma definitiva, sus obras terminan funcionando a modo de lecturas alternativas que superponen sus lógicas circunstanciales, "situadas", al relato totalizante de una Cuba condenada al continuismo histórico de la Revolución. Para estos ejercicios de rearticulación discursiva, Ricardo Miguel se apropia del lenguaje palimpséstico del collage, un sistema en el que dialogan con naturalidad referentes desconectados en tiempo y espacio. En relación con esta disposición suya (y del medio) a la activación de sentidos a partir de los contrastes, afirmará "Uno puede utilizar archivos viejos y no referir en absoluto al pasado; muchas veces lo que uno busca, de hecho, es hablar sobre el presente. Eso es lo que me gusta hacer a mí hablar de las cosas que están sucediendo ahora mismo ‒como la destrucción de una nación‒ a través de fotografías del pasado".
Hernández, Ricardo Miguel: - RICARDO MIGUEL HERNÁNDEZ (La Habana, 1984). Estudió en el Politécnico de Artesanía Pablo de la Torriente Brau entre 1999 y 2003; e integró, entre 2007 y 2009, la Cátedra Arte de Conducta creada y dirigida por Tania Bruguera. Ha sido merecedor de la Beca Estudio 21 (2012, Centro de Desarrollo de las Artes Visuales, La Habana) y de Arte no es fácil Residencie (2012, Chicago's Center for Independent Dance and Performance Arts, Chicago), así como fue Photography Finalist (2003, CINTAS Foundation, Florida). Su obra forma parte de colecciones públicas y privadas, como las de: 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; The Rice Collection of Cuban Art, Florida; Doug and Laurie Kanyer Art Collection, Washington; y Retroavangarda's Collection, Varsovia. Ha participado en varias exposiciones personales, como MIA Artfair (2014, Progetto Speciale Lavazza Caffé Artistico, Milán, Italia); Ella. P1 La Habana-Titón (2019, Fundación Ludwig de Cuba, La Habana, Cuba); Quando la memoria diventa polvere (bipersonal con Eolo Perfido) (2020, Grenze Arsenali Fotografici, Galería Isolo17, Verona, Italia); Nada nuevo bajo el sol. Proyecto bajo los efectos del poder (2021, Terremoto La Postal, Galería El Lobi, San Juan, Puerto Rico); y Bitácora incompleta (bipersonal con Yunior Aguiar) (2023, Casa Indiana Don Gonzalo Bedoya, Galicia, España).
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