Hernando’s Hideaway, Miami Beach (Ongoing)

Installation view of Yaron Michael Hakim, Prototipo, Hernando’s Hideaway, Miami Beach, October 13–December 16, 2018.


Hernando’s Hideaway is a nonprofit, experimental curatorial framework housed within the private residence of curator Gladys-Katherina Hernando in Miami Beach. The property provides unconventional sites for public presentations of contemporary art: a one-car garage as contemporary gallery and front lawn for sculptural works.

Hernando’s Hideaway is distinctively a counter-institutional structure for the display, presentation, and consideration of art and its spaces. The property serves as a unique location for artists to develop their practice and engage with the richness of a city that generally remains on the margins.

Hernando’s Hideaway is fiscally sponsored by Fractured Atlas.





Sculpture lawn installation view of Yaron Michael Hakim: “Shower ‘T’ (Miami Beach),” Hernando’s Hideaway, Miami Beach, October 13–December 16, 2018. 

Entropic Relations, Part 1 & 2: Rod Fahmian & Zaid Yousef, Riverside, CA (November 2014)

Entropic Relations Part 1 & 2, Curated by Gladys-Katherina Hernando

Part 1: Rod Fahmian, Saturday, November 22, 2014, 7 – 10 pm

Part 2: Zaid Yousef, Saturday, November 29, 2014, 7 – 10 pm

Entropic Relations is a two-part exhibition featuring solo projects by Rod Fahmian and Zaid Yousef. Presented in the artists’ studio, each will create an installation and limited edition artwork in the space for one night. The individual projects are connected by the dynamics of the studio as well as in the shared discourses that comprise the artists’ work. Fahmian and Yousef explore ideas of order and disorder, construction and destruction, with a focus on entropy as the uniting factor. Entropic Relations seeks to connect these symbolic opposites through the contrasting material and conceptual elements that comprise the work. Entropic Relations will explore the natural and the constructed in relation to human interaction and experience.

The term entropy is a term typically used to describe the amount of order, disorder, or chaos (energy dispersion) in a thermodynamic system. In other words, how close a system is to equilibrium or verging on disorder. This term has also been used to describe the rejection of convention ideas in art making in favor of form over content. The idea of entropy is a reaction to technology and its inevitable collapse. It is an exploration of the common and visible objects and materials that surround us, in order to be filled by what according to artist Robert Smithson is the experience of “both past and future..placed into an objective present.”

Inspired by the composition of the urban landscape and the influence of contemporary subcultures, Rod Fahmian explores line, spatiality, and form in his sculptures. His works are formally structured by minimalist aesthetics and combine with aggressive undertones to subvert the act of looking. In part one of the exhibition, Fahmian will present an installation of three structures built to the dimensions of a doorway or passageway that use basic building materials such as concrete, metal, and glass. Through the familiarity of scale, slightly larger than the human body, the sculptures are inverted to actualize the presence of negative space. Rather than an opening, the sculptures are a barrier. They explore the antagonistic qualities of fabricated obstacles to disrupt and restrict the ideologically liberated experience of physical space.

Taken from various excursions into the desert, Zaid Yousef excavates natural black obsidian from giant rocks mere steps away from civilization. Obsidian is a naturally formed volcanic glass that is hard and brittle allowing it to fracture into sharp edges, which were used by many early cultures as cutting and piercing tools. In the act or performance of excavating these materials, Yousef utilizes aspects of geology and archeology to dislocate this natural element into the realm of the man-made. For the second part of the exhibition, Yousef will present three categories of collected specimens as an installation. Raw obsidian, welded extrusions, and modified specimens are displaced from their original locations and organized into a field of objects on the floor. Relocated into the realm of displayed objects, the specimens are deprived of their primary function as minerals. In this second site, the stones are transformed into basic forms that propose the idea of truth as a subjective experience. Entropic Relations is curated by Gladys-Katherina Hernando.

Both events took place at 2023 Chicago Avenue, Suite B22, Riverside, California 92507.

Installation views of Part 1 and Part 2 follow below:


Part 1: Rod Fahmian

Part 2: Zaid Yousef

Summer Issues Cooperative, Greene Exhibitions, Los Angeles (June 26–July 13, 2013)

June 26–July 13, 2013

East of Borneo presents SUMMER ISSUES COOPERATIVE, a two-week exhibition in the form of a pop-up newsstand at Greene Exhibitions in Culver City. The generosity-based event will distribute current and archival art magazines contributed by over 20 nonprofit publishers from Los Angeles, New York, London, and Vancouver, all of which will be made available to take home free of charge. Visitors are also encouraged to bring in their own magazines to trade or donate, creating an exhibition will expand and contract each day as publications are removed the newsstand and others are placed back into circulation. The exhibition and related events are curated by Stacey Allan and Gladys-Katherina Hernando, with exhibition design by Lauren Kima Graycar.

Participating publishers include: Afterall, BOMB, Cabinet, Concord, East of Borneo, Esopus, Fillip, Insert Blanc Press, Los Angeles Review of Books, Material, Native Strategies, Night Papers, Paper Monument, Pep Talk, Public Fiction, Triple Canopy, X-TRA, and others to be confirmed.

The event will culminate on Saturday, July 13 with a BBQ and Wikipedia Editathon focused on building a presence for Los Angeles art and art history online. More information here.

East of Borneo is an online magazine published by the California Institute of the Arts.

Greene Exhibitions is located at 2654 La Cienega Avenue in Los Angeles. Gallery Hours are Tuesday – Saturday, 11 am – 6 pm.

Photo credit: Jesse Fiorino

Letters from the Field, Berlin (August 22–26, 2012)

Letters from the Field
22–26 August 2012

Letters from the Field is a group exhibition and publication curated by the nine residents of the Node Center for Curatorial Studies 2012 summer program. Letters from the Field features work by twenty artists currently working in Berlin. The resident curators have invited artists to respond to six contemporary topics that address histories, futures, and fictions. The form of the artists’ responses range from written content to video, painting, sculpture and performance.

Functioning as a conceptual framework to the exhibition, the publication contains artists’ contributions and essays by curators in a series of eight chapters. The book is presented in a malleable format that can be edited by the viewer, with a chapter left partially blank for additional responses.These assembled elements attempt to reveal the process of the production of ideas and critical methodologies. Through collaboration and correspondence, Letters from the Field is an experiment in exposing what our present is.

The participating artists are Heba Amin, Stephan Backes, Megan Cotts, Regina De Miguel, Kate Hers, Sharon Houkema, Klaas Hübner, Michiel Huijben, Stine Marie Jacobsen, Lindsay Lawson, Ruth Le Gear, François Martig, Alex Martinis Roe, Lynda Amer Meziane, Nicolas Puyjalon, Annika Rixen, Rebecca Smith, Aiko Tezuka, Ciarán Walsh, and Ylva Westerlund.

Letters from the Field is curated by Lee Foley, Catherine Gomersall, Gladys-Katherina Hernando, Sinejan Kılıç, Maeve Mulrennan, Iohanna Nicenboim, Marília Pasculli, Dunja Rmandić, and Tanya Toft.

The exhibition was produced by the Node Center for Curatorial Studies, Berlin.

Link to PDF of catalogue essay “What Our Present Is: Presence of Mind in Cultural Production” © Gladys-Katherina Hernando

Vernissage: Wednesday 22 August 2012, 7–10pm
Visiting Hours: Thursday–Sunday, 2–8pm
Atelierhof Kreuzberg
Schleiermacherstraße 31–37
10961 Berlin, Germany

All images © Laura Gianetti

Link to entire PhotoSet on Flickr

Radio Break, various locations, Los Angeles (April 14–22, 2012)

Radio Break—Two Weekends of Artists’ Low-Power Radio Transmissions & Live Performances

April 14–22, 2012

Curated by Gladys-Katherina Hernando, Zachary Kaplan, Sarah Loyer, Ilana Milch, Evelena Ruether, Megan Sallabedra, Jackie von Treskow, Adrienne White, and Emily Wilkerson. USC Roski School of Fine Art’s MA Art and Curatorial Practices in the Public Sphere Program, class of 2012.

Featuring work by: 2 Headed Dog, Elana Mann with ARLA, and the People’s Microphony Camerata, Brandon LaBelle, Vanessa Place, Alyce Santoro, David Schafer, Brendan Threadgill, Lincoln Tobier, Lucy Raven, Pedro Reyes, Arnoldo Vargas, and Richard T. Walker.

Radio Break is an exhibition on the air, presenting a series of twelve artworks conveyed through low-power radio transmissions and live performances. Taking place during two consecutive weekends in locations throughout Los Angeles, Radio Break connects participants with the ambient sounds of the city, inviting them to tune in to its history, noise, narratives, and music. The works presented are at once personal and anonymous and invite investigations into the psychic spaces of the city.

Radio Break takes place via suggested itineraries, each of which activates a different mode of transportation—the Metro, cycling (during CicLaVia), walking, or driving. A way-finding map and interactive website accompany the exhibition and provide details about the projects and their locations.

More information is available on the project website:

Curatorial essay written for Radio Break here: Slow Listening © Gladys-Katherina Hernando

To see images and documentation of the events visit

Aislado, Galería Perdida, New York (March 20–April 17, 2011)


An exhibition of photographs by Gladys-Katherina Hernando

Galería Perdida

March 22–April 17, 2011

Press Release:

General licenses are granted to the following categories of travelers, who are permitted to spend money to travel to Cuba and to engage in other transactions directly incident to the purpose of their travel, without the need to obtain a specific license from the U.S. Department of the Treasury’s Office of Foreign Assets Control (OFAC):

  • Persons visiting a close relative (any individual related to a person by blood, marriage, or adoption who is no more than three generations removed from that person or from a common ancestor with that person) who is a national of Cuba, and persons traveling with them who share a common dwelling as a family with them. There is no limit on the duration or frequency of such travel. (According to the Cuban Assets Control Regulations, third country nationals who reside in Cuba are considered Cuban nationals.)
  • Journalists and supporting broadcasting or technical personnel (regularly employed in that capacity by a news reporting organization and traveling for journalistic activities).
  • Official government travelers on official business.
  • Members of international organizations of which the United States is also a member (traveling on official business).
  • Full-time professionals, whose travel transactions are directly related to research in their professional areas, provided that their research: 1) is of a noncommercial, academic nature; 2) comprises a full work schedule in Cuba; and 3) has a substantial likelihood of public dissemination.

From the air.  From the car.  On the ground.  The views are all partial glances of a country in continual development, reflecting the movements of Gladys-Katherina Hernando. Aislado presents a selection of images taken by Hernando through an hourless journey along distant roads approaching one coast to another.  Inevitably, Hernando reconnects the history and people that have defined not only the past, but her travels as well.  Throughout her way, she captures an intimate portrait of a nation at arm’s length.  galería perdida is proud to present a selection of Gladys-Katherina Hernando’s Aislado, on view March 20-April 17, 2011.

galería perdida and Light & Wire Gallery have performed a collaborative trade of exhibitions.  The two shows retain similarities in their context and content, yet lie within different realms of experience. galería perdida’s exhibition can be seen here.

For more information, please visit

Sign/Co-Sign, Light & Wire Gallery, various locations, Miami Beach (December 2009)


December 1 – 31, 2009, Miami Beach, Florida

“Every exhibition is one possibility surrounded by many other possibilities which are worth being explored.” – Marcel Broodthaers

Light & Wire Gallery is pleased to announce a public group project of new works by six artist to take place in Miami Beach during Art Basel and NADA fairs. The exhibition will present work by Ginny Cook, David Horvitz, Lindsay Ljungkull, Heather Rasmussen, Brendan Threadgill, and Greg Wilken. In their strategic locations, these artworks utilize normally benign advertising space to reflect upon the history of South Florida, international commerce, and existing art world structures. The shelter posters function as a site-specific exhibition on display for one month to passers-by, public transit patrons, and the occasional, intentional, art viewer. The exhibition route will continue to be accessible by car or bus service during and after the many art fairs have retreated from the city.

1. 5th street, north of Washington Avenue- Lindsay Ljungkull
2. 17th street, east of Convention Center Drive- Greg Wilken
3. Indian Creek Drive, south of 43rd Street- David Horvitz
4. Collins Avenue, north of 45th Street- Ginny Cook
5. Collins Avenue, south of 65th Street- Brendan Threadgill
6. Indian Creek Drive, north of 65th Street- Heather Rasmussen

Light & Wire @ Circus Gallery, Circus Gallery, Los Angeles (June 2009)

Co-Curated with Jessica Minckley


Light & Wire Gallery (2008–2014)

Light & Wire Gallery was founded by Gladys-Katherina Hernando and Jessica Minckley (2008–2009) as an experimental art space on the web that encouraged artists to create unique temporal and temporary projects made exclusively to function on the internet. Founded in July 2008, Light & Wire Gallery collaborated with over 80 artists and curators to realize 56 exhibition projects before its closing in December 2014.  The gallery did not have a physical location but was based in Los Angeles, California. Please visit Light & Wire Gallery to see its full archive of exhibitions.