Aline Hernández is an art historian, exhibition curator, and writer from Mexico City. Her studies cover contemporary art, activism, and performance in the Americas. Combining feminist and queer theories, cultural studies, and performance theories, her work explores the power of embodied acts, archival practices, and visual culture as sites for (trans)feminist resistance against gendered and racialized necropolitics.
Currently, she is conducting a SGSAH-funded PhD on the politics of representation of (trans)gender violence in Mexico at St Andrews University. Previously, she worked as a curatorial coordinator at the University Museum of Contemporary Art (MUAC) in Mexico (2012-2015), where she coordinated and curated the exhibits: Pola Weiss: The T.V. Sees You, Hito Steyerl: Circulationism, The return of the Lake, I know your father doesn’t understand my modeln language, Harun Farocki: Vision. Production. Oppression, The South Never Dies, Theory of Color, among others.
Hernández has also collaborated with institutions such as The European Biennial of Contemporary Art, Genk, Belgium; Centro de Fotografía de Montevideo, Uruguay; Real Academia de España en Roma; Museo de Artes y Ciencias, Mexico City; Espacio de Arte Contemporáneo (ESPAC), Mexico City; Kunstverein, Wolfsburg, Germany, etc. Her writing has been presented at conferences internationally and published by museums and journals, including Contemporary Theatre Review, TEOR/ética, Parkett, The New Inquiry, Das Superpaper, Kunstlicht, and the Museo Universitario Arte Contemporáneo.
Hernández holds an M.A. in Media, Art, and Performance Studies from Utrecht University with a specialization in Gender Studies. She is a member of the artist/activist-run cooperative Cráter Invertido and lives and works between Mexico City and the Netherlands.