Nadia Hernández, a Venezuelan artist, reflects on the many aspects of her homeland that she longs for. Hailing from Mérida, a city nestled in the Venezuelan Andes with a population of around 200,000, she describes her nostalgia in deeply sensory terms. “The things you miss become very sensorial,” she shared with ABC Arts. “The list can go on indefinitely, from my childhood home to the experience of being surrounded by mountains, hiking, inhaling the scents of various flowers, and feeling the mist settle as night approaches. But most of all, I miss the people and my connection to my childhood and family.”
Hernández left Venezuela at the age of nine for Tucson, Arizona, a city known for its significant Latin American community. At 16, she moved to Brisbane to pursue fine arts at the Queensland University of Technology. Now residing in Melbourne, she is part of a vibrant Venezuelan community. Like many in the Venezuelan diaspora, Hernández faces restrictions that prevent her from returning to her home country due to the oppressive political climate there.
Art serves as a vital connection to her culture, and two years ago, she initiated a project focused on the history of Venezuelan protest music, aiming to create a dynamic archive of protest songs. The latest version of this project, titled “Para verte mejor, en todo tiempo” (To see you better, at all times), is currently being showcased at the Art Gallery of New South Wales (AGNSW).
Hernández emphasizes Venezuela’s rich legacy of protest, particularly within its musical culture. Millions have taken to the streets in opposition to President Nicolás Maduro, who is currently held in the United States facing drug trafficking charges. Hernández recalls growing up with Venezuelan protest music, which continues to inspire her work. “This music remains a source of strength and understanding for me,” she remarked, noting the powerful messages contained within the lyrics.
The installation “Para verte mejor, en todo tiempo” builds upon previous exhibitions seen at the Oslo Freedom Forum in 2024, as well as at the TarraWarra Biennial and Art Basel Hong Kong in 2025. The overarching title, “En todo tiempo,” pays tribute to a genre of Venezuelan folk music called gaita. The phrase “En todo tiempo” opens the lyrics of “La Grey Zuliana,” a beloved song from the 1960s by renowned gaita artist Ricardo Aguirre. Traditionally performed during Christmas, gaita music often comments on contemporary issues and serves as a vehicle for political dissent.
Hernández explains that gaita is not the only genre expressing political sentiments; salsa, folk, and punk music also encompass these themes. “It’s fascinating to observe the array of musical styles that carry such political expressions,” she noted. The installation comprises three components: a textile collage, an immersive soundscape, and a mural that spans the gallery walls. “This wall painting is specifically designed for this project and marks its first-time inclusion,” she explained, highlighting the collaborative journey of the project and showcasing contributions from various artists involved.
Among these contributors are Venezuelan artists and members of the global diaspora, who have helped create a 46-minute soundscape that accompanies the installation. Hernández invited different artists to engage with the idea of the political significance of songs, either by reciting lyrical fragments or providing sound bites. A notable addition to the soundscape is a five-minute audio clip recorded in Caracas by Eileyn Ugueto, a Venezuelan educator and cultural advocate dedicated to preserving Afro-Venezuelan musical traditions. “Her contribution takes the protest song archive back to the 16th century, invoking a living memory of labor songs and musical prayers,” Hernández explained.
The soundscape also includes fragments from a lecture by Venezuelan artist Abraham Araujo, discussing the evolution from 90s compilation culture to contemporary avant-garde music, interspersed with a custom mix of songs. Additionally, field recordings from Hernández’s hometown—captured ten years ago during her last visit to Venezuela—have been woven into the audio by Melbourne sound engineer Thom Pringle. “These diverse contributions connect with each other, allowing for personal expression that resonates with the collective experience,” she said.
The installation features textile banners suspended from the ceiling, showcasing reimagined verses from Venezuelan protest songs. “These verses are intended to evolve over time, with the textiles and sound fragments continuously growing, contributing to a living archive,” Hernández stated. “I’m not sure if it will ever reach a conclusion.”
When asked if she views her artistic endeavors as a form of protest, Hernández affirmed, “Absolutely. It has been since I began this work. Art is a potent medium for self-expression and protest, and the message itself can be the artwork. For me, the message within these pieces is about sharing and preserving our rich cultural heritage within the diaspora.” Like many fellow Venezuelans, Hernández has had to witness the unfolding political turmoil in her homeland from afar.
