The late Cuban musician Agustin Fernandez created a gloomy, gritty human body of works that imagine a hyper sexed, electronic corporeality.
PARIS A visceral, hyper sexualized sensibility operates through the extravagantly trendy oeuvre of Cuban musician Agustin Fernandez, whom resided right right here from 1959 to 1968 and passed away in new york in 2006. The effectiveness of plucky erotic dreams and intimate innuendos, FernandezвЂ™s leitmotif, frequently supersedes respectful social significance, so one part of FernandezвЂ™s inventive art is forever likely to be libertine, even though tempered by our comprehending that the dominance regarding the right western male position isn’t any longer unquestioned in art. Gender is socially ( perhaps maybe not naturally) constructed and, whenever thought to be a fluid concept in art, defies effortless recognition. Needless to state, there is nothing less specific in art than sex, and although irreverent works like Yoko OnoвЂ™s cheeky film вЂњFourвЂќ (1966), Valie ExportвЂ™s вЂњAction Pants: Genital PanicвЂќ (1969), Kembra PfahlerвЂ™s вЂњWall of VaginaвЂќ (2011), and Betty TompkinsвЂ™s Fuck Paintings may recommend otherwise, lots of women feel there will be something deeply feckless, or even alienating that is downright about reducing the body to its isolated intercourse components. Not very in Paradoxe de la Jouissance (вЂњParadox of PleasureвЂќ), the chutzpah stuffed exhibition of FernandezвЂ™s controversial late work insightfully curated by Jeanette Zwingenberger during the city hall of ParisвЂ™s arrondissement that is fourth.
Agustin Fernandez, вЂњUntitledвЂќ (1998), oil on canvas, 94 x 144 cm (courtesy and Agustin Fernandez Foundation; picture by Daniel Pype)
Art historically, FernandezвЂ™s slightly sadomasochistic and obsessively erotic semi abstract paintings of constrained human anatomy components squeeze into the context of mannerist (or decadent) belated Surrealism, which delighted in degradation by interpreting it as a work of alchemical transmutation delivering transgressive freedom from puritanical imposition. Used because of the latter time Surrealists, Fernandez revealed with Francis Picabia at Galerie FuМ€rstenberg in 1965 in accordance with Yves Tanguy, Salvador DalГ, Hans Bellmer, and Pierre Roy at Galerie AndrГ© FranГ§ois Petit in 1966. FernandezвЂ™s surreal, elliptical, and erotic bent is maybe many obviously illustrated in today’s show by his coolly sadistic painting вЂњUntitledвЂќ (1998), which illustrates a severed, splayed, and distorted purplish bird headed human anatomy lacking volitional control while undergoing coitus. Beyond constrained, psychosomatic, surreal fantasy imagery and an over-all slippery machine ambiance, it shows in my experience a particular exaggerated erotic desire that values the vulnerability of abused individual flesh held in bondage for some imagined non romantic post biological truth. A piquant wind blows you ponder the poking device directly linking the humanoid sexual systemвЂ™s electronic signals to some free sex cam pitiless bio controller probe, foregrounding the frailty of human flesh when pierced by the somber impregnability of technology through you as. Here, and regularly somewhere else through the diagrammatic, fetishized stage covered within the event, Fernandez disregards the beatific (if banal) blooming mood typically connected with intimate imagery by painting in a gritty, dark, and greasy metallic palette that distances his work through the tropical chromaticism usually connected with their indigenous Cuba.
Agustin Fernandez, вЂњTabooвЂќ (2004), oil on canvas, 180 x 180 cm (courtesy and Agustin Fernandez Foundation; picture by Daniel Pype) Agustin Fernandez, вЂњUntitledвЂќ (circa 2003), oil on canvas, 152 x 228 cm (courtesy and Agustin Fernandez Foundation; picture by Daniel Pype)
Other more minimal paintings showcased right right right here have constrained, quasi ritualistic rigor about them that shows separated, zoomed in glimpses of intimate bondage and humiliation, just like the exquisitely medievalвЂњ that is looking (2004). Bound and cyborg that is freaky abound in their work, nevertheless вЂњTabooвЂќ goes further into complexity since it merges intimate kinds of both sexes by depicting a gleaming remote black colored womanвЂ™s breast utilizing the indentation inside her nipple created to resemble the opening in a penis. Once more, in other very idiosyncratic hybrid paintings, feminine areas of the body may actually are coerced in order to outstrip the dichotomy between technology additionally the human anatomy.