The belated Cuban musician Agustin Fernandez created a gloomy, gritty human body of works that imagine a hyper sexed, electronic corporeality.
PARIS A visceral, hyper sensibility that is sexualized through the extravagantly trendy oeuvre of Cuban musician Agustin Fernandez, whom resided right here from 1959 to 1968 and passed away in new york in 2006. The effectiveness of plucky erotic fantasies and sexual innuendos, Fernandez s leitmotif, often supersedes respectful significance that is social so one aspect of Fernandez s inventive art is forever likely to be libertine, even if tempered by our comprehending that the dominance associated with the right western male position isn’t any longer unquestioned in art. Gender is socially ( maybe perhaps perhaps not naturally) constructed and, whenever thought to be a fluid concept in art, defies simple recognition. Of course, there is nothing less particular in art than sex, and although irreverent works like Yoko Ono s film that is cheeky (1966), Valie Export s ???Action Pants: Genital Panic??? (1969), Kembra Pfahler s ???Wall of Vagina (2011), and Betty Tompkins s Fuck Paintings may recommend otherwise, a lot of women feel there is something profoundly feckless, or even downright alienating, about decreasing the human anatomy to its remote intercourse components. Not too in Paradoxe de la Jouissance ( Paradox of enjoyment ), the chutzpah stuffed exhibition of Fernandez s controversial late work insightfully curated by Jeanette Zwingenberger during the town hallway of Paris s arrondissement that is fourth.
Agustin Fernandez, Untitled (1998), oil on canvas, 94 x 144 cm (courtesy and Agustin Fernandez Foundation; picture by Daniel Pype)
Art historically, Fernandez s somewhat sadomasochistic and semi that is obsessively erotic paintings of constrained human anatomy components squeeze into the context of mannerist (or decadent) belated Surrealism, which delighted in degradation by interpreting it being a work of alchemical transmutation delivering transgressive freedom from puritanical imposition. Used by the second time Surrealists, Fernandez revealed with Francis Picabia at Galerie Fu?€rstenberg in 1965 sufficient reason for Yves Tanguy, Salvador Dal?, Hans Bellmer, and Pierre Roy at Galerie Andr?© Fran?§ois Petit in 1966. Fernandez s surreal, elliptical, and erotic bent is possibly many obviously illustrated in today’s show by his coolly sadistic painting ???Untitled??? (1998), which illustrates a severed, splayed, and distorted purplish bird headed human body lacking volitional control while undergoing coitus. Beyond constrained, psychosomatic, surreal fantasy imagery and a broad slippery device ambiance, it shows if you ask me a particular exaggerated erotic desire that values the vulnerability of abused individual flesh held in bondage with a imagined non intimate post biological truth. A piquant wind blows you ponder the poking device directly linking the humanoid sexual system s electronic signals to some pitiless bio controller probe, foregrounding the frailty of human flesh when pierced by the somber impregnability of technology through you as. right Here, and regularly somewhere else through the diagrammatic, fetishized period 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, ???Taboo??? (2004), oil on canvas, 180 x 180 cm (courtesy and Agustin Fernandez Foundation; picture by Daniel Pype) Agustin Fernandez sextpanther.cim, ???Untitled??? (circa 2003), oil on canvas, 152 x 228 cm (courtesy and ?© Agustin Fernandez Foundation; picture by Daniel Pype)
Other more minimal paintings showcased right here have constrained, quasi ritualistic rigor about them that shows separated, zoomed in glimpses of intimate bondage and humiliation, such as the exquisitely medieval searching ???Taboo??? (2004). Bound and freaky cyborg parts abound inside the work, nonetheless ???Taboo??? goes further into complexity because it merges intimate kinds of both sexes by depicting a gleaming remote black colored girl s breast with all the indentation inside her nipple created to resemble the opening in a penis. Once again, in other very idiosyncratic hybrid paintings, feminine areas of the body may actually have already been coerced to be able to outstrip the dichotomy between technology and also the human body. A few of the hottest, weirdest, relentlessly provocative, & most accomplished paintings just like the vivid, shimmering, and apparently gelatinous ???Untitled??? (1997) while the brute ???Untitled??? (circa 2003), where a farcical girl bird dominatrix appears to be as much as one thing ominous may actually allow us out from the device like repetitions noticed in the 1989 drawing ???Untitled??? (1989). These works provide the impression to be impacted by the ancient, many breasted Ephesian Artemis fertility goddess.