The belated Cuban musician Agustin Fernandez created a gloomy, gritty human anatomy 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 here from 1959 to 1968 and passed away in new york in 2006. The effectiveness of press this link now plucky erotic dreams and sexual innuendos, FernandezвЂ™s leitmotif, frequently supersedes respectful social significance, so one aspect of FernandezвЂ™s inventive art is forever likely to be libertine, even though tempered by our knowing that the dominance for the straight 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. Of course, there is nothing less specific in art than sex, and even though 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 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 (вЂњParadox of PleasureвЂќ), the chutzpah stuffed exhibition of FernandezвЂ™s controversial late work insightfully curated by Jeanette Zwingenberger during the town hallway 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 body 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. Adopted by the day that is latter, Fernandez revealed with Francis Picabia at Galerie FuМ€rstenberg in 1965 and 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 possibly many demonstrably illustrated in today’s show by his coolly sadistic painting вЂњUntitledвЂќ (1998), which depicts a severed, splayed, and distorted purplish bird headed human anatomy lacking volitional control while undergoing coitus. The vulnerability of abused human flesh held in bondage to some imagined non romantic post biological reality beyond constrained, psychosomatic, surreal dream imagery and a general slippery machine ambiance, it suggests to me a certain exaggerated erotic desire that values. A piquant wind blows you ponder the poking device directly linking the humanoid sexual systemвЂ™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 phase covered into the exhibition, 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 frequently connected with his 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 here have constrained, quasi ritualistic rigor about them that shows separated, zoomed in glimpses of intimate bondage and humiliation, just like the exquisitely medieval searching вЂњTabooвЂќ (2004). Bound and freaky cyborg parts abound in the work, nonetheless вЂњTabooвЂќ goes further into complexity because it merges sexual types of both sexes by depicting a gleaming remote black colored womanвЂ™s breast because of the indentation inside her nipple created to resemble the opening in a penis. Once again, in other very idiosyncratic hybrid paintings, female areas of the body seem to have already been coerced to be able to outstrip the dichotomy between technology additionally the human body.