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 sexualized sensibility operates through the extravagantly fashionable oeuvre of Cuban artist Agustin Fernandez, whom resided right here from 1959 to 1968 and passed away in new york in 2006. The effectiveness of plucky erotic dreams and intimate innuendos, Fernandez s leitmotif, often supersedes respectful social significance, so one part of Fernandez s inventive art is forever likely to be libertine, even though tempered by our comprehending that the dominance for the right western male live sexier position is not any longer unquestioned in art. Gender is socially ( perhaps not naturally) constructed and, whenever seen as a fluid concept in art, defies recognition that is easy. Of course, there is nothing less particular in art than sex, and even though irreverent works like Yoko Ono s film that is cheeky (1966), Valie Export s вЂњAction Pants: Genital PanicвЂќ (1969), Kembra Pfahler s вЂњWall of Vagina (2011), and Betty Tompkins s Fuck Paintings may recommend otherwise, a lot of women feel there will be something profoundly feckless, or even downright alienating, about decreasing the human anatomy to its isolated intercourse components. Not too in Paradoxe de la Jouissance ( Paradox of enjoyment ), the chutzpah stuffed exhibition of Fernandez s controversial belated work insightfully curated by Jeanette Zwingenberger in 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 body components squeeze into the context of mannerist (or decadent) belated Surrealism, which delighted in degradation by interpreting it as a act of alchemical transmutation delivering transgressive freedom from puritanical imposition. Used by the second time Surrealists, Fernandez revealed with Francis Picabia at Galerie FuМ€rstenberg in 1965 sufficient reason for Yves Tanguy, Salvador DalГ, Hans Bellmer, and Pierre Roy at Galerie AndrГ© FranГ§ois Petit in 1966. Fernandez s surreal, elliptical, and erotic bent is possibly many demonstrably illustrated in today’s show by his coolly sadistic painting вЂњUntitledвЂќ (1998), which illustrates a severed, splayed, and distorted purplish bird headed human body 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 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 right Here, and regularly somewhere else through the diagrammatic, fetishized period covered within the event, Fernandez disregards the beatific (if banal) blooming mood typically associated with intimate imagery by painting in a gritty, dark, and oily metallic palette that distances his work through the tropical chromaticism usually related to 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 В© Agustin Fernandez Foundation; photo 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 medievalвЂњ that is looking (2004). Bound and cyborg that is freaky abound inside the work, nonetheless вЂњTabooвЂќ goes further into complexity because it merges intimate kinds of both sexes by depicting a gleaming remote black colored girl s breast using the indentation inside her nipple created to resemble the opening in a penis. Once again, in other very idiosyncratic hybrid paintings, feminine parts of the body seem to were coerced in order to outstrip the dichotomy between technology plus the human body. A number of the hottest, weirdest, relentlessly provocative, and a lot of accomplished paintings just like the vivid, shimmering, and that is seemingly gelatinousвЂќ (1997) while the brute вЂњUntitledвЂќ (circa 2003), the place where a farcical woman bird dominatrix is apparently as much as one thing ominous may actually allow us out from the machine like repetitions observed in the 1989 drawing вЂњUntitledвЂќ (1989). The impression is given by these works to be impacted by the ancient, many breasted Ephesian Artemis fertility goddess.