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 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, Fernandez s leitmotif, often supersedes respectful significance that is thereforecial so one part of Fernandez s inventive art is forever likely to be libertine, even if tempered by our comprehending that the dominance of this right western male position isn’t any longer unquestioned in art. Gender is socially ( maybe maybe maybe not naturally) constructed and, when thought to be a fluid concept in art, defies simple recognition. Needless to state, 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 will be something profoundly feckless, or even downright alienating, about decreasing the body to its remote intercourse components. Not very in Paradoxe de la Jouissance ( Paradox of enjoyment ), the chutzpah stuffed exhibition of Fernandez s controversial late work insightfully curated by Jeanette Zwingenberger at 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 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 by the second time Surrealists, Fernandez showed with Francis Picabia at Galerie FuМ€rstenberg in 1965 along with Yves Tanguy, Salvador DalГ, Hans Bellmer, and Pierre Roy at Galerie AndrГ© FranГ§ois Petit in 1966. Fernandez s surreal, elliptical, and bent that is erotic possibly many plainly 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 indicates in my opinion a specific exaggerated erotic desire that values the vulnerability of abused individual flesh held in bondage for some imagined non intimate post biological truth. A piquant wind blows through you while you ponder the poking device straight connecting the humanoid intimate system s electronic signals with a pitiless bio controller probe, foregrounding the frailty of peoples flesh whenever pierced by the somber impregnability of technology. right 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 frequently related to 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, “Untitled” (circa 2003), oil on canvas, 152 x 228 cm (courtesy and © Agustin Fernandez Foundation; photo by Daniel Pype)
Other more minimal paintings featured right right here have constrained, quasi ritualistic rigor about them that recommends separated, zoomed in glimpses of intimate bondage and humiliation, just like the exquisitely medieval searching “Taboo” (2004). Bound and cyborg that is freaky abound inside the work, nevertheless “Taboo” goes further into complexity since it merges intimate types of both sexes by depicting a gleaming remote black colored girl s breast utilizing 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 have already been 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 gelatinous” (1997) additionally the brute “Untitled” (circa 2003), the place where a farcical girl bird dominatrix is apparently as much as one thing ominous may actually are suffering from from the device like repetitions observed in the 1989 drawing “Untitled” (1989). These works provide the http://www.camsloveaholics.com/sexier-review/ impression to be affected by the ancient, many breasted Ephesian Artemis fertility goddess.