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 runs through the extravagantly trendy oeuvre of Cuban artist 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 sexual innuendos, FernandezвЂ™s leitmotif, frequently supersedes respectful significance that is thereforecial so one part of FernandezвЂ™s inventive art is forever likely to be libertine, even if tempered by our comprehending that the dominance for the right western male posture is not any longer unquestioned in art. Gender is socially ( maybe perhaps not naturally) constructed and, whenever thought to be 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 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, a lot of women feel there will be something profoundly feckless, or even alienating that is downright about reducing the body to its remote intercourse components. Not too in Paradoxe de la Jouissance (вЂњParadox of PleasureвЂќ), the chutzpah stuffed rabbitscams black exhibition of FernandezвЂ™s controversial late work insightfully curated by Jeanette Zwingenberger during the city hallway of ParisвЂ™s 4th arrondissement.
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 body 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 day that is latter, 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. FernandezвЂ™s surreal, elliptical, and bent that is erotic possibly many demonstrably illustrated in the present 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. Beyond constrained, psychosomatic, surreal fantasy imagery and a broad slippery device ambiance, it recommends in my opinion a specific 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 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 throughout the diagrammatic, fetishized period covered when you look at the event, Fernandez disregards the beatific (if banal) blooming mood typically related to 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 featured right right right here have constrained, quasi ritualistic rigor about them that shows separated, zoomed in glimpses of intimate bondage and humiliation, such as the exquisitely medievalвЂњ that is looking (2004). Bound and cyborg that is freaky abound in the work, nevertheless вЂњTabooвЂќ goes further into complexity because it merges intimate types of both sexes by depicting a gleaming remote black colored womanвЂ™s breast with all the indentation inside her nipple created to resemble the opening in a penis. Once again, in other extremely idiosyncratic hybrid paintings, feminine areas of the body may actually have now been coerced to be able to outstrip the dichotomy between technology plus the human anatomy.