Other more paintings that are minimal here have constrained, quasi ritualistic rigor about them

Other more paintings that are minimal here have constrained, quasi ritualistic rigor about them

The belated Cuban artist 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 livesex runetki Agustin Fernandez, whom resided right right here from 1959 to 1968 and passed away in new york in 2006. The power of plucky erotic dreams and sexual innuendos, Fernandez’s leitmotif, frequently 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 associated with the right western male position is not any longer unquestioned in art. Gender is socially ( maybe maybe perhaps not naturally) constructed and, whenever named a fluid concept in art, defies simple recognition. Needless to state, there is nothing less specific in art than sex, and even though irreverent works like Yoko Ono’s cheeky film “Four” (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, lots of women feel there is something profoundly feckless, or even downright alienating, about decreasing the human anatomy to its remote intercourse components. Not very in Paradoxe de la Jouissance (“Paradox of Pleasure”), the chutzpah stuffed exhibition of Fernandez’s controversial late work insightfully curated by Jeanette Zwingenberger in the city 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 day that is latter, Fernandez showed with Francis Picabia at Galerie Fürstenberg in 1965 along with Yves Tanguy, Salvador Dalí, Hans Bellmer, and Pierre Roy at Galerie André François Petit in 1966. Fernandez’s surreal, elliptical, and erotic bent is possibly many plainly illustrated in the present show by his coolly sadistic painting “Untitled” (1998), which illustrates 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 through you while you ponder the poking unit straight linking the humanoid intimate system’s electronic signals for some pitiless bio controller probe, foregrounding the frailty of human being flesh whenever pierced because of the somber impregnability of technology. right Here, and consistently somewhere else through the diagrammatic, fetishized period covered into the event, Fernandez disregards the beatific (if banal) blooming mood typically related to sexual imagery by painting in a gritty, dark, and greasy metallic palette that distances his work through the tropical chromaticism often related to his 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; picture by Daniel Pype)

Other more minimal paintings showcased 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“ that is looking (2004). Bound and cyborg that is freaky abound in their work, nevertheless “Taboo” goes further into complexity because it merges intimate kinds of both sexes by depicting a gleaming remote black colored woman’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 now been coerced to be able to outstrip the dichotomy between technology while the human anatomy.