October 27, 2020 @ 5:23 pm - posted by Aleksey

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 fashionable 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 plucky erotic dreams and intimate innuendos, Fernandez’s leitmotif, usually supersedes respectful significance that is social 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 right western male position is not any longer unquestioned in art. Gender is socially ( perhaps perhaps maybe not naturally) constructed and, when thought to be a fluid concept in art, defies effortless recognition. Needless to state, there is nothing less specific in art than sex, and although 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 will be something deeply feckless, or even alienating that is downright about reducing the human anatomy to its remote intercourse components. Not too in Paradoxe de la Jouissance (“Paradox of Pleasure”), the chutzpah stuffed exhibition of Fernandez’s controversial late work insightfully curated by Jeanette Zwingenberger during 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 semi that is obsessively erotic paintings of constrained human body components match 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. Used by the latter day Surrealists, Fernandez revealed with Francis Picabia at Galerie Fürstenberg in 1965 sufficient reason for Yves Tanguy, Salvador Dalí, Hans Bellmer, and Pierre Roy at Galerie André François Petit in 1966. Fernandez’s surreal, elliptical, and erotic bent is maybe many demonstrably illustrated in the present illinois runetki show by his coolly sadistic painting “Untitled” (1998), which illustrates a severed, splayed, and distorted purplish bird headed body lacking volitional control while undergoing coitus. Beyond constrained, psychosomatic, surreal dream imagery and an over-all slippery device ambiance, it recommends if you ask me a specific exaggerated erotic desire that values the vulnerability of abused human flesh held in bondage for some imagined non intimate post biological truth. 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 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 connected with sexual imagery by painting in a gritty, dark, and greasy metallic palette that distances his work through the tropical chromaticism usually connected with 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 right here have a constrained, quasi ritualistic rigor about them that shows 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 inside the work, nonetheless “Taboo” goes further into complexity since it merges intimate kinds of both sexes by depicting a gleaming remote black colored woman’s breast aided by the indentation inside her nipple created to resemble the opening in a penis. Once again, in other extremely idiosyncratic hybrid paintings, female parts of the body seem to have now been coerced to be able to outstrip the dichotomy between technology in addition to human anatomy.

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