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 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 sexual innuendos, Fernandez s leitmotif, often supersedes respectful social significance, so one aspect of Fernandez s inventive art is forever likely to be libertine, even if tempered by our comprehending that the dominance regarding the right western male position isn’t any longer unquestioned in art. Gender is socially ( maybe perhaps not naturally) constructed and, whenever named a fluid concept in art, defies effortless recognition. Of course, there is nothing less specific 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 human anatomy to its remote intercourse parts. Not very in Paradoxe de la Jouissance ( Paradox of Pleasure ), the chutzpah stuffed exhibition of Fernandez s controversial belated work insightfully curated by Jeanette Zwingenberger during the town hall 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 match the context of mannerist (or decadent) late Surrealism, which delighted in degradation by interpreting it being a work of alchemical transmutation delivering transgressive freedom from puritanical imposition. Used because of the second time Surrealists, Fernandez revealed with Francis Picabia at Galerie Fürstenberg http://www.camsloveaholics.com/sextpanther-review/ 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 maybe 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 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 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 individual flesh whenever pierced by the somber impregnability of technology. Right right right Here, and consistently 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 from the tropical chromaticism usually connected with 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; picture by Daniel Pype)

Other more minimal paintings showcased right right here have constrained, quasi ritualistic rigor about them that recommends isolated, zoomed in glimpses of intimate bondage and humiliation, such as the exquisitely medieval searching “Taboo” (2004). Bound and cyborg that is freaky abound inside the work, nevertheless “Taboo” goes further into complexity because it merges intimate kinds of both sexes by depicting a gleaming isolated black colored girl s breast aided by the indentation inside her nipple created to resemble the opening in a penis. Once again, in other very idiosyncratic hybrid paintings, female parts of the body may actually were coerced in order to outstrip the dichotomy between technology additionally the human body. A few of the hottest, weirdest, relentlessly provocative, & most accomplished paintings such as the vivid, shimmering, and apparently gelatinous “Untitled” (1997) and also the brute “Untitled” (circa 2003), where a farcical girl bird dominatrix appears to be as much as one thing ominous seem to are suffering from out from the device like repetitions present in the 1989 drawing “Untitled” (1989). The impression is given by these works of being impacted by the ancient, many breasted Ephesian Artemis fertility goddess.