PARIS A visceral, hyper sensibility that is sexualized through the extravagantly fashionable oeuvre of Cuban artist Agustin Fernandez, whom resided right here from 1959 to 1968 and passed away in nyc in 2006. The effectiveness of plucky erotic dreams and intimate innuendos, Fernandez s leitmotif, often supersedes respectful significance that is social so one aspect of Fernandez s inventive art is forever likely to be libertine, even though tempered by our knowing that the dominance regarding the straight western male position is not any longer unquestioned in art. Gender is socially ( not naturally) constructed and, whenever thought to be a fluid concept in art, defies simple recognition. Needless to express, there is nothing less particular in art than sex, and although irreverent works like Yoko Ono s cheeky movie вЂњFourвЂќ (1966), Valie Export s вЂњAction Pants: Genital PanicвЂќ (1969), Kembra Pfahler s вЂњWall of Vagina (2011), and Betty Tompkins s Fuck Paintings may recommend otherwise, lots of women feel there will be something profoundly feckless, or even downright alienating, about reducing the human anatomy to its remote intercourse components. Not in Paradoxe de la Jouissance ( Paradox of Pleasure ), the chutzpah stuffed exhibition of Fernandez s controversial belated work insightfully curated by Jeanette Zwingenberger at the town hallway of Paris s 4th arrondissement.
Art historically, Fernandez s somewhat 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 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 FuМ€rstenberg in 1965 sufficient reason for Yves Tanguy, Salvador DalГ, Hans Bellmer, and Pierre Roy at Galerie AndrГ© FranГ§ois Petit in 1966. Fernandez s surreal, elliptical, and erotic bent is maybe most demonstrably illustrated in today’s show by his coolly sadistic painting вЂњUntitledвЂќ (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 an over-all slippery device ambiance, it implies in my experience a particular 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 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 Here, and regularly somewhere else through the diagrammatic, fetishized period covered into 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 usually related to their indigenous Cuba.
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 medievalвЂњ that is looking (2004). Bound and cyborg that is freaky abound inside the work, nevertheless вЂњTabooвЂќ goes further into complexity since it merges intimate kinds of both sexes by depicting a gleaming remote black colored girl s breast because of the indentation in her nipple created to resemble the opening in a penis. Once again, in other extremely idiosyncratic hybrid paintings, feminine parts of the body may actually happen coerced in order to outstrip the dichotomy between technology therefore the human body. A few of the hottest, weirdest, relentlessly provocative, and most accomplished paintings such as the vivid, shimmering, and apparently gelatinous вЂњUntitledвЂќ (1997) while the brute вЂњUntitledвЂќ (circa 2003), where a farcical girl bird dominatrix is apparently as much as something ominous seem to are suffering from out from the machine like repetitions observed in the 1989 drawing вЂњUntitledвЂќ (1989). The impression is given by these works to be impacted by the ancient, many breasted Ephesian Artemis fertility goddess.