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

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The belated Cuban musician Agustin Fernandez created a gloomy, gritty human body of works that imagine a hyper sexed, electronic corporeality.

PARIS A visceral, hyper sexualized sensibility operates through the extravagantly fashionable oeuvre of Cuban musician Agustin Fernandez, whom resided here from 1959 to 1968 and passed away in nyc in 2006. The power of plucky erotic fantasies and intimate innuendos, Fernandez’s leitmotif, frequently supersedes respectful significance that is thereforecial so one part of Fernandez’s inventive art is forever likely to be libertine, even if tempered by our comprehending that the dominance of this right western male position isn’t any longer unquestioned in art. Gender is socially ( maybe not naturally) constructed and, whenever seen as a fluid concept in art, defies easy recognition. Needless to state, there is nothing less certain 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, a lot of women feel there will be something deeply feckless, or even downright alienating, about decreasing 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 late work insightfully curated by Jeanette Zwingenberger during the town hallway of Paris’s fourth arrondissement.

Agustin Fernandez, “Untitled” (1998), oil on canvas, 94 x 144 cm (courtesy and Agustin Fernandez Foundation; photo by Daniel Pype)

Art historically, Fernandez’s slightly sadomasochistic and semi that is obsessively erotic paintings of constrained human body 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 in accordance with Yves Tanguy, Salvador DalГ­, Hans Bellmer, and Pierre Roy at Galerie AndrГ© FranГ§ois Petit in 1966. Fernandez’s surreal, elliptical, and bent that is erotic maybe many demonstrably illustrated in today’s 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. Beyond constrained, psychosomatic, surreal fantasy imagery and a broad slippery device ambiance, it recommends if you ask me a specific exaggerated erotic desire that values the vulnerability of abused individual flesh held in bondage for some imagined non intimate post biological truth. A piquant wind blows through you while you ponder the poking unit straight connecting the humanoid intimate system’s electronic signals for some pitiless bio controller probe, foregrounding the frailty of peoples flesh when pierced by the somber impregnability of technology. right Here, and regularly elsewhere throughout the diagrammatic, fetishized period covered when you look at the exhibition, 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 frequently related to 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)

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Other more minimal paintings showcased 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 medieval searching “Taboo” (2004). Bound and freaky cyborg parts abound in the work, nonetheless “Taboo” goes further into complexity since it merges intimate types 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 extremely idiosyncratic hybrid paintings, feminine areas of the body seem to have now been coerced to be able to outstrip the dichotomy between technology and also the human body.