The Erotically Charged Technophilia of Cyberpunk Paintings corporeality that is electronic

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

PARIS A free sex cam 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 nyc in 2006. The effectiveness of plucky erotic dreams and intimate innuendos, Fernandez s leitmotif, often supersedes respectful social significance, so one part of Fernandez s inventive art is forever likely to be libertine, even if tempered by our comprehending that the dominance associated with right western male position isn’t any longer unquestioned in art. Gender is socially ( perhaps maybe not naturally) constructed and, whenever named a fluid concept in art, defies simple recognition. Needless to express, there is nothing less certain in art than sex, and even though 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, 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 too 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 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 somewhat sadomasochistic and semi that is obsessively erotic paintings of constrained human body parts 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 day that is latter, Fernandez revealed 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 maybe many obviously 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. Beyond constrained, psychosomatic, surreal fantasy imagery and a broad slippery machine ambiance, it shows for me a specific exaggerated erotic desire that values the vulnerability of abused individual flesh held in bondage for some imagined non romantic post biological truth. A piquant wind blows through you while you ponder the poking unit straight linking the humanoid sexual 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 right right Here, and regularly somewhere else throughout the diagrammatic, fetishized period covered within the exhibition, 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 frequently connected with his indigenous Cuba.

Agustin Fernandez, “Taboo” (2004), oil on canvas, 180 x 180 cm (courtesy and Agustin Fernandez Foundation; photo by Daniel Pype) Agustin Fernandez, “Untitled” (circa 2003), oil on canvas, 152 x 228 cm ( © and courtesy 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 searching “Taboo” (2004). Bound and cyborg that is freaky abound in the work, nevertheless “Taboo” goes further into complexity because it merges intimate types of both sexes by depicting a gleaming remote black girl 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 may actually have already been coerced in order to outstrip the dichotomy between technology plus the human body. A number of the hottest, weirdest, relentlessly provocative, & most accomplished paintings such as the vivid, shimmering, and that is seemingly gelatinous” (1997) as well as the brute “Untitled” (circa 2003), the place where a farcical girl bird dominatrix appears to be as much as something ominous seem to allow us from the machine like repetitions noticed in the 1989 drawing “Untitled” (1989). The impression is given by these works to be affected by the ancient, many breasted Ephesian Artemis fertility goddess.