The Erotically Charged Technophilia of Cyberpunk Paintings corporeality that is electronic

The Erotically Charged Technophilia of Cyberpunk Paintings corporeality that is electronic

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 sensibility that is sexualized 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 intimate innuendos, Fernandez s leitmotif, often supersedes respectful significance that is thereforecial so one part of Fernandez s inventive art is forever likely to be libertine, even though tempered by our knowing that the dominance regarding the right western male position is not any longer unquestioned in art. Gender is socially ( maybe not naturally) constructed and, whenever seen as a fluid concept in art, defies simple 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, lots of women feel there will be something profoundly feckless, or even downright alienating, about reducing the body to its remote intercourse components. Not too in Paradoxe de la Jouissance ( Paradox of enjoyment ), the chutzpah stuffed exhibition of Fernandez s controversial belated work insightfully curated by Jeanette Zwingenberger in 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 components squeeze into the context of mannerist (or decadent) belated Surrealism, which delighted in degradation by interpreting it as 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 bent that is erotic maybe many plainly 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. 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 unit straight connecting the humanoid intimate system s electronic signals for some pitiless bio controller probe, foregrounding the frailty of individual flesh when pierced by the somber impregnability of technology. Right sextpanther usa Here, and regularly elsewhere 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.

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 ( © and courtesy Agustin Fernandez Foundation; picture by Daniel Pype)

Other more minimal paintings showcased right right right here have constrained, quasi ritualistic rigor about them that shows separated, zoomed in glimpses of sexual bondage and humiliation, such as the exquisitely medieval“ that is looking (2004). Bound and freaky cyborg parts abound in his work, nevertheless “Taboo” 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 inside her nipple created to resemble the opening in a penis. Once again, in other very idiosyncratic hybrid paintings, feminine parts of the body may actually have now been coerced to be able to outstrip the dichotomy between technology and also 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), in which a farcical girl bird dominatrix is apparently as much as one thing ominous may actually allow us out from the device like repetitions observed 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.

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