The belated Cuban musician Agustin Fernandez developed a gloomy, gritty human anatomy 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 right right here from 1959 to 1968 and passed away in New York City in 2006. The effectiveness of plucky erotic fantasies and intimate innuendos, Fernandez s leitmotif, often supersedes respectful social significance, so one aspect of Fernandez s inventive art is forever likely to be libertine, even though tempered by our comprehending that the dominance associated with right western male position is not any longer unquestioned in art. Gender is socially ( maybe not naturally) constructed and, whenever thought to be a fluid concept in art, defies recognition that is easy. Of course, there is nothing less specific in art than sex, and even though 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, a lot of women feel there will be something profoundly feckless, or even downright alienating, about decreasing the human anatomy to its remote sex components. 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 in the town hallway of Paris s 4th arrondissement. Lees meer