The Erotically Charged Technophilia of Cyberpunk Paintings electronic corporeality

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 “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 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.

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 anatomy components squeeze into the context of mannerist (or decadent) late Surrealism, which delighted in degradation by interpreting it as a work of alchemical transmutation delivering transgressive freedom from puritanical imposition. Used by the second time Surrealists, Fernandez revealed with Francis Picabia at Galerie FuМ€rstenberg in 1965 along 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 possibly most obviously illustrated in today’s show by his coolly sadistic painting “Untitled” (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 a broad slippery device ambiance, it shows 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 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 right right Here, and consistently somewhere else throughout the diagrammatic, fetishized stage covered into the event, 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 usually connected with 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)

Other more minimal paintings showcased here have a 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 cyborg that is freaky abound inside the work, nevertheless “Taboo” goes further into complexity since it merges intimate types of both sexes by depicting a gleaming remote black colored girl s breast because of the indentation inside her nipple formed to resemble the opening in a penis. Once more, in other very idiosyncratic hybrid paintings, feminine areas of the body may actually are coerced to be able to outstrip the dichotomy between technology while the human body. A number of the hottest, weirdest, relentlessly provocative, & most accomplished paintings just like the vivid, shimmering, and seemingly gelatinous “Untitled” (1997) as well as the brute “Untitled” (circa 2003), where a farcical girl bird dominatrix is apparently as much as one thing ominous seem to allow us out from the device like repetitions present in the 1989 drawing “Untitled” (1989). These works supply the impression to be impacted by the ancient, many breasted Ephesian Artemis fertility goddess.