The Erotically Charged Technophilia of Cyberpunk Paintings electronic corporeality

The late 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 artist Agustin Fernandez, whom resided right right here from 1959 to 1968 and died in new york in 2006. The effectiveness of plucky erotic dreams 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 the right western male position is not any longer unquestioned in art. Gender is socially ( perhaps maybe not naturally) constructed and, when 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 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 decreasing the body to its remote intercourse parts. 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 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 anatomy 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 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 erotic bent is maybe most plainly 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. 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 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 Here, and regularly somewhere else through the diagrammatic, fetishized stage covered when you look at 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 native 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; photo by Daniel Pype)

Other more minimal paintings showcased right right here have constrained, quasi ritualistic rigor about them that shows isolated, zoomed in glimpses of intimate bondage and humiliation, just like the exquisitely medieval searching “Taboo” (2004). Bound and freaky cyborg parts abound inside the work, nonetheless “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 created to resemble the opening in a penis. Once again, in other extremely idiosyncratic hybrid paintings, feminine areas of the body may actually are coerced to be able to outstrip the dichotomy between technology together with human body. A few of the hottest, weirdest, relentlessly provocative, & most accomplished paintings just like the vivid, shimmering, and seemingly gelatinous “Untitled” (1997) while the brute “Untitled” (circa 2003), where a farcical woman bird dominatrix appears to be as much as one thing ominous seem to are suffering from from the device like repetitions present in the 1989 drawing “Untitled” (1989). The impression is given by these works to be impacted by the ancient, many breasted Ephesian Artemis fertility goddess.