The Erotically Charged Technophilia of Cyberpunk Paintings electronic corporeality

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 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 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 knowing that the dominance associated with the right western male position isn’t any longer unquestioned in art. Gender is socially ( perhaps maybe not naturally) constructed and, whenever thought to be a fluid concept in art, defies simple recognition. Needless to state, 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 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 sextpanther cams 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; photo 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 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 possibly 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 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 through you while you ponder the poking device straight linking the humanoid intimate system s electronic signals for some pitiless bio controller probe, foregrounding the frailty of human being flesh when pierced by the somber impregnability of technology. Here, and regularly somewhere else throughout the diagrammatic, fetishized stage 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 intimate bondage and humiliation, just like the exquisitely medieval searching “Taboo” (2004). Bound and cyborg that is freaky abound in their work, nevertheless “Taboo” goes further into complexity since it merges intimate types of both sexes by depicting a gleaming isolated black colored girl s breast with all the indentation inside her nipple created to resemble the opening in a penis. Once more, in other extremely idiosyncratic hybrid paintings, female areas of the body seem to have now been coerced to be able to outstrip the dichotomy between technology therefore the human anatomy. A number of the hottest, weirdest, relentlessly provocative, & most accomplished paintings just like the vivid, shimmering, and apparently 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 may actually allow us from the device like repetitions present in the 1989 drawing “Untitled” (1989). These works provide the impression to be impacted by the ancient, many breasted Ephesian Artemis fertility goddess.