A few of the hottest, weirdest, relentlessly provocative, & most accomplished paintings such as the vivid, shimmering, and apparently gelatinous вЂњUntitledвЂќ (1997) as well as the brute вЂњUntitledвЂќ (circa 2003), where a farcical girl bird dominatrix appears to be as much as one thing ominous may actually are suffering from from the device like repetitions present in the 1989 drawing вЂњUntitledвЂќ (1989). The impression is given by these works of being affected by the ancient, many breasted Ephesian Artemis fertility goddess.
Whether or not the types suggest straightforwardly constrained solitary intercourse kinds or androgynous, blended parts of the body, every thing in Paradox of Pleasure talks in my experience associated with radical human body politics of cyberpunk energy, sex, and physical violence.
That churning anima of desire places it together with H.R. GigerвЂ™s famous 1973 artwork вЂњPenis LandscapeвЂќ (aka вЂњWork 219: Landscape XXвЂќ). But unlike GigerвЂ™s alien visual, FernandezвЂ™s accomplishment is really a reinvention of romanticism, where in actuality the performative as well as the innovative seem curiously connected. A lot more to the level, FernandezвЂ™s foreboding paintings share within the sliced body looks popular with Robert Gober and Paul Thek, especially ThekвЂ™s technical Reliquaries show, including Piece that isвЂњMeat with Brillo BoxвЂќ (1965). Such as these performers, Fernandez appears to take pleasure in an inventiveness that may be morally negligent, gnarly, brooding, unfortunate, eccentric, and emotionally going in a manner that is maddeningly difficult to explain without mentioning cold brutality. It’s not for absolutely absolutely absolutely nothing that certain of their paintings, вЂњDГ©veloppement dвЂ™un dГ©lireвЂќ (вЂњDevelopment of the delusion,вЂќ 1961) which will be maybe maybe perhaps not in this show had been showcased within the 1980 Brian de Palma film Dressed to destroy (a film beloved by particular music artists because of its Metropolitan Museum of Art scene, lushly scored by Pino Donaggio).
Agustin Fernandez, вЂњUntitledвЂќ (1997), oil on canvas, 103 x 132 cm (courtesy and Agustin Fernandez Foundation; picture by Daniel Pype) Agustin Fernandez, вЂњLe Roi et la ReineвЂќ (вЂњThe King therefore the Queen,вЂќ 1960), drawing in some recoverable format, 175 x 122 cm (courtesy and Agustin Fernandez Foundation; picture by Farzad Owrang)
Aesthetically, FernandezвЂ™s paintings of armored, pansexual closeness create a vivid psycho geography that may be a little lumbering in quite similar method as Wifredo LamвЂ™s, Roberto MattaвЂ™s, and AndrГ© MassonвЂ™s mystical paintings. Nonetheless, this can be something which FernandezвЂ™s drawings, like вЂњLe Roi et la ReineвЂќ (вЂњThe King and also the Queen,вЂќ1960) which calls in your thoughts Marcel DuchampвЂ™s famous artwork вЂњLe Roi et la Reine entourГ©s de Nus vitesвЂќ (вЂњThe King and Queen enclosed by Swift Nudes,вЂќ 1912) are able to avoid. However in both mediums, along with their collages (like theвЂњMalcom that is startling X 1982), you will find complicated identifications going on that blur organic with inorganic kinds.
Duchamp first made mention of the equipment cГ©libataire (bachelor machine) device in a 1913 note written in planning for his piece вЂњLa mariГ©e mise Г nu par ses cГ©libataires, mГЄmeвЂќ (вЂњThe Bride Stripped Bare by Her Bachelors, Even,вЂќ 1915вЂ“23), which accentuates psychological devices that really work away from the imaginary, deconstructing the Hegelian tradition of intimate distinction founded as a dialectical and natural opposition of masculine and feminine. FernandezвЂ™s enigmatic intercourse device bondage, which probes the shameless vagaries of individual desire with Duchampian panache, can be an indirect outgrowth for the arriГЁre garde, male dominant French Surrealist preferences demonstrated into the 1959 Eros event arranged by AndrГ© Breton and Duchamp in Paris. But inaddition it shows a far more modern, tautly eroticized and virtualized flesh that banking institutions on a hyper sexed, electronic corporeality this is certainly synthetic, bionic, and prosthetic fundamentally an updated expansion associated with re territorialization of body, identification, and appearance depicted early into the feverish cyborg looks of Oskar Schlemmer and Fernand LГ©ger.
As perversely droll and symptomatic I could not help but also view the nasty permissiveness of Paradox of Pleasure in the bright light of artistic misogyny that shines from Kate MillettвЂ™s seminal 1970 study Sexual Politics through to todayвЂ™s TimesUp movement as it is to experience the rhapsody of FernandezвЂ™s loveless and lopsided sadomasochistic cybernetic pleasures playing within the male mystique. In the many alluring compositions, Fernandez imagines the effective castration of this privileged male musician in relationship into the manipulated feminine body. Therein lies the paradox that is pleasurable. Agustin Fernandez, вЂњUntitledвЂќ (1976), drawing written down, 74 x 56 cm (courtesy and Agustin Fernandez Foundation; photo by Farzad Owrang) Agustin Fernandez, вЂњMalcom rabbitscams. com XвЂќ (1982), collage, 91.7 cm x 64.5 cm (courtesy and Agustin Fernandez Foundation; picture by Daniel Pype)