A number of the hottest, weirdest, relentlessly provocative, and a lot of accomplished paintings like the vivid, shimmering, and that is seemingly gelatinousвЂќ (1997) and also the brute вЂњUntitledвЂќ (circa 2003), where a farcical girl bird dominatrix is apparently as much as something ominous may actually are suffering from from the device like repetitions observed in the 1989 drawing вЂњUntitledвЂќ (1989). These works provide the impression to be affected by the ancient, many breasted Ephesian Artemis fertility goddess.
Whether or not the types suggest straightforwardly constrained single sex types or androgynous, blended areas of the body, everything in Paradox of Pleasure talks in my experience of this radical human anatomy politics of cyberpunk energy, sex, and physical physical violence.
That churning anima of desire places it along with H.R. GigerвЂ™s famous 1973 painting вЂњPenis LandscapeвЂќ (aka вЂњWork 219: Landscape XXвЂќ). But unlike GigerвЂ™s alien visual, FernandezвЂ™s success is just a reinvention of romanticism, where in actuality the performative in addition to seem that is ingenious connected. A lot more to the level, FernandezвЂ™s foreboding paintings share within the sliced body looks popular with Robert Gober and Paul Thek, specially ThekвЂ™s technical Reliquaries show, which include Piece that isвЂњMeat with Brillo BoxвЂќ (1965). Such as these musicians, Fernandez appears to take comfort in an inventiveness which can be morally negligent, gnarly, brooding, unfortunate, eccentric, and emotionally going in an easy method that is maddeningly difficult to explain without mentioning cool brutality. It isn’t for absolutely absolutely nothing this 1 of their paintings, вЂњDГ©veloppement dвЂ™un dГ©lireвЂќ (вЂњDevelopment of the delusion,вЂќ 1961) that will be maybe maybe maybe not in this show had been showcased within the 1980 Brian de Palma film Dressed to destroy (a film beloved by particular performers 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 additionally the Queen,вЂќ 1960), drawing in writing, 175 x 122 cm (courtesy and Agustin Fernandez Foundation; picture by Farzad Owrang)
Aesthetically, FernandezвЂ™s paintings of armored, pansexual closeness produce a vivid psycho geography which can be a little lumbering in very similar means as Wifredo LamвЂ™s, Roberto MattaвЂ™s, and AndrГ© MassonвЂ™s mystical paintings. But, it is a thing that FernandezвЂ™s drawings, like вЂњLe Roi et la ReineвЂќ (вЂњThe King plus 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 Surrounded by Swift Nudes,вЂќ 1912) find a way to avoid. However in both mediums, in addition to in 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 rabbitscams.com machine) device in a 1913 note printed in planning for his piece вЂњLa mariГ©e mise Г nu par ses cГ©libataires, mГЄmeвЂќ (вЂњThe Bride Stripped Bare by Her Bachelors, also,вЂќ 1915вЂ“23), which accentuates psychological devices that really work away regarding the imaginary, deconstructing the Hegelian tradition of intimate huge difference founded as a dialectical and natural opposition of masculine and feminine. FernandezвЂ™s sex that is enigmatic bondage, which probes the shameless vagaries of individual desire with Duchampian panache, is definitely an indirect outgrowth associated with arriГЁre garde, male dominant French Surrealist tastes demonstrated into the 1959 Eros event arranged by AndrГ© Breton and Duchamp in Paris. But it also shows an even more contemporary, tautly eroticized and virtualized flesh that banking institutions for a hyper sexed, electronic corporeality this is certainly synthetic, bionic, and prosthetic essentially an updated expansion of this re territorialization of body, identification, and appearance depicted early when you look at the feverish cyborg aesthetics of Oskar Schlemmer and Fernand LГ©ger.
As perversely droll and symptomatic since it is to have the rhapsody of FernandezвЂ™s loveless and lopsided sadomasochistic cybernetic pleasures playing in the male mystique, i really could perhaps not assist but additionally see the nasty permissiveness of Paradox of Pleasure in the bright light of creative misogyny that shines from Kate MillettвЂ™s seminal 1970 study Sexual Politics right through to todayвЂ™s TimesUp movement. Inside the many alluring compositions, Fernandez imagines the effective castration associated with privileged male musician in relationship to your manipulated feminine body. Therein lies the paradox that is pleasurable. Agustin Fernandez, вЂњUntitledвЂќ (1976), drawing in writing, 74 x 56 cm (courtesy and Agustin Fernandez Foundation; picture by Farzad Owrang) Agustin Fernandez, вЂњMalcom XвЂќ (1982), collage, 91.7 cm x 64.5 cm (courtesy and Agustin Fernandez Foundation; picture by Daniel Pype)