Whether or not the types recommend straightforwardly constrained sex that is single or androgynous, blended body parts, every thing in Paradox of enjoyment talks in my opinion for the radical human anatomy politics of cyberpunk energy, intercourse, and physical violence.
That churning anima of desire places it together with H.R. GigerвЂ™s famous 1973 artwork Penis Landscape (aka вЂњWork 219: Landscape XXвЂќ). But unlike GigerвЂ™s alien visual, FernandezвЂ™s success is just a reinvention of romanticism, where in fact the performative additionally the innovative look curiously connected. Much more to the stage, FernandezвЂ™s paintings that are foreboding in the chopped body looks popular with Robert Gober and Paul Thek, specially ThekвЂ™s technical Reliquaries show, which include Meat Piece with Warhol Brillo BoxвЂќ (1965). Such as these designers, Fernandez appears to take pleasure in an inventiveness which can be morally negligent, gnarly, brooding, unfortunate, eccentric, and emotionally going in a means that is maddeningly difficult to explain without mentioning cool brutality. It isn’t for absolutely nothing this one of his paintings, вЂњDГ©veloppement dвЂ™un dГ©lireвЂќ (growth of a delusion,вЂќ 1961) that will be perhaps maybe not in this show ended up being showcased into the 1980 Brian de Palma film Dressed to destroy (a film beloved by particular designers for the 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 in addition to 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 intimacy develop a vivid psycho geography which can be a bit lumbering in very similar method as Wifredo LamвЂ™s, Roberto MattaвЂ™s, and AndrГ© MassonвЂ™s mystical paintings. Nevertheless, that is a thing that FernandezвЂ™s drawings, like вЂњLe Roi et la ReineвЂќ (вЂњThe King and also the Queen,вЂќ1960) which calls in your thoughts Marcel DuchampвЂ™s painting that is famous Roi et la Reine entourГ©s de Nus vitesвЂќ (вЂњThe King and Queen in the middle of Swift Nudes,вЂќ 1912) find a way 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 types.
Duchamp first made mention of the device 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, also,вЂќ 1915вЂ“23), which accentuates psychological devices that work away from the imaginary, deconstructing the Hegelian tradition of intimate huge difference founded as a dialectical and natural opposition of masculine and feminine. FernandezвЂ™s enigmatic intercourse device bondage, which probes the shameless vagaries of human desire with Duchampian panache, can be an indirect outgrowth of this arriГЁre garde, male dominant French Surrealist preferences demonstrated when you look at the 1959 Eros event arranged by AndrГ© Breton and Duchamp in Paris. But inaddition it shows an even more modern, tautly eroticized and flesh that is virtualized banking institutions on a hyper sexed, electronic corporeality that is synthetic, bionic, and prosthetic essentially an updated expansion of this re territorialization of body, identification, m.sextpanther 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 regarding the privileged male musician in relationship into the manipulated body that is female. Therein lies the enjoyable paradox. 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)