Whether or not the types recommend straightforwardly constrained sex that is single or androgynous, blended areas of the body, every thing in Paradox of Pleasure talks in my opinion of this radical human anatomy politics of cyberpunk energy, intercourse, and physical physical physical violence.
That churning anima of desire places it along with H.R. GigerвЂ™s famous 1973 artwork Penis Landscape (aka вЂњWork 219: Landscape XXвЂќ). But unlike GigerвЂ™s alien visual, FernandezвЂ™s accomplishment is really a reinvention of romanticism, where in fact the performative and also the seem that is ingenious connected. Much more to the level, FernandezвЂ™s paintings that are foreboding in the sliced body aesthetics popular with Robert Gober and Paul Thek, specially ThekвЂ™s technical Reliquaries show, which include Meat Piece with Warhol Brillo BoxвЂќ (1965). Like these performers, Fernandez appears to take pleasure in an inventiveness that may be morally negligent, gnarly, brooding, sad, eccentric, and emotionally moving in a means that is maddeningly difficult to explain without mentioning brutality that is cold. It is really not for absolutely nothing that certain of their paintings, вЂњDГ©veloppement dвЂ™un dГ©lireвЂќ (growth of a delusion,вЂќ 1961) that is perhaps perhaps not in this show had been showcased within the 1980 Brian de Palma film Dressed to Kill (a film beloved by particular performers 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 korean sextpanther,вЂќ 1960), drawing written down, 175 x 122 cm (courtesy and Agustin Fernandez Foundation; picture by Farzad Owrang)
Aesthetically, FernandezвЂ™s paintings of armored, pansexual closeness develop 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. Nonetheless, this might be something which FernandezвЂ™s drawings, like вЂњLe Roi et la ReineвЂќ (вЂњThe King additionally the Queen,вЂќ1960) which calls to mind 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) find a way to avoid.
However in both mediums, along with their collages (like the startling вЂњMalcom XвЂќ from 1982), you can find complicated identifications going on that blur organic with inorganic kinds.
Duchamp first made mention of the machine cГ©libataire (bachelor 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 mental devices that really work away in the imaginary, deconstructing the Hegelian tradition of intimate distinction founded as being 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, is an indirect outgrowth associated with the 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 a more modern, tautly eroticized and flesh that is virtualized banking institutions on a hyper sexed, electronic corporeality this is certainly synthetic, bionic, and prosthetic fundamentally an updated expansion for the re territorialization of body, identification, and appearance depicted early when you look at 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 their most alluring compositions, Fernandez imagines the effective castration regarding the privileged male musician in relationship to your manipulated body that is female. 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)