As perversely droll and symptomatic as it’s to have the rhapsody of Fernandez s loveless

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 speaks in my opinion of this radical human body politics of cyberpunk energy, intercourse, and physical physical violence.

That churning anima of desire places it along with H.R. Giger’s famous 1973 artwork Penis Landscape (aka “Work 219: Landscape XX”). But unlike Giger’s alien visual, Fernandez’s success is just a reinvention of romanticism, where in actuality the performative therefore the seem that is ingenious connected. Much more to the stage, Fernandez’s foreboding paintings share in the sliced body aesthetics well-liked by Robert Gober and Paul Thek, specially Thek’s technical Reliquaries show, which include Meat Piece with Warhol Brillo Box” (1965). Such as these music artists, Fernandez appears to take comfort in an inventiveness which can be morally negligent, gnarly, brooding, sad, eccentric, and emotionally going in a fashion that is maddeningly difficult to explain without mentioning brutality that is cold. It isn’t for absolutely nothing any particular one of their paintings, “DГ©veloppement d’un dГ©lire” (growth of a delusion,” 1961) that will be maybe perhaps not in this show had been showcased when you look at the 1980 Brian de Palma film Dressed to destroy (a film beloved by certain designers for the Metropolitan Museum of Art scene, lushly scored by Pino Donaggio).

Agustin Fernandez, “Untitled” (1997), oil on canvas, 103 x 132 cm (courtesy and Agustin Fernandez Foundation; picture by Daniel Pype) Agustin Fernandez, “Le Roi et la Reine” (“The King as well as the Queen,” 1960), drawing written down, 175 x 122 cm (courtesy and Agustin Fernandez Foundation; picture by Farzad Owrang)

Aesthetically, Fernandez’s paintings of armored, pansexual closeness create a vivid psycho geography which can be a little lumbering in very similar method as Wifredo Lam’s, Roberto Matta’s, and André Masson’s mysterious paintings. But, this is certainly something which Fernandez’s drawings, like “Le Roi et la Reine” (“The King in addition to Queen,”1960) which calls in your thoughts Marcel Duchamp’s painting that is famous Roi et la Reine entourés de Nus vites” (“The King and Queen Surrounded by Swift Nudes,” 1912) find a way to avoid.

However in both mediums, along with their collages (like the startling “Malcom X” from 1982), you can find complicated identifications going on that blur organic with inorganic kinds.

Duchamp first made mention of the device célibataire (bachelor machine) device in a 1913 note written in planning for his piece “La mariée mise à nu par ses célibataires, même” (“The Bride Stripped Bare by Her Bachelors, also,” 1915–23), which accentuates psychological devices that work away regarding the imaginary, deconstructing the Hegelian tradition of intimate distinction founded as a dialectical and natural opposition of masculine and feminine. Fernandez’s enigmatic intercourse device bondage, which probes the shameless vagaries of individual desire with Duchampian panache, is definitely an indirect outgrowth associated with arrière garde, male dominant French Surrealist preferences demonstrated into the 1959 Eros event arranged by André Breton and Duchamp in Paris. But inaddition it recommends an even more modern, tautly eroticized and flesh that is virtualized banking institutions on a hyper sexed, electronic corporeality this is certainly synthetic, bionic, and prosthetic essentially an updated expansion for the re territorialization of body, identification, and appearance depicted early within the feverish cyborg looks of Oskar Schlemmer and Fernand Léger.

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 Millett’s seminal 1970 study Sexual Politics through to today’s #TimesUp movement as it is to experience the rhapsody of Fernandez’s loveless and lopsided sadomasochistic cybernetic pleasures playing within the male mystique. Inside the many alluring compositions, Fernandez imagines the effective castration of this privileged male musician in relationship into the manipulated body that is female. Therein lies the paradox that is pleasurable. Agustin Fernandez, “Untitled” (1976), drawing written down, 74 x 56 cm (courtesy and Agustin Fernandez Foundation; picture by Farzad Owrang) Agustin Fernandez, “Malcom X” (1982), collage, 91.7 cm x 64.5 cm (courtesy and Agustin Fernandez Foundation; photo by Daniel Pype)