Whether or not the types recommend straightforwardly constrained solitary intercourse kinds or androgynous, blended parts of the body, every thing in Paradox of Pleasure talks if you ask me 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 aesthetic, Fernandez’s success is just a reinvention of romanticism, in which the performative therefore the ingenious look curiously connected. A lot more to the stage, Fernandez’s foreboding paintings share in the chopped body looks popular with Robert Gober and Paul Thek, especially Thek’s technical Reliquaries show, which include Meat Piece with Warhol Brillo Box” (1965). Like these music artists, Fernandez generally seems to take pleasure in an inventiveness which can be morally negligent, gnarly, brooding, unfortunate, eccentric, and emotionally going in a fashion that is maddeningly difficult to explain without mentioning brutality that is cold. It isn’t for nothing any particular one of his paintings, “DГ©veloppement d’un dГ©lire” (growth of a delusion,” 1961) that will be maybe maybe not in this show ended up being showcased within the 1980 Brian de Palma film Dressed to destroy (a movie beloved by particular performers 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 in addition to Queen,” 1960), drawing in writing, 175 x 122 cm (courtesy and Agustin Fernandez Foundation; picture by Farzad Owrang)

Aesthetically, Fernandez’s paintings of armored, pansexual closeness develop a vivid psycho geography which can be a bit lumbering in quite similar means as Wifredo Lam’s, Roberto Matta’s, and André Masson’s mystical 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 in the middle of Swift Nudes,” 1912) find a way to avoid.

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

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 really work away in the imaginary, deconstructing the Hegelian tradition of intimate huge difference founded as being a dialectical and natural opposition of masculine and feminine. Fernandez’s enigmatic sex device bondage, which probes the shameless vagaries of individual desire with Duchampian panache, is definitely an indirect outgrowth of this arrière garde, male dominant French Surrealist tastes demonstrated into the 1959 Eros event organized by André Breton and Duchamp in Paris. But it addittionally indicates an even more modern, tautly eroticized and flesh that is virtualized banking institutions crucial hyperlink on a hyper sexed, electronic corporeality that is synthetic, bionic, and prosthetic essentially an updated expansion for the re territorialization of body, identification, and appearance depicted early into 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 most alluring compositions, Fernandez imagines the effective castration for the privileged male artist in relationship into the manipulated body that is female. Therein lies the paradox that is pleasurable. Agustin Fernandez, “Untitled” (1976), drawing in some recoverable format, 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; picture by Daniel Pype)