The belated Cuban musician Agustin Fernandez created a gloomy, gritty human body of works that imagine a hyper sexed, electronic corporeality.
PARIS A visceral, hyper sensibility that is sexualized through the extravagantly trendy oeuvre of Cuban musician Agustin Fernandez, whom resided right right here from 1959 to 1968 and passed away in new york in 2006. The effectiveness of plucky erotic dreams and sexual innuendos, Fernandez s leitmotif, often supersedes respectful significance that is social so one part of Fernandez s inventive art is forever likely to be libertine, even though sexcamly.comm tempered by our knowing that the dominance of this right western male position is not any longer unquestioned in art. Gender is socially ( maybe perhaps not naturally) constructed and, when thought to be a fluid concept in art, defies recognition that is easy. Of course, there is nothing less particular in art than sex, and even though irreverent works like Yoko Ono s film that is cheeky (1966), Valie Export s вЂњAction Pants: Genital PanicвЂќ (1969), Kembra Pfahler s вЂњWall of Vagina (2011), and Betty Tompkins s Fuck Paintings may recommend otherwise, a lot of women feel there will be something profoundly feckless, or even downright alienating, about decreasing the human anatomy to its remote sex parts. Not so in Paradoxe de la Jouissance ( Paradox of Pleasure ), the chutzpah stuffed exhibition of Fernandez s controversial late work insightfully curated by Jeanette Zwingenberger during the town hallway of Paris s arrondissement that is fourth.