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Imperfection Concepts such as art and life must mix with each other since there is no need for not separating the work of humans and human. Art is life (creative energy sexual) Who would have thought that? The most interesting art is that which talks about life, that unravels various experiences, recollects the details, curiosity, and viewpoints.

When it comes to life, it is necessary to reject the idea of a perfectionism to be reached (in order to respond to such expectations, the only art we could refer to is the cinema). Error is the hallmark of being Human, the stumbling block into which we have been at one point or another: superficial judgement, haste, fear and anger, the constant desire for safety and control bad choices. Do you think you've not made one of these mistakes?

Open: new perspective from which to see When we fall, we hurt ourselves more or less and tend to look at the cause of our fall, and to think that the error was a mistake because our expectations hold of ourselves and other people. The wound is actually the place where we can discover the truth. From there, we are no longer in the illusion of perfect (which should be the case if it would not be a problem) and take a look at what's broken. We look at it and look at our own self-image.

Fontana cut with the awareness the possibility of opening up, breaking or tearing since destruction is often the strongest creative action, and especially in a society in which, even from a young time, we are ensconced in a powerful, imprinted systems of values and beliefs. It's not a coincidence that Fontana declared in 1963 during an interview Nerio Minuzzo that:

„The critiques always criticized me, but I never was concerned about it. I just went with it and I never took the salute of anyone. Over the years, I was called „the guy that has the holes', with a little pity. However, today I can see that my cuts and holes have created a taste that is accepted, and they even find practical applications. In bars and theatres they make ceilings with holes. Since today, as you can see, even the people who walk by understand the new designs. It is the artists however, who are the only ones to understand less '.

When Fontana talks about streetspeople, he invokes the idea of imperfection where the hole is a shape like any other that the emergence of life can be seen. He's not scared of dust nor the violent nature of creative expression: he throws tar on a plaster sculpture of a man and calls it „Black Man“.

Years later, the cut is transformed into the conquest of space, as an overcoming of sculpture and painting through a new spatiality which combines them: a break from verticality in favour of the possibility of crossing.

This palpitation, inhaling and exhaling the canvas, is , from afar, reminiscent in a more philosophical and b3.zcubes.com bourgeois way of the work Gina Pane would later perform on her body: the gesture is nevertheless the eternal character in the context of the art will eventually be destroyed. The wound and the cut are the path, boundary and exchange. The artist herself opens the canvas by splitting it in two and declares it to be finite. the holes transform into black holes, which give an illusion of depth. They also reveal the vastness that we never understand.

Wait: we are discovering new things that we don't yet know Fontana described the cuts as „Waits,“ which are the openings from which new and unique things emerge that we do not yet know.

When we commit mistakes, and cause harm or injury to another injuring or hurting another, we need to wait for a period of time before we can react. The first reaction is the shock of making a mistake and the failure to be overcome, after that, figuring out what steps to take to rectify the mistake or avoid it Then we await the consequences of that break and the mistake that could be a brand new and great resource. It could also be a waste of time.

A few people have understood (and are able to comprehend) this concept because they are constantly assessing the way that human beings and reality are, in addition, affixed to the two-dimensionality of the canvas. We keep fighting every inch of our being the correct practices, the right way to appear and be as a person in society, that we turn to rules that eventually define Normativity.

Nothing could be more incoherent. In our belief that we are experts and everything, we apply our standard to every other organism and ecosystem in the world however, in reality we are looking at the world from a narrow and biased point of view which has nothing to do with reality: Anthropocentrism, but also individual interpretations of the other which are rarely the correct ones.

Accept: no perfection in the absolute sense. The same is true of the society that demands us to be the best at all costs, without considering that perhaps, rather than increasing standards, we need to learn to be more accepting of the world in the present. Do we accept pain? Do we accept death? Accept the bodies of others? Do we accept diversity? The most important thing is, after we accept, do you honor our diversity?

Most of the time, we resort to invisibilising the things that do not match the 'perfection' of our little world or the universe. It makes us feel angry, shocked, and disgusted to be swept away, ignored, or put under the rug and we then show the very imperfection that we really are, but do not accept.

Knowing one's own limits is crucial as is recognizing the interconnectedness of all that is the world system: either we are ALL put in a position to do our best or there is no incentive or competition worth the effort with the sole motive of increasing inequalities. It's great and great that some people who have put in a lot of work have succeeded at it, like those who have been so fortunate. However, when you look at it in the larger sense, constantly stretching the boundaries just a bit further, it will be 'a perfection' in an 'imperfect setting; there is no 'Perfection' in the absolutist sense.

Does this even exist?

Cut: let the truth in It is possible to say that Fontana attempted to do so, since right from the beginning, he rejected the easy paths of success, preferring to try out the untested and unpredictability, which means he decided to leave the idea of being the one, he followed the research path that led him to unravel certain truths.

For me, and in my very personal view, Fontana is the one who cuts the curtain and lets light in, even though the black sails are obscured in the background. A spatial artist and one of the forerunners of that art understood not only as a work but as a gesture, an act, in and around it. as a result of action on the space, as the activation of narrative, and this is the way it is practised today.

To me, his cuts reveal all of this, opening up new perspectives for art and new perspectives on the world , and new questions. The wound that he has caused is not just pain, the wound is a symbol of the fragility, mortality, and fragility. Wounding makes us question and makes us think how we can improve our lives, and this practice is vital to stay on the ground. As difficult as it is to endure and as hard as it would be in a perfect story of existence it would be wonderful (and appropriate) to learn only by positive reinforcements. So long that we as a nation are unable to avoid the suffering of others as well as our own, we're bound to remain in the unsolved and insanity.

So let us enjoy the cinema and its happy endings its beauty that we take for granted , and that we take as a template for our lives since the visual arts however are the children of suffering, and any artist who wishes to tell a piece of truth, had to traverse the pain.