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Imperfection Concepts like art and life must mix with each other since there is no point in keeping a distance between human activity and the human. The art of life is a form (creative energy - sexual) Who would have thought that? The most fascinating art is one which talks about life, which unravels different experiences, the details, curiosity, and points of view.

In the world, it is imperative to reject the idea of a perfection to be achieved (in response to such expectations, the only art we can refer to is film). The nature of error is the essence of being Human and the block upon which we've all fallen at one time or another: superficial judgement, impulsiveness, fear, anger, the incessant desire for safety and control bad choices. Don't you dare say you've never made any of these mistakes?

Open: new perspective to view the world from If we fall, we injure ourselves more or less and are prone to judge the cause of our fall, and to think the mistake a fault because due to the expectation we have of ourselves and others. The injury is actually the point that we are able to are able to see the truth, from which we are no longer in the idea of perfection (which if it were such shouldn't be hurting) and take a look at what is broken. We look at it and look at our own self-image.

Fontana cut with the awareness that breaking and opening is tearing as destruction is often the most creative act, particularly in a society where, from an early stage, we're immersed in a strong, impregnating system of beliefs and models. It is no coincidence that Fontana said in 1963 in the course of an interview Nerio Minuzzo that:

„The critiques always been a slam on me, however, I never thought about it. I just went with it and I didn't take any kind of salute. Over the years, I was called „the guy with the holes' with a bit of pity. But today I see that my holes and cuts have been a hit and are widely accepted. They even have practical applications. In bars and theatres they have ceilings made of holes. Because today, you see that even people who walk by understand the new forms. The artists are the ones however, who are the only ones to understand more '.

When Fontana refers to street people, he invokes the imagery of imperfection, in which the hole is a form similar to any other, where the transformation of life is manifested. Fontana isn't afraid of the dirt, nor the brutality of his creative work: he throws tar on a plaster sculpture of a man , and names it „Black Man“.

A few years later, the cut becomes the conquest of space, as an overcoming of sculpture and painting by a new space that combines both the break with verticality in favour of the possibility of crossing.

The palpitation that occurs, both inhaling and exhaling of the canvas can be seen from afar in a more philosophical and bourgeois version, of the work that Gina Pane later did on her body: the gesture remains the eternal main character in this context, where art is bound to be destroyed. The cuts and wounds are border, path and exchange. The artist herself opens the canvas by splitting it in two and declares its finiteness; the holes transform into black holes that give depth and make us perceive the infinite , which we'll never understand.

Wait: new things we haven't discovered yet Fontana called the cuts „Waits,“ which are the gaps from which new and unique things emerge that we do not yet have a clue about.

When we commit an error, or hurt or injure the other, we have a waiting period before we react. It starts with the shock of the mistake and the failure to be overcome, after that, figuring out what way to go to compensate or to get it out of the way; then we wait for the consequences of that break, that mistake, which could actually be a new and great source. But it's not.

Many people do not understand (and understand) this philosophy , as they are constantly judging what reality and the human condition ought to be, and how they should be compared to the two-dimensional nature on the wall. We continue to defend every inch of our being the best ways, the best way to present and function in the world, so that we rely on rules that eventually define Normativity.

There is nothing more absurd than this. We are convinced that we know everything that we do, we compare our standards to every organism and ecosystem around the globe however, in reality we are looking at it from a narrow , biased perspective which has nothing to do with reality. Anthropocentrism and personal interpretations of the other that are almost never the correct ones.

Accept: there is no perfection in the absolute sense. This also applies to the society that demands us to be the best at all costs, without considering that, instead of improving standards, we could accept more of the world in the present. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? Most importantly, after we accept, https://penzu.com/p/0d6c7571 do we respect our differences?

Most of the time do we choose to ignore the things that do not match the 'perfection' of our little world or the universe. We are horrified, angry, and irritated and covered up and then we show the very imperfection that we really are, but refuse to accept.

Knowing one's own limits is crucial, as is realising the interconnectedness of everything that is the global system. Either we are ALL placed in a position where we can give our best, or there's no incentive or competition worth the effort, except for the goal of creating inequality. It's great and good to know that some who have put in a lot of work have succeeded at it, as have those who have been lucky. But in the broader context, always pushing the boundaries a little further the definition of 'a perfect' in an impermanent setting; there is no „perfection“ in the absolute sense.

Can this be a reality?

Cut and let the truth be revealed We can say that Fontana tried, because from the beginning, Fontana rejected the simple ways to be successful, opting instead to explore the unknown and the unknowable, that means he decided to leave the pretense of being the only one, he followed the path of research that led him to unravel some truths.

In my personal opinion, Fontana is the one who tears open the veil and lets the light through, even if he put obscuring black sails behind the cuts. An artist of spatial art in the same way as one of the forerunners of that art understood not just as a piece of work, but also as a gesture a gesture, around and as a consequence of action on the space, as the activation of narrative, which is a large part of what is practised today.

To me, his cuts reveal all of this, opening up new perspectives on art as well as new perspectives about the world, as well as new questions. The wound, for this, is not just pain, the wound highlights the fragility, mortality, and fragility. A wound can make us think as well as make us doubt the way we think, and this is very important to ensure that we remain grounded. As hard as it is to be a victim and as difficult as it would be in a perfect tale of our existence, it would be great (and right) to gain knowledge only by positive reinforcements. As long that we as a nation are unwilling to avoid each other's suffering as much as our own, we're bound to remain in the unsolved and insanity.

Let us take pleasure in the cinema and its happy endings its perfection so taken as a given and which we take as a model of life as the visual arts on the other hand are the product of suffering. Every artist who wishes to tell a piece of truth, had to go through the pain.