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Imperfection Concepts such as art and life have to be mixed with each other since there is no point in keeping a distance between human activity and the human being itself. The art of life is a form (creative energy sexual) Who would have thought that? That is why the most fascinating art is one it talks about life that unravels various experiences, recounts specifics, questions, and perspectives.

In life, it is necessary to disbelieve the notion of a perfection to be reached (in order to respond to expectations of this sort The only art we can refer to is the film industry). The nature of error is the essence of being Human and the block into which we have all fallen at one time or another: the faulty judgement, haste, fear, anger, the incessant desire for safety and control bad choices. Don't tell me you have never made any of these mistakes?

Open: a new perspective to view the world from When we fall, we injure our bodies more or less and tend to look at that fall, to consider the error as a result our expectations set of ourselves and other people. The wound is actually the place that we are able to are able to see the truth. It is from here that we stop taking refuge in the false notion of perfection (which if it were such should not hurt) and examine what is damaged: we examine it and then look at ourselves.

Fontana cut with the awareness that breaking and opening is or tearing since destruction is often the most powerful creative action, and all the more so in a world that, since a very early stage, we're immersed in a deeply ingrained system of beliefs and models. It's no accident that Fontana said in 1963 in the course of an interview Nerio Minuzzo that:

„The people who criticize me have often maligned me, but I never thought about it. I just went with it and I never took the salute of anyone. In the past, they called me „the guy with the holes', with a little pity. But today I see that my holes and cuts have earned me a reputation that is accepted, and they even find practical applications. In bars and theatres they create ceilings using holes. Since, today that even people in the street can comprehend the new designs. The artists are the ones however, who are the only ones to understand less '.

When Fontana talks about street people, he evokes the image of imperfection in which the hole is a shape like any other where the transformation of life takes place. He's not scared of the dirt, nor the violence of the creative act and throws tar at the sculpture of a man , and names the sculpture „Black Man“.

The cut transforms into the conquer of space, in the form of an overthrow of painting and sculpture, through a new spatiality which combines them: an end to verticality in favour of a crossing passage.

The inhalation and exhaling from the canvas, can be seen from afar in a more cerebral and bourgeois version of the work Gina Pane would later do on her skin. The gesture remains the eternal protagonist in that context where the art will eventually be destroyed. The cuts and wounds are border, path and exchange. The artist breaks the canvas and declares its finiteness; the holes become black holes that give an illusion of depth. They also reveal the infinite , which we'll never know.

Wait: we are discovering new things that we haven't discovered yet Fontana named the cuts „Waits,“ which are openings that allow new and new things are born that we don't have a clue about.

When we make mistakes, and cause harm or injury to another one, we must wait a certain period before we react. First the shock of the mistake and the failure overcome, and then figuring out what path to take to rectify the mistake or avoid it Then we await the effects of the fracture or error, which could be a brand amazing and new resource. But it's not.

Few understood (and understand) this philosophy because they are constantly assessing the way that human beings and reality should be, too used to the two-dimensional nature of the canvas. We fight with all our might the best methods, the correct way to appear and be in the world, so that we turn to standards that end up defining normativity.

There is nothing more absurd than this. We are convinced that we know everything that we do, we compare our standards to all other living organisms and ecosystem on the planet however, in reality we view it from a narrow , biased viewpoint that has nothing to do with the reality of Anthropocentrism, but also personal interpretations of the other that are almost never the correct ones.

Accept: no perfection in the absolute sense. This also applies to this society that wants us to be the best every chance they get, without pondering the fact that, instead of improving standards, we could learn to be more accepting of things just in the present. Do we accept pain? Do we accept death? Accept body parts? Do we accept diversity? Most importantly, after we accept, do you respect our differences?

Very often no is it that we are able to hide what does not coincide with the 'perfection' of our own little planet or universe. We are shocked, angry, disgusted, pushed away, covered up and then we show our imperfections, which we really are, but we refuse to accept it.

Being aware of one's 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 reason to compete or exert effort to be put into it, unless for the motive of increasing the spread of inequality. It's all very well and great that some people with a lot of effort have achieved it, as have those who have been so lucky. However, when you look at it in the larger sense, constantly stretching the boundaries of what is possible it's a perfection' in an 'imperfect situation; not a „perfection“ in the absolute sense.

Could this ever exist?

Cut: let the truth in We can 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 the unknowable, that is to say, he renounced the notion of being the only, he followed the research path that led him to uncover some facts.

For me, and my very personal view, Fontana is the one who cuts the veil and lets the light shine through, even if there are black sails that obscure behind the cuts. A spatial artist in the same way as one of the early pioneers of this art, it is not understood solely as a work, but also as a gesture an act, in and around it. as a consequence of action in space, and performance as the expression of a narrative, which is a large part of what is practised today.

For me, his cuts are a great example of this, opening up new perspectives on art, new points of view about the world, as well as new questions. The wound that he has caused is more than pain: the wound is a symbol of the idea of mortality, shortness, uncertainty and fragility. A wound can make us think as well as make us doubt the way we think, and this is essential to keep our feet grounded. As difficult as it is to endure and as hard as it would be in a perfect narrative of life, it would be great (and right) to learn through positive reinforcements, as long we as a species are unable to avoid the suffering of others as well than our own, we are stuck in the unsolved, and to live in an insanity.

So let's enjoy the cinema and its happy endings its beauty that we take for granted , https://inky-platypus-cql5jz.mystrikingly.com/blog/lucio-fontana-companies-how-one-can-do-it-right and that we misunderstand and take as a model of life since the visual arts however, are the daughters of pain, and every artist who wishes to convey a bit of truth, has had to pass through the wound.