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Imperfection Concepts like art and life should be mixed with one another because there is no reason for maintaining a separation 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 is about life, which unravels different experiences, recollects details, curiosities, perspectives.

In the world, it is imperative to disbelieve the notion of a perfectionism that can be achieved (in response to expectations of this sort, the only art that we can think of is the film industry). Error is the hallmark of being Human The stumbling block upon which we've been at one point or another: impulsive judgement, impulsiveness, fear or anger, the unending need for control and security, wrong choices. Do you think you've not made any of these errors?

Open: new perspective from which to see When we fall, we injure our bodies more or less and are prone to judge the cause of our fall, and to think the error as a result of the expectations we have of ourselves and other people. The injury is actually the place that we are able to are able to see the truth, from which we are no longer in the false notion of perfect (which should be the case if it shouldn't be hurting) and look at what's broken. We look at it and then look at ourselves.

Fontana cut with the awareness of breaking, opening, tearing since destruction is often the most powerful artistic act, all the more so in a world in which, even from a young age, we are immersed in a deeply ingrained model of belief and values. It's no accident that Fontana declared in 1963 during an interview with Nerio Minuzzo that:

„The critics have always been a slam on me, but I never was concerned about it. I just went with it and never accepted the salute of anyone. In the past, they called me „the one that has the holes' with a little pity. But today I see that my cuts and holes have created a taste that is accepted, and they even have practical applications. In bars and theatres they create ceilings using holes. Since today, as you can see, even the people in the street can comprehend the new forms. It is the artists, unfortunately, who understand more '.

When Fontana refers to the street, he is evoking the imagery of imperfection, where the form of the hole is that is similar to every other one that the emergence of life can be seen. Fontana isn't afraid of dirt nor of the brutality of his creative work He throws tar onto the sculpture of a man and calls the piece „Black Man“.

The cut is transformed into the conquest of space, as an overcoming of painting and sculpture, through a new form of space that contains them both: a break from verticality, in favor of the possibility of crossing.

The inhalation and exhaling of the canvas, is , from afar, reminiscent in a more cerebral and bourgeois version, of the work that Gina Pane would later perform on her skin: the gesture is nevertheless the eternal character in the context of art is destined to be destroyed; the wound and the cut represent path, boundary and exchange. The artist herself opens the canvas in two and declares its finiteness; the holes become black holes, which give the illusion of depth and reveal the infinite , which we'll never know.

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 different things arise that we don't have a clue about.

When we make a mistake, when we hurt or injure the other one, we must wait a certain period of time before we can react. The first reaction is the shock of the error and the failure overcome, after that, finding out the best steps to take to rectify the mistake or get away with it and then waiting for 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.

Many people do not understand (and understand) this concept because they constantly judge what reality and the human condition ought to be, and how they should be compared to the two-dimensionality that is the nature of canvas. We keep fighting with all our might the right methods, the correct method of presenting and being in the world, so that we rely on rules that eventually define the concept of normativity.

It's impossible to find anything more confusing. Convinced that we know everything, we apply our yardstick to every other organism and ecosystem around the globe However, we see it from a narrow , biased point of view that has nothing to do with reality. Anthropocentrism, but also personal interpretations of the other which are rarely the correct ones.

Accept: no absolute perfection. The same is true of our society, which demands to be better every chance they get, without pondering the fact that maybe, instead of increasing standards, we need to accept more of the world the way it is. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? And, most importantly, once we accept, do you respect our differences?

Very often no do we choose to ignore what does not coincide with the „perfect“ nature of our own little planet or universe. It makes us horrified, angry, and irritated, pushed away, swept under the carpet and then we show the very imperfection that we actually are, but we refuse to accept it.

Being aware of one's limits is important and so is understanding the interconnectedness of all that is the world system: either we are ALL put in a position where we can give our best, or there's no reason to compete or exert effort to be put into it, unless for the goal of creating the spread of inequality. It's great and good to know that some with a lot of effort have achieved it, just like those who have been so lucky. But in the broader sense, constantly stretching the boundaries just a bit further, it will be 'a perfection' in an imperfect situation; not a „perfection“ in an absolute sense.

Does this even exist?

Cut Let the truth come out We can say that Fontana tried, because from the beginning, Fontana rejected the simple ways to be successful, opting instead to try out the untested and the unknowable, that is to say, he renounced the notion of being the only one that was successful, he pursued the research path which led him to discover certain facts.

For me, and in my personal perspective, Fontana is the one who cuts the curtain and lets light through, even if the black sails are obscured in the background. A spatial artist in the same way as one of the pioneers of that art understood not solely as a work, but as a gesture, an act, in and around it. as a consequence of action in space, and performance as the activation of narrative, of which much is practiced in the present.

To me, his cuts illuminate all this, opening up new perspectives for art, new points of view on the world and also new questions. The wound that he has caused is more than just pain: the wound is a symbol of the idea of mortality, shortness, uncertainty and fragility. A wound can make us think, makes us question how we can improve our lives, and https://www.pearltrees.com/radishfoot5/item495551660 this practice is vital to ensure that we remain on the ground. As difficult as it is to suffer and as much as it is in a perfect tale of life, it would be great (and just) to learn only by positive reinforcements. So long we as a species are unwilling to avoid the suffering of others as well as our own, we are stuck in the unsolved, and to live in an incomplete reality.

So let us enjoy the cinema and its happy endings its perfection so taken for granted and which we mistakenly end up taking as a template for our lives as the visual arts on the other hand are the product of suffering, and any artist, in order to tell a piece of truth, has had to go through the pain.