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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. The art of life is a form (creative energy - sexual), who said that? The most intriguing art is the one it talks about life that reveals different experiences, the details, curiosity, and perspectives.

In the world, it is imperative to disbelieve the notion of a perfectionism to be attained (in in order to be able to meet this kind of expectation the only form of art we can refer to is the cinema). Error is the hallmark of being Human, the stumbling block into which we have every one of us at one point or another: superficial judgement, haste, fear or anger, the unending search for security and control and making the wrong decisions. Don't tell me you have not made any of these mistakes?

Open: new perspective to view the world from If we slip, we hurt ourselves more or less and tend to look at the fall as a mistake, or to make that the error https://franck-barker.thoughtlanes.net/congratulations-your-lucio-fontana-is-are-about-to-cease-being-relevant was a mistake because of the expectations we have of ourselves and others. The injury is actually the point where we can see the truth, from which we are no longer in the false notion of perfection (which in the event that it was so shouldn't be hurting) and examine what is broken: we look through the wound and examine ourselves.

Fontana cut with the awareness that breaking and opening is or tearing because destroying is often the most powerful creative action, and particularly in a culture that, since a very early age, we are immersed in a strong, impregnating model of belief and values. It's no accident that Fontana stated in 1963 in an interview Nerio Minuzzo that:

„The critics have always maligned me, but I have never worried about it, I went on regardless and I didn't take any kind of salute. Over the years, I was called „the guy who has holes', with a bit of pity. But today I see that my cuts and holes have created a taste, are accepted and even have practical applications. In theatres and bars, they have ceilings made of holes. Because today, you see, even the people on the street understand the new forms. The artists are the ones, unfortunately, who understand less '.

When Fontana speaks of street people, he evokes the image of imperfection where the form of the hole is like any other in which the becoming of life is manifested. Fontana isn't afraid of the dirt, nor the violent nature of the creative act: he throws tar on an artifact made of plaster of a man , and names the piece 'Black Man'.

Years later, the cut becomes the conquest of space, in the form of an overthrow of painting and sculpture, through a new spatiality that contains them both: a break from verticality to create an open passageway.

The palpitation that occurs, both inhaling and exhaling the canvas is reminiscent from afar, in a more intellectual and bourgeois sense, of the work that Gina Pane later did on her skin: the gesture is nevertheless the eternal protagonist in that context where art is destined to be destroyed; the cuts and wounds are path, boundary and exchange. The artist opens the canvas in two and declares its finiteness; the holes transform into black holes that give an illusion of depth. They also reveal the infinite , which we'll never know.

Wait: new things we do not yet know Fontana called the cuts „Waits,“ the openings from which new and different things arise that we don't know.

When we make an error, or cause harm or injury to another injuring or hurting another, we need to wait for a time before the reaction. It starts with the shock of the error and the failure overcome, and then deciding on the way to go to make up for it or to get it out of the way and then waiting for the consequences of that fracture, that mistake, which could turn out to be a innovative and valuable resource. But it's not.

A few people have understood (and do not comprehend) this philosophy because they are constantly judging how reality and human beings should be, too used to the two-dimensional nature on the wall. We continue to defend with all of our might the best ways, the best method of presenting and being in the world, so that we turn to standards that end up defining Normativity.

It's impossible to find anything more confusing. In our belief that we are experts that we do, we compare our standards to all other living organisms and ecosystem in the world, but in reality we are looking at it from a narrow , biased point of view that is not in line with reality. Anthropocentrism as well as personal interpretations of other theories which are rarely the most accurate.

Accept: there is no absolute perfection. The same is true of the society that demands us to be the best at all costs, without considering that maybe, instead of improving standards, we could learn to be more accepting of what is, just in the present. Do we accept pain? Do we accept death? Do we accept bodies? Do we accept diversity? Most importantly, after accepting, do we dignify?

Most of the time do we choose to ignore what does not coincide with the 'perfection' of our own little planet or universe. It makes us horrified, angry, and irritated to be swept away, ignored, or covered up and we then show our imperfections, which we really are, but we refuse to accept it.

Being aware of one's limits is important as is recognizing the interconnectedness of everything in the world system. Either we are ALL placed in a position to do our best, or there's no reason to compete or exert 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, as have the ones who are fortunate. But in the broader context, always pushing the boundaries just a bit further it's a perfection' in an imperfect situation; not a „perfection“ in the absolute sense.

Does this even exist?

Cut and let the truth be revealed We can say that Fontana attempted to do so, since from the very beginning Fontana resisted the straightforward paths of success, preferring to experiment with the unknown and the unknowable, that means he decided to leave the idea of being the one that was successful, he pursued the path of research that led him to unravel some truths.

In my very personal view, Fontana is the one who cuts the veil and allows the light through, even if there are black sails that obscure behind the cuts. An artist of spatial art as well as one of the forerunners of this art, it is not understood just as a piece of 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, of which much is practised today.

For me, his cuts illuminate all these, opening new perspectives on art as well as new perspectives about the world, as well as new questions. The wound, for this, is more than pain: the wound reveals the fragility, mortality, and fragility. The wound makes us think as well as make us doubt, and this practice is vital to stay in the right place. As difficult as it is to endure and as hard as it would be in a perfect tale of our existence, it would be great (and right) to learn by positive reinforcements. So long as we as a society are unable to avoid each other's suffering as much than our own, we're bound to remain in the unsolved and insanity.

So let's enjoy the cinema and its happy endings its perfection so taken as a given and which we take as a model of life, because the visual arts, on the other hand are the product of suffering, and any artist who wants to speak the truth, must pass through the wound.