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Imperfection Concepts like art and life have to be mixed with each other because there is no reason for maintaining a separation between human activity and the human. Life is art (creative energy sexual) Who said that? The most intriguing art is the one which talks about life, that reveals different experiences, recounts specifics, questions, and points of view.

When it comes to life, it is essential to disbelieve the notion of a perfectionism to be achieved (in response to such expectations The only art we could refer to is that of the film industry). Error is the hallmark of being Human The stumbling block into which we have every one of us at one point or another: superficial judgment, haste and anger, the constant desire for safety and control bad choices. Don't tell me you have never made any of these mistakes?

Open: a new perspective from which to look If we fall, we injure our bodies more or less and tend to look at the fall as a mistake, or to make that the error was a mistake because our expectations have of ourselves and others. The injury is the actual point where we can discover the truth. It is from here that we are no longer in the illusion of perfect (which in the event that it was so should not hurt) and look at the things that are damaged: we examine the wound and examine ourselves.

Fontana cut her hair with the consciousness the possibility of opening up, breaking or or tearing as destruction is often the most creative act, especially in a culture that, since a very early stage, we're 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 been a slam on me, but I have never was concerned about it. I went on regardless and never accepted anyone's salute. For years they called me „the guy who has holes' with a bit of pity. But today I see that my cuts and holes have created a taste that is accepted, and they even have practical uses. In bars and theaters, they create ceilings using holes. Because today, you see that even people on the street understand the latest forms. The artists are the ones that are the ones who know more '.

When Fontana speaks of the street, he invokes 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 the dirt, nor the brutality of the creative act and https://leadcity2.doodlekit.com/blog/entry/24136517/best-lucio-fontana-android-apps throws tar at the sculpture of a man , and names it 'Black Man'.

The cut transforms into the conquer of space, as a triumph of painting and sculpture, through a new form of space which combines them: a break from verticality, in favor of a crossing passage.

The inhalation and exhaling the canvas, is reminiscent from afar, in a more intellectual and bourgeois way, of the work that Gina Pane later did on her skin. The gesture is nonetheless the immortal character in the context of art is destined to be destroyed; the wound and the cut represent border, path and exchange. The artist herself opens the canvas 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 be able to comprehend.

We are waiting for new discoveries that we don't yet know Fontana named the cuts „Waits,“ which are the openings from which new and new things are born that we don't know.

When we make mistakes, and end up hurting or causing harm to someone else injuring or hurting another, we need to wait for a period before we react. It starts with the shock of the error and the failure to over, then deciding on the steps to take to make up for it or to get it out of the way and then waiting for the consequences of that fracture and the mistake that could actually be a innovative and valuable source. But it's not.

Many people do not understand (and do not comprehend) this philosophy because they are constantly assessing how reality and human beings should be, too used to the two-dimensionality on the wall. We continue to defend with all of our might the right practices, the right way to appear and be in the world, so so that we resort to rules that eventually define the concept of normativity.

It's impossible to find anything more confusing. In our belief that we are experts that we do, we compare our standards to every organism and ecosystem around the globe However, we see it from a narrow , biased point of view that is not in line with the reality of Anthropocentrism as well as personal interpretations of other theories which are rarely the correct ones.

Accept: there is no absolute perfection. The same is true of our society, which demands to do our best every chance they get, without reflecting on the fact that maybe, instead of raising standards, we should learn to be more accepting of the world the way it is. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? Most importantly, after we accept, do we honor our diversity?

In most cases do we choose to ignore the things that do not match the „perfect“ of our little world or universe. We are horrified, angry, and irritated and put under the rug and we then show the very imperfection that we actually are, but do not accept.

Knowing one's own limits is essential, as is realising the interconnectedness of everything in the world system: either we are ALL put in a position to do our best, or there's no reason to compete or exert effort with the sole purpose of fuelling inequality. It's all very well and great that some people after much effort have made it, just like those who have been fortunate. However, when you look at it in the larger context, always pushing the boundaries just a bit further, it will be 'a perfection' in an imperfect setting; there is no „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 rejected the simple ways to be successful, opting instead to experiment with the unknown and unpredictability, which means he decided to leave the pretense of being the only one that was successful, he pursued the path of research which led him to discover some truths.

In my very personal view, Fontana is the one who tears open the veil and lets the light shine through, even if the black sails are obscured behind the cuts. An artist of spatial art in the same way as one of the early pioneers of that art understood not only as a work but as a gesture, a gesture, around and in the context of actions on space, performance as the activation of narrative, of which much is practiced in the present.

To me, his cuts reveal all of these, opening new perspectives to art and new perspectives on the world and also new questions. The wound for this, is not just pain, the wound reveals mortality, brevity, uncertainty and fragility. A wound can make us think as well as make us doubt how we can improve our lives, and this practice is vital to stay grounded. As hard as it is to suffer and as much as, in a perfect tale of life it would be wonderful (and right) to learn by positive reinforcements. So long as we as a society are unwilling to avoid the suffering of others as well than our own, we're bound to remain in the unsolved and to live in an incomplete reality.

So let us enjoy the cinema and the happy endings it brings, its perfection so taken for granted , and that we take as a model for life as the visual arts contrary to what they appear, are the daughters of pain, and every artist who wishes to convey a bit of truth, must pass through the wound.