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Inadequacy Concepts such as art and life have to be mixed with each other since there is no point in maintaining a separation between human activity and the human itself. The art of life is a form (creative energy - sexual) Who would have thought that? The most intriguing art is the one is about life, that reveals different experiences, the details, curiosity, and perspectives.

In the realm of life, it is essential to reject the idea of a perfectionism that can be attained (in response to this kind of expectation, the only art that we can think of is the film industry). Error is the hallmark of being Human and the block that we've all fallen at one time or another: superficial judgment, haste, anger, the incessant desire for safety and control and making the wrong decisions. Do you think you've not made any of these errors?

Open: a new perspective from which to see If we slip, we hurt our bodies more or less and are prone to judge that fall, to consider the error as a result due to the expectation we set of ourselves and other people. The wound is actually the point where we can discover the truth. From there, we are no longer in the false notion of perfection (which should be the case if it should not hurt) and look at what is broken: we look through it and then look at ourselves.

Fontana cut with the awareness that breaking and opening is or tearing as destruction is often the most powerful artistic act, all the more so in a society where, from an early stage, squareblogs.net we're immersed in a deeply ingrained system of beliefs and models. It's no accident that Fontana declared in 1963 during the course of an interview Nerio Minuzzo:

„The critiques always maligned me, but I have never thought about it. I went ahead anyway and I didn't take anyone's salute. Over the years, I was called 'the one that has the holes', with some pity even. Today, I realize that my holes and cuts have been a hit and are widely accepted. They even have practical applications. In bars and theaters, they make ceilings with holes. Since, today, even the people who walk by understand the new designs. The artists are the ones, unfortunately, who understand less '.

When Fontana talks about streetspeople, he evokes the imagery of imperfection, in which the hole is a form like any other where the transformation of life can be seen. Fontana isn't afraid of the dirt, nor the violence of his creative work and throws tar at an artifact made of plaster of a man , and names the piece „Black Man“.

The cut transforms into the conquer of space, as an overcoming of painting and sculpture, by a new space that combines both the break with verticality to create the possibility of crossing.

This palpitation, inhaling and exhaling of the canvas, is , from afar, reminiscent in a more philosophical and bourgeois version, of the work that Gina Pane would later perform on her skin. The gesture remains the eternal character in the context of art is destined to be destroyed. The cuts and wounds are path, boundary and exchange. The artist herself opens the canvas in two and proclaims the canvas's finiteness. the holes become black holes, which give depth and make us perceive the infinite that we will never understand.

Wait: we are discovering new things that we haven't discovered yet Fontana named the cuts 'Waits', openings that allow new and different things arise that we do not yet are aware of.

When we commit 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 to be overcome, and then figuring out what path to take to compensate or to get it out of the way; then we wait for the effects of the fracture, that mistake, which could actually be a amazing and new resource. It could also be a waste of time.

A few people have understood (and do not comprehend) this philosophy , as they constantly judge the way that human beings and reality should be, too used to the two-dimensionality that is the nature of canvas. We continue to defend every inch of our being the correct practices, the right way to appear and be as a person in society, that we rely on standards that end up defining the concept of normativity.

Nothing could be more incoherent. In our belief that we are experts, we apply our yardstick to all other living organisms and ecosystem in the world however, in reality we view it from a narrow , biased viewpoint that has nothing to do with reality: Anthropocentrism and personal interpretations of the other which are rarely the correct ones.

Accept that there is no perfection in the absolute sense. The same is true of our society, which demands to be better at all cost, but without considering that perhaps, rather than improving standards, we could learn to be more accepting of what is, just the way it is. Do we accept pain? Do we accept death? Accept the bodies of others? Do we accept diversity? The most important thing is, after we accept, do we dignify?

In most cases, we resort to invisibilising what does not coincide with the „perfect“ nature of our own little planet or the universe. We are feel angry, shocked, and disgusted and put under the rug and then we show the imperfections that we actually are, but refuse to accept.

Being aware of one's limits is essential, as is realising the interconnectedness of everything that is the world system: either we are ALL placed in a position where we can give our best, or there is no incentive or competition worth the effort, except for the motive of increasing inequality. It's great and great that some people after much effort have made it, like those who have been so lucky. However, in a larger sense, constantly stretching the boundaries just a bit further, it will be 'a perfect' in an impermanent setting; there is no 'Perfection' in the absolutist sense.

Does this even exist?

Cut Let the truth come out We can say that Fontana tried, because from the very beginning Fontana rejected the simple paths of success, preferring to explore the unknown and the unknowable, that is to say: abandoning the idea of being the one, he followed the path of study that led him to uncover certain facts.

For me, and my personal perspective, Fontana is the one who cuts the veil and lets the light shine through, even if the black sails are obscured in the background. An artist of spatial art in the same way as one of the early pioneers of this art, it is not understood only as a work but as a gesture, a gesture, around and as a result of action on space, performance as the activation of narrative, of which much is practised today.

For me, his cuts are a great example of this, opening up new perspectives on art, new points of view on the world and also new questions. The wound, for this, is more than pain: the wound is a symbol of mortality, brevity, uncertainty and fragility. A wound can make us think and makes us think the way we think, and this is essential to ensure that we remain on the ground. As hard as it is to be a victim and as difficult as it would be in a perfect narrative of existence it is ideal (and right) to learn through positive reinforcements, as long we as a species are unable to avoid each other's suffering as much like our own, we're condemned to the unresolved and insanity.

Let us take pleasure in the cinema and its happy endings its beauty and perfection that is taken for granted , and that we take as a template for our lives as the visual arts, contrary to what they appear are the product of suffering, and any artist who wants to tell a piece of truth, must go through the pain.