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Inadequacy Concepts such as art and life have to be mixed with each other since there is no point in keeping a distance between human work and the human. The art of life is a form (creative energy - sexual), who said that? This is the reason why the most fascinating art is one which talks about life, that reveals different experiences, details, curiosities, points of view.

When it comes to the world, it is imperative to disbelieve the notion of a perfection to be attained (in in order to be able to meet this kind of expectation The only art we can refer to is that of the cinema). The nature of error is the essence of being Human and the block that we've all fallen at one time or another: superficial judgement, impulsiveness, fear or anger, the unending desire for safety and control bad choices. Do you think you've never made any of these mistakes?

Open: new perspective from which to see When we fall, we hurt ourselves more or less intensely and are inclined to judge the fall as a mistake, or to make the mistake a fault because our expectations have of ourselves and others. The wound is actually the point that we are able to are able to see the truth. From there, we can no longer rely on the idea of perfection (which in the event that it was so would not be a problem) and take a look at what's broken: we look through it and then look at ourselves.

Fontana cut with the awareness of breaking, opening, and tearing because destroying is often the most powerful creative action, and especially in a society that, since a very early time, we are ensconced in a deeply ingrained systems of values and beliefs. It's not a coincidence that Fontana said in 1963 in an interview with Nerio Minuzzo that:

„The critiques always criticized me, however, I never worried about it, I went on regardless and I didn't take the salute of anyone. In the past, they called me „the guy with the holes' with some pity even. Today, I realize that my holes and cuts have created a taste that is accepted, and they even find practical applications. In bars and theaters, they make ceilings with holes. Since today, as you can see the public who walk by understand the latest forms. The artists are the ones, unfortunately, who understand little '.

When Fontana speaks of the street, he evokes the image of imperfection in which the hole is a form similar to any other, that the emergence of life takes place. Fontana isn't afraid of dirt nor of the violence of creative expression: he throws tar on the sculpture of a human figure and calls it 'Black Man'.

The cut becomes the conquest of space, as an overcoming of sculpture and painting through a new form of space which combines them: an end to verticality in favour of the possibility of crossing.

The palpitation that occurs, https://notes.io/q2uwZ both inhaling and exhaling from the canvas is , from afar, reminiscent in a more cerebral and bourgeois sense, of the work that Gina Pane would later do on her skin. The gesture remains the eternal main character in this context, where art is destined to be destroyed; the wound and the cut are path, boundary and exchange. The artist breaks the canvas in two and proclaims the canvas's finiteness. the holes become black holes that provide depth and make us perceive the infinite , which we'll never understand.

Wait: we are discovering new things that we haven't discovered yet Fontana called the cuts „Waits,“ the openings from which new and different things arise that we don't are aware of.

When we make an error, or cause harm or injury to another, we have a waiting period of time before we can react. The first reaction is the shock of making a mistake and the failure to over, then finding out the best path to take to rectify the mistake or to get it out of the way and then waiting for the consequences of that break, that mistake, which could actually be a amazing and new resource. It could also be a waste of time.

Few understood (and understand) this philosophy , as they constantly judge how reality and human beings are, in addition, affixed to the two-dimensionality that is the nature of canvas. We continue to defend with all our might the right methods, the correct way to present and function as a person in society, so that we resort to rules that eventually define the concept of normativity.

There is nothing more absurd than this. We are convinced that we know everything that we do, we compare our standards to every organism and ecosystem in the world however, in reality we are looking at it from a narrow , biased viewpoint that has nothing to do with reality. Anthropocentrism as well as individual interpretations of the other that are almost never the correct ones.

Accept that there is no absolute perfection. This is also true for this society that wants us to be better at all costs, without reflecting on the fact that perhaps, rather than raising standards, we should accept more 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? Most importantly, after we accept, do you honor our diversity?

In most cases, we resort to invisibilising those things that don't fit with the 'perfection' of our own little planet or universe. It makes us feel angry, shocked, and disgusted and swept under the carpet, and so we manifest our imperfections, which we really are, but refuse to accept.

Understanding one's own limitations is essential as is recognizing the interconnectedness of everything that is the world system. Either we are ALL placed in a position to give our best or there is no incentive or competition worth the effort, except for the motive of increasing inequality. It's great and good to know that some who have put in a lot of work have succeeded at it, just like the ones who are fortunate. However, when you look at it in the larger sense, constantly stretching the boundaries just a bit further the definition of 'a perfection' in an 'imperfect situation; not a 'Perfection' in the absolutist sense.

Can this be a reality?

Cut and let the truth be revealed It is possible to say that Fontana attempted to do so, since from the beginning, Fontana resisted the straightforward routes to success, and opted instead to try out the untested and the unknowable, that is to say: abandoning the idea of being the only and following the path of research which led him to discover certain facts.

For me, and my personal perspective, Fontana is the one who tears open the curtain and lets light in, even though there are black sails that obscure 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 just as a piece of work, but also as a gesture a gesture, around and as a consequence of action on the space, as the activation of narrative, which is a large part of what is being done today.

His cuts reveal all of this, opening up new perspectives on art as well as new perspectives about the world, as well as new questions. The wound, for this, is more than just pain: the wound reveals the fragility, mortality, and fragility. Wounding makes us question as well as make us doubt, and this practice is vital to ensure that we remain on the ground. As hard as it is to suffer and as much as it is in a perfect narrative of life it is ideal (and just) to learn only through positive reinforcements, as long we as a species are unable to avoid one another's pain as like our own, we're bound to remain in the unsolved and to live in an incomplete reality.

Let us take pleasure in the cinema and its happy endings its beauty that we take for granted and which we mistakenly end up taking as a model for life as the visual arts, however, are the daughters of suffering. Every artist who wants to speak the truth, had to traverse the pain.