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Inadequacy Concepts like art and life have to be mixed with one another because there is no need for not separating human work and the human being itself. The art of life is a form (creative energy sexual) Who said that? That is why the most fascinating art is one which talks about life, that reveals different experiences, recounts specifics, questions, and points of view.

When it comes to life, it is necessary to disbelieve the notion of a perfection to be attained (in in order to be able to meet such expectations the only form of art we could refer to is film). The nature of error is the essence of being Human The stumbling block into which we have been at one point or another: impulsive judgement, haste, fear, anger, the incessant desire for safety and control, wrong choices. Don't you dare say you've never made any of these errors?

Open: a new perspective to view the world from When we slip, we hurt ourselves more or less intensely and are inclined to judge that fall, to consider the mistake a fault because our expectations hold of ourselves and others. The injury is actually the point where we can see the truth, from which we are no longer in the idea of perfect (which if it were such would not be a problem) and look at what is damaged: we examine the wound and examine ourselves.

Fontana cut her hair with the consciousness of breaking, opening, and tearing since destruction is often the most creative action, and especially in a culture where, from an early stage, we're immersed in a powerful, imprinted systems of values and beliefs. It's not a coincidence that Fontana said in 1963 in an interview with Nerio Minuzzo:

„The people who criticize me have often been a slam on me, but I have never worried about it, I went ahead anyway and I never took the salute of anyone. For years they called me „the one who has holes' with some pity even. But today I see that my cuts and holes have earned me a reputation that is accepted, and they even find practical applications. In bars and theatres they create ceilings using holes. Since today, as you can see, even the people on the street understand the new designs. It is the artists, unfortunately, who understand less '.

When Fontana speaks of the street, he invokes the image of imperfection where the hole is a shape like any other that the emergence of life is manifested. He is not afraid of dirt nor of the violent nature of creative expression: he throws tar on a plaster sculpture of a human figure and calls the sculpture 'Black Man'.

Years later, the cut transforms into the conquer of space, in the form of an overthrow of painting and sculpture, through a new form of space that combines both the break with verticality, in favor of an open passageway.

The palpitation that occurs, both inhaling and exhaling of the canvas is reminiscent from afar, in a more cerebral and bourgeois version of the work Gina Pane later did on her skin. The gesture is nonetheless the immortal character in the context of art is bound to be destroyed; the cuts and wounds are path, boundary and exchange. The artist breaks the canvas and proclaims the canvas's finiteness. the holes become black holes that give the illusion of depth and reveal the vastness that we never know.

Wait: new things we don't yet know Fontana called the cuts 'Waits', the openings from which new and new things are born that we don't know.

When we commit a mistake, when we cause harm or injury to another injuring or hurting another, we need to wait for a period of time before we can react. First the shock of the error and the failure to be overcome, after that, finding out the best way to go to make up for it or get away with it; then we wait for the consequences of that break, that mistake, which could be a brand innovative and valuable source. But it's not.

Few understood (and understand) this concept because they are constantly assessing what reality and the human condition ought to be, and notes.io how they should be compared to the two-dimensionality of the canvas. We fight with all our might the right practices, the right way to present and function in society, so much that we rely on norms that ultimately define the concept of normativity.

There is nothing more absurd than this. We are convinced that we know everything and everything, we apply our standard to every other organism and ecosystem in the world, but in reality we see it from a narrow , biased viewpoint that has nothing to do with reality. Anthropocentrism, but also personal interpretations of other theories that are almost never the most accurate.

Accept that there is no absolute perfection. The same is true of this society that wants us to be the best every chance they get, without pondering the fact that perhaps, rather than improving standards, we could accept more of the world as it is. Do we accept pain? Do we accept death? Accept body parts? Do we accept diversity? Most importantly, after accepting, do we dignify?

In most cases is it that we are able to hide what does not coincide with the „perfect“ nature of our own little planet or the universe. We are feel angry, shocked, and disgusted to be swept away, ignored, or swept under the carpet and we then show the very imperfection that we are in reality, yet do not accept.

Being aware of one's limits is crucial, as is realising the interconnectedness of all that is the world system: either we are ALL placed in a position to give our best or there is no competition or effort worthwhile, except for the motive of increasing inequalities. It's great and great that some people with a lot of effort have achieved it, just like those who have been so fortunate. However, in a larger context, always stretching the boundaries just a bit further the definition of 'a perfection' in an 'imperfect' context; no „perfection“ in the absolute sense.

Does this even exist?

Cut Let the truth come out We can conclude that Fontana tried, because from the beginning, Fontana resisted the straightforward routes to success, and opted instead to experiment with the unknown and the unknowable, that is to say, he renounced the idea of being the only one, he followed the path of research that led him to uncover some facts.

In my personal opinion, Fontana is the one who rips the veil and allows the light shine through, even if there are black sails that obscure behind the cuts. A spatial artist 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 result of action in space, and performance as the activation of a narrative, of which much is practiced in the present.

To me, his cuts illuminate all these, opening new perspectives to art and new perspectives about the world, as well as new questions. The wound, for this, is more than just pain: the wound is a symbol of the fragility, mortality, and fragility. Wounding makes us question, makes us question, and this practice is very important to keep our feet on the ground. As difficult as it is to be a victim and as difficult as, in a perfect narrative of life it would be wonderful (and appropriate) to gain knowledge only by positive reinforcements. As long we as a species are unwilling to avoid one another's pain as than our own, we're bound to remain in the unsolved and insanity.

So let's enjoy the cinema and the happy endings it brings, its beauty that we take as a given and which we misunderstand and take as a model for life since the visual arts, however, are the daughters of suffering. Every artist who wishes to speak the truth, had to traverse the pain.