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Imperfection Concepts such as art and life must mix with each other since there is no reason for not separating human work and the human itself. Art is life (creative energy - sexual), who said that? That is why the most interesting art is that which talks about life, which unravels different experiences, details, curiosities, viewpoints.

In life, it is essential to reject the idea of a perfection to be reached (in in order to be able to meet this kind of expectation the only form of art we can refer to is that of film). Failure is the hallmark of being Human The stumbling block into which we have all fallen at one time or another: the faulty judgment, haste and anger, the constant desire for safety and control bad choices. Do you think you've not made any of these errors?

Open: new perspective to view the world from When we slip, we hurt our bodies more or less and tend to look at the fall as a mistake, or to make the error as a result due to the expectation we have of ourselves and others. The wound is actually the point where we can see the truth. It is from here that we can no longer rely on the idea of perfection (which if it were such should not hurt) and examine the things that are broken. We look at the wound and examine ourselves.

Fontana cut with the awareness that breaking and franck-barker.thoughtlanes.net opening is or tearing since destruction is often the strongest artistic act, especially in a world in which, even from a young stage, we're immersed in a strong, impregnating systems of values and beliefs. It's no accident that Fontana said in 1963 in an interview with Nerio Minuzzo:

„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 one who has holes', with a little pity. However, today I can see that my holes and cuts have created a taste that is accepted, and they even have practical uses. In bars and theatres they create ceilings using holes. Since today, as you can see, even the people in the street can comprehend the new designs. The artists are the ones however, who are the only ones to understand little '.

When Fontana refers to street people, he invokes the image of imperfection where the hole is a form similar to any other, in which the becoming of life takes place. He is not afraid of dirt nor of the violent nature of his creative work and throws tar at an artifact made of plaster of a human figure and calls the sculpture „Black Man“.

A few years later, the cut is transformed into the conquest of space, in the form of an overthrow of sculpture and painting through a new form of space that combines both the break with verticality in favour of the possibility of crossing.

This palpitation, inhaling and exhaling from the canvas can be seen from afar in a more philosophical and bourgeois sense of the work Gina Pane later did on her skin. The gesture remains the eternal main character in this context, where art is destined to be destroyed; the cuts and wounds are border, path and exchange. The artist opens the canvas in two and declares its finiteness; the holes are transformed into black holes, which give depth and make us perceive the vastness that we never understand.

We are waiting for new discoveries that we don't yet know Fontana described the cuts as „Waits,“ which are openings that allow new and unique things emerge that we do not yet are aware of.

If we make a mistake, when we 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 mistake and the failure overcome, and then figuring out what path to take to compensate or get away with it; then we wait for the effects of the fracture, that mistake, which could be a brand amazing and new source. But it's not.

A few people have understood (and are able to comprehend) this philosophy , as 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 our might the right practices, the right way to appear and be in society, so much that we turn to rules that eventually define Normativity.

Nothing could be more incoherent. We are convinced that we know everything and everything, we apply our standard to all other living organisms and ecosystem on the planet however, in reality we are looking at it from a narrow and biased perspective that is not in line with reality. Anthropocentrism and personal interpretations of the other which are rarely the most accurate.

Accept that there is no perfection in the absolute sense. The same is true of our society, which demands to be the best every chance they get, without pondering 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? Do we accept bodies? Do we accept diversity? The most important thing is, after we accept, do we honor our diversity?

Very often no is it that we are able to hide what does not coincide with the 'perfection' of our very own planet or the universe. We are feel angry, shocked, and disgusted to be swept away, ignored, or covered up and we then show the very imperfection that we actually are, but refuse to accept.

Understanding one's own limitations is important and so is understanding the interconnectedness of everything that is the world system. Either we are ALL placed in a position to give our best, or there's no competition or effort worthwhile, except for the purpose of fuelling inequality. It is all well and good to know that some who have put in a lot of work have succeeded at it, just like those who have been so fortunate. However, in a larger context, always pushing the boundaries of what is possible the definition of 'a perfect' in an impermanent setting; there is no „perfection“ in the absolute sense.

Does this even exist?

Cut Let the truth come out We can conclude that Fontana was a tinkerer, as from the beginning, Fontana resisted the straightforward routes to success, and opted instead to try out the untested and the uncertain, that is to say: abandoning the pretense of being the one that was successful, he pursued the research path that led him to uncover certain facts.

In my very personal view, Fontana is the one who rips the veil and lets the light through, even if the black sails are obscured behind the cuts. A spatial artist as well as one of the pioneers of that art understood not just as a piece of work, but as a gesture, a gesture, around and as a result of action in space, and performance as the expression of a narrative, of which much is practised today.

For me, his cuts reveal all of this, opening up new perspectives to 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 is a symbol of the idea of mortality, shortness, 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 essential to ensure that we remain on the ground. As hard as it is to suffer and as much as it is in a perfect story of our existence it would be wonderful (and just) to learn by positive reinforcements. So long as we as a society are unable to avoid one another's pain as than our own, we are condemned to the unresolved and to live in an insanity.

So let us enjoy the cinema and its happy endings, its beauty that we take for granted and which we take as a template for our lives, because the visual arts, on the other hand, are the daughters of pain, and every artist who wants to tell a piece of truth, had to pass through the wound.