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Imperfection Concepts like art and life have to be mixed with one another because there is no need for keeping a distance between the work of humans and human being itself. The art of life is a form (creative energy sexual) Who would have thought that? This is the reason why the most intriguing art is the one it talks about life that reveals different experiences, recollects specifics, questions, and viewpoints.

When it comes to life, it is necessary to disbelieve the notion of a perfection to be reached (in order to respond to such expectations, the only art we could refer to is the cinema). The nature of error is the essence of being Human, the stumbling block into which we have been at one point or another: the faulty judgement, haste, fear or anger, the unending need for control and security bad choices. Don't tell me you have not made one of these mistakes?

Open: a new perspective from which to look When we slip, we hurt ourselves more or less and tend to look at the fall as a mistake, or to make the mistake a fault because of the expectations we have of ourselves and other people. The wound is actually the place that we are able to discover the truth. From there, we are no longer in the false notion of perfection (which should be the case if it would not be a problem) and take a look at what's broken. We look at it and look at ourselves.

Fontana cut with the awareness the possibility of opening up, breaking or or tearing since destruction is often the most powerful artistic act, all the more so in a world in which, even from a young time, we are ensconced in a powerful, imprinted system of beliefs and models. It is no coincidence that Fontana declared in 1963 during the course of an interview Nerio Minuzzo that:

„The critiques always maligned me, but I never thought about it. I just went with it and I never took any kind of salute. In the past, they called me „the guy who has holes', with some pity even. However, today I can see that my holes and cuts have created a taste, https://click4r.com/posts/g/7598656/famous-quotes-on-lucio-fontana are accepted and even have practical uses. In theatres and bars, they have ceilings made of holes. Since today, as you can see that even people in the street can comprehend the new forms. The artists are the ones, unfortunately, who understand little '.

When Fontana speaks of street people, he is evoking the idea of imperfection where the hole is a shape similar to any other, in which the becoming of life is manifested. He is not afraid of dust nor the brutality of the creative act and throws tar at an artifact made of plaster of a man , and names the piece 'Black Man'.

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

The palpitation that occurs, both inhaling and exhaling of the canvas can be seen from afar in a more philosophical and bourgeois way, of the work that Gina Pane would later perform on her skin. The gesture is nonetheless the immortal protagonist in that context where art is bound to be destroyed; the cuts and wounds are border, path and exchange. The artist breaks the canvas by splitting it in two and declares it to be finite. the holes transform into black holes that give depth and make us perceive the infinite that we will never be able to comprehend.

Wait: new things we do not yet know Fontana described the cuts as 'Waits', openings that allow new and new things are born that we do not yet know.

If we make mistakes, and cause harm or injury to another one, we must wait a certain time before the reaction. First the shock of the mistake and the failure to be over, then deciding on the steps to take to make up for it or avoid it Then we await the effects of the fracture and the mistake that could actually be a innovative and valuable source. But it's not.

Few understood (and understand) this philosophy , as they constantly judge how reality and human beings are, in addition, affixed to the two-dimensional nature that is the nature of canvas. We keep fighting with all of our might the right ways, the best way to appear and be in the world, so that we rely on norms that ultimately define Normativity.

There is nothing more absurd than this. Convinced that we know everything, we apply our yardstick to every other organism and ecosystem in the world However, we see it from a narrow and biased viewpoint that is not in line with reality. Anthropocentrism and personal interpretations of the other which are rarely the right ones.

Accept: no absolute perfection. This also applies to our society, which demands to be the best at all cost, but without reflecting on the fact that perhaps, rather than raising standards, we should become more accepting of the world as it is. Do we accept pain? Do we accept death? Do we accept bodies? Do we accept diversity? And, most importantly, once we accept, do we dignify?

Very often no is it that we are able to hide those things that don't fit with the „perfect“ of our little world or the universe. We are feel angry, shocked, and disgusted and put under the rug, and so we manifest the very imperfection that we actually are, but we refuse to accept it.

Being aware of one's limits is crucial as is recognizing the interconnectedness of everything that is the global system. Either we are ALL put in a position to give our best, or there is no competition or effort worthwhile, except for the motive of increasing inequality. It's great and good to know that some after much effort have made it, just like the ones who are lucky. However, in a larger context, always pushing the boundaries just a bit further the definition of 'a perfect' in an impermanent' context; no „perfection“ in the absolute sense.

Does this even exist?

Cut and let the truth be revealed It is possible to say that Fontana attempted to do so, since from the very beginning Fontana resisted the straightforward routes to success, and opted instead to try out the untested and the unknowable, that is to say, he renounced the notion of being the one that was successful, he pursued the path of study that led him to uncover certain facts.

In my personal perspective, Fontana is the one who rips the curtain and lets light shine through, even if there are black sails that obscure behind the cuts. An artist of spatial art as well as one of the early pioneers of that art understood not just as a piece of work, but also as a gesture as a gesture, around, and as a result of action on space, performance as the activation of a narrative, of which much is practised today.

For me, his cuts are a great example of this, opening up new perspectives to art, new points of view on the world and also new questions. The wound, for this, is not just pain, the wound is a symbol of mortality, brevity, uncertainty and fragility. Wounding makes us question, makes us question, and this practice is vital to ensure that we remain in the right place. As difficult as it is to be a victim and as difficult as, in a perfect story of life, it would be great (and just) to learn only by positive reinforcements. As long that we as a nation are unable to avoid each other's suffering as much 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 its happy endings its beauty and perfection that is taken for granted and which we mistakenly end up taking as a template for our lives as the visual arts, contrary to what they appear are the children of suffering, and any artist, in order to tell a piece of truth, must pass through the wound.