DokuWiki

Imperfection Concepts such as art and life should be mixed with each other since there is no point in not separating human activity and the human. Life is art (creative energy - sexual) Who said that? This is the reason why the most intriguing art is the one is about life, that reveals different experiences, recollects details, curiosities, perspectives.

In the realm of life, it is essential to disbelieve the notion of a perfectionism that can be attained (in response to expectations of this sort the only form of art that we can think of is the cinema). Failure is the hallmark of being Human and the block that we've all fallen at one time or another: impulsive judgement, impulsiveness, fear and anger, the constant need for control and security bad choices. Don't you dare say you've never made any of these errors?

Open: a new perspective from which to see When we slip, we hurt ourselves more or less intensely and are prone to judge the cause of our fall, and to think that the error was a mistake because of the expectations we have of ourselves and other people. The injury is actually the place that we are able to are able to see the truth. From there, we are no longer in the idea of perfection (which in the event that it was so should not hurt) and examine what's damaged: we examine it and look at ourselves.

Fontana cut with the awareness the possibility of opening up, breaking or and tearing since destruction is often the strongest creative action, and especially in a culture that, since a very early age, we are immersed in a deeply ingrained model of belief and values. It's not a coincidence that Fontana stated in 1963 in the course of an interview Nerio Minuzzo:

„The critiques always maligned me, but I have never thought about it. I went on regardless and I never took any kind of salute. Over the years, I was called „the one with the holes', with a little pity. But today I see that my cuts and holes have earned me a reputation and are widely accepted. They even find practical applications. In bars and theatres they make ceilings with holes. Because today, you see that even people on the street understand the new forms. It is the artists however, who are the only ones to understand little '.

When Fontana speaks of the street, he is evoking the imagery of imperfection, where the form of the hole is like any other that the emergence of life is manifested. Fontana isn't afraid of dirt nor of the violence of creative expression and throws tar at the sculpture of a man , and names the piece „Black Man“.

The cut is transformed into the conquest of space, as an overcoming of painting and sculpture, by a new space that contains them both: the break with verticality, in favor of an open passageway.

The palpitation that occurs, both inhaling and exhaling the canvas can be seen from afar in a more intellectual and bourgeois sense of the work Gina Pane would later do on her body: the gesture remains the eternal character in the context of art is bound to be destroyed. The wound and the cut are the 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 the illusion of depth and reveal the vastness that we never understand.

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

If we make an error, or hurt or injure the other injuring or hurting another, we need to wait for a period of time before we can react. It starts with the shock of the mistake and the failure overcome, and then deciding on the path to take to make up for it or get away with it and then waiting for the consequences of that break and the mistake that could be a brand innovative and valuable source. But it's not.

A few people have understood (and understand) this philosophy because they constantly judge the way that human beings and reality ought to be, and how they should be compared to the two-dimensional nature that is the nature of canvas. We continue to defend with all of our might the best methods, the correct way to present and function in society, so much so that we resort to rules that eventually define the concept of normativity.

Nothing could be more incoherent. In our belief that we are experts and everything, we apply our standard to every organism and ecosystem in the world However, we are looking at it from a narrow , biased point of view that has nothing to do with reality: Anthropocentrism, but also personal interpretations of other theories which are rarely the correct ones.

Accept: there is no absolute perfection. The same is true of the society that demands us to be better every chance they get, without pondering the fact that perhaps, rather than raising standards, we should become more accepting of the world the way it is. Do we accept pain? Do we accept death? Accept the bodies of others? Do we accept diversity? And, most importantly, once we accept, do you honor our diversity?

In most cases do we choose to ignore the things that do not match the 'perfection' of our little world or the universe. This causes us to be feel angry, shocked, and disgusted to be swept away, ignored, or put under the rug, and so we manifest the imperfections that we really are, but we refuse to accept it.

Knowing one's own limits is important, as is realising the interconnectedness of everything that is the global system. Either we are ALL put in a position where we can give our best, or there is no competition or effort worthwhile, except for the goal of creating inequality. It's great and good that some with a lot of effort have achieved it, as have those who have been so lucky. However, in a larger context, always pushing the boundaries a little further the definition of 'a perfect' in an impermanent situation; not a „perfection“ in the absolute sense.

Does this even exist?

Cut: let the truth in It is possible to say that Fontana was a tinkerer, click4r.com as right from the beginning, Fontana rejected the simple ways to be successful, opting instead to experiment with the unknown and unpredictability, which is to say: abandoning the pretense of being the only and following the path of research that led him to uncover certain facts.

For me, and in my personal opinion, Fontana is the one who rips the curtain and lets light through, even if he put obscuring black sails in the background. An artist of spatial art in the same way as one of the forerunners of that art understood not only as a work but as a gesture, a gesture, around and in the context of actions on the space, as the expression of a narrative, of which much is practiced in the present.

To me, his cuts are a great example of this, opening up new perspectives for art, new points of view about the world, as well as new questions. The wound for this, is more than pain: the wound highlights the fragility, mortality, 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 grounded. As difficult as it is to be a victim and as difficult as, in a perfect story of existence it would be wonderful (and right) to gain knowledge only by positive reinforcements. As long we as a species do not want to be a part of one another's pain as than our own, we are bound to remain in the unsolved and unfulfilled reality.

So let us enjoy the cinema and its happy endings its beauty and perfection that is taken for granted and which we take as a model of life since the visual arts, however, are the daughters of suffering, and any artist who wants to convey a bit of truth, must pass through the wound.