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Inadequacy Concepts such as art and life must mix with each other since there is no need for keeping a distance between human work and the human being itself. Life is art (creative energy - sexual) Who said that? This is the reason why the most intriguing art is the one it talks about life that reveals different experiences, recounts details, curiosities, points of view.

When it comes to life, it is essential to reject the idea of a perfectionism to be attained (in order to respond to expectations of this sort, the only art that we can think of is film). The nature of error is the essence of being Human, the stumbling block upon which we've been at one point or another: the faulty judgment, haste and anger, the constant search for security and control, wrong choices. Don't you dare say you've not made one of these mistakes?

Open: a new perspective from which to see If we fall, we injure ourselves more or less and tend to look at the cause of our fall, and to think that the error was a mistake because due to the expectation we have of ourselves and other people. The wound is actually the point that we are able to are able to see the truth, from which we stop taking refuge in the false notion of perfect (which if it were such shouldn't be hurting) and look at the things that are broken: we look through it and then look at ourselves.

Fontana cut her hair with the consciousness of breaking, opening, or tearing because destroying is often the strongest creative action, and all the more so in a culture in which, even from a young time, we are ensconced in a deeply ingrained model of belief and values. It's not a coincidence that Fontana said in 1963 in the course of an interview Nerio Minuzzo:

„The people who criticize me have often been a slam on me, but I never worried about it, I went on regardless and never accepted any kind of salute. For years they called me „the guy who has holes', with a bit of pity. However, today I can see that my holes and cuts have created a taste, are accepted and even find practical applications. In theatres and bars, they create ceilings using holes. Because today, you see, even the people who walk by understand the latest forms. It is the artists however, who are the only ones to understand less '.

When Fontana talks about street people, he invokes the imagery of imperfection, where the form of the hole is that is similar to every other one that the emergence of life takes place. Fontana isn't afraid of the dirt, nor the violence of creative expression and throws tar at a plaster sculpture of a man and calls the piece 'Black Man'.

The cut becomes the conquest of space, as an overcoming of painting and sculpture, through a new form of space that combines both the break with verticality in favour of an open passageway.

This palpitation, inhaling and exhaling from the canvas, is reminiscent from afar, in a more intellectual and bourgeois sense, of the work that Gina Pane later did on her skin: the gesture is nonetheless the immortal main character in this context, where art is bound to be destroyed; the wound and the cut represent path, boundary and exchange. The artist breaks the canvas by splitting it in two and proclaims the canvas's finiteness. the holes are transformed into black holes, which give an illusion of depth. They also reveal the infinite that we will never know.

Wait: new things we don't yet know Fontana described the cuts as 'Waits', the openings from which new and unique things emerge that we don't have a clue about.

If we make an error, or end up hurting or causing harm to someone else, we have a waiting period before we react. First the shock of the error and the failure overcome, and then finding out the best way to go to compensate or to get it out of the way and then waiting for the consequences of that fracture or error, which could actually be a amazing and new source. Or not.

Many people do not understand (and understand) this concept because they are constantly assessing how reality and human beings are, in addition, affixed to the two-dimensional nature of the canvas. We fight every inch of our being the correct practices, the right method of presenting and being in society, so much that we turn to rules that eventually define Normativity.

Nothing could be more incoherent. Convinced that we know everything and everything, we apply our standard to every other organism and ecosystem in the world However, we view it from a narrow and biased point of view that is not in line with the reality of Anthropocentrism as well as individual interpretations of the other which are rarely the right ones.

Accept: there is no perfection in the absolute sense. 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 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? And, most importantly, once we accept, do you respect our differences?

Very often no, we resort to invisibilising those things that don't fit with the „perfect“ of our little world or universe. This causes us to be horrified, angry, and irritated to be swept away, ignored, or put under the rug and then we show the very imperfection that we are in reality, yet refuse to accept.

Being aware of one's limits is essential and so is understanding the interconnectedness of all that is the world system: either we are ALL placed in a position to give our best, or there's no incentive or competition worth the effort with the sole motive of increasing inequality. It's all very well and good that some with a lot of effort have achieved it, as have the ones who are lucky. However, when you look at it in the larger context, always pushing the boundaries just a bit further the definition of 'a perfection' in an 'imperfect' context; no „perfection“ in the absolute sense.

Can this be a reality?

Cut: let the truth in We can conclude that Fontana tried, because from the very beginning Fontana rejected the simple ways to be successful, opting instead to experiment with the unknown and unpredictability, which is to say, he renounced the idea of being the one and following the path of research that led him to unravel some facts.

For me, and in my personal perspective, Fontana is the one who cuts the veil and allows the light shine through, even if there are black sails that obscure in the background. An artist of spatial art and one of the early pioneers of this art, it is not understood solely as a work, but as a gesture, as a gesture, around, and in the context of actions in space, and performance as the activation of narrative, and skatepoet9.doodlekit.com this is the way it is being done today.

To me, his cuts are a great example of these, opening new perspectives for art, new points of view on the world , and new questions. The wound, for this, is more than pain: the wound reveals the idea of mortality, shortness, uncertainty and fragility. The wound makes us think as well as make us doubt how we can improve our lives, and this practice is essential to ensure that we remain in the right place. While it can be difficult to suffer and as much as it would be in a perfect story of our existence, it would be great (and appropriate) to gain knowledge only by positive reinforcements. So long that we as a nation are unwilling to avoid each other's suffering as much as our own, we're bound to remain in the unsolved and to live in an unfulfilled reality.

So let us enjoy the cinema and its happy endings, its beauty that we take as a given and which we misunderstand and take as a model for life, because the visual arts, on the other hand are the product of suffering, and any artist who wishes to tell a piece of truth, has had to pass through the wound.