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Imperfection Concepts like art and life have to be mixed with each other since there is no reason for maintaining a separation between human activity and the human itself. Life is art (creative energy sexual) Who said that? That is why the most interesting art is that which talks about life, which unravels different experiences, recollects details, curiosities, points of view.

In the world, it is imperative to reject the idea of a perfectionism that can be reached (in in order to be able to meet expectations of this sort, the only art we could refer to is that of the film industry). The nature of error https://niebuhr-monaghan.hubstack.net/believe-in-your-lucio-fontana-expertise-however-by-no-means-stop-improving is the essence of being Human, the stumbling block upon which we've all fallen at one time or another: impulsive judgement, haste, fear or anger, the unending search for security and control and making the wrong decisions. Don't tell me you have never made any of these mistakes?

Open: a new perspective from which to look When we fall, we hurt ourselves more or less intensely and tend to look at that fall, to consider the mistake a fault because due to the expectation we have of ourselves and others. The wound is actually the place where we can see the truth. From there, we stop taking refuge in the false notion of perfection (which in the event that it was so would not be a problem) and examine what's broken. We look at the wound and examine ourselves.

Fontana cut her hair with the consciousness the possibility of opening up, breaking or tearing because destroying is often the strongest artistic act, all the more so in a culture in which, even from a young stage, we're immersed in a deeply ingrained systems of values and beliefs. It's not a coincidence that Fontana declared in 1963 during an interview with Nerio Minuzzo that:

„The people who criticize me have often been a slam on me, however, I never thought about it. I went ahead anyway and I didn't take the salute of anyone. In the past, they called me 'the one with the holes', with a little pity. But today I see that my cuts and holes have created a taste, are accepted and even have practical uses. In bars and theatres they create ceilings using holes. Since today, as you can see that even people who walk by understand the latest forms. It's the artists, unfortunately, who understand more '.

When Fontana talks about street people, he is evoking the idea of imperfection in which the form of the hole is that is similar to every other one where the transformation of life takes place. He is not afraid of dust nor the brutality of creative expression and throws tar at a plaster sculpture of a human figure and calls it „Black Man“.

Years later, the cut becomes the conquest of space, in the form of an overthrow of painting and sculpture, by a new space which combines them: 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 way, of the work that Gina Pane would later perform on her skin. The gesture is nevertheless the eternal character in the context of art is bound to be destroyed; the wound and the cut represent border, path and exchange. The artist opens the canvas and declares it to be finite. the holes become black holes that provide depth and make us perceive the infinite that we will never be able to comprehend.

Wait: we are discovering new things that we do not yet know Fontana named the cuts „Waits,“ the gaps from which new and new things are born which we do not know.

When we commit an error, or cause harm or injury to another injuring or hurting another, we need to wait for a period before we react. It starts with the shock of the mistake and the failure overcome, and then deciding on the path to take to compensate or avoid it Then we await the consequences of that break or error, which could turn out to be a innovative and valuable resource. But it's not.

Few understood (and are able to comprehend) this concept because they are constantly assessing what reality and the human condition ought to be, and how they should be compared to the two-dimensionality that is the nature of canvas. We continue to defend every inch of our being the correct ways, the best way to appear and be in society, so much so that we resort to rules that eventually define normativity.

It's impossible to find anything more confusing. In our belief that we are experts, we apply our yardstick to every other organism and ecosystem around the globe However, we are looking at it from a narrow , biased point of view that is not in line with reality: Anthropocentrism and personal interpretations of the other which are rarely the most accurate.

Accept: no absolute perfection. The same is true of this society that wants us to be better at all cost, but without reflecting on the fact that perhaps, rather than increasing standards, we need to become more accepting of what is, just in the present. Do we accept pain? Do we accept death? Accept body parts? Do we accept diversity? Most importantly, after accepting, do we respect our differences?

Most of the time is it that we are able to hide those things that don't fit with the 'perfection' of our own little planet or universe. This causes us to be feel angry, shocked, and disgusted, pushed away, covered up and then we show the imperfections that we really are, but do not accept.

Understanding one's own limitations is important as is recognizing the interconnectedness of everything in 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 to be put into it, unless for the purpose of fuelling inequality. It is all well and good that some with a lot of effort have achieved it, just like those who have been so fortunate. However, in a larger context, always pushing the boundaries just a bit further it's a perfect' in an impermanent' context; no „perfection“ in an absolute sense.

Could this ever exist?

Cut: let the truth in We can say that Fontana attempted to do so, since right from the beginning, he rejected the easy ways to be successful, opting instead to experiment with the unknown and the uncertain, that is to say: abandoning the notion of being the only one that was successful, he pursued the path of study that led him to uncover some facts.

In my personal perspective, Fontana is the one who cuts the veil and lets the light in, even though he put obscuring black sails behind the cuts. An artist of spatial art and one of the forerunners of the art that is understood not solely as a work, but also as a gesture as a gesture, around, and in the context of actions on space, performance as the activation of a narrative, of which much is practised today.

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 mortality, brevity, 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 very important to ensure that we remain grounded. While it can be difficult to suffer and as much as it is in a perfect story of our existence it would be wonderful (and right) to learn through positive reinforcements, as long as we as a society are unable to avoid the suffering of others as well than our own, we are bound to remain in the unsolved and unfulfilled reality.

So let us enjoy the cinema and the happy endings it brings, its beauty and perfection that is taken for granted , and that we misunderstand and take as a model of life, because the visual arts, on the other hand are the children of pain, and every artist, in order to convey a bit of truth, had to go through the pain.