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Imperfection Concepts such as art and life should be mixed with each other because there is no need for keeping a distance between the work of humans and human being itself. Art is life (creative energy - sexual) Who said that? The most fascinating art is one it talks about life which unravels different experiences, recounts specifics, questions, and viewpoints.

In the realm of life, it is essential to disbelieve the notion of a perfectionism to be attained (in in order to be able to meet such expectations The only art we could refer to is that of the cinema). The nature of error is the essence of being Human, the stumbling block that we've been at one point or another: superficial judgement, haste, fear or anger, the unending search for security and control bad choices. Don't you dare say you've never made any of these errors?

Open: a new perspective to view the world from When we slip, we hurt ourselves more or less intensely and tend to look at the cause of our fall, and to think the error as a result of the expectations we set of ourselves and others. The injury is the actual point where we can are able to see the truth. From there, we stop taking refuge in the false notion of perfect (which should be the case if it would not be a problem) and take a look at the things that are broken: rivera-palm.mdwrite.net we look through the wound and examine ourselves.

Fontana cut with the awareness of breaking, opening, or tearing because destroying is often the most powerful creative act, all the more so in a culture in which, even from a young time, we are ensconced in a strong, impregnating system of beliefs and models. It's no accident that Fontana declared in 1963 during an interview Nerio Minuzzo:

„The critiques always criticized me, however, I never was concerned about it. I went ahead anyway and I didn't take the salute of anyone. Over the years, I was called „the guy with the holes', with a bit of pity. However, today I can see that my cuts and holes have created a taste and are widely accepted. They even have practical uses. In bars and theaters, they have ceilings made of holes. Because today, you see, even the people in the street can comprehend the new forms. The artists are the ones however, who are the only ones to understand less '.

When Fontana talks about streetspeople, he evokes the imagery of imperfection, where the hole is a form like any other that the emergence of life can be seen. Fontana isn't afraid of dirt nor of the brutality of creative expression He throws tar onto a plaster sculpture of a human figure and calls it „Black Man“.

The cut becomes the conquest of space, as an overcoming of sculpture and painting through a new form of space that contains them both: the break with verticality in favour of a crossing passage.

The inhalation and exhaling the canvas is , from afar, reminiscent in a more intellectual and bourgeois sense, of the work that Gina Pane later did on her skin. The gesture is nevertheless the eternal main character in this context, where art is bound to be destroyed; the wound and the cut represent path, boundary and exchange. The artist opens the canvas in two and declares it to be finite. the holes become black holes that give the illusion of depth and reveal the infinite that we will never understand.

Wait: new things we do not yet know Fontana called the cuts 'Waits', the gaps from which new and new things are born that we do not yet are aware of.

When we commit mistakes, and hurt or injure the other, we have a waiting period before we react. It starts with the shock of the error and the failure over, then deciding on the path to take to compensate or avoid it Then we await the consequences of that break and the mistake that could actually be a new and great resource. But it's not.

A few people have understood (and are able to comprehend) this philosophy , as they constantly judge what reality and the human condition are, in addition, affixed to the two-dimensional nature on the wall. We fight with all our might the right ways, the best way to present and function as a person in society, that we rely on norms that ultimately define the concept of normativity.

Nothing could be more incoherent. Convinced that we know everything that we do, we compare our standards to every other organism and ecosystem on the planet However, we view it from a narrow and biased point of view which has nothing to do with reality. Anthropocentrism, but also personal interpretations of the other that are almost never the right ones.

Accept: no absolute perfection. The same is true of our society, which demands to be the best every chance they get, without reflecting on the fact that perhaps, rather than increasing standards, we need to accept more of the world in the present. Do we accept pain? Do we accept death? Do we accept the bodies of others? Do we accept diversity? The most important thing is, after we accept, do we dignify?

Most of the time is it that we are able to hide those things that don't fit with the 'perfection' of our very own planet or the universe. We are feel angry, shocked, and disgusted and put under the rug and we then show our imperfections, which we really are, but refuse to accept.

Knowing one's own limits is crucial 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 competition or effort worthwhile with the sole goal of creating inequality. It's great and good that some who have put in a lot of work have succeeded at it, as have the ones who are fortunate. However, in a larger context, always stretching the boundaries of what is possible it's a perfection' in an imperfect setting; there is no 'Perfection' in the absolutist 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 unpredictability, which means he decided to leave the notion of being the only one and following the path of study that led him to uncover some truths.

For me, and in my very personal view, Fontana is the one who tears open the veil and lets the light shine through, even if the black sails are obscured in the background. An artist of spatial art in the same way as one of the early pioneers of this art, it is not understood only as a work but also as a gesture a gesture, around and as a consequence of action on the space, as the activation of narrative, of which much is practised today.

For me, his cuts illuminate all these, opening new perspectives on art and new perspectives on the world and also new questions. The wound that he has caused 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 the way we think, and this is essential to ensure that we remain in the right place. While it can be difficult to be a victim and as difficult as it would be in a perfect tale of life, it would be great (and appropriate) to learn only by positive reinforcements. So long that we as a nation are unable to avoid each other's suffering as much than our own, we are stuck in the unsolved, and to live in an unfulfilled reality.

Let us take pleasure in the cinema and its happy endings its beauty and perfection that is taken for granted , and that we misunderstand and take as a template for our lives since the visual arts, on the other hand, are the daughters of pain, and every artist who wishes to speak the truth, must traverse the pain.