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Inadequacy Concepts like art and life must mix with each other because there is no point in not separating the work of humans and human itself. Art is life (creative energy sexual), who said that? That is why the most intriguing art is the one which talks about life, which unravels different experiences, recollects specifics, questions, and viewpoints.

In the realm of life, it is essential to disbelieve the notion of a perfection to be achieved (in in order to be able to meet such expectations, the only art we can refer to is the cinema). Failure is the hallmark of being Human, the stumbling block upon which we've all fallen at one time or another: superficial judgement, haste, fear or https://www.pearltrees.com/skatedream9/item495552937 anger, the unending need for control and security, wrong choices. Do you think you've not made any of these mistakes?

Open: new perspective to view the world from If we slip, we hurt ourselves more or less intensely and are inclined to judge that fall, to consider the mistake a fault because of the expectations we set of ourselves and others. The injury is actually the point where we can see the truth. It is from here that we can no longer rely on the false notion of perfect (which should be the case if it should not hurt) and look at what is broken. We look at it and then look at our own self-image.

Fontana cut her hair with the consciousness of breaking, opening, tearing since destruction is often the most powerful creative action, and especially in a society where, from an early age, we are immersed in a strong, impregnating systems of values and beliefs. It is no coincidence that Fontana declared in 1963 during an interview Nerio Minuzzo:

„The people who criticize me have often maligned me, but I have never worried about it, I went ahead anyway and I didn't take the salute of anyone. Over the years, I was called „the one with the holes', with some pity even. Today, I realize that my holes and cuts have created a taste and are widely accepted. They even have practical uses. In theatres and bars, they make ceilings with holes. Since, today that even people in the street can comprehend the latest forms. It is the artists that are the ones who know little '.

When Fontana refers to street people, he evokes the imagery of imperfection, in which the hole is a form similar to any other, that the emergence of life is manifested. He is not afraid of dirt nor of the violence of his creative work and throws tar at the sculpture of a human figure and calls it 'Black Man'.

Years later, the cut is transformed into the conquest of space, as a triumph of sculpture and painting through a new spatiality which combines them: a break from verticality to create a crossing passage.

The inhalation and exhaling of the canvas, is reminiscent from afar, in a more philosophical and bourgeois way of the work Gina Pane later did on her body: the gesture remains the eternal main character in this context, where art is destined 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 that give the illusion of depth and reveal the vastness that we never understand.

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

When we commit mistakes, and end up hurting or causing harm to someone else 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 over, then deciding on the way to go to rectify the mistake or get away with it and then waiting for the consequences of that break, that mistake, which could turn out to be a new and great resource. But it's not.

A few people have understood (and are able to comprehend) this philosophy because they are constantly assessing what reality and the human condition are, in addition, affixed to the two-dimensionality on the wall. We continue to defend with all our might the right ways, the best way to present and function in the world, so so that we resort to rules that eventually define normativity.

Nothing could be more incoherent. We are convinced that we know everything, we apply our yardstick to all other living organisms and ecosystem around the globe however, in reality we view it from a narrow and biased point of view that has nothing to do with reality: Anthropocentrism as well as individual interpretations of the other that are almost never the right ones.

Accept that there is no perfection in the absolute sense. This is also true for this society that wants us to do our best at all costs, without considering that maybe, instead of increasing standards, we need to accept more 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 you honor our diversity?

Most of the time, we resort to invisibilising those things that don't fit with the „perfect“ nature of our little world or universe. It makes us horrified, angry, and irritated to be swept away, ignored, or swept under the carpet, and so we manifest the very imperfection that we actually are, but do not accept.

Knowing one's own limits is important and so is understanding the interconnectedness of everything in the world system. Either we are ALL placed in a position to do our best, or there's no competition or effort worthwhile, except for the goal of creating inequality. It's great and great that some people with a lot of effort have achieved it, as have those who have been so fortunate. However, when you look at it in the larger sense, constantly stretching the boundaries of what is possible it's a perfection' in an 'imperfect situation; not a „perfection“ in an absolute sense.

Can this be a reality?

Cut: let the truth in It is possible to say that Fontana attempted to do so, since from the very beginning Fontana rejected the simple ways to be successful, opting instead to experiment with the unknown and the uncertain, that means he decided to leave the notion of being the only and following the path of study that led him to unravel some truths.

For me, and my personal perspective, Fontana is the one who rips the curtain and lets light 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 solely as a work, but as a gesture, as a gesture, around, and as a result of action in space, and performance as the activation of a narrative, and this is the way it is being done 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 reveals the idea of mortality, shortness, uncertainty and fragility. The wound makes us think and makes us think how we can improve our lives, and this practice is very important to stay grounded. As difficult as it is to be a victim and as difficult as it is in a perfect story of life it is ideal (and appropriate) to learn by positive reinforcements. As long that we as a nation are unwilling to avoid the suffering of others as well than our own, we're stuck in the unsolved, and incomplete reality.

Let us take pleasure in the cinema and its happy endings, its perfection so taken for granted , and that we take as a template for our lives since the visual arts, on the other hand are the children of suffering, and any artist who wishes to convey a bit of truth, has had to pass through the wound.