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Imperfection Concepts such as art and life must mix with one another because there is no reason for not separating the work of humans and human. The art of life is a form (creative energy - sexual), who said that? That is why the most fascinating art is one which talks about life, that unravels various experiences, recounts details, curiosities, viewpoints.

When it comes to the world, it is imperative to reject the idea of a perfectionism that can be reached (in response to such expectations the only form of art that we can think of is film). Failure is the hallmark of being Human, the stumbling block that we've been at one point or another: superficial judgment, haste, anger, the incessant search for security and control and making the wrong decisions. Don't you dare say you've never made any of these mistakes?

Open: new perspective from which to look When we fall, we hurt our bodies more or less and are prone to judge that fall, to consider the mistake a fault because due to the expectation we set of ourselves and other people. The injury is actually the place where we can discover the truth, from which we can no longer rely on the false notion of perfection (which should be the case if it should not hurt) and take a look at the things that are broken: we look through it and look at ourselves.

Fontana cut her hair with the consciousness that breaking and opening is or tearing because destroying is often the most creative action, and particularly in a society in which, even from a young stage, we're immersed in a strong, impregnating model of belief and click4r.com values. It is no coincidence that Fontana stated in 1963 in an interview with Nerio Minuzzo that:

„The people who criticize me have often maligned me, but I have never thought about it. I went on regardless and never accepted anyone's salute. In the past, they called me 'the one with the holes' with some pity even. However, today I can see that my cuts and holes have earned me a reputation, are accepted and even have 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. The artists are the ones, unfortunately, who understand more '.

When Fontana talks about the street, he evokes the image of imperfection where the hole is a form that is similar to every other one in which the becoming of life is manifested. Fontana isn't afraid of dust nor the violent nature of the creative act and throws tar at a plaster 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 form of space that contains them both: an end to verticality to create an open passageway.

The palpitation that occurs, both inhaling and exhaling of the canvas, can be seen from afar in a more cerebral and bourgeois version of the work Gina Pane would later do on her skin. The gesture remains the eternal main character in this context, where art is destined to be destroyed; the cuts and wounds are border, path and exchange. The artist breaks the canvas and declares it to be finite. the holes transform into black holes, which give the illusion of depth and reveal the vastness that we never understand.

Wait: we are discovering new things that we haven't discovered yet Fontana called the cuts 'Waits', openings that allow new and different things arise that we don't have a clue about.

When we commit an error, or end up hurting or causing harm to someone else, we have a waiting period before we react. The first reaction is the shock of making a mistake and the failure to overcome, and then deciding on the steps to take to compensate or avoid it and then waiting for the effects of the fracture or error, which could turn out to be a amazing and new resource. Or not.

Few understood (and do not comprehend) this concept because they are constantly judging what reality and the human condition ought to be, and how they should be compared to the two-dimensional nature that is the nature of canvas. We continue to defend every inch of our being the best ways, the best way to appear and be in the world, so that we turn to rules that eventually define normativity.

Nothing could be more incoherent. We are convinced that we know everything that we do, we compare our standards to every organism and ecosystem around the globe however, in reality we view the world from a narrow and biased viewpoint that is not in line with the reality of Anthropocentrism, but also personal interpretations of other theories which are rarely the most accurate.

Accept that there is no perfection in the absolute sense. This is also true for this society that wants us to be better at all cost, but without considering that perhaps, rather than increasing standards, we need to become more accepting of what is, just as it is. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? The most important thing is, after accepting, do we dignify?

Very often no, we resort to invisibilising what does not coincide with the „perfect“ nature of our little world or universe. It makes us horrified, angry, and irritated and swept under the carpet and we then show the imperfections that we are in reality, yet we refuse to accept it.

Understanding one's own limitations is crucial, as is realising the interconnectedness of all that is the world system: either we are ALL placed in a position where we can give our best or there is no competition or effort worthwhile with the sole purpose of fuelling inequality. It is all well and good that some who have put in a lot of work have succeeded at it, like the ones who are fortunate. However, when you look at it in the larger context, always pushing the boundaries a little further the definition of 'a perfection' in an imperfect setting; there is no „perfection“ in an absolute sense.

Does this even exist?

Cut: let the truth in It is possible to say that Fontana was a tinkerer, as from the beginning, Fontana rejected the simple paths of success, preferring to try out the untested and unpredictability, which is to say: abandoning the pretense of being the one and following the path of study that led him to uncover certain facts.

In my very personal view, Fontana is the one who rips the curtain and lets light through, even if the black sails are obscured behind the cuts. A spatial artist 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 an act, in and around it. in the context of actions on the space, as the activation of narrative, which is a large part of what is being done today.

His cuts illuminate all this, opening up new perspectives for art and new perspectives about the world, as well as new questions. The wound, for this, is not just pain, the wound reveals mortality, brevity, uncertainty and fragility. A wound can make us think, makes us question how we can improve our lives, and this practice is essential to ensure that we remain on the ground. As hard as it is to suffer and as much as it is in a perfect tale of life, it would be great (and right) to learn by positive reinforcements. As long we as a species are unable to avoid each other's suffering as much than our own, we are condemned to the unresolved and to live in an unfulfilled reality.

So let's enjoy the cinema and its happy endings, its perfection so taken for granted and which we mistakenly end up taking as a template for our lives, because the visual arts, on the other hand, are the daughters of pain, and every artist, in order to tell a piece of truth, has had to go through the pain.