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Inadequacy Concepts like art and life should be mixed with one another because there is no need for keeping a distance between human activity and the human. Art is life (creative energy sexual) Who would have thought that? The most intriguing art is the one which talks about life, that unravels various experiences, specifics, questions, and points of view.
In the realm of life, it is essential to reject the idea of a perfection to be attained (in in order to be able to meet this kind of expectation the only form of art we can refer to is that of film). The nature of error is the essence of being Human and the block into which we have every one of us at one point or another: impulsive judgement, impulsiveness, fear and anger, the constant need for control and security and making the wrong decisions. Don't you dare say you've not made any 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 fall as a mistake, or to make the error as a result of the expectations we hold of ourselves and others. The wound is actually the point from which we discover the truth, from which we are no longer in the false notion of perfection (which if it were such shouldn't be hurting) and examine what's broken. We look at it and look at ourselves.
Fontana cut her hair with the consciousness that breaking and opening is and tearing since destruction is often the strongest artistic act, particularly in a culture that, since a very early stage, we're immersed in a powerful, imprinted systems of values and beliefs. It is no coincidence that Fontana stated in 1963 in an interview Nerio Minuzzo that:
„The people who criticize me have often maligned me, however, I never was concerned about it. I went ahead anyway and never accepted any kind of salute. In the past, they called me „the guy with the holes', with a bit of pity. However, today I can see that my cuts and holes have created a taste, are accepted and even find practical applications. In theatres and bars, they have ceilings made of holes. Since, today that even people on the street understand the new designs. It is the artists however, who are the only ones to understand less '.
When Fontana refers to streetspeople, he invokes the imagery of imperfection, where the hole is a form that is similar to every other one that the emergence of life can be seen. He's not scared of the dirt, nor the violent nature of creative expression: he throws tar on a plaster sculpture of a man , and names the sculpture „Black Man“.
A few years later, the cut becomes the conquest of space, as a triumph of painting and sculpture, through a new spatiality that combines both the break with verticality, in favor of a crossing passage.
The inhalation and exhaling of the canvas, can be seen from afar in a more cerebral and bourgeois way of the work Gina Pane would later do on her body: the gesture is nonetheless the immortal main character in this context, where art is destined to be destroyed. The wound and the cut represent path, boundary and exchange. The artist opens the canvas in two and declares its finiteness; the holes become black holes, which give 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 described the cuts as „Waits,“ which are the gaps from which new and unique things emerge that we do not yet know.
When we make a mistake, when we hurt or injure the other injuring or hurting another, we need to wait for a period before we react. It starts with the shock of the error and the failure to be overcome, and then figuring out what steps to take to rectify the mistake or avoid it Then we await the consequences of that break or error, which could turn out to be a new and great resource. But it's not.
A few people have understood (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 keep fighting with all of our might the correct practices, the right way to present and function in the world, anotepad.com so that we rely on standards that end up defining the concept of normativity.
It's impossible to find anything more confusing. Convinced that we know everything that we do, we compare our standards to all other living organisms and ecosystem in the world however, in reality we view it from a narrow , biased point of view that is not in line with the reality of Anthropocentrism and individual interpretations of the other which are rarely the correct ones.
Accept that there is no perfection in the absolute sense. This also applies to this society that wants us to be the best every chance they get, without pondering the fact that, instead of improving standards, we could accept more of what is, just 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 dignify?
Very often no do we choose to ignore those things that don't fit with the „perfect“ of our very own planet or the universe. We are shocked, angry, disgusted, pushed away, swept under the carpet and then we show the imperfections that we actually are, but we refuse to accept it.
Understanding one's own limitations is essential, 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 motive of increasing the spread of inequality. It's great and good to know that some who have put in a lot of work have succeeded at it, like the ones who are fortunate. However, in a larger context, always stretching the boundaries just a bit further it's a perfection' in an 'imperfect situation; not a 'Perfection' in the absolutist sense.
Can this be a reality?
Cut Let the truth come out It is possible to say that Fontana was a tinkerer, as from the beginning, he rejected the easy routes to success, and opted instead to try out the untested and the unknowable, that is to say: abandoning the idea of being the only one and following the research path which led him to discover certain truths.
For me, and in my very personal view, Fontana is the one who rips the veil and allows the light shine through, even if he put obscuring black sails in the background. A spatial artist and one of the forerunners of the art that is understood not just as a piece of 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, of which much is practiced in the present.
For me, his cuts illuminate all this, opening up new perspectives on art and new perspectives about the world, as well as new questions. The wound that he has caused is more than just pain: the wound reveals mortality, brevity, uncertainty and fragility. Wounding makes us question and makes us think the way we think, and this is essential to ensure that we remain in the right place. As difficult as it is to suffer and as much as it is in a perfect tale of our existence, it would be great (and right) to learn only by positive reinforcements. So long we as a species do not want to be a part of each other's suffering as much like our own, we are stuck in the unsolved, and insanity.
Let us take pleasure in the cinema and its happy endings its beauty that we take as a given and which we take as a model of life as the visual arts, contrary to what they appear, are the daughters of suffering. Every artist who wants to convey a bit of truth, must traverse the pain.