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Imperfection Concepts such as art and life have to be mixed with one another because there is no point in keeping a distance between the work of humans and human itself. Life is art (creative energy sexual) Who said that? That is why the most fascinating art is one is about life, which unravels different experiences, recollects specifics, questions, and viewpoints.

When it comes to life, it is essential to disbelieve the notion of a perfectionism that can be achieved (in order to respond to such expectations the only form of art we could refer to is that of film). The nature of error is the essence of being Human and the block upon which we've all fallen at one time or another: impulsive judgement, impulsiveness, fear and anger, the constant search for security and control, wrong choices. Don't tell me you have not made one of these mistakes?

Open: a new perspective to view the world from If we fall, we hurt our bodies more or less and are inclined to judge the fall as a mistake, or to make the mistake a fault because due to the expectation we hold of ourselves and others. The injury is the actual point where we can see the truth, https://owens-franks.mdwrite.net/give-me-10-minutes-ill-give-you-the-truth-about-lucio-fontana from which we stop taking refuge in the idea of perfect (which should be the case if it should not hurt) and take a look at what is broken: we look through it and look at ourselves.

Fontana cut with the awareness the possibility of opening up, breaking or tearing as destruction is often the most creative act, all the more so in a world where, from an early stage, we're immersed in a strong, impregnating system of beliefs and models. It's not a coincidence that Fontana said in 1963 in an interview Nerio Minuzzo that:

„The critiques always been a slam on me, however, I never worried about it, I went on regardless and never accepted the salute of anyone. For years they called me 'the one that has the holes', with some pity even. However, today I can see that my cuts and holes have been a hit, are accepted and even have practical uses. In bars and theaters, they create ceilings using holes. Since, today, even the people who walk by understand the latest forms. It's the artists that are the ones who know more '.

When Fontana speaks of street people, he is evoking the idea of imperfection in which the hole is a form that is similar to every other one in which the becoming of life is manifested. He's not scared of dirt nor of the brutality of creative expression He throws tar onto an artifact made of plaster of a man and calls it 'Black Man'.

The cut transforms into the conquer of space, in the form of an overthrow of painting and sculpture, through a new form of space which combines them: an end to verticality in favour of the possibility of crossing.

The palpitation that occurs, both inhaling and exhaling of the canvas is , from afar, reminiscent in a more philosophical and bourgeois version of the work Gina Pane would later perform on her body: the gesture is nevertheless the eternal protagonist in that context where art is bound to be destroyed. The wound and the cut represent path, boundary and exchange. The artist breaks the canvas in two and proclaims the canvas's finiteness. the holes become black holes that give depth and make us perceive the infinite that we will never understand.

We are waiting for new discoveries that we haven't discovered yet Fontana called the cuts 'Waits', the gaps from which new and unique things emerge that we don't are aware of.

When we make a mistake, when we end up hurting or causing harm to someone else one, we must wait a certain period before we react. It starts with the shock of making a mistake and the failure to be overcome, and then figuring out what way to go to rectify the mistake or to get it out of the way Then we await the consequences of that fracture or error, which could be a brand amazing and new source. It could also be a waste of time.

Many people do not understand (and do not comprehend) this philosophy , as they are constantly assessing how reality and human beings ought to be, and how they should be compared to the two-dimensional nature of the canvas. We fight with all our might the right ways, the best way to appear and be as a person in society, so that we resort to rules that eventually define Normativity.

Nothing could be more incoherent. Convinced that we know everything and everything, we apply our standard to all other living organisms and ecosystem around the globe, but in reality we see it from a narrow and biased viewpoint that is not in line with reality: Anthropocentrism and personal interpretations of other theories which are rarely the right ones.

Accept that there is no absolute perfection. This is also true for this society that wants us to do our best at all cost, but without considering that, instead of improving standards, we could become more accepting of things just in the present. Do we accept pain? Do we accept death? Accept the bodies of others? Do we accept diversity? The most important thing is, after accepting, do we honor our diversity?

Most of the time is it that we are able to hide those things that don't fit with the 'perfection' of our little world or universe. It makes us horrified, angry, and irritated, pushed away, put under the rug and we then show the very imperfection that we actually are, but do not accept.

Being aware of one's limits is crucial, as is realising the interconnectedness of all that is the world system: either we are ALL put in a position to give our best, or there's no competition or effort worthwhile to be put into it, unless for the purpose of fuelling inequalities. It's all very well and great that some people after much effort have made it, as have those who have been so lucky. But in the broader sense, constantly stretching the boundaries of what is possible, it will be 'a perfect' in an impermanent' context; no „perfection“ in an absolute sense.

Can this be a reality?

Cut and let the truth be revealed We can say that Fontana was a tinkerer, as right from the beginning, Fontana resisted the straightforward routes to success, and opted instead to try out the untested and the uncertain, that means he decided to leave the idea of being the only one that was successful, he pursued the path of study which led him to discover certain facts.

For me, and my very personal view, Fontana is the one who tears open the veil and lets the light through, even if there are black sails that obscure in the background. A spatial artist and one of the early pioneers of that art understood not just as a piece of work, but also as a gesture a gesture, around and as a consequence of action on the space, as the expression of a narrative, of which much is being done today.

For me, his cuts are a great example of these, opening new perspectives on art and new perspectives on the world , and 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, makes us question how we can improve our lives, and this practice is very important to keep our feet on the ground. As difficult as it is to be a victim and as difficult as it is in a perfect narrative of life it is ideal (and just) 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 are stuck in the unsolved, and incomplete reality.

So let's enjoy the cinema and the happy endings it brings, its beauty that we take 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, in order to convey a bit of truth, had to go through the pain.