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Inadequacy Concepts like art and life must mix with each other because there is no need for not separating human work and the human. The art of life is a form (creative energy - sexual) Who said that? That is why the most interesting art is that is about life, which unravels different experiences, specifics, questions, and points of view.

In life, it is necessary to disbelieve the notion of a perfection to be achieved (in in order to be able to meet this kind of expectation The only art we can refer to is the film industry). Failure is the hallmark of being Human, the stumbling block into which we have all fallen at one time or another: superficial judgement, impulsiveness, fear and anger, the constant search for security and control bad choices. Don't tell me you have not made one of these errors?

Open: 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 our expectations have of ourselves and others. The injury is actually the point where we can are able to see the truth. From there, we are no longer in the illusion of perfection (which in the event that it was so would not be a problem) and look at the things that are damaged: we examine it and look at ourselves.

Fontana cut with the awareness the possibility of opening up, breaking or and tearing as destruction is often the most powerful artistic act, especially in a culture that, since a very early time, we are ensconced in a powerful, imprinted system of beliefs and models. It's not a coincidence that Fontana said in 1963 in the course of an interview Nerio Minuzzo:

„The critics have always been a slam on me, but I never was concerned about it. I just went with it and never accepted anyone's salute. For years they called me „the one that has the holes', with a little pity. Today, I realize that my holes and cuts have created a taste that is accepted, and they even have practical applications. In bars and theatres they make ceilings with holes. Since today, as you can see that even people in the street can comprehend the new designs. It is the artists, unfortunately, who understand little '.

When Fontana talks about the street, he evokes the idea of imperfection where the hole is a form similar to any other, in which the becoming of life can be seen. 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“.

The cut is transformed into the conquest of space, as a triumph of painting and sculpture, through a new form of space that contains them both: a break from verticality in favour of a crossing passage.

This palpitation, inhaling and exhaling of the canvas is , from afar, reminiscent in a more philosophical and bourgeois version, of the work that Gina Pane would later do on her skin: the gesture is nevertheless the eternal main character in this context, where art is destined to be destroyed. The wound and the cut are path, boundary and exchange. The artist herself opens the canvas by splitting it in two and declares it to be finite. the holes become black holes that provide depth and make us perceive the infinite that we will never be able to comprehend.

Wait: we are discovering new things that we haven't discovered yet Fontana called the cuts „Waits,“ which are the openings from which new and different things arise which we do not are aware of.

If we make a mistake, when we cause harm or injury to another one, we must wait a certain time before the reaction. First the shock of making a mistake and the failure to overcome, and then figuring out what way to go to make up for it or avoid it; then we wait for the effects of the fracture and the mistake that could be a brand innovative and valuable resource. Or not.

A few people have understood (and are able to comprehend) this philosophy , as they constantly judge the way that human beings and reality should be, too used to the two-dimensional nature that is the nature of canvas. We fight every inch of our being the correct ways, the best way to present and function in the world, so that we turn to standards that end up defining the concept of normativity.

There is nothing more absurd than this. In our belief that we are experts, we apply our yardstick to all other living organisms and ecosystem on the planet However, we are looking at the world from a narrow and biased viewpoint which has nothing to do with reality: Anthropocentrism and individual interpretations of the other that are almost never the most accurate.

Accept: there is no absolute perfection. The same is true of the society that demands us to be the best every chance they get, without pondering the fact that perhaps, rather than raising standards, we should become more accepting of things just the way it is. Do we accept pain? Do we accept death? Accept the bodies of others? Do we accept diversity? The most important thing is, after we accept, do you dignify?

Very often no is it that we are able to hide those things that don't fit with the 'perfection' of our own little planet or the universe. This causes us to be shocked, angry, disgusted to be swept away, ignored, or swept under the carpet and https://leadcity2.doodlekit.com/blog/entry/24136517/best-lucio-fontana-android-apps we then show the very imperfection that we are in reality, yet we refuse to accept it.

Being aware of one's limits is essential as is recognizing the interconnectedness of everything in the world system: either we are ALL placed in a position to give our best or there is no competition or effort worthwhile, except for the motive of increasing inequalities. It's great and good to know that some who have put in a lot of work have succeeded at it, like those who have been so lucky. However, when you look at it in the larger context, always stretching the boundaries a little further, it will be 'a perfection' in an 'imperfect' context; no „perfection“ in the absolute sense.

Could this ever exist?

Cut: let the truth in We can conclude that Fontana attempted to do so, since from the very beginning he rejected the easy ways to be successful, opting instead to experiment with the unknown and the unknowable, that is to say, he renounced the pretense of being the one that was successful, he pursued the research path that led him to uncover certain truths.

For me, and my personal perspective, Fontana is the one who tears open the veil and allows the light in, even though he put obscuring black sails in the background. A spatial artist as well as one of the pioneers of the art that is understood not only as a work but as a gesture, a gesture, around and as a result of action in space, and performance as the activation of a narrative, which is a large part of what is practised today.

For me, his cuts illuminate all these, opening new perspectives on art and new perspectives about the world, as well as new questions. The wound, for this, is more than pain: the wound reveals the fragility, mortality, and fragility. A wound can make us think and makes us think, and this practice is vital to ensure that we remain in the right place. As hard as it is to be a victim and as difficult as it would be in a perfect narrative of life it is ideal (and right) to learn by positive reinforcements. So long that we as a nation are unwilling to avoid one another's pain as as our own, we're condemned to the unresolved and unfulfilled reality.

So let us enjoy the cinema and the happy endings it brings, its perfection so taken as a given and which we mistakenly end up taking as a model for life as the visual arts however are the product of suffering, and any artist who wishes to tell a piece of truth, must go through the pain.