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Imperfection Concepts such as art and life should be mixed with each other since there is no reason for not separating human activity and the human being itself. Life is art (creative energy sexual) Who would have thought that? This is the reason why the most intriguing art is the one is about life, which unravels different experiences, recollects specifics, questions, and points of view.

In life, it is necessary to disbelieve the notion of a perfectionism that can be achieved (in in order to be able to meet this kind of expectation The only art that we can think of is film). Failure is the hallmark of being Human and the block that we've every one of us at one point or another: impulsive judgement, impulsiveness, fear and anger, the constant search for security and control bad choices. Don't tell me you have not made any of these errors?

Open: a new perspective to view the world from When we fall, we hurt ourselves more or less intensely and tend to look at that fall, to consider the mistake a fault because due to the expectation we have of ourselves and others. The wound is actually the point that we are able to are able to see the truth. From there, we are no longer in the illusion of perfect (which if it were such shouldn't be hurting) and take a look at the things that are damaged: we examine it and look at ourselves.

Fontana cut with the awareness that breaking and opening is or tearing because destroying is often the most powerful artistic act, all the more so in a world that, since a very early stage, we're immersed in a powerful, imprinted system of beliefs and models. It is no coincidence that Fontana stated in 1963 in an interview with Nerio Minuzzo that:

„The critics have always criticized me, but I have never was concerned about it. I went ahead anyway and never accepted anyone's salute. For years they called me „the guy that has the holes', with a bit of pity. However, today I can see that my holes and cuts have been a hit and are widely accepted. They even have practical applications. In theatres and bars, they make ceilings with holes. Since today, as you can see, even the people in the street can comprehend the new forms. The artists are the ones, unfortunately, who understand little '.

When Fontana refers to the street, he evokes the idea of imperfection in which the form of the hole is that is similar to every other one where the transformation of life is manifested. Fontana isn't afraid of dirt nor of the violent nature of his creative work: he throws tar on a plaster sculpture of a man and calls it „Black Man“.

A few years later, the cut transforms into the conquer of space, as an overcoming of painting and sculpture, through a new spatiality which combines them: the break with verticality to create a crossing passage.

The palpitation that occurs, both inhaling and exhaling of the canvas is , from afar, reminiscent in a more intellectual and bourgeois way of the work Gina Pane later did on her skin: the gesture is nonetheless the immortal main character in this context, where the art will eventually be destroyed. The wound and the cut are path, boundary and exchange. The artist herself opens the canvas and declares it to be finite. the holes are transformed into black holes, which give depth and make us perceive the infinite , which we'll never be able to comprehend.

We are waiting for new discoveries that we haven't discovered yet Fontana named the cuts „Waits,“ which are the gaps from which new and different things arise which we do not are aware of.

If we make a mistake, when we end up hurting or causing harm to someone else one, we must wait a certain time before the reaction. First the shock of the error and the failure to be overcome, after that, deciding on the steps to take to rectify the mistake or avoid it Then we await the effects of the fracture and the mistake that could be a brand new and great resource. But it's not.

A few people have understood (and are able to comprehend) this philosophy because they are constantly judging how reality and human beings are, in addition, affixed to the two-dimensional nature that is the nature of canvas. We keep fighting with all our might the best ways, the best way to appear and be in the world, so that we rely on rules that eventually define normativity.

It's impossible to find anything more confusing. In our belief that we are experts that we do, we compare our standards to every other organism and ecosystem in the world, but in reality we see the world from a narrow and biased point of view which has nothing to do with reality: Anthropocentrism, but also individual interpretations of the other that are almost never the most accurate.

Accept: there is no absolute perfection. This also applies to our society, which demands to do our best at all cost, but without considering that, instead of increasing standards, we need to learn to be more accepting of what is, just the way it is. Do we accept pain? Do we accept death? Do we accept bodies? Do we accept diversity? And, most importantly, once accepting, do we respect our differences?

In most cases do we choose to ignore those things that don't fit with the „perfect“ of our own little planet or universe. We are shocked, angry, disgusted and swept under the carpet and then we show the very imperfection that we really are, but we refuse to accept it.

Being aware of one's limits is important and so is understanding the interconnectedness of everything in the world system: either we are ALL put in a position where we can give our best, controlc.com or there's no reason to compete or exert effort with the sole goal of creating the spread of inequality. It is all well and great that some people who have put in a lot of work have succeeded at it, like those who have been fortunate. However, in a larger sense, constantly stretching the boundaries just a bit further, it will be 'a perfection' in an 'imperfect setting; there is no „perfection“ in an absolute sense.

Could this ever exist?

Cut and let the truth be revealed We can conclude that Fontana tried, because from the very beginning Fontana resisted the straightforward routes to success, and opted instead to try out the untested and unpredictability, which means he decided to leave the pretense of being the one and following the path of research that led him to unravel certain truths.

In my very personal view, Fontana is the one who tears open the veil and allows the light through, even if there are black sails that obscure in the background. An artist of spatial art and one of the early pioneers of this art, it is not understood only as a work but as a gesture, a gesture, around and as a result of action on the space, as the expression of a narrative, which is a large part of what is practiced in the present.

For me, his cuts are a great example of these, opening new perspectives for art and new perspectives on the world and also new questions. The wound that he has caused is more than pain: the wound reveals the fragility, mortality, and fragility. The wound makes us think as well as make us doubt, 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 story of our existence it is ideal (and appropriate) to learn only by positive reinforcements. So long as we as a society are unwilling to avoid the suffering of others as well than our own, we're condemned to the unresolved and insanity.

Let us take pleasure in the cinema and its happy endings its beauty and perfection that is taken for granted , and that we take as a model for life, because the visual arts on the other hand are the children of pain, and every artist, in order to tell a piece of truth, has had to go through the pain.