Imperfection

Concepts like art and life should be mixed with one another because there is no point in maintaining a separation between human work and the human being itself. Art is life (creative energy - sexual) Who would have thought that? That is why the most fascinating art is one is about life, which unravels different experiences, specifics, questions, and points of view.

When it comes to life, it is necessary to disbelieve the notion of a perfection to be reached (in order to respond to expectations of this sort, the only art that we can think of is that of the film industry). Failure is the hallmark of being Human and the block that we've been at one point or another: the faulty judgement, haste, fear, anger, the incessant desire for safety and control, wrong choices. Do you think you've never made any of these mistakes?

Open: new perspective from which to look

When we fall, we hurt ourselves more or less and are inclined to judge the fall as a mistake, or to make that the error was a mistake because due to the expectation we hold of ourselves and other people. The injury is the actual point that we are able to are able to see the truth. From there, we stop taking refuge in the false notion of perfection (which in the event that it was so would not be a problem) and look at the things that are broken. We look at it and look at ourselves.

Fontana cut with the awareness of breaking, opening, or tearing as destruction is often the strongest artistic act, especially in a world where, from an early stage, we're immersed in a powerful, imprinted system of beliefs and models. It's not a coincidence that Fontana stated in 1963 in an interview Nerio Minuzzo that:

"The critics have always been a slam on me, but I never worried about it, I went ahead anyway and I never took the salute of anyone. Over the years, I was called "the guy who has holes', with a bit of pity. But today I see that my holes and cuts have earned me a reputation that is accepted, and they even find practical applications. In theatres and bars, they have ceilings made of holes. Because today, you see the public in the street can comprehend the latest forms. The artists are the ones however, who are the only ones to understand more '.

When Fontana speaks of street people, he is evoking the imagery of imperfection, in which the hole is a form similar to any other, where the transformation of life takes place. Fontana isn't afraid of the dirt, nor the violent nature of the creative act and throws tar at an artifact made of plaster of a human figure and calls it 'Black Man'.

The cut is transformed into the conquest of space, in the form of an overthrow of sculpture and painting through a new form of space that contains them both: an end to verticality in favour of a crossing passage.

The inhalation and exhaling from the canvas, is reminiscent from afar, in a more philosophical and bourgeois way, of the work that Gina Pane later did on her skin. The gesture is nonetheless the immortal character in the context of art is bound to be destroyed; the cuts and wounds are the path, boundary and exchange. The artist breaks the canvas and declares it to be finite. the holes transform into black holes that provide an illusion of depth. They also reveal the infinite that we will never understand.

We are waiting for new discoveries that we haven't discovered yet

Fontana described the cuts as "Waits," which are the gaps from which new and different things arise that we don't know.

When we make a mistake, when we cause harm or injury to another one, we must wait a certain period of time before we can react. The first reaction is the shock of the error and the failure overcome, after that, deciding on the path to take to rectify the mistake or get away with it Then we await the effects of the fracture and the mistake that could be a brand amazing and new resource. But it's not.

A few people have understood (and do not comprehend) this concept because they are constantly judging what reality and the human condition are, in addition, affixed to the two-dimensional nature that is the nature of canvas. We fight with all our might the best methods, the correct way to present and function as a person in society, that we rely on standards that end up defining Normativity.

Nothing could be more incoherent. In our belief that we are experts 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 , biased viewpoint that is not in line with the reality of Anthropocentrism, inky-platypus-cql5jz.mystrikingly.com but also individual interpretations of the other which are rarely the correct ones.

Accept: there is no absolute perfection.

This also applies to this society that wants us to be better every chance they get, without pondering the fact that perhaps, rather than increasing standards, we need to learn to be more accepting of what is, just in the present. Do we accept pain? Do we accept death? Do we accept the bodies of others? Do we accept diversity? The most important thing is, after we accept, do you honor our diversity?

In most cases is it that we are able to hide those things that don't fit with the 'perfection' of our little world or the universe. It makes us feel angry, shocked, and disgusted to be swept away, ignored, or swept under the carpet and we then show the imperfections that we actually are, but refuse to accept.

Knowing one's own limits is crucial and so is understanding the interconnectedness of everything in the global system. Either we are ALL placed in a position where we can give our best, or there's no competition or effort worthwhile, except for the goal of creating inequalities. It's great and great that some people with a lot of effort have achieved it, like those who have been fortunate. But in the broader 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 attempted to do so, since from the beginning, Fontana rejected the simple ways to be successful, opting instead to experiment with the unknown and the unknowable, that is to say, he renounced the idea of being the only one, he followed the path of study that led him to unravel some facts.

For me, and in my personal opinion, Fontana is the one who cuts the curtain and lets light through, even if the black sails are obscured in the background. An artist of spatial art as well as one of the forerunners of the art that is understood not solely as a work, but as a gesture, as a gesture, around, and as a result of action on the space, as the activation of a narrative, and this is the way it is being done today.

His cuts illuminate all these, opening new perspectives for art as well as new perspectives on the world and also new questions. The wound for this, is not just pain, the wound highlights mortality, brevity, uncertainty and fragility. The wound makes us think and makes us think, and this practice is very important to ensure that we remain grounded. As difficult as it is to endure and as hard as it is in a perfect story of life it is ideal (and appropriate) to learn only by positive reinforcements. So long we as a species are unable to avoid one another's pain as like our own, we're condemned to the unresolved and to live in an incomplete reality.

So let's enjoy the cinema and the happy endings it brings, its beauty that we take as a given and which we misunderstand and take as a model of life since the visual arts, however are the children of suffering, and any artist who wants to tell a piece of truth, must traverse the pain.