Notes

Six Best Ways To Sell Lucio Fontana
Imperfection
Concepts like life and art must be mixed with each other because there is no need for 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 interesting art is that which talks about life, that reveals different experiences, recounts the details, curiosities, and viewpoints.

When it comes to living, it is necessary to defy 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 cinema). Error is the hallmark of being Human, the stumbling block that we've every one of us at one time or another: superficial judgment, impulsiveness, fear and anger, the constant need for control and security bad choices. Do you think you've not made one of these errors?

Open: new perspective to view the world from
When we slip, we hurt ourselves more or less intensely and are inclined to judge the cause of our fall, and to think that the mistake was a result of the expectations we hold of ourselves and other people. The wound is actually the place where we can discover the truth. It is from here that we are no longer in the false notion of perfect (which if it were such shouldn't be hurting) and examine the things that are damaged: we examine it and look at our own self-image.

Fontana cut her hair with the consciousness that breaking and opening is tearing as destruction is often the strongest artistic act, especially in a world that, since a very early time, we are ensconced in a strong, impregnating model of belief and values. It is no coincidence that Fontana stated in 1963 in the course of an interview Nerio Minuzzo that:

"The critiques always maligned me, however, I never was concerned about it. lucio fontana on the threshold went ahead anyway and I never took the salute of anyone. In the past, they have called me 'the one that has the holes', with some pity even. But today I see that my holes and cuts have created a taste, are accepted, and even have practical applications. In theatres and bars they make ceilings with holes. Because , today that even people on street are aware of the new ways of life. The artists are the ones, unfortunately, who understand less '.

When Fontana refers to the street, he evokes the imagery of imperfection, where the hole is a form like any other that the emergence of life can be seen. Fontana is not scared of dirt , nor of the brutality of creative expression: he throws tar on a plaster sculpture of a man and calls the sculpture 'Black Man'.

The cut transforms into the conquer of space, as an overthrow of sculpture and painting through an entirely new space that combines them both breaking away from verticality in favour of an open passageway.

This pulsation, which is triggered by exhaling and inhaling the canvas, reminds us from a distance, in a more intellectual and bourgeois version of the work Gina Pane later did on her skin. The gesture remains the eternal protagonist in that context where art is bound to be destroyed; the cuts and wounds are border, path and exchange. The artist breaks the canvas by splitting it in two and declares its finiteness; the holes transform into black holes, which give depth and make us perceive the infinite that we will never know.

Wait: new things we do not yet know
Fontana described the cuts as "Waits," the openings from which new and different things arise that we don't are aware of.

When we make a mistake or harm another person injuring or hurting another, we need to wait for a time before the response. It starts with the shock of the mistake and the failure to be overcome, after that, finding out the best way to go to remedy the damage or get away with it and then waiting for the consequences of the fracture, that error that could turn out to be an entirely new source. It could also be a waste of time.

Few understood (and do not comprehend) this concept since they constantly judge the way that human beings and reality should be, too used to the two-dimensionality on the wall. We fight every inch of our being the correct methods, the correct way to appear and be as a person in the society, that we rely on standards that end up defining 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 on the planet However, we view it from a narrow and biased viewpoint that has nothing to do with reality. Anthropocentrism and individual interpretations of the other that are almost never the right ones.

Accept that there is no perfection in the absolute sense.
The same is true of the society that demands us to be the best at all costs, without pondering the fact that perhaps, rather than improving standards, we could become more accepting of things just the way it is. Do we accept pain? Do we accept death? Do we accept bodies? Do we accept diversity? The most important thing is, once we accept, do we respect our differences?

Most of the time is it that we are able to hide what does not coincide with the 'perfection' of our own little planet or the entire universe. This causes us to be horrified, angry, angry to be pushed aside, or and swept under the rug, and so we manifest the very imperfection that we really are, yet do not accept.

Understanding one's own limitations is important, as is realising the interconnectedness of all that is the global system. Either we are ALL placed in a position to give our best or there's no reason to compete or exert effort to be put into it, unless for the goal of fuelling inequalities. It is all well and good to know that some people who have put in many hours of work have succeeded and have been so lucky. But 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.

Does lucio fontana on the threshold exist?

Cut and let the truth be revealed
We can say that Fontana tried, because from the very beginning he rejected the easy ways to be successful, opting instead to try out the untested and unpredictability, which is to say: abandoning the notion of being the only one, he followed the path of study that led him to uncover certain truths.

In my personal opinion, Fontana is the one who rips the curtain and lets light through, even if he put obscuring black sails in the background. An artist of spatial art in the same way as the pioneers of this art, it is not understood only as a work but as a gesture, an act, in and around it. as a result of action on space, performance as the activation of a narrative, and this is the way it is practised today.

To me, his cuts reveal all of these, opening new perspectives to art as well as new perspectives on the world , and new questions. The wound that he has caused is not just pain, the wound highlights mortality, shortness, uncertainty and fragility. The wound makes us think as well as make us doubt the way we think, and this is essential to keep our feet in the right place. As hard as it is to suffer and as much as, in a perfect narrative of life it is ideal (and right) to gain knowledge only by positive reinforcements. As long we as a species are unable to stop each other's suffering as much like our own, we're bound to remain in the unsolved and unfulfilled reality.

Let us take pleasure in the cinema and its happy endings, its beauty that we take as a given and which we mistakenly end up taking as a model for life since the visual arts however are the children of suffering. Every artist, in order to convey a bit of truth, must go through the pain.




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