Notes

The Leaked Secret to Lucio Fontana Discovered
Inadequacy
Concepts like art and life must mix with each other since there is no need for not separating the human and the human being itself. Art is life (creative energy sexual) Who would have thought that? The most fascinating art is one it talks about life that reveals different experiences, specifics, curiosities, or points of view.

When it comes to living it is imperative to reject the idea of a flawlessness that is to be attained (in order to respond to expectations of this sort The only art we could refer to is that of the cinema). Failure is the hallmark of being Human The stumbling block upon which we've every one of us at one time or another: impulsive judgment, impulsiveness, fear or anger, the unending desire for safety and control and making the wrong decisions. Do you think you've not made one of these errors?

Open: new perspective from which to see
If we fall, we injure ourselves more or less and tend to look at the cause of our fall, and to think the mistake a fault because of the expectations we set of ourselves and others. The injury is the actual point that we are able to see the truth. From there, we stop taking refuge in the false notion of perfect (which in the event that it was so shouldn't be hurting) and examine what is damaged: we examine it and then look at ourselves.

Fontana cut with the awareness of breaking, opening, or tearing as destruction is often the most artistic act, particularly in a world in which, even from a young time, we are ensconced in a strong, impregnating model of belief and values. It's no accident that Fontana said in 1963 in an interview with Nerio Minuzzo:

"The people who criticize me have often criticized me, but I never worried about it, I went on regardless and I never took the salute of anyone. 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 a cult following, are accepted and even find practical uses. In theatres and bars they have ceilings made of holes. Since today, as you can see that people in street are aware of the new designs. The artists are the ones, unfortunately, who understand more '.

When Fontana speaks of the street, he is evoking the imagery of imperfection, in which the hole is the same as every other, that the emergence of life is manifested. He is not afraid of dust nor the violence of creative expression and throws tar at a plaster sculpture of a human figure and calls it "Black Man".

The cut is transformed into the conquest of space, in the sense of an attempt to overcome sculpture and painting through a new spatiality that contains both and a break with verticality, in favor of a crossing passage.

The palpitation that occurs, both exhaling and inhaling the canvas, reminds us from afar, in a more intellectual and bourgeois version, of the work that Gina Pane would later do on her body: the gesture is nevertheless the timeless character in the context of the art will eventually be destroyed; the wound and the cut are the path, boundary and exchange. The artist herself opens the canvas in two and declares its finiteness; the holes become black holes that give the illusion of depth and reveal the infinite that we will never be able to comprehend.

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

When we commit a mishap, when we hurt or injure the other one, we must wait a certain period before we react. First the shock of the error and the failure to be over, then figuring out the path to take to rectify the mistake or get away with it and then waiting for the consequences of that fracture, that mistake and the possibility of an entirely new source. Or not.

A few people have understood (and understand) this philosophy since they constantly judge how reality and human beings ought to be, and how they should be compared to the two-dimensionality on the wall. We keep fighting every inch of our being the correct methods, the correct method of presenting and being in society, so much that we turn to norms that ultimately define the concept of normativity.


It's impossible to find anything more confusing. In our belief that we are experts and everything, we apply our standard to all other living organisms and ecosystem on the planet however, in reality we are looking at it from a narrow and biased point of view that has nothing to do with the reality of Anthropocentrism and individual interpretations of other theories that are almost never the correct ones.

Accept: no perfection in the absolute sense.
The same is true of the society that demands us to be the best every chance they get, without reflecting on the fact that maybe, instead of improving standards, we could accept more of what is, just the way it is. Do we accept pain? Do lucio fontana price accept death? Do we accept the bodies of others? Do we accept diversity? The most important thing is, once accepting, do we respect our differences?

Very often no, we resort to invisibilising those things that don't fit with the "perfect" nature of our very own planet or the universe. It makes us shocked, angry, disgusted and pushed aside, then put under the rug and we then show the very imperfection that we really are, yet refuse to accept.

Understanding one's own limitations is essential, as is realising the interconnectedness of all that is the global system. Either we are ALL put in a position to do our best, or there is no reason to compete or exert effort with the sole goal of fuelling inequality. It's all very well and great that some people after much effort have made it and have been so lucky. But in the larger context, always pushing the boundaries a little further it's a perfection' in an imperfect situation; not a 'Perfection' in the absolutist sense.

Could this ever exist?

Cut and let the truth be revealed
We can say that Fontana attempted to do so, since from the very beginning Fontana rejected the simple paths of success, preferring to experiment with the unknown and the uncertain, that is to say, he renounced the idea of being the only, he followed the path of research that led him to unravel some facts.

For me, and my very personal view, Fontana is the one who tears open the veil and lets the light shine through, even if the black sails are obscured in the background. An artist of spatial art as well as one of the pioneers of this art, it is not understood only as a work but also as a gesture a gesture, around and as a consequence of action on the space, as the creation of a narrative, which is a large part of what is practised today.


To me, his cuts illuminate all this, opening up new perspectives on art as well as new perspectives on the world and also new questions. The wound that he has caused is more than just pain: the wound is a symbol of mortality, shortness, uncertainty and fragility. Wounding makes us question, makes us question the way we think, and this is essential to ensure that we remain in the right place. While it can be difficult to endure and as hard as it is in a perfect narrative of our existence it is ideal (and just) to learn only by positive reinforcements. As long that we as a nation are unwilling to avoid one another's pain as as our own, we are condemned to the unresolved and insanity.

So let us enjoy the cinema and its happy endings its beauty and perfection that is taken for granted and which we mistakenly end up taking as a model of life as the visual arts, contrary to what they appear are the children of pain, and every artist, to speak the truth, must traverse the pain.





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