Notes

How To Make Your Lucio Fontana Look Like A Million Bucks
Inadequacy
Concepts such as life and art must be mixed with each other because there is no need for not separating the human and the human itself. The art of life is a form (creative energy - sexual) Who said that? That is why the most intriguing art is the one which talks about life, which unravels different experiences, recounts the details, curiosities, and points of view.

In the realm of life it is imperative to disbelieve the notion of a perfection to be reached (in order to respond to such expectations, the only art that we can think of is the cinema). Error is the hallmark of being Human, the stumbling block into which we have all fallen at one time or another: impulsive judgment, haste, anger, the incessant search for security and control and making the wrong decisions. Don't tell me you have not made any of these mistakes?

Open: new perspective to view the world from
If we fall, we hurt ourselves more or less intensely and are prone to judge the cause of our fall, and to think the mistake a fault because our expectations hold of ourselves and others. The injury is actually the place that we are able to see the truth. From there, https://cutt.ly/N25pUrt are no longer in the false notion of perfect (which should be the case if it would not be a problem) and take a look at what's broken: we look through it and look at our own self-image.

Fontana cut with the awareness the possibility of opening up, breaking or tearing since destruction is often the most powerful creative action, and all the more so in a world where, from an early time, we are ensconced in a strong, impregnating systems of values and beliefs. It's not a coincidence that Fontana declared in 1963 during the course of an interview Nerio Minuzzo that:

"The critiques always maligned me, but I have never thought about it. I went on regardless and I never took any kind of salute. In the past, they have called me 'the one with the holes' with a bit of pity. However, today I can see that my holes and cuts have created a taste are accepted and even find practical applications. In theatres and bars, they have ceilings made of holes. Because today, you see that people in street are aware of the new designs. It is the artists however, who are the only ones to understand more '.

When Fontana refers to street people, he evokes the image of imperfection where the hole is the same as any other where the transformation of life is manifested. Fontana is not scared of dust nor the brutality of the creative act: he throws tar on a plaster sculpture of a human figure and calls it "Black Man".

The cut transforms into the conquer of space as an attempt to overcome sculpture and painting, by creating a new spatiality that contains both of them breaking away from verticality to create an open passageway.

This palpitation, exhaling and inhaling the canvas is reminiscent from afar, in a more sophisticated and bourgeois sense of the work Gina Pane later performed on her skin. 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 breaks the canvas in two and proclaims the canvas's finiteness. the holes transform into black holes that give the illusion of depth and reveal the infinite , which we'll never understand.

We are waiting for new discoveries that we do not yet know
Fontana called the cuts "Waits," which are openings that allow new and unique things emerge which we don't know.

When we commit a mishap or injure the other injuring or hurting another, we need to wait for a period before we react. The first reaction is the shock of making a mistake and the failure to be overcome, after that, figuring out the steps to take to rectify the mistake or avoid it Then we await the consequences of the break, that slip, which could actually be an entirely new resource. It could also be a waste of time.

A few people have understood (and are able to comprehend) this concept because they are constantly judging how reality and human beings are, in addition, affixed to the two-dimensionality that is the nature of canvas. We fight every inch of our being the right ways, the best method of presenting and being as a person in the society, so that we resort to rules that eventually define the concept of normativity.

There is nothing more absurd than this. Convinced that we know everything and everything, we apply our standard to every organism and ecosystem around the globe however, in reality we view it from a narrow , biased perspective that has nothing to do with reality: Anthropocentrism and personal interpretations of the other which are almost never the most accurate.

Accept: there is no perfection in the absolute sense.

The same is true of our society, which demands to be the best at all cost, but without considering that perhaps, rather than increasing standards, we need to become more accepting of things just as it is. Do we accept pain? Do we accept death? Do we accept body parts? Do we accept diversity? Most importantly, after we accept, do you respect our differences?

In most cases, we resort to invisibilising what does not coincide with the "perfect" of our very own planet or the entire universe. We are feel angry, shocked, and disgusted, pushed away, put under the rug and we then show the imperfections that we really are, yet refuse to accept.

Knowing one's own limits is important, as is realising the interconnectedness of everything that is the world system: either we are ALL placed in a position to give our best or there is no incentive or competition worth the effort to be put into it, unless for the motive of fostering the spread of inequality. It is all well and good to know that some people who have put in many hours of work have succeeded, like those who were so fortunate. However, in a larger context, always pushing the boundaries a little further, it will be 'a perfection' in an imperfect setting; there is no 'Perfection' in the absolutist sense.

Does this even exist?

Cut and let the truth be revealed
We can say that Fontana was a tyrant, as from the very beginning he resisted the straightforward ways to be successful, opting instead to experiment with the unknown and unpredictably, that is to say: abandoning the notion of being the one that was successful, he pursued the research path that led him to uncover some facts.

In my very personal view, Fontana is the one who rips the veil and lets the light in, even though the black sails are obscured in the background. An artist of spatial art and one of the forerunners 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 creation of a narrative, of which much is practiced in the present.

To me, his cuts reveal all of these, opening new perspectives on art and new perspectives about the world and new questions. The wound for this, is more than just pain: the wound reveals mortality, brevity, uncertainty and fragility. A wound can make us question our existence, makes us question the way we think, and this is vital to ensure that we remain on the ground. While it can be difficult to be a victim and as difficult as, in a perfect story of our existence, it would be great (and right) to gain knowledge only by positive reinforcements. As long we as a species do not want to be a part of each other's suffering as much like our own, we are stuck in the unsolved, and to live in an unfulfilled reality.

Let us take pleasure in the cinema and its happy endings, its beauty that we take for granted and which we mistakenly end up taking as a model of life since the visual arts on the other hand, are the daughters of suffering, and any artist, to convey a bit of truth, has had to pass through the wound.




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