Inadequacy
Concepts like art and life must mix with each other because there is no need for not separating human work and the human. 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 viewpoints.
In life, it is essential to disbelieve the notion of a perfectionism to be reached (in response to expectations of this sort, the only art we can refer to is the cinema). The nature of error is the essence of being Human The stumbling block into which we have all fallen at one time or another: impulsive judgement, impulsiveness, fear, anger, the incessant need for control and security, wrong choices. Do you think you've not made any of these mistakes?
Open: new perspective from which to look
When we fall, we hurt ourselves more or less intensely and are prone to judge that fall, to consider the error as a result our expectations set of ourselves and other people. The wound is actually the point where we can see the truth, from which we are no longer in the illusion of perfection (which should be the case if it should not hurt) and
franck-palm.thoughtlanes.net take a look at what's broken. We look at the wound and examine ourselves.
Fontana cut her hair with the consciousness that breaking and opening is and tearing as destruction is often the strongest artistic act, all the more so in a society in which, even from a young time, we are ensconced in a powerful, imprinted model of belief and values. It's no accident that Fontana said in 1963 in an interview with Nerio Minuzzo that:
"The people who criticize me have often maligned me, but I have never was concerned about it. I went ahead anyway and never accepted any kind of salute. For years they called me "the one who has holes' with a bit of pity. But today I see that my cuts and holes have been a hit and are widely accepted. They even have practical applications. In theatres and bars, they create ceilings using holes. Because today, you see that even people in the street can comprehend the new forms. The artists are the ones however, who are the only ones to understand more '.
When Fontana speaks of the street, he invokes the idea of imperfection in which the hole is a form similar to any other, in which the becoming of life takes place. Fontana isn't afraid of dust nor the violence of the creative act He throws tar onto the sculpture of a man , and names the sculpture 'Black Man'.
A few years later, the cut becomes the conquest of space, as an overcoming of painting and sculpture, through a new form of space that contains them both: an end to verticality, in favor of an open passageway.
The inhalation and exhaling of the canvas is reminiscent from afar, in a more intellectual and bourgeois sense of the work Gina Pane would later perform on her skin: the gesture is nonetheless the immortal main character in this context, where art is bound to be destroyed. The wound and the cut are path, boundary and exchange. The artist herself opens the canvas and proclaims the canvas's finiteness. the holes transform into black holes that provide an illusion of depth. They also reveal the infinite that we will never know.
We are waiting for new discoveries that we haven't discovered yet
Fontana called the cuts "Waits," which are openings that allow new and different things arise that we do not yet have a clue about.
If we make an error, or hurt or injure the other one, we must wait a certain time before the reaction. First the shock of the error and the failure to be overcome, after that, figuring out what path to take to rectify the mistake or to get it out of the way Then we await the consequences of that break, that mistake, which could be a brand amazing and new source. Or not.
A few people have understood (and understand) this concept because they are constantly judging how reality and human beings ought to be, and how they should be compared to the two-dimensional nature of the canvas. We continue to defend with all of our might the right practices, the right way to appear and be as a person in society, that we turn to standards that end up defining normativity.
Nothing could be more incoherent. Convinced that we know everything that we do, we compare our standards to all other living organisms and ecosystem in the world however, in reality we view it from a narrow , biased perspective which has nothing to do with reality. Anthropocentrism as well as personal interpretations of the other that are almost never the most accurate.
Accept: there is no perfection in the absolute sense.
The same is true of the society that demands us to do our best at all costs, 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? Accept the bodies of others? Do we accept diversity? And, most importantly, once we accept, do you honor our diversity?
In most cases do we choose to ignore what does not coincide with the "perfect" of our very own planet or the universe. It makes us shocked, angry, disgusted and swept under the carpet and then we show our imperfections, which we actually are, but refuse to accept.
Knowing one's own limits is essential, as is realising the interconnectedness of everything that is the world system: either we are ALL placed in a position to do our best or there is no reason to compete or exert effort with the sole purpose of fuelling inequality. It's great and good that some after much effort have made it, just like the ones who are lucky. But in the broader context, always stretching the boundaries of what is possible the definition of 'a perfection' in an imperfect setting; there is no "perfection" in the absolute sense.
Does this even exist?
Cut: let the truth in
It is possible to say that Fontana attempted to do so, since right from the beginning, he rejected the easy paths of success, preferring to explore the unknown and the uncertain, that means he decided to leave the idea of being the only, he followed the path of study that led him to unravel some facts.
For me, and my very personal view, Fontana is the one who tears open the veil and allows the light in, even though the black sails are obscured behind the cuts. An artist of spatial art in the same way as one of the forerunners of that art understood not just as a piece of work, but also as a gesture an act, in and around it. as a consequence of action on space, performance as the activation of narrative, of which much is being done today.
His cuts illuminate all these, opening new perspectives for art and new perspectives on the world , and new questions. The wound that he has caused is not just pain, the wound is a symbol of the idea of mortality, shortness, uncertainty and fragility. The wound makes us think, makes us question the way we think, and this is vital to stay in the right place. While it can be difficult to suffer and as much as, in a perfect tale of life it would be wonderful (and just) to gain knowledge only by positive reinforcements. So long we as a species do not want to be a part of one another's pain as than our own, we are condemned to the unresolved and to live in an incomplete reality.
So let's enjoy the cinema and its happy endings, its perfection so taken as a given and which we mistakenly end up taking as a template for our lives, because the visual arts on the other hand are the children of suffering. Every artist who wants to tell a piece of truth, must traverse the pain.