Inadequacy
Concepts such as art and life have to be mixed with one another because there is no point in maintaining a separation between human work and the human itself. The art of life is a form (creative energy - sexual) Who said that? This is the reason why the most intriguing art is the one which talks about life, which unravels different experiences, specifics, questions, and viewpoints.
In the realm of the world, it is imperative to reject the idea of a perfection to be attained (in order to respond to expectations of this sort, the only art we can refer to is that of the film industry). Failure is the hallmark of being Human and the block into which we have been at one point or another: the faulty judgement, haste, fear, anger, the incessant desire for safety and control bad choices. Don't tell me you have never made any of these errors?
Open: a new perspective from which to look
If we slip, we hurt ourselves more or
https://woodard-nyborg.thoughtlanes.net/the-unexposed-secret-of-lucio-fontana less and tend to look at that fall, to consider the error as a result our expectations set of ourselves and other people. The wound is the actual point that we are able to discover the truth. It is from here that we stop taking refuge in the idea of perfect (which if it were such should not hurt) and look at 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 because destroying is often the strongest artistic act, all the more so in a culture where, from an early time, we are ensconced in a strong, impregnating model of belief and values. It's not a coincidence that Fontana declared in 1963 during an interview Nerio Minuzzo that:
"The critiques always maligned me, however, I never was concerned about it. I just went with it and never accepted any kind of salute. Over the years, I was called 'the one that has the holes', with a little pity. Today, I realize that my cuts and holes have earned me a reputation and are widely accepted. They even find practical applications. In bars and theaters, they have ceilings made of holes. Because today, you see, even the people who walk by understand the new forms. The artists are the ones that are the ones who know more '.
When Fontana refers to streetspeople, he is evoking the image of imperfection where the form of the hole is like any other in which the becoming of life can be seen. He's not scared of dust nor the brutality of his creative work: he throws tar on a plaster sculpture of a man , and names the piece "Black Man".
A few years later, the cut becomes the conquest of space, in the form of an overthrow of painting and sculpture, through a new spatiality that combines both an end to verticality to create a crossing passage.
The palpitation that occurs, both inhaling and exhaling from the canvas, is , from afar, reminiscent in a more cerebral and bourgeois version, of the work that Gina Pane would later do on her skin. The gesture remains the eternal protagonist in that context where the art will eventually be destroyed. The wound and the cut are border, path and exchange. The artist breaks the canvas by splitting it in two and proclaims the canvas's finiteness. the holes become black holes that provide an illusion of depth. They also reveal the infinite , which we'll never be able to comprehend.
We are waiting for new discoveries that we don't yet know
Fontana described the cuts as "Waits," openings that allow new and unique things emerge which we do not have a clue about.
When we commit a mistake, when we hurt or injure the other one, we must wait a certain time before the reaction. First the shock of making a mistake and the failure to be over, then finding out the best path to take to rectify the mistake or get away with it and then waiting for the effects of the fracture and the mistake that could turn out to be a innovative and valuable resource. Or not.
Few understood (and understand) this philosophy because they constantly judge how reality and human beings ought to be, and how they should be compared to the two-dimensional nature that is the nature of canvas. We continue to defend with all our might the right methods, the correct way to present and function in the world, so that we turn to norms that ultimately define the concept of normativity.
Nothing could be more incoherent. In our belief that we are experts that we do, we compare our standards to every other organism and ecosystem on the planet however, in reality we see the world from a narrow and biased point of view that is not in line with the reality of Anthropocentrism and personal interpretations of the other that are almost never the most accurate.
Accept: no absolute perfection.
The same is true of this society that wants us to be better at all costs, without reflecting on the fact that perhaps, rather than raising standards, we should become more accepting of the world in the present. Do we accept pain? Do we accept death? Do we accept body parts? Do we accept diversity? Most importantly, after accepting, do we honor our diversity?
In most cases do we choose to ignore those things that don't fit with the "perfect" nature of our very own planet or the universe. It makes us feel angry, shocked, and disgusted, pushed away, covered up and then we show the very imperfection that we actually are, but refuse to accept.
Knowing one's own limits is important, as is realising the interconnectedness of everything that is the global system. Either we are ALL placed in a position where we can give our best or there is no competition or effort worthwhile, except for the purpose of fuelling inequalities. It's all very well and great that some people who have put in a lot of work have succeeded at it, like those who have been lucky. But in the broader context, always stretching the boundaries just a bit further, it will be 'a perfection' in an imperfect' context; no "perfection" in an absolute sense.
Does this even exist?
Cut Let the truth come out
It is possible to say that Fontana was a tinkerer, as from the very beginning Fontana rejected the simple paths of success, preferring to experiment with the unknown and the unknowable, that is to say: abandoning the idea of being the only one, he followed the path of research that led him to uncover certain facts.
In my personal opinion, Fontana is the one who tears open the curtain and lets light shine through, even if he put obscuring black sails behind the cuts. An artist of spatial art in the same way as one of the early pioneers of this art, it is not understood solely as a work, but also as a gesture as a gesture, around, and as a result of action in space, and performance as the expression of a narrative, of which much is practiced in the present.
For me, his cuts illuminate all this, opening up new perspectives for 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 highlights mortality, brevity, uncertainty and fragility. A wound can make us think and makes us think, and this practice is vital to keep our feet grounded. As difficult as it is to be a victim and as difficult as it would be in a perfect narrative of our existence it is ideal (and just) to learn by positive reinforcements. As long we as a species are unwilling to avoid each other's suffering as much like our own, we are stuck in the unsolved, and to live in an incomplete reality.