Imperfection
Concepts like art and life should be mixed with each other since there is no reason for keeping a distance between human work and the human itself. Art is life (creative energy sexual), who said that? The most fascinating art is one is about life, that reveals different experiences, details, curiosities, perspectives.
In the realm of life, it is essential to reject the idea of a perfectionism to be reached (in in order to be able to meet expectations of this sort the only form of art we can 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 point or another: the faulty judgement, impulsiveness, fear and anger, the constant search for security and control, wrong choices. Don't tell me you have not made any of these errors?
Open: a new perspective from which to see
If we fall, we injure ourselves more or less and tend to look at the fall as a mistake, or to make the mistake a fault because of the expectations we have of ourselves and others. The wound is actually the point from which we discover the truth. It is from here that we can no longer rely on the illusion of perfect (which should be the case if it would not be a problem) and examine what's broken: we look through the wound and examine ourselves.
Fontana cut her hair with the consciousness that breaking and opening is tearing because destroying is often the most powerful creative action, and especially in a world in which, even from a young age,
https://anotepad.com/notes/rx9r8n2a we are immersed in a powerful, imprinted systems of values and beliefs. It's not a coincidence that Fontana stated in 1963 in the course of an interview Nerio Minuzzo:
"The people who criticize me have often criticized me, but I never worried about it, I went ahead anyway and I never took anyone's salute. In the past, they called me 'the one who has holes', with a little pity. Today, I realize that my cuts and holes have created a taste that is accepted, and they even have practical applications. In theatres and bars, they create ceilings using holes. Because today, you see the public in the street can comprehend the latest forms. It's the artists however, who are the only ones to understand little '.
When Fontana refers to streetspeople, he is evoking the imagery of imperfection, where the form of the hole is similar to any other, that the emergence of life is manifested. Fontana isn't afraid of dust nor the violent nature of creative expression He throws tar onto an artifact made of plaster of a human figure and calls it 'Black Man'.
Years later, the cut transforms into the conquer of space, in the form of an overthrow of painting and sculpture, by a new space that contains them both: a break from verticality to create the possibility of crossing.
The inhalation and exhaling the canvas, is , from afar, reminiscent in a more intellectual and bourgeois version of the work Gina Pane would later do on her skin. The gesture is nevertheless the eternal character in the context of art is bound to be destroyed; the cuts and wounds are border, path and exchange. The artist opens the canvas by splitting it in two and declares its 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 haven't discovered yet
Fontana named the cuts "Waits," openings that allow new and different things arise which we do not know.
If we make a mistake, when we end up hurting or causing harm to someone else, we have a waiting time before the reaction. First the shock of the error and the failure to be over, then finding out the best way to go to rectify the mistake or get away with it Then we await the consequences of that break and the mistake that could be a brand innovative and valuable source. It could also be a waste of time.
Few understood (and do not comprehend) this concept because they are constantly assessing how reality and human beings are, in addition, affixed to the two-dimensional nature that is the nature of canvas. We keep fighting every inch of our being the correct practices, the right method of presenting and being as a person in society, so that we resort to rules that eventually define the concept of normativity.
It's impossible to find anything more confusing. Convinced that we know everything and everything, we apply our standard to all other living organisms and ecosystem on the planet however, in reality we view it from a narrow and biased perspective that has nothing to do with reality. Anthropocentrism as well as individual interpretations of the other which are rarely the right ones.
Accept: there is no perfection in the absolute sense.
The same is true of the society that demands us to be better at all costs, without reflecting on the fact that perhaps, rather than increasing standards, we need to accept more of things just in the present. Do we accept pain? Do we accept death? Accept body parts? Do we accept diversity? The most important thing is, after we accept, do you dignify?
Very often no is it that we are able to hide the things that do not match the "perfect" of our own little planet or the universe. We are horrified, angry, and irritated to be swept away, ignored, or swept under the carpet, and so we manifest the very imperfection that we are in reality, yet refuse to accept.
Being aware of one's limits is crucial as is recognizing the interconnectedness of all that is the world system: either we are ALL put in a position to do our best, or there is no competition or effort worthwhile to be put into it, unless for the purpose of fuelling inequalities. It's great and good that some with a lot of effort have achieved it, just like the ones who are lucky. 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 absolute sense.
Can this be a reality?
Cut Let the truth come out
We can conclude that Fontana tried, because from the beginning, he rejected the easy routes to success, and opted instead to experiment with the unknown and the uncertain, that means he decided to leave the notion of being the only and following the path of study that led him to uncover certain facts.
In my personal opinion, Fontana is the one who tears open the veil and allows the light shine through, even if he put obscuring black sails behind the cuts. An artist of spatial art and one of the pioneers of this art, it is not understood solely as a work, but as a gesture, an act, in and around it. as a result of action on the space, as the expression of a narrative, which is a large part of what is practised today.
For me, his cuts are a great example of these, opening new perspectives to art, new points of view on the world , and new questions. The wound, for this, is more than just pain: the wound reveals mortality, brevity, uncertainty and fragility. Wounding makes us question and makes us think how we can improve our lives, and this practice is very important to keep our feet on the ground. As hard as it is to suffer and as much as it would be in a perfect tale of our existence 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 as our own, we are condemned to the unresolved and to live in an insanity.
So let's enjoy 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 on the other hand, are the daughters of pain, and every artist, in order to convey a bit of truth, had to traverse the pain.