Inadequacy
Concepts such as life and art must be mixed with each other because there is no need for keeping a distance between human work and the human itself. Art is life (creative energy sexual), who said that? The most intriguing art is the one is about life, that unravels various experiences, recounts details, curiosities, perspectives.
When it comes to living it is imperative to reject the idea of a perfection to be reached (in in order to be able to meet this kind of expectation The only art we can refer to is that of cinema). The nature of error is the essence of being Human and the block upon which we've every one of us at one time or another: superficial judgement, haste, fear, anger, the incessant desire for safety and control, wrong choices. Don't you dare say you've not made one of these mistakes?
Open: new perspective from which to look
If we fall, we injure our bodies more or less and are inclined to judge the fall as a mistake, or to make the error as a result our expectations set of ourselves and other people. The wound is actually the place that we are able to see the truth, from which we can no longer rely on the illusion of perfect (which if it were such would not be a problem) and take a look at what is broken. We look at it and look at ourselves.
Fontana cut with the awareness that breaking and opening is tearing since destruction is often the most artistic act, all the more so in a society in which, even from a young stage, we're immersed in a powerful, imprinted systems of values and beliefs. It's no accident that Fontana stated in 1963 in the course of an interview Nerio Minuzzo:
"The critics have always been a slam on me, but I never worried about it, I went ahead anyway and I never took anyone's salute. Over the years, I was called "the one that has the holes' with a little pity. However, today I can see that my cuts and holes have created a taste, are accepted, and even have practical applications. In theatres and bars, they make ceilings with holes. Since today, as you can see that people in the street understand the new designs. It's the artists however, who are the only ones to understand less '.
When Fontana speaks of streetspeople, he invokes the imagery of imperfection, in which the hole represents a form like every other, where the transformation of life is manifested. Fontana is not scared of dirt , nor of the violence of the creative act: he throws tar on a plaster sculpture of a man and calls the sculpture 'Black Man'.
A few years later, the cut becomes the conquest of space, in the sense of an overthrow of sculpture and painting, by creating the creation of a new dimension that includes them both: a break from verticality, in favor of the possibility of crossing.
The palpitation that occurs, both inhaling and exhaling of the canvas is reminiscent from afar more scholarly and bourgeois form of the work Gina Pane later performed on her skin. The gesture is nonetheless the immortal character in the context of art is bound to 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 an illusion of depth. They also reveal the infinite , which we'll never be able to comprehend.
Wait: new things we don't yet know
Fontana named the cuts "Waits," the openings from which new and unique things emerge which we don't are aware of.
If we make a mistake or hurt another, we have a waiting time before the reaction. The first reaction is the shock of the mistake and the failure to be over, then figuring out the way to go to remedy the damage or to get it out of the way Then we await the consequences of the fracture, that error, which could actually be an entirely 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 dual nature on the wall. We keep fighting every inch of our being the best practices, the right method of presenting and being as a person in the society, that we turn to standards that end up defining normativity.
There is nothing more absurd than this. We are convinced that we know everything, we apply our yardstick to every other organism and ecosystem on the planet, but in reality we see the world from a narrow and biased point of view that has nothing to do with reality: Anthropocentrism, but also individual interpretations of the other which are often not 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, instead of raising standards, we should become more accepting of things just in the present. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? And, most importantly, once accepting, do we honor our diversity?
In most cases is it that we are able to hide what does not coincide with the "perfect" of our own little planet or the universe. This causes us to be horrified, angry, angry, pushed away, and swept under the rug, and so we manifest our imperfections, which we are in reality, yet do not accept.
Understanding one's own limitations is important and so is understanding the interconnectedness of everything in the global system. Either Open Art Images are ALL put in a position to do our best, or there is no reason to compete or exert effort, except for the purpose of fuelling inequalities. It's all very well and good to know that some people who have put in many hours of work have succeeded and are so fortunate. However, in a larger context, always pushing the boundaries of what is possible the definition of '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 conclude that Fontana attempted to do so, since right from the beginning Fontana rejected the simple paths of success, preferring to experiment with the unknown and the uncertain, that is to say: abandoning the notion of being the only that was successful, he pursued the path of research which led him to discover certain truths.
For me, and my personal perspective, Fontana is the one who rips the veil and allows the light in, even though he put obscuring black sails in the background. An artist of spatial art as well as one of the forerunners of this art, it is not understood just as a piece of work, but also as a gesture which is a gesture that revolves around and in the context of actions in space, and performance as the creation of a narrative, which is a large part of what is being done today.
His cuts illuminate all these, opening new perspectives to art, new points of view about the world and new questions. The wound for this, is more than pain: the wound highlights mortality, shortness, uncertainty and fragility. The wound makes us think as well as make us doubt the way we think, and this is vital to ensure that we remain in the right place. While it can be difficult to endure and as hard as, in a perfect story of existence it is ideal (and right) to gain knowledge only through positive reinforcements. As long we as a species are unwilling to avoid one another's pain as as our own, we're stuck in the unsolved, and to live in an incomplete reality.
So let's enjoy the cinema and its happy endings its beauty and perfection that is taken as a given and which we misunderstand and take as a model of life as the visual arts on the other hand, are the daughters of suffering, and any artist who wants to convey a bit of truth, has had to traverse the pain.