The Secret Guide To Lucio Fontana

Imperfection

Concepts such as art and life should be interspersed with each other since there is no reason for not separating human work and the human. lucio fontana on the threshold of life is a form (creative energy sexual) Who would have thought that? That is why the most interesting art is that is about life, that reveals different experiences, the details, curiosities, and points of view.

When it comes to living, it is necessary to defy the notion of a flawlessness that is to be reached (in in order to be able to meet expectations of this sort The only art we could refer to is the cinema). Error is the hallmark of being Human The stumbling block upon which we've all fallen at one time or another: lack of judgement, haste, fear and anger, the constant desire for safety and control bad choices. Do you think you've not made one of these mistakes?

Open: a fresh perspective to view the world from

If we slip, we hurt our bodies more or less and are prone to judge that fall, to consider that the mistake was a result of the expectations we set of ourselves and others. The wound is actually the place that we are able to see the truth. It is from here that we are no longer in the idea of perfect (which in the event that it was so should not hurt) and take a look at what is broken: we look through the wound and examine ourselves.

Fontana cut with the awareness that breaking and opening is tearing as destruction is often the strongest artistic act, all the more so in a culture that, since a very early stage, we're immersed in a powerful, imprinted model of belief and values. It's not a coincidence that Fontana declared in 1963 during an interview with Nerio Minuzzo that:

"The people who criticize me have often maligned me, but I never thought about it. I just went with it and I didn't take any kind of salute. For years they called me '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 uses. In theatres and bars, they make ceilings with holes. Since today, as you can see that even people on the street can appreciate the latest ways of life. It is the artists that are the ones who know more '.

When Fontana speaks of streetspeople, he is evoking the idea of imperfection in which the hole represents a form like every other, in which the becoming of life is manifested. Fontana isn't afraid of dirt nor of the violence of his creative work: he throws tar on the sculpture of a man and calls it "Black Man".

A few years later, the cut is transformed into the conquest of space, as an overthrow of sculpture and painting through the creation of a new dimension that includes them both and a break with verticality, in favor of a crossing passage.

The palpitation that occurs, both exhaling and inhaling the canvas, reminds us from a distance, in a more sophisticated and bourgeois sense, of the work that Gina Pane would later do on her skin: the gesture is nonetheless the immortal character in the context of art is bound to be destroyed; the cuts and wounds are the path, boundary and exchange. The artist breaks 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.

Wait: we are discovering new things that we don't yet know

Fontana described the cuts as "Waits," the gaps from which new and unique things emerge that we do not yet have a clue about.

When we commit a mishap or hurt another injuring or hurting another, we need to wait for a period before we react. It starts with the shock of the mistake and the failure to be overcome, after that, finding out the best path to take to make up for it or avoid it and then waiting for the effects of that fracture, that error, which could actually be a new and great resource. It could also be a waste of time.

Many people do not understand (and do not comprehend) this concept since they constantly judge the way that human beings and reality should be, too used to the dual nature on the wall. We fight every inch of our being the best practices, the right way to present and function as a person in the society, that we rely on norms that ultimately define normativity.

Nothing could be more incoherent. We are convinced that we know everything that we do, we compare our standards to every organism and ecosystem in the world However, we are looking at the world from a narrow and biased point of view that has nothing to do with reality. Anthropocentrism and individual interpretations of the other which are almost never the right ones.

Accept that there is no perfection in the sense of absolute perfection.

This also applies to this society that wants us to do our best every chance they get, without considering that, instead of improving standards, we could learn to be more accepting of things just as it is. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? The most important thing is, once we accept, do you dignify?

Most of the time is it that we are able to hide what does not coincide with the "perfect" nature of our little world or the entire universe. It makes us horrified, angry, angry to be pushed aside, or put under the rug and then we show our imperfections, which we are in reality, yet we refuse to accept it.

Knowing one's own limits is crucial as is recognizing the interconnectedness of everything that is the world system. Either we are ALL put 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 purpose of fuelling inequality. It is all well and great that some people after long hours have achieved it, like those who were so fortunate. But in the larger sense, constantly stretching the boundaries of what is possible, it will be 'a perfection' in an 'imperfect situation; not a 'Perfection' in the absolutist sense.

Could this ever exist?

Cut: let the truth in

It is possible to say that Fontana attempted to do so, since from the beginning, Fontana rejected the simple paths of success, preferring to explore the unknown and the uncertain, that is to say: abandoning the notion of being the only one and following the research path which led him to discover some truths.

In my personal opinion, Fontana is the one who tears open the curtain and lets light in, even though there are black sails that obscure in the background. An artist of spatial art and one of the early pioneers of the art that is understood not just as a piece of work, but as a gesture an act, in and around it. in the context of actions in space, and performance as the activation of a narrative, which is a large part of what is being done today.

For me, his cuts are a great example of these, opening new perspectives on art as well as new perspectives on the world and also new questions. Open Art Images that he has caused is more than pain: the wound is a symbol of mortality, brevity, uncertainty and fragility. A wound can make us question our existence and makes us think how we can improve our lives, and this is very important to stay on the ground. As hard as it is to endure and as hard as, in a perfect narrative of our existence it is ideal (and just) to learn by positive reinforcements. As long that we as a nation are unable to stop each other's suffering as much than our own, we are condemned to the unresolved and unfulfilled reality.

So let us enjoy the cinema and its happy endings its beauty and perfection that is taken for granted and which we misunderstand and take as a model of life as the visual arts, however are the children of pain, and every artist who wants to speak the truth, had to traverse the pain.