Inadequacy
Concepts like art and life should be mixed with each other because there is no point in not separating human activity and the human being itself. The art of life is a form (creative energy sexual), who said that? That is why the most fascinating art is one is about life, which unravels different experiences, specifics, questions, and points of view.

When it comes to life, it is necessary to disbelieve the notion of a perfectionism that can be achieved (in in order to be able to meet expectations of this sort The only art we can refer to is that of 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, haste, fear or anger, the unending search for security and control and making the wrong decisions. Don't you dare say you've not made one of these mistakes?

Open: a new perspective from which to see
When we fall, we hurt ourselves more or less intensely and tend to look at that fall, to consider the error as a result our expectations have of ourselves and other people. The injury is actually the point from which we are able to see the truth, from which we are no longer in the false notion of perfect (which in the event that it was so should not hurt) and examine what's broken. We look at it and then look at ourselves.

Fontana cut her hair with the consciousness of breaking, opening, and tearing because destroying is often the most artistic act, especially in a society in which, even from a young age, we are 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 that:

"The critics have always criticized me, but I have never worried about it, I went ahead anyway and never accepted anyone's salute. Over the years, I was called "the guy who has holes', with a bit of pity. However, today I can see that my cuts and holes have earned me a reputation and are widely accepted. They even have practical uses. In bars and theatres they have ceilings made of holes. Since today, as you can see that even people in the street can comprehend the latest forms. The artists are the ones, unfortunately, who understand less '.

When Fontana refers to street people, he invokes the idea of imperfection in which the hole is a form that is similar to every other one in which the becoming of life can be seen. He's not scared of the dirt, nor the brutality of the creative act He throws tar onto the sculpture of a human figure and calls the piece "Black Man".

A few years later, the cut becomes the conquest of space, in the form of an overthrow of sculpture and painting through a new spatiality that contains them both: the break with verticality to create the possibility of crossing.

The palpitation that occurs, both inhaling and exhaling of the canvas, is , from afar, reminiscent in a more philosophical and bourgeois way, of the work that Gina Pane would later perform on her skin: the gesture is nevertheless the eternal protagonist in that context where art is destined to be destroyed; the wound and the cut represent the path, boundary and exchange. The artist herself opens the canvas in two and declares it to be finite. the holes become black holes, which give the illusion of depth and reveal the vastness that we never know.

We are waiting for new discoveries that we don't yet know
Fontana named the cuts "Waits," which are the gaps from which new and unique things emerge which we do not know.

When we commit an error, or hurt or injure the other, we have a waiting period before we react. First the shock of making a mistake and the failure overcome, after that, finding out the best way to go to rectify the mistake or to get it out of the way and then waiting for the consequences of that break and the mistake that could be a brand new and great source. It could also be a waste of time.

Many people do not understand (and are able to comprehend) this concept because they are constantly judging what reality and the human condition are, in addition, affixed to the two-dimensional nature of the canvas. We fight every inch of our being the correct practices, the right way to appear and be in society, so much that we turn to rules that eventually define normativity.

There is nothing more absurd than this. Convinced that we know everything, we apply our yardstick to all other living organisms and ecosystem in the world However, we see the world from a narrow and biased viewpoint which has nothing to do with the reality of Anthropocentrism, but also personal interpretations of the other that are almost never the most accurate.

Accept that there is no absolute perfection.
The same is true of the society that demands us to be better every chance they get, without considering that perhaps, rather than improving standards, we could accept more of what is, just in the present. Do we accept pain? Do we accept death? Accept the bodies of others? Do we accept diversity? Most importantly, after accepting, do we honor our diversity?

Most of the time is it that we are able to hide those things that don't fit with the "perfect" nature of our little world or the universe. It makes us shocked, angry, disgusted and put under the rug 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 in 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, except for the goal of creating the spread of inequality. It's all very well and good to know that some who have put in a lot of work have succeeded at it, as have those who have been lucky. But in the broader context, always stretching the boundaries a little further the definition of 'a perfect' in an impermanent situation; not a 'Perfection' in the absolutist sense.

Can this be a reality?

Cut: let the truth in
We can conclude that Fontana attempted to do so, since from the beginning, Fontana rejected the simple ways to be successful, opting instead to explore the unknown and unpredictability, which is to say, he renounced the pretense of being the only that was successful, he pursued the path of research that led him to uncover some truths.

In my personal opinion, Fontana is the one who tears open the veil and lets the light shine through, even if there are black sails that obscure in the background. An artist of spatial art and one of the pioneers of the art that is understood not only as a work but also as a gesture a gesture, schoolmeter3.doodlekit.com around and as a consequence of action on space, performance as the activation of narrative, and this is the way it is being done today.

To me, his cuts are a great example of this, opening up new perspectives on art and new perspectives on the world and also new questions. The wound for this, is not just pain, the wound highlights the idea of mortality, shortness, uncertainty and fragility. Wounding makes us question and makes us think the way we think, and this is essential to stay grounded. As hard as it is to be a victim and as difficult as it would be in a perfect tale of our existence, it would be great (and appropriate) to gain knowledge only through positive reinforcements, as long that we as a nation 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.

Let us take pleasure in the cinema and the happy endings it brings, its beauty that we take for granted and which we misunderstand and take as a model for life since the visual arts, on the other hand are the children of suffering. Every artist, in order to speak the truth, must traverse the pain.