Inadequacy
Concepts like art and life must mix with each other because there is no need for 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 fascinating art is one which talks about life, which unravels different experiences, recollects details, curiosities, points of view.

When it comes to the world, it is imperative to disbelieve the notion of a perfectionism that can be achieved (in order to respond to this kind of expectation the only form of art we could refer to is film). Failure is the hallmark of being Human and the block upon which we've all fallen at one time or another: impulsive judgement, impulsiveness, fear, anger, the incessant desire for safety and control and making the wrong decisions. Don't you dare say you've not made any of these errors?

Open: new perspective to view the world from
When we fall, we hurt our bodies more or less and are inclined to judge that fall, to consider the mistake a fault because due to the expectation we have of ourselves and others. The injury is the actual point that we are able to discover the truth. It is from here that we stop taking refuge in the illusion of perfect (which if it were such would not be a problem) and examine what's broken. We look at it and then look at ourselves.

Fontana cut her hair with the consciousness that breaking and opening is or tearing since destruction is often the strongest creative action, and especially in a world in which, even from a young time, we are ensconced in a powerful, imprinted systems of values and beliefs. It's not a coincidence that Fontana said in 1963 in an interview Nerio Minuzzo that:

"The critics have always been a slam on me, however, I never was concerned about it. I went ahead anyway and I didn't take anyone's salute. For years they called me "the guy who has holes', with a little pity. But today I see that my holes and cuts have been a hit, are accepted and even have practical applications. In theatres and bars, they create ceilings using holes. Since today, as you can see that even people in the street can comprehend the new designs. It is the artists, unfortunately, who understand less '.

When Fontana speaks of streetspeople, he is evoking the imagery of imperfection, in which the hole is a shape similar to any other, that the emergence of life is manifested. He is not afraid of dust nor the violent nature of the creative act and throws tar at an artifact made of plaster of a man , and names the piece "Black Man".

Years later, the cut is transformed into the conquest of space, as an overcoming of sculpture and painting through a new spatiality which combines them: an end to verticality to create the possibility of crossing.

This palpitation, inhaling and exhaling from the canvas, is , from afar, reminiscent in a more cerebral and bourgeois way, of the work that Gina Pane later did on her body: the gesture remains the eternal main character in this context, where art is bound to be destroyed. The wound and the cut represent path, boundary and exchange. The artist breaks the canvas and declares its finiteness; the holes become black holes that provide an illusion of depth. They also reveal the infinite that we will never be able to comprehend.

Wait: new things we do not yet know
Fontana called the cuts "Waits," the gaps from which new and new things are born that we don't know.

If we make mistakes, and hurt or injure the other, we have a waiting period of time before we can react. First the shock of making a mistake and the failure to be overcome, and then deciding on the steps to take to rectify the mistake or get away with it and then waiting for the consequences of that fracture, that mistake, which could actually be a new and great source. But it's not.

A few people have understood (and do not comprehend) this concept because they constantly judge what reality and the human condition ought to be, and how they should be compared to the two-dimensionality of the canvas. We continue to defend with all our might the right methods, the correct way to present and function in society, so much so that we resort 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 all other living organisms 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 reality: Anthropocentrism as well as personal interpretations of the other that are almost never the most accurate.

Accept that there is no perfection in the absolute sense.
This also applies to this society that wants us to be the best at all cost, but without pondering the fact that perhaps, rather than improving standards, we could learn to be more accepting of what is, just the way it is. Do we accept pain? Do we accept death? Do we accept body parts? Do we accept diversity? And, most importantly, once accepting, do we respect our differences?

Very often no do we choose to ignore the things that do not match the 'perfection' of our own little planet or universe. We are feel angry, shocked, and disgusted and covered up and then we show the very imperfection that we actually are, but we refuse to accept it.

Being aware of one's limits is essential as is recognizing the interconnectedness of everything that is the global system. Either we are ALL put in a position to do our best or there is no reason to compete or exert effort, except for the goal of creating the spread of inequality. It's great and great that some people with a lot of effort have achieved it, like those who have been so lucky. However, in a larger context, always pushing the boundaries of what is possible it's a perfection' in an imperfect situation; not a "perfection" in an absolute sense.

Can this be a reality?

Cut: let the truth in
We can say that Fontana was a tinkerer, as from the beginning, he rejected the easy paths of success, preferring to experiment with the unknown and the uncertain, that is to say, he renounced the idea of being the only one and following the path of study that led him to unravel some truths.

For me, and penzu.com in my very personal view, Fontana is the one who rips the veil and lets the light shine through, even if he put obscuring black sails behind the cuts. A spatial artist as well as one of the forerunners of that art understood not just as a piece of work, but also as a gesture an act, in and around it. as a consequence of action in space, and performance as the activation of a narrative, and this is the way it is being done today.

For me, his cuts reveal all of these, opening new perspectives on art and new perspectives on the world , and new questions. The wound that he has caused is more than just pain: the wound reveals mortality, brevity, uncertainty and fragility. The wound makes us think and makes us think the way we think, and this is vital to ensure that we remain grounded. As hard as it is to suffer and as much as, in a perfect story of existence, it would be great (and just) to learn only by positive reinforcements. As long we as a species are unwilling to avoid each other's suffering as much as our own, we are stuck in the unsolved, and unfulfilled reality.

So let's enjoy the cinema and its happy endings its beauty and perfection that is taken for granted , and that we take as a model for life, because the visual arts however are the product of suffering, and any artist who wants to speak the truth, must traverse the pain.