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Inadequacy
Concepts such as art and life must mix with each other because there is no point in not separating human work and the human being itself. Life is art (creative energy sexual) Who said that? The most intriguing art is the one which talks about life, which unravels different experiences, specifics, questions, and points of view.
In life, it is essential to disbelieve the notion of a perfection to be attained (in in order to be able to meet expectations of this sort the only form of art we can refer to is that of film). The nature of error is the essence of being Human and the block into which we have every one of us at one point or another: the faulty judgement, impulsiveness, fear, anger, the incessant need for control and security and making the wrong decisions. Don't you dare say you've not made one of these errors?
Open: new perspective to view the world from
If we fall, we injure our bodies more or less and are inclined to judge the fall as a mistake, or to make the mistake a fault because of the expectations we have of ourselves and others. The injury is the actual point where we can see the truth. It is from here that we can no longer rely on the illusion of perfection (which in the event that it was so shouldn't be hurting) and take a look at the things that are broken. We look at the wound and examine our own self-image.
Fontana cut her hair with the consciousness the possibility of opening up, breaking or and tearing since destruction is often the most creative action, and all the more so in a culture in which, even from a young stage, we're immersed in a strong, impregnating model of belief and values. It's no accident that Fontana declared in 1963 during an interview with Nerio Minuzzo:
"The critiques always criticized me, but I have never was concerned about it. I went on regardless and I didn't take any kind of salute. In the past, they called me "the guy that has the holes', with some pity even. But today I see that my holes and cuts have earned me a reputation, are accepted and even have practical uses. In bars and theaters, they make ceilings with holes. Since, today the public who walk by understand the new designs. It's the artists however, who are the only ones to understand less '.
When Fontana talks about street people, he invokes the image of imperfection in which the hole is a form similar to any other, in which the becoming of life takes place. He's not scared of the dirt, nor the brutality of creative expression He throws tar onto the sculpture of a human figure and calls it 'Black Man'.
Years later, the cut becomes the conquest of space, in the form of an overthrow of painting and sculpture, by a new space that combines both a break from verticality in favour of an open passageway.
The palpitation that occurs, both inhaling and exhaling the canvas, is reminiscent from afar, in a more cerebral and bourgeois way of the work Gina Pane later did 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 path, boundary and exchange. The artist herself opens the canvas in two and https://cordhubcap1.werite.net/post/2023/01/18/How-To-Make-Your-Lucio-Fontana-Look-Like-A-Million-Bucks proclaims the canvas's finiteness. the holes transform into black holes that provide an illusion of depth. They also reveal the vastness that we never understand.
We are waiting for new discoveries that we do not yet know
Fontana described the cuts as "Waits," the gaps from which new and new things are born that we don't have a clue about.
If we make mistakes, and hurt or injure the other injuring or hurting another, we need to wait for a period before we react. First the shock of making a mistake and the failure to overcome, after that, deciding on the way to go to compensate or to get it out of the way Then we await the effects of the fracture, that mistake, which could be a brand new and great resource. It could also be a waste of time.
Few understood (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 on the wall. We continue to defend every inch of our being the correct ways, the best way to present and function in society, so much so that we resort to standards that end up defining the concept of normativity.
There is nothing more absurd than this. We are convinced that we know everything and everything, we apply our standard to every other organism and ecosystem on the planet however, in reality we are looking at the world from a narrow and biased perspective that is not in line with reality: Anthropocentrism and individual interpretations of the other which are rarely the correct ones.
Accept: there is no perfection in the absolute sense.
This is also true for the society that demands us to be better at all costs, without reflecting on the fact that, instead of improving standards, we could learn to be more accepting of things just the way it is. Do we accept pain? Do we accept death? Do we accept the bodies of others? Do we accept diversity? Most importantly, after we accept, do we honor our diversity?
Most of the time is it that we are able to hide the things that do not match the "perfect" of our little world or universe. This causes us to be shocked, angry, disgusted to be swept away, ignored, or swept under the carpet and then we show the imperfections that we actually are, but we refuse to accept it.
Being aware of one's limits is important and so is understanding the interconnectedness of everything in the world system: either we are ALL placed in a position where we can give our best, or there's no competition or effort worthwhile, except for the motive of increasing inequalities. It is all 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 so fortunate. However, when you look at it in the larger sense, constantly stretching the boundaries just a bit further the definition of 'a perfection' in an 'imperfect situation; not a 'Perfection' in the absolutist sense.
Can this be a reality?
Cut Let the truth come out
It is possible to say that Fontana was a tinkerer, as from the very beginning he rejected the easy ways to be successful, opting instead to experiment with the unknown and the uncertain, that is to say: abandoning the notion of being the only one, he followed the path of research which led him to discover some facts.
In my personal opinion, Fontana is the one who cuts the veil and allows the light through, even if the black sails are obscured behind the cuts. A spatial artist in the same way as one of the forerunners of the art that is understood not just as a piece of work, but also as a gesture a gesture, around and as a result of action on space, performance as the activation of narrative, which is a large part of what is practised today.
To me, his cuts reveal all of this, opening up new perspectives on art, new points of view about the world, as well as new questions. The wound, for this, is not just pain, the wound is a symbol of mortality, brevity, uncertainty and fragility. The wound makes us think, makes us question the way we think, and this is essential to keep our feet in the right place. While it can be difficult to endure and as hard as it would be in a perfect story of life, it would be great (and right) to gain knowledge only by positive reinforcements. So long that we as a nation are unable to avoid each other's suffering as much like our own, we are bound to remain in the unsolved and to live in an incomplete reality.
So let's enjoy the cinema and the happy endings it brings, its beauty and perfection that is taken for granted , and that we mistakenly end up taking as a model for life, because the visual arts on the other hand, are the daughters of suffering. Every artist, in order to convey a bit of truth, has had to traverse the pain.
Concepts such as art and life must mix with each other because there is no point in not separating human work and the human being itself. Life is art (creative energy sexual) Who said that? The most intriguing art is the one which talks about life, which unravels different experiences, specifics, questions, and points of view.
In life, it is essential to disbelieve the notion of a perfection to be attained (in in order to be able to meet expectations of this sort the only form of art we can refer to is that of film). The nature of error is the essence of being Human and the block into which we have every one of us at one point or another: the faulty judgement, impulsiveness, fear, anger, the incessant need for control and security and making the wrong decisions. Don't you dare say you've not made one of these errors?
Open: new perspective to view the world from
If we fall, we injure our bodies more or less and are inclined to judge the fall as a mistake, or to make the mistake a fault because of the expectations we have of ourselves and others. The injury is the actual point where we can see the truth. It is from here that we can no longer rely on the illusion of perfection (which in the event that it was so shouldn't be hurting) and take a look at the things that are broken. We look at the wound and examine our own self-image.
Fontana cut her hair with the consciousness the possibility of opening up, breaking or and tearing since destruction is often the most creative action, and all the more so in a culture in which, even from a young stage, we're immersed in a strong, impregnating model of belief and values. It's no accident that Fontana declared in 1963 during an interview with Nerio Minuzzo:
"The critiques always criticized me, but I have never was concerned about it. I went on regardless and I didn't take any kind of salute. In the past, they called me "the guy that has the holes', with some pity even. But today I see that my holes and cuts have earned me a reputation, are accepted and even have practical uses. In bars and theaters, they make ceilings with holes. Since, today the public who walk by understand the new designs. It's the artists however, who are the only ones to understand less '.
When Fontana talks about street people, he invokes the image of imperfection in which the hole is a form similar to any other, in which the becoming of life takes place. He's not scared of the dirt, nor the brutality of creative expression He throws tar onto the sculpture of a human figure and calls it 'Black Man'.
Years later, the cut becomes the conquest of space, in the form of an overthrow of painting and sculpture, by a new space that combines both a break from verticality in favour of an open passageway.
The palpitation that occurs, both inhaling and exhaling the canvas, is reminiscent from afar, in a more cerebral and bourgeois way of the work Gina Pane later did 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 path, boundary and exchange. The artist herself opens the canvas in two and https://cordhubcap1.werite.net/post/2023/01/18/How-To-Make-Your-Lucio-Fontana-Look-Like-A-Million-Bucks proclaims the canvas's finiteness. the holes transform into black holes that provide an illusion of depth. They also reveal the vastness that we never understand.
We are waiting for new discoveries that we do not yet know
Fontana described the cuts as "Waits," the gaps from which new and new things are born that we don't have a clue about.
If we make mistakes, and hurt or injure the other injuring or hurting another, we need to wait for a period before we react. First the shock of making a mistake and the failure to overcome, after that, deciding on the way to go to compensate or to get it out of the way Then we await the effects of the fracture, that mistake, which could be a brand new and great resource. It could also be a waste of time.
Few understood (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 on the wall. We continue to defend every inch of our being the correct ways, the best way to present and function in society, so much so that we resort to standards that end up defining the concept of normativity.
There is nothing more absurd than this. We are convinced that we know everything and everything, we apply our standard to every other organism and ecosystem on the planet however, in reality we are looking at the world from a narrow and biased perspective that is not in line with reality: Anthropocentrism and individual interpretations of the other which are rarely the correct ones.
Accept: there is no perfection in the absolute sense.
This is also true for the society that demands us to be better at all costs, without reflecting on the fact that, instead of improving standards, we could learn to be more accepting of things just the way it is. Do we accept pain? Do we accept death? Do we accept the bodies of others? Do we accept diversity? Most importantly, after we accept, do we honor our diversity?
Most of the time is it that we are able to hide the things that do not match the "perfect" of our little world or universe. This causes us to be shocked, angry, disgusted to be swept away, ignored, or swept under the carpet and then we show the imperfections that we actually are, but we refuse to accept it.
Being aware of one's limits is important and so is understanding the interconnectedness of everything in the world system: either we are ALL placed in a position where we can give our best, or there's no competition or effort worthwhile, except for the motive of increasing inequalities. It is all 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 so fortunate. However, when you look at it in the larger sense, constantly stretching the boundaries just a bit further the definition of 'a perfection' in an 'imperfect situation; not a 'Perfection' in the absolutist sense.
Can this be a reality?
Cut Let the truth come out
It is possible to say that Fontana was a tinkerer, as from the very beginning he rejected the easy ways to be successful, opting instead to experiment with the unknown and the uncertain, that is to say: abandoning the notion of being the only one, he followed the path of research which led him to discover some facts.
In my personal opinion, Fontana is the one who cuts the veil and allows the light through, even if the black sails are obscured behind the cuts. A spatial artist in the same way as one of the forerunners of the art that is understood not just as a piece of work, but also as a gesture a gesture, around and as a result of action on space, performance as the activation of narrative, which is a large part of what is practised today.
To me, his cuts reveal all of this, opening up new perspectives on art, new points of view about the world, as well as new questions. The wound, for this, is not just pain, the wound is a symbol of mortality, brevity, uncertainty and fragility. The wound makes us think, makes us question the way we think, and this is essential to keep our feet in the right place. While it can be difficult to endure and as hard as it would be in a perfect story of life, it would be great (and right) to gain knowledge only by positive reinforcements. So long that we as a nation are unable to avoid each other's suffering as much like our own, we are bound to remain in the unsolved and to live in an incomplete reality.
So let's enjoy the cinema and the happy endings it brings, its beauty and perfection that is taken for granted , and that we mistakenly end up taking as a model for life, because the visual arts on the other hand, are the daughters of suffering. Every artist, in order to convey a bit of truth, has had to traverse the pain.