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Imperfection
Concepts like art and life must mix with one another because there is no reason for maintaining a separation between the work of humans and human being itself. The art of life is a form (creative energy - sexual) Who said that? This is the reason why the most intriguing art is the one is about life, that reveals different experiences, recollects the details, curiosity, and viewpoints.
In the realm of life, it is essential to reject the idea of a perfectionism that can be achieved (in order to respond to such expectations the only form of art we could refer to is the cinema). Failure is the hallmark of being Human, the stumbling block upon which we've every one of us at one point or another: the faulty judgment, haste, anger, the incessant need for control and security bad choices. Don't tell me you have not made one of these errors?
Open: a new perspective to view the world from
When we slip, we hurt ourselves more or less and are prone to judge the fall as a mistake, or to make the mistake a fault because due to the expectation we set of ourselves and other people. The wound is actually the point where we can discover the truth. It is from here that we are no longer in the idea of perfect (which if it were such should not hurt) and look at what's broken: we look through it and look at ourselves.
Fontana cut with the awareness of breaking, opening, or tearing since destruction is often the most powerful creative act, particularly in a world where, from an early stage, we're immersed in a powerful, imprinted model of belief and values. It's no accident that Fontana stated in 1963 in an interview with Nerio Minuzzo:
"The critics have always criticized me, but I have never was concerned about it. I went ahead anyway and I never took the salute of anyone. For years they called me "the guy who has holes' with a bit of pity. But today I see that my holes and cuts have earned me a reputation, are accepted and even have practical uses. In bars and theatres they make ceilings with holes. Since today, as you can see, even the people on the street understand the latest forms. It is the artists, unfortunately, who understand little '.
When Fontana talks about streetspeople, 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 is manifested. Fontana isn't afraid of the dirt, nor the violence of the creative act and https://penzu.com/p/e541eaf5 throws tar at an artifact made of plaster of a man and calls it 'Black Man'.
A few years later, the cut transforms into the conquer of space, in the form of an overthrow of sculpture and painting through a new spatiality that contains them both: the break with verticality, in favor of an open passageway.
This palpitation, inhaling and exhaling of the canvas, can be seen from afar in a more cerebral and bourgeois way of the work Gina Pane would later perform on her skin: the gesture is nevertheless the eternal main character in this context, where art is destined to be destroyed. The wound and the cut represent border, path and exchange. The artist herself opens the canvas by splitting it in two and proclaims the canvas's finiteness. the holes transform into black holes, which give the illusion of depth and reveal the vastness that we never know.
Wait: new things we do not yet know
Fontana named the cuts 'Waits', openings that allow new and new things are born that we do not yet know.
If we make a mistake, when we cause harm or injury to another injuring or hurting another, we need to wait for a period of time before we can react. The first reaction is the shock of the error and the failure to be over, then figuring out what way to go to rectify the mistake or to get it out of the way Then we await the consequences of that fracture or error, which could be a brand innovative and valuable source. Or not.
Few understood (and are able to comprehend) this philosophy , as they are constantly judging how reality and human beings are, in addition, affixed to the two-dimensional nature that is the nature of canvas. We fight every inch of our being the correct methods, the correct way to appear and be in the world, so so that we resort to norms that ultimately define the concept of normativity.
It's impossible to find anything more confusing. We are convinced that we know everything that we do, we compare our standards to all other living organisms and ecosystem in the world However, we see it from a narrow , biased point of view that has nothing to do with the reality of Anthropocentrism as well as individual interpretations of the other that are almost never the most accurate.
Accept: there is no absolute perfection.
The same is true of this society that wants us to be better at all costs, without considering that perhaps, rather than increasing standards, we need to accept more 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? Most importantly, after we accept, do we respect our differences?
In most cases, we resort to invisibilising those things that don't fit with the 'perfection' of our very own planet or the universe. It makes us shocked, angry, disgusted, pushed away, covered up and then we show the very imperfection that we really are, but we refuse to accept it.
Knowing one's own limits is important as is recognizing the interconnectedness of all that is the world system: either we are ALL placed in a position where we can give our best, or there is no competition or effort worthwhile to be put into it, unless for the motive of increasing the spread of inequality. It's all very well and good to know that some after much effort have made it, as have the ones who are lucky. However, when you look at it in the larger context, always stretching the boundaries of what is possible, it will be 'a perfection' in an 'imperfect setting; there is no 'Perfection' in the absolutist sense.
Can this be a reality?
Cut Let the truth come out
We can say that Fontana was a tinkerer, as from the beginning, Fontana resisted the straightforward ways to be successful, opting instead to explore the unknown and the unknowable, that means he decided to leave the notion of being the one, he followed the path of research that led him to uncover some facts.
For me, and in my very personal view, Fontana is the one who cuts the veil and allows the light in, even though he put obscuring black sails in the background. A spatial artist and one of the forerunners of the art that is understood not only as a work but as a gesture, as a gesture, around, and as a consequence of action on the space, as the expression of a narrative, and this is the way it is practiced in the present.
To me, his cuts are a great example of these, opening new perspectives for art as well as new perspectives about the world, as well as new questions. The wound, for this, is not just pain, the wound highlights the fragility, mortality, and fragility. Wounding makes us question as well as make us doubt the way we think, and this is vital to ensure that we remain grounded. While it can be difficult to endure and as hard as, in a perfect tale of existence, it would be great (and just) to learn by positive reinforcements. So long that we as a nation are unwilling to avoid 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 the happy endings it brings, its beauty that we take as a given and which we misunderstand and take as a model for life, because the visual arts contrary to what they appear, are the daughters of suffering. Every artist, in order to tell a piece of truth, had to go through the pain.
Concepts like art and life must mix with one another because there is no reason for maintaining a separation between the work of humans and human being itself. The art of life is a form (creative energy - sexual) Who said that? This is the reason why the most intriguing art is the one is about life, that reveals different experiences, recollects the details, curiosity, and viewpoints.
In the realm of life, it is essential to reject the idea of a perfectionism that can be achieved (in order to respond to such expectations the only form of art we could refer to is the cinema). Failure is the hallmark of being Human, the stumbling block upon which we've every one of us at one point or another: the faulty judgment, haste, anger, the incessant need for control and security bad choices. Don't tell me you have not made one of these errors?
Open: a new perspective to view the world from
When we slip, we hurt ourselves more or less and are prone to judge the fall as a mistake, or to make the mistake a fault because due to the expectation we set of ourselves and other people. The wound is actually the point where we can discover the truth. It is from here that we are no longer in the idea of perfect (which if it were such should not hurt) and look at what's broken: we look through it and look at ourselves.
Fontana cut with the awareness of breaking, opening, or tearing since destruction is often the most powerful creative act, particularly in a world where, from an early stage, we're immersed in a powerful, imprinted model of belief and values. It's no accident that Fontana stated in 1963 in an interview with Nerio Minuzzo:
"The critics have always criticized me, but I have never was concerned about it. I went ahead anyway and I never took the salute of anyone. For years they called me "the guy who has holes' with a bit of pity. But today I see that my holes and cuts have earned me a reputation, are accepted and even have practical uses. In bars and theatres they make ceilings with holes. Since today, as you can see, even the people on the street understand the latest forms. It is the artists, unfortunately, who understand little '.
When Fontana talks about streetspeople, 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 is manifested. Fontana isn't afraid of the dirt, nor the violence of the creative act and https://penzu.com/p/e541eaf5 throws tar at an artifact made of plaster of a man and calls it 'Black Man'.
A few years later, the cut transforms into the conquer of space, in the form of an overthrow of sculpture and painting through a new spatiality that contains them both: the break with verticality, in favor of an open passageway.
This palpitation, inhaling and exhaling of the canvas, can be seen from afar in a more cerebral and bourgeois way of the work Gina Pane would later perform on her skin: the gesture is nevertheless the eternal main character in this context, where art is destined to be destroyed. The wound and the cut represent border, path and exchange. The artist herself opens the canvas by splitting it in two and proclaims the canvas's finiteness. the holes transform into black holes, which give the illusion of depth and reveal the vastness that we never know.
Wait: new things we do not yet know
Fontana named the cuts 'Waits', openings that allow new and new things are born that we do not yet know.
If we make a mistake, when we cause harm or injury to another injuring or hurting another, we need to wait for a period of time before we can react. The first reaction is the shock of the error and the failure to be over, then figuring out what way to go to rectify the mistake or to get it out of the way Then we await the consequences of that fracture or error, which could be a brand innovative and valuable source. Or not.
Few understood (and are able to comprehend) this philosophy , as they are constantly judging how reality and human beings are, in addition, affixed to the two-dimensional nature that is the nature of canvas. We fight every inch of our being the correct methods, the correct way to appear and be in the world, so so that we resort to norms that ultimately define the concept of normativity.
It's impossible to find anything more confusing. We are convinced that we know everything that we do, we compare our standards to all other living organisms and ecosystem in the world However, we see it from a narrow , biased point of view that has nothing to do with the reality of Anthropocentrism as well as individual interpretations of the other that are almost never the most accurate.
Accept: there is no absolute perfection.
The same is true of this society that wants us to be better at all costs, without considering that perhaps, rather than increasing standards, we need to accept more 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? Most importantly, after we accept, do we respect our differences?
In most cases, we resort to invisibilising those things that don't fit with the 'perfection' of our very own planet or the universe. It makes us shocked, angry, disgusted, pushed away, covered up and then we show the very imperfection that we really are, but we refuse to accept it.
Knowing one's own limits is important as is recognizing the interconnectedness of all that is the world system: either we are ALL placed in a position where we can give our best, or there is no competition or effort worthwhile to be put into it, unless for the motive of increasing the spread of inequality. It's all very well and good to know that some after much effort have made it, as have the ones who are lucky. However, when you look at it in the larger context, always stretching the boundaries of what is possible, it will be 'a perfection' in an 'imperfect setting; there is no 'Perfection' in the absolutist sense.
Can this be a reality?
Cut Let the truth come out
We can say that Fontana was a tinkerer, as from the beginning, Fontana resisted the straightforward ways to be successful, opting instead to explore the unknown and the unknowable, that means he decided to leave the notion of being the one, he followed the path of research that led him to uncover some facts.
For me, and in my very personal view, Fontana is the one who cuts the veil and allows the light in, even though he put obscuring black sails in the background. A spatial artist and one of the forerunners of the art that is understood not only as a work but as a gesture, as a gesture, around, and as a consequence of action on the space, as the expression of a narrative, and this is the way it is practiced in the present.
To me, his cuts are a great example of these, opening new perspectives for art as well as new perspectives about the world, as well as new questions. The wound, for this, is not just pain, the wound highlights the fragility, mortality, and fragility. Wounding makes us question as well as make us doubt the way we think, and this is vital to ensure that we remain grounded. While it can be difficult to endure and as hard as, in a perfect tale of existence, it would be great (and just) to learn by positive reinforcements. So long that we as a nation are unwilling to avoid 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 the happy endings it brings, its beauty that we take as a given and which we misunderstand and take as a model for life, because the visual arts contrary to what they appear, are the daughters of suffering. Every artist, in order to tell a piece of truth, had to go through the pain.