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Inadequacy
Concepts like art and life should be mixed with each other because there is no reason for not separating the work of humans and human itself. Life is art (creative energy sexual) Who would have thought that? That is why the most fascinating art is one which talks about life, that unravels various experiences, recollects details, curiosities, viewpoints.
In the realm of life, it is essential to disbelieve the notion of a perfectionism that can be achieved (in in order to be able to meet such expectations The only art we can refer to is that of the cinema). Failure is the hallmark of being Human, the stumbling block into which we have all fallen at one time or another: superficial judgement, impulsiveness, fear, anger, the incessant desire for safety and control, wrong choices. Don't you dare say you've never made any of these errors?
Open: a new perspective from which to look
If we fall, we hurt our bodies more or less and are prone to judge that fall, to consider the mistake a fault because due to the expectation we set of ourselves and others. The injury is actually the point that we are able to see the truth, from which we stop taking refuge in the idea of perfect (which should be the case if it would not be a problem) and examine what's broken. We look at the wound and examine ourselves.
Fontana cut her hair with the consciousness the possibility of opening up, breaking or or tearing because destroying is often the most powerful creative action, and all the more so in a world in which, even from a young age, we are immersed in a strong, impregnating systems of values and beliefs. It's no accident that Fontana declared in 1963 during the course of an interview Nerio Minuzzo that:
"The people who criticize me have often criticized me, however, I never thought about it. I just went with it and I never took the salute of anyone. In the past, they called me "the one who has holes' with a little pity. But today I see that my cuts and holes have been a hit, are accepted and even have practical applications. In theatres and bars, they make ceilings with holes. Since today, as you can see, even the people in the street can comprehend the new designs. It is the artists however, who are the only ones to understand less '.
When Fontana talks about streetspeople, he invokes the imagery of imperfection, in which the form of the hole is that is similar to every other one where the transformation of life takes place. He's not scared of dirt nor of the violent nature of the creative act: he throws tar on the sculpture of a man and calls it 'Black Man'.
The cut transforms into the conquer of space, in the form of an overthrow of painting and sculpture, through a new form of space that combines both the break with verticality in favour of an open passageway.
The palpitation that occurs, both inhaling and niebuhr-henson.blogbright.net exhaling of the canvas can be seen from afar in a more intellectual and bourgeois way of the work Gina Pane would later do on her skin: the gesture is nevertheless the eternal protagonist in that context where art is bound to be destroyed. The cuts and wounds are border, path and exchange. The artist breaks the canvas by splitting it in two and declares it to be finite. the holes become black holes that give an illusion of depth. They also reveal the infinite that we will never know.
Wait: we are discovering new things that we do not yet know
Fontana called the cuts "Waits," which are openings that allow new and unique things emerge that we don't are aware of.
If we make an error, or end up hurting or causing harm to someone else one, we must wait a certain period of time before we can react. First the shock of the mistake and the failure overcome, after that, finding out the best steps to take to rectify the mistake or to get it out of the way Then we await the consequences of that break or error, which could be a brand amazing and new source. It could also be a waste of time.
A few people have understood (and understand) this philosophy , as they constantly judge what reality and the human condition ought to be, and how they should be compared to the two-dimensional nature that is the nature of canvas. We keep fighting every inch of our being the correct methods, the correct way to present and function in society, so much so that we resort to standards that end up defining normativity.
It's impossible to find anything more confusing. We are convinced that we know everything that we do, we compare our standards to every organism and ecosystem on the planet However, we are looking at it from a narrow and biased perspective that has nothing to do with reality. Anthropocentrism and individual interpretations of the other that are almost never the most accurate.
Accept: there is no absolute perfection.
The same is true of our society, which demands to be the best at all cost, but without reflecting on the fact that maybe, instead of raising standards, we should learn to be more accepting of what is, just as it is. Do we accept pain? Do we accept death? Do we accept body parts? Do we accept diversity? The most important thing is, after we accept, do you dignify?
In most cases is it that we are able to hide what does not coincide with the "perfect" nature of our very own planet or universe. It makes us shocked, angry, disgusted and covered up and then we show the imperfections that we really are, but refuse to accept.
Knowing one's own limits is important, as is realising the interconnectedness of everything that is the world system. Either we are ALL placed in a position where we can give our best, or there is no reason to compete or exert effort to be put into it, unless for the goal of creating inequalities. It's all very well and great that some people who have put in a lot of work have succeeded at it, just like those who have been fortunate. However, in a larger context, always pushing the boundaries a little further, it will be 'a perfection' in an 'imperfect' context; no "perfection" in the absolute sense.
Can this be a reality?
Cut and let the truth be revealed
We can conclude that Fontana was a tinkerer, as right from the beginning, Fontana rejected the simple routes to success, and opted instead to experiment with the unknown and the unknowable, that is to say, he renounced the idea of being the only and following the path of study that led him to unravel certain facts.
For me, and my personal opinion, Fontana is the one who tears open the veil and allows the light in, even though the black sails are obscured in the background. A spatial artist in the same way as one of the early pioneers of this art, it is not understood solely as a work, but as a gesture, an act, in and around it. in the context of actions on space, performance as the expression of a narrative, and this is the way it is practised today.
To me, his cuts are a great example of this, opening up new perspectives on art as well as new perspectives on the world , and new questions. The wound for this, is more than just pain: the wound reveals mortality, brevity, uncertainty and fragility. A wound can make us think and makes us think the way we think, and this is very important to ensure that we remain grounded. As difficult as it is to endure and as hard as, in a perfect tale of existence it is ideal (and right) to gain knowledge only by positive reinforcements. So long as we as a society are unable to avoid one another's pain as than our own, we are bound to remain in the unsolved and insanity.
Let us take pleasure in 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 contrary to what they appear are the product of pain, and every artist, in order to convey a bit of truth, must traverse the pain.
Concepts like art and life should be mixed with each other because there is no reason for not separating the work of humans and human itself. Life is art (creative energy sexual) Who would have thought that? That is why the most fascinating art is one which talks about life, that unravels various experiences, recollects details, curiosities, viewpoints.
In the realm of life, it is essential to disbelieve the notion of a perfectionism that can be achieved (in in order to be able to meet such expectations The only art we can refer to is that of the cinema). Failure is the hallmark of being Human, the stumbling block into which we have all fallen at one time or another: superficial judgement, impulsiveness, fear, anger, the incessant desire for safety and control, wrong choices. Don't you dare say you've never made any of these errors?
Open: a new perspective from which to look
If we fall, we hurt our bodies more or less and are prone to judge that fall, to consider the mistake a fault because due to the expectation we set of ourselves and others. The injury is actually the point that we are able to see the truth, from which we stop taking refuge in the idea of perfect (which should be the case if it would not be a problem) and examine what's broken. We look at the wound and examine ourselves.
Fontana cut her hair with the consciousness the possibility of opening up, breaking or or tearing because destroying is often the most powerful creative action, and all the more so in a world in which, even from a young age, we are immersed in a strong, impregnating systems of values and beliefs. It's no accident that Fontana declared in 1963 during the course of an interview Nerio Minuzzo that:
"The people who criticize me have often criticized me, however, I never thought about it. I just went with it and I never took the salute of anyone. In the past, they called me "the one who has holes' with a little pity. But today I see that my cuts and holes have been a hit, are accepted and even have practical applications. In theatres and bars, they make ceilings with holes. Since today, as you can see, even the people in the street can comprehend the new designs. It is the artists however, who are the only ones to understand less '.
When Fontana talks about streetspeople, he invokes the imagery of imperfection, in which the form of the hole is that is similar to every other one where the transformation of life takes place. He's not scared of dirt nor of the violent nature of the creative act: he throws tar on the sculpture of a man and calls it 'Black Man'.
The cut transforms into the conquer of space, in the form of an overthrow of painting and sculpture, through a new form of space that combines both the break with verticality in favour of an open passageway.
The palpitation that occurs, both inhaling and niebuhr-henson.blogbright.net exhaling of the canvas can be seen from afar in a more intellectual and bourgeois way of the work Gina Pane would later do on her skin: the gesture is nevertheless the eternal protagonist in that context where art is bound to be destroyed. The cuts and wounds are border, path and exchange. The artist breaks the canvas by splitting it in two and declares it to be finite. the holes become black holes that give an illusion of depth. They also reveal the infinite that we will never know.
Wait: we are discovering new things that we do not yet know
Fontana called the cuts "Waits," which are openings that allow new and unique things emerge that we don't are aware of.
If we make an error, or end up hurting or causing harm to someone else one, we must wait a certain period of time before we can react. First the shock of the mistake and the failure overcome, after that, finding out the best steps to take to rectify the mistake or to get it out of the way Then we await the consequences of that break or error, which could be a brand amazing and new source. It could also be a waste of time.
A few people have understood (and understand) this philosophy , as they constantly judge what reality and the human condition ought to be, and how they should be compared to the two-dimensional nature that is the nature of canvas. We keep fighting every inch of our being the correct methods, the correct way to present and function in society, so much so that we resort to standards that end up defining normativity.
It's impossible to find anything more confusing. We are convinced that we know everything that we do, we compare our standards to every organism and ecosystem on the planet However, we are looking at it from a narrow and biased perspective that has nothing to do with reality. Anthropocentrism and individual interpretations of the other that are almost never the most accurate.
Accept: there is no absolute perfection.
The same is true of our society, which demands to be the best at all cost, but without reflecting on the fact that maybe, instead of raising standards, we should learn to be more accepting of what is, just as it is. Do we accept pain? Do we accept death? Do we accept body parts? Do we accept diversity? The most important thing is, after we accept, do you dignify?
In most cases is it that we are able to hide what does not coincide with the "perfect" nature of our very own planet or universe. It makes us shocked, angry, disgusted and covered up and then we show the imperfections that we really are, but refuse to accept.
Knowing one's own limits is important, as is realising the interconnectedness of everything that is the world system. Either we are ALL placed in a position where we can give our best, or there is no reason to compete or exert effort to be put into it, unless for the goal of creating inequalities. It's all very well and great that some people who have put in a lot of work have succeeded at it, just like those who have been fortunate. However, in a larger context, always pushing the boundaries a little further, it will be 'a perfection' in an 'imperfect' context; no "perfection" in the absolute sense.
Can this be a reality?
Cut and let the truth be revealed
We can conclude that Fontana was a tinkerer, as right from the beginning, Fontana rejected the simple routes to success, and opted instead to experiment with the unknown and the unknowable, that is to say, he renounced the idea of being the only and following the path of study that led him to unravel certain facts.
For me, and my personal opinion, Fontana is the one who tears open the veil and allows the light in, even though the black sails are obscured in the background. A spatial artist in the same way as one of the early pioneers of this art, it is not understood solely as a work, but as a gesture, an act, in and around it. in the context of actions on space, performance as the expression of a narrative, and this is the way it is practised today.
To me, his cuts are a great example of this, opening up new perspectives on art as well as new perspectives on the world , and new questions. The wound for this, is more than just pain: the wound reveals mortality, brevity, uncertainty and fragility. A wound can make us think and makes us think the way we think, and this is very important to ensure that we remain grounded. As difficult as it is to endure and as hard as, in a perfect tale of existence it is ideal (and right) to gain knowledge only by positive reinforcements. So long as we as a society are unable to avoid one another's pain as than our own, we are bound to remain in the unsolved and insanity.
Let us take pleasure in 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 contrary to what they appear are the product of pain, and every artist, in order to convey a bit of truth, must traverse the pain.