글 수 645,063
Inadequacy
Concepts like art and life have to be mixed with each other because there is no point in not separating human activity and the human being itself. Art is life (creative energy sexual), who said that? That is why the most interesting art is that is about life, which unravels different experiences, specifics, questions, https://anotepad.com/notes/ehew87t8 and points of view.
When it comes to life, it is essential to disbelieve the notion of a perfectionism that can be attained (in order to respond to such expectations, the only art we could refer to is that of the film industry). The nature of error is the essence of being Human and the block upon which we've every one of us at one point or another: superficial judgement, impulsiveness, fear, anger, the incessant desire for safety and control and making the wrong decisions. Do you think you've never made any of these mistakes?
Open: a new perspective from which to look
When we fall, we injure our bodies more or less and are inclined to judge the fall as a mistake, or to make the error as a result our expectations set of ourselves and others. The wound is actually the point where we can see the truth. From there, we stop taking refuge in the idea of perfection (which in the event that it was so shouldn't be hurting) and examine the things that are broken: we look through it and then look at ourselves.
Fontana cut with the awareness the possibility of opening up, breaking or and tearing because destroying is often the most powerful creative action, and particularly in a society where, from an early stage, we're immersed in a powerful, imprinted systems of values and beliefs. It's not a coincidence that Fontana declared in 1963 during the course of an interview Nerio Minuzzo:
"The people who criticize me have often criticized me, but I have never worried about it, I went ahead anyway and I didn't take any kind of salute. For years they called me 'the one with the holes', with some pity even. However, today I can see that my cuts and holes have earned me a reputation, are accepted and even have practical applications. In bars and theaters, they have ceilings made of holes. Because today, you see that even people on the street understand the new forms. It's the artists however, who are the only ones to understand more '.
When Fontana refers to street people, he is evoking the idea of imperfection where the form of the hole is that is similar to every other one that the emergence of life is manifested. He is not afraid of dirt nor of the violence of creative expression and throws tar at an artifact made of plaster of a man and calls the sculpture 'Black Man'.
A few years later, the cut transforms into the conquer of space, as a triumph of sculpture and painting through a new spatiality which combines them: a break from verticality to create a crossing passage.
The inhalation and exhaling from the canvas, is reminiscent from afar, in a more philosophical and bourgeois sense of the work Gina Pane would later do on her skin. The gesture is nonetheless the immortal character in the context of the art will eventually be destroyed. The wound and the cut are border, path and exchange. The artist opens the canvas in two and declares its finiteness; the holes become black holes, which give depth and make us perceive the infinite , which we'll never be able to comprehend.
Wait: new things we do not yet know
Fontana named the cuts "Waits," which are openings that allow new and different things arise that we don't are aware of.
When we make an error, or end up hurting or causing harm to someone else one, we must wait a certain period before we react. It starts with the shock of the mistake and the failure overcome, after that, deciding on the way to go to make up for it or avoid it and then waiting for the effects of the fracture and the mistake that could actually be a innovative and valuable resource. It could also be a waste of time.
Few understood (and do not comprehend) this philosophy , as they are constantly judging what reality and the human condition are, in addition, affixed to the two-dimensionality on the wall. We continue to defend every inch of our being the right ways, the best way to present and function in society, so much so that we resort to rules that eventually define normativity.
Nothing could be more incoherent. In our belief that we are experts and everything, we apply our standard to every other organism and ecosystem in the world However, we view it from a narrow and biased perspective that has nothing to do with the reality of Anthropocentrism as well as personal interpretations of the other that are almost never the correct ones.
Accept: there is no absolute perfection.
This is also true for 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 become more accepting of things just the way it is. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? The most important thing is, after we accept, do you dignify?
Very often no, we resort to invisibilising those things that don't fit with the "perfect" nature of our own little planet or universe. This causes us to be feel angry, shocked, and disgusted and covered up, and so we manifest the very imperfection that we really are, but we refuse to accept it.
Understanding one's own limitations is important and so is understanding 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 to be put into it, unless for the purpose of fuelling the spread of inequality. It's great and good to know that some who have put in a lot of work have succeeded at it, just like those who have been lucky. But in the broader context, always pushing the boundaries just a bit further the definition of 'a perfection' in an 'imperfect setting; there is no "perfection" in the absolute sense.
Does this even exist?
Cut Let the truth come out
We can conclude that Fontana attempted to do so, since right from the beginning, he rejected the easy paths of success, preferring to try out the untested and the uncertain, that is to say: abandoning the idea of being the one, he followed the research path that led him to uncover some facts.
For me, and my personal opinion, Fontana is the one who tears open the curtain and lets light shine through, even if he put obscuring black sails in the background. An artist of spatial art in the same way as one of the forerunners of this art, it is not understood just as a piece of work, but also as a gesture a gesture, around and in the context of actions on the space, as the expression of a narrative, of which much is practised today.
His cuts are a great example of this, opening up new perspectives on art, new points of view on the world , and new questions. The wound that he has caused is not just pain, the wound is a symbol of mortality, brevity, uncertainty and fragility. Wounding makes us question as well as make us doubt the way we think, and this is essential to keep our feet on the ground. While it can be difficult to suffer and as much as it would be in a perfect tale of existence it would be wonderful (and just) to learn only by positive reinforcements. So long that we as a nation are unwilling to avoid the suffering of others as well as our own, we are condemned to the unresolved and to live in an insanity.
Let us take pleasure in the cinema and its happy endings, its perfection so taken as a given and which we misunderstand and take as a model of life, because the visual arts, contrary to what they appear, are the daughters of suffering. Every artist who wants to convey a bit of truth, has had to traverse the pain.
Concepts like art and life have to be mixed with each other because there is no point in not separating human activity and the human being itself. Art is life (creative energy sexual), who said that? That is why the most interesting art is that is about life, which unravels different experiences, specifics, questions, https://anotepad.com/notes/ehew87t8 and points of view.
When it comes to life, it is essential to disbelieve the notion of a perfectionism that can be attained (in order to respond to such expectations, the only art we could refer to is that of the film industry). The nature of error is the essence of being Human and the block upon which we've every one of us at one point or another: superficial judgement, impulsiveness, fear, anger, the incessant desire for safety and control and making the wrong decisions. Do you think you've never made any of these mistakes?
Open: a new perspective from which to look
When we fall, we injure our bodies more or less and are inclined to judge the fall as a mistake, or to make the error as a result our expectations set of ourselves and others. The wound is actually the point where we can see the truth. From there, we stop taking refuge in the idea of perfection (which in the event that it was so shouldn't be hurting) and examine the things that are broken: we look through it and then look at ourselves.
Fontana cut with the awareness the possibility of opening up, breaking or and tearing because destroying is often the most powerful creative action, and particularly in a society where, from an early stage, we're immersed in a powerful, imprinted systems of values and beliefs. It's not a coincidence that Fontana declared in 1963 during the course of an interview Nerio Minuzzo:
"The people who criticize me have often criticized me, but I have never worried about it, I went ahead anyway and I didn't take any kind of salute. For years they called me 'the one with the holes', with some pity even. However, today I can see that my cuts and holes have earned me a reputation, are accepted and even have practical applications. In bars and theaters, they have ceilings made of holes. Because today, you see that even people on the street understand the new forms. It's the artists however, who are the only ones to understand more '.
When Fontana refers to street people, he is evoking the idea of imperfection where the form of the hole is that is similar to every other one that the emergence of life is manifested. He is not afraid of dirt nor of the violence of creative expression and throws tar at an artifact made of plaster of a man and calls the sculpture 'Black Man'.
A few years later, the cut transforms into the conquer of space, as a triumph of sculpture and painting through a new spatiality which combines them: a break from verticality to create a crossing passage.
The inhalation and exhaling from the canvas, is reminiscent from afar, in a more philosophical and bourgeois sense of the work Gina Pane would later do on her skin. The gesture is nonetheless the immortal character in the context of the art will eventually be destroyed. The wound and the cut are border, path and exchange. The artist opens the canvas in two and declares its finiteness; the holes become black holes, which give depth and make us perceive the infinite , which we'll never be able to comprehend.
Wait: new things we do not yet know
Fontana named the cuts "Waits," which are openings that allow new and different things arise that we don't are aware of.
When we make an error, or end up hurting or causing harm to someone else one, we must wait a certain period before we react. It starts with the shock of the mistake and the failure overcome, after that, deciding on the way to go to make up for it or avoid it and then waiting for the effects of the fracture and the mistake that could actually be a innovative and valuable resource. It could also be a waste of time.
Few understood (and do not comprehend) this philosophy , as they are constantly judging what reality and the human condition are, in addition, affixed to the two-dimensionality on the wall. We continue to defend every inch of our being the right ways, the best way to present and function in society, so much so that we resort to rules that eventually define normativity.
Nothing could be more incoherent. In our belief that we are experts and everything, we apply our standard to every other organism and ecosystem in the world However, we view it from a narrow and biased perspective that has nothing to do with the reality of Anthropocentrism as well as personal interpretations of the other that are almost never the correct ones.
Accept: there is no absolute perfection.
This is also true for 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 become more accepting of things just the way it is. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? The most important thing is, after we accept, do you dignify?
Very often no, we resort to invisibilising those things that don't fit with the "perfect" nature of our own little planet or universe. This causes us to be feel angry, shocked, and disgusted and covered up, and so we manifest the very imperfection that we really are, but we refuse to accept it.
Understanding one's own limitations is important and so is understanding 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 to be put into it, unless for the purpose of fuelling the spread of inequality. It's great and good to know that some who have put in a lot of work have succeeded at it, just like those who have been lucky. But in the broader context, always pushing the boundaries just a bit further the definition of 'a perfection' in an 'imperfect setting; there is no "perfection" in the absolute sense.
Does this even exist?
Cut Let the truth come out
We can conclude that Fontana attempted to do so, since right from the beginning, he rejected the easy paths of success, preferring to try out the untested and the uncertain, that is to say: abandoning the idea of being the one, he followed the research path that led him to uncover some facts.
For me, and my personal opinion, Fontana is the one who tears open the curtain and lets light shine through, even if he put obscuring black sails in the background. An artist of spatial art in the same way as one of the forerunners of this art, it is not understood just as a piece of work, but also as a gesture a gesture, around and in the context of actions on the space, as the expression of a narrative, of which much is practised today.
His cuts are a great example of this, opening up new perspectives on art, new points of view on the world , and new questions. The wound that he has caused is not just pain, the wound is a symbol of mortality, brevity, uncertainty and fragility. Wounding makes us question as well as make us doubt the way we think, and this is essential to keep our feet on the ground. While it can be difficult to suffer and as much as it would be in a perfect tale of existence it would be wonderful (and just) to learn only by positive reinforcements. So long that we as a nation are unwilling to avoid the suffering of others as well as our own, we are condemned to the unresolved and to live in an insanity.
Let us take pleasure in the cinema and its happy endings, its perfection so taken as a given and which we misunderstand and take as a model of life, because the visual arts, contrary to what they appear, are the daughters of suffering. Every artist who wants to convey a bit of truth, has had to traverse the pain.