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Imperfection
Concepts like art and life should be mixed with each other because there is no point in not separating the work of humans and human being itself. Art is life (creative energy - sexual) Who would have thought that? This is the reason why the most fascinating art is one is about life, that reveals different experiences, recollects details, curiosities, perspectives.
When it comes to life, it is essential to reject the idea of a perfectionism to be reached (in order to respond to this kind of expectation, the only art that we can think of is the cinema). Failure is the hallmark of being Human, the stumbling block into which we have been at one point or another: impulsive judgment, haste and anger, the constant desire for safety and control bad choices. Don't you dare say you've not made one of these mistakes?
Open: new perspective to view the world from
If we slip, we hurt ourselves more or less intensely and tend to look at the cause of our fall, and to think the mistake a fault because our expectations hold of ourselves and other people. The injury is actually the point that we are able to are able to see the truth, https://mooc.elte.hu/eportfolios/2864263/Home/Learn_how_to_Make_cash_From_The_Lucio_Fontana_Phenomenon from which we can no longer rely on the illusion of perfect (which in the event that it was so should not hurt) and examine the things that are broken. We look at it and then look at our own self-image.
Fontana cut her hair with the consciousness that breaking and opening is or tearing as destruction is often the most powerful artistic act, especially in a culture where, from an early age, we are immersed in a powerful, imprinted systems of values and beliefs. It's no accident that Fontana declared in 1963 during the course of an interview Nerio Minuzzo:
"The critics have always maligned me, but I never was concerned about it. I went ahead anyway and I didn't take anyone's salute. Over the years, I was called "the guy with the holes' with a bit of pity. But today I see that my holes and cuts have created a taste, are accepted and even have practical uses. In bars and theaters, they make ceilings with holes. Since, today, even the people who walk by understand the new forms. The artists are the ones, unfortunately, who understand more '.
When Fontana refers to streetspeople, he invokes the image of imperfection where the hole is a form similar to any other, that the emergence of life takes place. He's not scared of the dirt, nor the violent nature of his creative work He throws tar onto an artifact made of plaster of a man and calls the piece '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: the break with verticality to create an open passageway.
The inhalation and exhaling the canvas, is , from afar, reminiscent in a more cerebral and bourgeois version of the work Gina Pane later did on her body: the gesture is nonetheless the immortal character in the context of the art will eventually be destroyed; the cuts and wounds are border, path and exchange. The artist herself opens the canvas in two and declares it to be finite. the holes transform into black holes that give an illusion of depth. They also reveal the vastness that we never be able to comprehend.
We are waiting for new discoveries that we haven't discovered yet
Fontana named the cuts "Waits," which are openings that allow new and different things arise which we do not have a clue about.
When we commit an error, or 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, finding out the best way to go to make up for it or to get it out of the way; then we wait for the consequences of that fracture and the mistake that could turn out to be a innovative and valuable source. Or not.
Few understood (and do not comprehend) this philosophy , as they constantly judge what reality and the human condition should be, too used to the two-dimensional nature on the wall. We fight every inch of our being the correct methods, the correct way to present and function as a person in society, that we rely on norms that ultimately define the concept of normativity.
It's impossible to find anything more confusing. Convinced that we know everything, we apply our yardstick to all other living organisms and ecosystem in the world However, we view it from a narrow and biased point of view which has nothing to do with reality: Anthropocentrism, but also individual interpretations of the other that are almost never the correct ones.
Accept: there is no absolute perfection.
The same is true of the society that demands us to do our best every chance they get, without reflecting on the fact that, instead of 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 bodies? Do we accept diversity? Most importantly, after we accept, do you dignify?
Very often no do we choose to ignore what does not coincide with the 'perfection' of our little world or the universe. This causes us to be feel angry, shocked, and disgusted to be swept away, ignored, or put under the rug, and so we manifest the imperfections that we are in reality, yet 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 competition or effort worthwhile to be put into it, unless for the goal of creating inequality. It's great and good that some with a lot of effort have achieved it, as have the ones who are fortunate. However, in a larger sense, constantly stretching the boundaries of what is possible, it will be 'a perfection' in an imperfect situation; not a "perfection" in an absolute sense.
Does this even exist?
Cut: let the truth in
We can say that Fontana attempted to do so, since right from the beginning, Fontana resisted the straightforward ways to be successful, opting instead to explore the unknown and the uncertain, that means he decided to leave the pretense of being the only and following the path of research which led him to discover some truths.
For me, and in my personal opinion, Fontana is the one who cuts the veil and allows the light in, even though he put obscuring black sails in the background. An artist of spatial art and one of the early pioneers of the art that is understood not solely as a work, but also as a gesture an act, in and around it. as a result of action in space, and performance as the activation of narrative, which is a large part of what is being done today.
To me, his cuts illuminate all these, opening new perspectives for art and new perspectives on the world and also new questions. The wound, for this, is more than just pain: the wound is a symbol of the fragility, mortality, and fragility. The wound makes us think, makes us question, and this practice is vital to stay grounded. While it can be difficult to suffer and as much as it is in a perfect story of existence it is ideal (and appropriate) to learn by positive reinforcements. As long we as a species do not want to be a part of each other's suffering as much as our own, we are condemned to the unresolved and insanity.
So let us enjoy the cinema and its happy endings its beauty that we take for granted , and that we take as a model for life since the visual arts, on the other hand, are the daughters of suffering. Every artist who wishes to speak the truth, had to pass through the wound.
Concepts like art and life should be mixed with each other because there is no point in not separating the work of humans and human being itself. Art is life (creative energy - sexual) Who would have thought that? This is the reason why the most fascinating art is one is about life, that reveals different experiences, recollects details, curiosities, perspectives.
When it comes to life, it is essential to reject the idea of a perfectionism to be reached (in order to respond to this kind of expectation, the only art that we can think of is the cinema). Failure is the hallmark of being Human, the stumbling block into which we have been at one point or another: impulsive judgment, haste and anger, the constant desire for safety and control bad choices. Don't you dare say you've not made one of these mistakes?
Open: new perspective to view the world from
If we slip, we hurt ourselves more or less intensely and tend to look at the cause of our fall, and to think the mistake a fault because our expectations hold of ourselves and other people. The injury is actually the point that we are able to are able to see the truth, https://mooc.elte.hu/eportfolios/2864263/Home/Learn_how_to_Make_cash_From_The_Lucio_Fontana_Phenomenon from which we can no longer rely on the illusion of perfect (which in the event that it was so should not hurt) and examine the things that are broken. We look at it and then look at our own self-image.
Fontana cut her hair with the consciousness that breaking and opening is or tearing as destruction is often the most powerful artistic act, especially in a culture where, from an early age, we are immersed in a powerful, imprinted systems of values and beliefs. It's no accident that Fontana declared in 1963 during the course of an interview Nerio Minuzzo:
"The critics have always maligned me, but I never was concerned about it. I went ahead anyway and I didn't take anyone's salute. Over the years, I was called "the guy with the holes' with a bit of pity. But today I see that my holes and cuts have created a taste, are accepted and even have practical uses. In bars and theaters, they make ceilings with holes. Since, today, even the people who walk by understand the new forms. The artists are the ones, unfortunately, who understand more '.
When Fontana refers to streetspeople, he invokes the image of imperfection where the hole is a form similar to any other, that the emergence of life takes place. He's not scared of the dirt, nor the violent nature of his creative work He throws tar onto an artifact made of plaster of a man and calls the piece '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: the break with verticality to create an open passageway.
The inhalation and exhaling the canvas, is , from afar, reminiscent in a more cerebral and bourgeois version of the work Gina Pane later did on her body: the gesture is nonetheless the immortal character in the context of the art will eventually be destroyed; the cuts and wounds are border, path and exchange. The artist herself opens the canvas in two and declares it to be finite. the holes transform into black holes that give an illusion of depth. They also reveal the vastness that we never be able to comprehend.
We are waiting for new discoveries that we haven't discovered yet
Fontana named the cuts "Waits," which are openings that allow new and different things arise which we do not have a clue about.
When we commit an error, or 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, finding out the best way to go to make up for it or to get it out of the way; then we wait for the consequences of that fracture and the mistake that could turn out to be a innovative and valuable source. Or not.
Few understood (and do not comprehend) this philosophy , as they constantly judge what reality and the human condition should be, too used to the two-dimensional nature on the wall. We fight every inch of our being the correct methods, the correct way to present and function as a person in society, that we rely on norms that ultimately define the concept of normativity.
It's impossible to find anything more confusing. Convinced that we know everything, we apply our yardstick to all other living organisms and ecosystem in the world However, we view it from a narrow and biased point of view which has nothing to do with reality: Anthropocentrism, but also individual interpretations of the other that are almost never the correct ones.
Accept: there is no absolute perfection.
The same is true of the society that demands us to do our best every chance they get, without reflecting on the fact that, instead of 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 bodies? Do we accept diversity? Most importantly, after we accept, do you dignify?
Very often no do we choose to ignore what does not coincide with the 'perfection' of our little world or the universe. This causes us to be feel angry, shocked, and disgusted to be swept away, ignored, or put under the rug, and so we manifest the imperfections that we are in reality, yet 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 competition or effort worthwhile to be put into it, unless for the goal of creating inequality. It's great and good that some with a lot of effort have achieved it, as have the ones who are fortunate. However, in a larger sense, constantly stretching the boundaries of what is possible, it will be 'a perfection' in an imperfect situation; not a "perfection" in an absolute sense.
Does this even exist?
Cut: let the truth in
We can say that Fontana attempted to do so, since right from the beginning, Fontana resisted the straightforward ways to be successful, opting instead to explore the unknown and the uncertain, that means he decided to leave the pretense of being the only and following the path of research which led him to discover some truths.
For me, and in my personal opinion, Fontana is the one who cuts the veil and allows the light in, even though he put obscuring black sails in the background. An artist of spatial art and one of the early pioneers of the art that is understood not solely as a work, but also as a gesture an act, in and around it. as a result of action in space, and performance as the activation of narrative, which is a large part of what is being done today.
To me, his cuts illuminate all these, opening new perspectives for art and new perspectives on the world and also new questions. The wound, for this, is more than just pain: the wound is a symbol of the fragility, mortality, and fragility. The wound makes us think, makes us question, and this practice is vital to stay grounded. While it can be difficult to suffer and as much as it is in a perfect story of existence it is ideal (and appropriate) to learn by positive reinforcements. As long we as a species do not want to be a part of each other's suffering as much as our own, we are condemned to the unresolved and insanity.
So let us enjoy the cinema and its happy endings its beauty that we take for granted , and that we take as a model for life since the visual arts, on the other hand, are the daughters of suffering. Every artist who wishes to speak the truth, had to pass through the wound.