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Inadequacy
Concepts like art and life have to be mixed with each other because there is no reason for not separating human work and the human being itself. Life is art (creative energy - sexual) Who said that? The most interesting art is that which talks about life, that reveals different experiences, recollects specifics, questions, and viewpoints.
In life, it is essential to reject the idea of a perfection to be attained (in order to respond to such expectations the only form of art that we can think of is that of the film industry). Error is the hallmark of being Human, the stumbling block that we've been at one point or another: impulsive judgement, haste, fear, anger, the incessant desire for safety and control and making the wrong decisions. Don't tell me you have not made any of these errors?
Open: a new perspective from which to look
When we fall, we injure ourselves more or less and tend to look at the cause of our fall, and to think the error as a result of the expectations we hold of ourselves and other people. The injury is actually the place that we are able to see the truth. It is from here that we can no longer rely on the false notion of perfect (which should be the case if it would not be a problem) and look at what's damaged: we examine it and then look at ourselves.
Fontana cut with the awareness the possibility of opening up, breaking or tearing as destruction is often the strongest artistic act, especially in a culture where, from an early stage, we're immersed in a powerful, imprinted model of belief and https://penzu.com/p/e541eaf5 values. It's not a coincidence that Fontana declared in 1963 during the course of an interview Nerio Minuzzo:
"The critiques always criticized me, but I never was concerned about it. I went ahead anyway and never accepted anyone's salute. For years they called me 'the one with the holes', with a little pity. However, today I can see that my cuts and holes have created a taste, are accepted and even have practical applications. In bars and theatres they have ceilings made of holes. Because today, you see that even people in the street can comprehend the latest forms. The artists are the ones however, who are the only ones to understand less '.
When Fontana refers to streetspeople, he is evoking the imagery of imperfection, in which the hole is a shape similar to any other, where the transformation of life is manifested. He's not scared of dust nor the brutality of the creative act: he throws tar on the sculpture of a man , and names it "Black Man".
A few years later, the cut is transformed into the conquest of space, as an overcoming of painting and sculpture, through a new form of space which combines them: the break with verticality in favour of the possibility of crossing.
The inhalation and exhaling the canvas, is , from afar, reminiscent in a more philosophical and bourgeois version of the work Gina Pane would later perform on her skin: the gesture remains the eternal main character in this context, where the art will eventually be destroyed; the wound and the cut are path, boundary and exchange. The artist opens the canvas in two and declares its finiteness; the holes become black holes that give the illusion of depth and reveal the vastness that we never know.
Wait: new things we don't yet know
Fontana called the cuts "Waits," which are the openings from which new and new things are born which we do not know.
When we make a mistake, when we hurt or injure the other, we have a waiting time before the reaction. It starts with the shock of the error and the failure overcome, after that, finding out the best path to take to compensate or avoid it Then we await the effects of the fracture or error, which could turn out to be a amazing and new resource. Or not.
Few understood (and understand) this philosophy because they constantly judge the way that human beings and reality are, in addition, affixed to the two-dimensional nature that is the nature of canvas. We fight with all of our might 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. We are convinced that we know everything that we do, we compare our standards to every organism and ecosystem around the globe, but in reality we see it from a narrow , biased perspective which has nothing to do with the reality of Anthropocentrism as well as personal interpretations of the other that are almost never the right ones.
Accept: there is no absolute perfection.
This also applies to the society that demands us to do our best at all cost, but without pondering the fact that, instead of raising standards, we should accept more of the world the way it is. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? Most importantly, after we accept, do you dignify?
Most of the time do we choose to ignore the things that do not match the "perfect" of our very own planet or the universe. This causes us to be shocked, angry, disgusted, pushed away, covered up and then we show the very imperfection that we actually are, but we refuse to accept it.
Knowing one's own limits is important and so is understanding the interconnectedness of everything in the global 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 purpose of fuelling the spread of inequality. It's all very well and good to know that some with a lot of effort have achieved it, just like those who have been fortunate. However, when you look at it in the larger sense, constantly stretching the boundaries a little further, it will be 'a perfect' in an impermanent setting; there is no 'Perfection' in the absolutist sense.
Could this ever exist?
Cut: let the truth in
We can conclude that Fontana tried, because right from the beginning, Fontana resisted the straightforward routes to success, and opted instead to explore the unknown and the uncertain, that is to say: abandoning the notion of being the one that was successful, he pursued the path of research that led him to unravel certain facts.
In my personal opinion, Fontana is the one who rips the curtain and lets light shine through, even if there are black sails that obscure in the background. An artist of spatial art and one of the early pioneers of that art understood not only as a work but also as a gesture a gesture, around and as a result of action on space, performance as the activation of a narrative, which is a large part of what is practised today.
To me, his cuts reveal all of these, opening new perspectives on art and new perspectives on the world , and new questions. The wound that he has caused is more than pain: the wound is a symbol of the fragility, mortality, and fragility. Wounding makes us question as well as make us doubt, and this practice is very important to ensure that we remain grounded. As difficult as it is to be a victim and as difficult as it is in a perfect tale of existence it is ideal (and just) to learn only by positive reinforcements. As long that we as a nation are unwilling to avoid the suffering of others as well like our own, we are bound to remain in the unsolved and unfulfilled reality.
So let's enjoy the cinema and its happy endings, its perfection so taken as a given and which we mistakenly end up taking as a model of life as the visual arts, on the other hand are the product of pain, and every artist, in order to tell a piece of truth, has had to pass through the wound.
Concepts like art and life have to be mixed with each other because there is no reason for not separating human work and the human being itself. Life is art (creative energy - sexual) Who said that? The most interesting art is that which talks about life, that reveals different experiences, recollects specifics, questions, and viewpoints.
In life, it is essential to reject the idea of a perfection to be attained (in order to respond to such expectations the only form of art that we can think of is that of the film industry). Error is the hallmark of being Human, the stumbling block that we've been at one point or another: impulsive judgement, haste, fear, anger, the incessant desire for safety and control and making the wrong decisions. Don't tell me you have not made any of these errors?
Open: a new perspective from which to look
When we fall, we injure ourselves more or less and tend to look at the cause of our fall, and to think the error as a result of the expectations we hold of ourselves and other people. The injury is actually the place that we are able to see the truth. It is from here that we can no longer rely on the false notion of perfect (which should be the case if it would not be a problem) and look at what's damaged: we examine it and then look at ourselves.
Fontana cut with the awareness the possibility of opening up, breaking or tearing as destruction is often the strongest artistic act, especially in a culture where, from an early stage, we're immersed in a powerful, imprinted model of belief and https://penzu.com/p/e541eaf5 values. It's not a coincidence that Fontana declared in 1963 during the course of an interview Nerio Minuzzo:
"The critiques always criticized me, but I never was concerned about it. I went ahead anyway and never accepted anyone's salute. For years they called me 'the one with the holes', with a little pity. However, today I can see that my cuts and holes have created a taste, are accepted and even have practical applications. In bars and theatres they have ceilings made of holes. Because today, you see that even people in the street can comprehend the latest forms. The artists are the ones however, who are the only ones to understand less '.
When Fontana refers to streetspeople, he is evoking the imagery of imperfection, in which the hole is a shape similar to any other, where the transformation of life is manifested. He's not scared of dust nor the brutality of the creative act: he throws tar on the sculpture of a man , and names it "Black Man".
A few years later, the cut is transformed into the conquest of space, as an overcoming of painting and sculpture, through a new form of space which combines them: the break with verticality in favour of the possibility of crossing.
The inhalation and exhaling the canvas, is , from afar, reminiscent in a more philosophical and bourgeois version of the work Gina Pane would later perform on her skin: the gesture remains the eternal main character in this context, where the art will eventually be destroyed; the wound and the cut are path, boundary and exchange. The artist opens the canvas in two and declares its finiteness; the holes become black holes that give the illusion of depth and reveal the vastness that we never know.
Wait: new things we don't yet know
Fontana called the cuts "Waits," which are the openings from which new and new things are born which we do not know.
When we make a mistake, when we hurt or injure the other, we have a waiting time before the reaction. It starts with the shock of the error and the failure overcome, after that, finding out the best path to take to compensate or avoid it Then we await the effects of the fracture or error, which could turn out to be a amazing and new resource. Or not.
Few understood (and understand) this philosophy because they constantly judge the way that human beings and reality are, in addition, affixed to the two-dimensional nature that is the nature of canvas. We fight with all of our might 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. We are convinced that we know everything that we do, we compare our standards to every organism and ecosystem around the globe, but in reality we see it from a narrow , biased perspective which has nothing to do with the reality of Anthropocentrism as well as personal interpretations of the other that are almost never the right ones.
Accept: there is no absolute perfection.
This also applies to the society that demands us to do our best at all cost, but without pondering the fact that, instead of raising standards, we should accept more of the world the way it is. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? Most importantly, after we accept, do you dignify?
Most of the time do we choose to ignore the things that do not match the "perfect" of our very own planet or the universe. This causes us to be shocked, angry, disgusted, pushed away, covered up and then we show the very imperfection that we actually are, but we refuse to accept it.
Knowing one's own limits is important and so is understanding the interconnectedness of everything in the global 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 purpose of fuelling the spread of inequality. It's all very well and good to know that some with a lot of effort have achieved it, just like those who have been fortunate. However, when you look at it in the larger sense, constantly stretching the boundaries a little further, it will be 'a perfect' in an impermanent setting; there is no 'Perfection' in the absolutist sense.
Could this ever exist?
Cut: let the truth in
We can conclude that Fontana tried, because right from the beginning, Fontana resisted the straightforward routes to success, and opted instead to explore the unknown and the uncertain, that is to say: abandoning the notion of being the one that was successful, he pursued the path of research that led him to unravel certain facts.
In my personal opinion, Fontana is the one who rips the curtain and lets light shine through, even if there are black sails that obscure in the background. An artist of spatial art and one of the early pioneers of that art understood not only as a work but also as a gesture a gesture, around and as a result of action on space, performance as the activation of a narrative, which is a large part of what is practised today.
To me, his cuts reveal all of these, opening new perspectives on art and new perspectives on the world , and new questions. The wound that he has caused is more than pain: the wound is a symbol of the fragility, mortality, and fragility. Wounding makes us question as well as make us doubt, and this practice is very important to ensure that we remain grounded. As difficult as it is to be a victim and as difficult as it is in a perfect tale of existence it is ideal (and just) to learn only by positive reinforcements. As long that we as a nation are unwilling to avoid the suffering of others as well like our own, we are bound to remain in the unsolved and unfulfilled reality.
So let's enjoy the cinema and its happy endings, its perfection so taken as a given and which we mistakenly end up taking as a model of life as the visual arts, on the other hand are the product of pain, and every artist, in order to tell a piece of truth, has had to pass through the wound.