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The A - Z Of Lucio Fontana
Imperfection
Concepts such as art and life should be mixed with one another because there is no need for keeping a distance 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 fascinating art is one which talks about life, which unravels different experiences, recounts the details, curiosity, and viewpoints.
In the realm of life, it is necessary to reject the idea of a perfectionism to be achieved (in response to this kind of expectation The only art we can refer to is that of film). Error is the hallmark of being Human The stumbling block that we've all fallen at one time or another: superficial judgment, haste or anger, the unending search for security and control bad choices. Don't tell me you have not made one of these mistakes?
Open: new perspective from which to look
When we fall, we hurt ourselves more or less and are prone to judge that fall, to consider the mistake a fault because of the expectations we hold of ourselves and other people. The wound is the actual point from which we are able to see the truth, from which we can no longer rely on the illusion of perfect (which should be the case if it would not be a problem) and examine the things that are broken: we look through it and then look at ourselves.
Fontana cut her hair with the consciousness of breaking, opening, and tearing because destroying is often the most creative act, all the more so in a world in which, even from a young age, we are immersed in a deeply ingrained system of beliefs and models. It's not a coincidence that Fontana stated in 1963 in an interview with Nerio Minuzzo:
"The critiques always criticized me, but I have never was concerned about it. I went ahead anyway and I didn't take the salute of anyone. Over the years, I was called "the guy who has holes' with a little pity. But today I see that my cuts and holes have earned me a reputation, are accepted and even find practical applications. In bars and theaters, they create ceilings using holes. Since today, as you can see the public on the street understand the latest forms. It's the artists that are the ones who know little '.
When Fontana refers to the street, he invokes the image of imperfection where the form of the hole is similar to any other, that the emergence of life is manifested. Fontana isn't afraid of the dirt, nor the brutality of his creative work He throws tar onto the sculpture of a man and calls it 'Black Man'.
The cut is transformed into the conquest of space, as a triumph of sculpture and painting through a new form of space that combines both the break with verticality in favour of a crossing passage.
This palpitation, inhaling and exhaling of the canvas is reminiscent from afar, in a more philosophical and bourgeois sense, of the work that Gina Pane would later perform on her skin. The gesture is nevertheless the eternal protagonist in that context where art is destined to be destroyed; the cuts and wounds are the path, boundary and exchange. The artist opens the canvas in two and declares its finiteness; the holes are transformed into black holes, which give an illusion of depth. They also reveal the infinite that we will never understand.
Wait: new things we don't yet know
Fontana named the cuts 'Waits', the gaps from which new and unique things emerge that we do not yet know.
When we make an error, or cause harm or injury to another, we have a waiting period of time before we can react. The first reaction is the shock of the error and the failure over, then deciding on the way to go to compensate or to get it out of the way and then waiting for the effects of the fracture, that mistake, which could actually be a amazing and new source. But it's not.
Many people do not understand (and are able to comprehend) this concept because they constantly judge the way that human beings and reality ought to be, and how they should be compared to the two-dimensionality on the wall. We keep fighting every inch of our being the right practices, the right method of presenting and being in the world, so that we rely on standards that end up defining Normativity.
Nothing could be more incoherent. In our belief that we are experts and franck-palm.thoughtlanes.net everything, we apply our standard to every organism and ecosystem on the planet However, we view it from a narrow and biased point of view that is not in line with reality: Anthropocentrism, but also individual interpretations of the other that are almost never the right ones.
Accept: no absolute perfection.
This is also true for this society that wants us to be the best at all costs, without pondering the fact that perhaps, rather than raising standards, we should learn to be more accepting of things 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 honor our diversity?
Most of the time, we resort to invisibilising the things that do not match the "perfect" of our little world or universe. This causes us to be shocked, angry, disgusted, pushed away, swept under the carpet and then we show our imperfections, which we really are, but we refuse to accept it.
Knowing one's own limits is essential and so is understanding the interconnectedness of everything that is the world system: either we are ALL placed in a position to do our best or there is no incentive or competition worth the effort with the sole purpose of fuelling inequalities. It is all well and great that some people after much effort have made it, as have the ones who are fortunate. However, when you look at it in the larger sense, constantly stretching the boundaries a little further, it will be 'a perfection' in an 'imperfect setting; there is no "perfection" in an absolute sense.
Could this ever exist?
Cut and let the truth be revealed
We can say that Fontana tried, because from the beginning, Fontana rejected the simple ways to be successful, opting instead to try out the untested and the unknowable, that is to say, he renounced the pretense of being the only and following the path of study that led him to uncover certain truths.
In my personal opinion, Fontana is the one who tears open the curtain and lets light in, even though he put obscuring black sails in the background. An artist of spatial art and one of the forerunners of the art that is understood not only as a work but also as a gesture a gesture, around and in the context of actions on space, performance as the activation of a narrative, and this is the way it is practiced in the present.
To me, his cuts illuminate all this, opening up new perspectives on art and new perspectives on the world , and new questions. The wound for this, is more than just pain: the wound reveals the idea of mortality, shortness, uncertainty and fragility. The wound makes us think, makes us question how we can improve our lives, and this practice is very important to keep our feet on the ground. As difficult as it is to endure and as hard as it would be in a perfect narrative of existence it would be wonderful (and right) to learn only by positive reinforcements. So long as we as a society are unwilling to avoid each other's suffering as much as our own, we are condemned to the unresolved and to live in an incomplete reality.
So let's enjoy the cinema and its happy endings, its beauty and perfection that is taken for granted and which we take as a model for life as the visual arts contrary to what they appear are the product of pain, and every artist who wishes to tell a piece of truth, has had to pass through the wound.
Website: https://franck-palm.thoughtlanes.net/the-ultimate-guide-to-lucio-fontana
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