Open Art Images like art and life must mix with one another because there is no need for keeping a distance between the human and the human. Life is art (creative energy sexual) Who would have thought that? This is the reason why the most fascinating art is one which talks about life, that reveals different experiences, the details, curiosities, and viewpoints.
In the realm of life, it is necessary to reject the idea of a perfection to be attained (in response to this kind of expectation, the only art that we can think of is that of cinema). The nature of error is the essence of being Human, the stumbling block into which we have been at one point or another: impulsive judgment, haste or anger, the unending search for security and control bad choices. Don't tell me you have never made any of these mistakes?
Open: a fresh perspective from which to look
If we fall, we hurt our bodies more or less and are inclined to judge the cause of our fall, and to think the mistake a fault because our expectations have of ourselves and other people. The injury is actually the point that we are able to are able to see the truth, from which we stop taking refuge in the idea of perfection (which should be the case if it shouldn't be hurting) and examine what's broken: we look through it and then look at our own self-image.
Fontana cut her hair with the consciousness of breaking, opening, and tearing as destruction is often the most creative action, and especially in a culture where, from an early time, we are ensconced in a strong, impregnating model of belief and values. It's not a coincidence that Fontana said in 1963 in the course of an interview Nerio Minuzzo that:
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"The critics have always maligned me, however, I never worried about it, I just went with it and I didn't take the salute of anyone. Over fontana artist , I was called "the guy with the holes' with a bit of pity. However, today I can see that my holes and cuts have a cult following, are accepted, and even have practical applications. In theatres and bars they make ceilings with holes. Since today, as you can see that even people on street are aware of the new ways of life. It is the artists however, who are the only ones to understand more '.
When Fontana talks about the street, he invokes the imagery of imperfection, in which the hole is a form like every other one that the emergence of life is manifested. Fontana is not scared of dirt , nor of the violent nature of creative expression He throws tar onto an artifact made of plaster of a man and calls it 'Black Man'.
The cut transforms into the conquer of space as an overcoming of painting and sculpture, through the creation of a new dimension that includes both breaking away from verticality to create a crossing passage.
The palpitation that occurs, both exhaling and inhaling the canvas is reminiscent from a distance, in a more sophisticated and bourgeois sense of the work Gina Pane later performed on her skin: the gesture remains the eternal main character in this context, where art is destined to be destroyed. The wound and the cut are border, path and exchange. The artist opens the canvas by splitting it in two and proclaims the canvas's finiteness. the holes transform into black holes that provide the illusion of depth and reveal the vastness that we never understand.
We are waiting for new discoveries that we do not yet know
Fontana described the cuts as "Waits," openings that allow new and new things are born that we don't know.
When we make a mistake, when we hurt or injure the other injuring or hurting another, we need to wait for a time before the response. First the shock of the error and the failure overcome, and then figuring out the way to go to rectify the mistake or get away with it; then we wait for the consequences of the break, that slip and the possibility of an amazing source. It could also be a waste of time.
A few people have understood (and do not comprehend) this philosophy since they constantly judge the way that human beings and reality ought to be, and how they should be compared to the dual nature of the canvas. We continue to defend every inch of our being the right methods, the correct method of presenting and being as a person in the society, so that we resort to rules that eventually define normativity.
It's impossible to find anything more confusing. We are convinced that we know everything and everything, we apply our standard to all other living organisms and ecosystem on the planet however, in reality we are looking at it from a narrow , biased point of view that has nothing to do with reality: Anthropocentrism, but also individual interpretations of other theories that are almost never the most accurate.
Accept that there is no perfection in the strict sense.
This also applies to our society, which demands to do our best at all costs, without reflecting on the fact that perhaps, rather than raising standards, we should become more accepting of the world the way it is. Do we accept pain? Do we accept death? Do we accept the bodies of others? Do we accept diversity? Most importantly, after we accept, do you respect our differences?
In most cases do we choose to ignore the things that do not match the "perfect" nature of our own little planet or the universe. We are horrified, angry, angry and pushed aside, then and swept under the rug and then we show the imperfections that we actually are, but refuse to accept.
Being aware of one's limits is essential as is recognizing the interconnectedness of all that is the global system. Either we are ALL put in a position where we can give our best or there is no incentive or competition worth the effort with the sole motive of fostering the spread of inequality. It is all well and great that some people after many hours of work have succeeded and have been so lucky. But in the larger sense, constantly stretching the boundaries just a bit further it's a perfect' in an impermanent situation; not a "perfection" in an absolute sense.
Can this be a reality?
Cut and let the truth be revealed
We can say that Fontana tried, because from the very beginning he resisted the straightforward paths of success, preferring to experiment with the unknown and unpredictability, which means he decided to leave the notion of being the only 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 veil and lets the light in, even though there are black sails that obscure behind the cuts. A spatial artist and one of the early pioneers of that art understood not only as a work but also as a gesture which is a gesture that revolves around and as a result of action on the space, 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 to art, new points of view on the world , and new questions. The result of this wound is more than pain: the wound is a symbol of mortality, brevity, uncertainty and fragility. Wounding makes us question, makes us question the way we think, and this is very important to ensure that we remain in the right place. While it can be difficult to endure and as hard as, in a perfect narrative of life it would be wonderful (and right) to learn only through positive reinforcements, as long we as a species do not want to be a part of each other's suffering as much than our own, we're stuck in the unsolved, and insanity.
So let's enjoy the cinema and its happy endings, its perfection so taken for granted , and that we mistakenly end up taking as a model for life since the visual arts however are the product of pain, and every artist, in order to convey a bit of truth, has had to traverse the pain.
