Top 9 Funny Lucio Fontana Quotes

Imperfection
Concepts like art and life must mix with each other because there is no reason for not separating human activity and the human being itself. Life is art (creative energy - sexual), who said that? This is the reason why the most intriguing art is the one which talks about life, that unravels various experiences, recollects the details, curiosity, and viewpoints.

When it comes to life, it is essential to disbelieve the notion of a perfectionism to be reached (in response to this kind of expectation the only form of art that we can think of is film). The nature of error is the essence of being Human The stumbling block upon which we've been at one point or another: the faulty judgment, haste and anger, the constant need for control and security and making the wrong decisions. Don't tell me you have never made any of these errors?

Open: a new perspective from which to see
When we fall, we hurt ourselves more or less and are prone to judge the cause of our fall, and to think the error as a result due to the expectation we have of ourselves and others. The injury is actually the point where we can see the truth, from which we can no longer rely on the illusion of perfection (which if it were such shouldn't be hurting) and examine what is damaged: we examine the wound and examine ourselves.

Fontana cut her hair with the consciousness the possibility of opening up, breaking or tearing because destroying is often the most creative action, https://postheaven.net/playdrop0/picture-your-lucio-fontana-on-top and especially in a world where, from an early age, we are immersed in a deeply ingrained model of belief and values. It's no accident that Fontana said in 1963 in an interview with Nerio Minuzzo:

"The critics have always criticized me, but I have never thought about it. I just went with it and never accepted anyone's salute. In the past, they called me 'the one with the holes' with a little pity. However, today I can see that my holes and cuts have been a hit, are accepted and even have practical uses. In bars and theatres they have ceilings made of holes. Because today, you see the public in the street can comprehend the latest forms. It's the artists however, who are the only ones to understand less '.

When Fontana refers to the street, he invokes the image of imperfection in which the hole is a shape like any other where the transformation of life can be seen. He is not afraid of the dirt, nor the violent nature of creative expression and throws tar at an artifact made of plaster of a human figure and calls the piece 'Black Man'.

The cut becomes the conquest of space, in the form of an overthrow of painting and sculpture, by a new space which combines them: a break from verticality, in favor of a crossing passage.

The palpitation that occurs, both inhaling and exhaling the canvas, can be seen from afar in a more cerebral and bourgeois way, of the work that 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 the path, boundary and exchange. The artist opens the canvas and declares it to be finite. the holes are transformed into black holes, which give the illusion of depth and reveal the infinite , which we'll never be able to comprehend.

Wait: new things we do not yet know
Fontana called the cuts "Waits," which are the openings from which new and unique things emerge which we do not know.

When we make an error, or cause harm or injury to another injuring or hurting another, we need to wait for a period before we react. The first reaction is the shock of the error and the failure to overcome, after that, finding out the best way to go to make up for it or avoid it Then we await the effects of the fracture or error, which could be a brand amazing and new resource. Or not.

Many people do not understand (and do not comprehend) this philosophy because they are constantly assessing what reality and the human condition ought to be, and how they should be compared to the two-dimensional nature on the wall. We continue to defend with all our might the right methods, the correct way to appear and be as a person in society, that we turn to rules that eventually define the concept of normativity.

It's impossible to find anything more confusing. Convinced that we know everything that we do, we compare our standards to every other organism and ecosystem on the planet however, in reality we see it from a narrow , biased point of view that is not in line with reality. Anthropocentrism as well as personal interpretations of other theories which are rarely the correct ones.

Accept: there is no absolute perfection.
The same is true of the society that demands us to be the best every chance they get, without pondering the fact that maybe, instead of raising standards, we should become more accepting 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 accepting, do we respect our differences?

Most of the time do we choose to ignore what does not coincide with the 'perfection' of our very own planet or the universe. It makes us feel angry, shocked, and disgusted and swept under the carpet and we then show the imperfections that we actually are, but refuse to accept.

Understanding one's own limitations is essential and so is understanding the interconnectedness of everything that is the world system: either we are ALL placed in a position where we can give our best, or there's no incentive or competition worth the effort with the sole purpose of fuelling the spread of inequality. It is all well and great that some people after much effort have made it, as have those who have been lucky. However, when you look at it in the larger context, always stretching the boundaries a little further it's a perfection' in an 'imperfect setting; there is no "perfection" in the 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 Fontana rejected the simple paths of success, preferring to experiment with the unknown and the uncertain, that is to say, he renounced the pretense of being the only that was successful, he pursued the path of research which led him to discover some facts.

For me, and my personal perspective, Fontana is the one who tears open the veil and lets the light through, even if there are black sails that obscure behind the cuts. A spatial artist as well as one of the pioneers of this art, it is not understood only as a work but as a gesture, an act, in and around it. in the context of actions on space, performance as the expression of a narrative, and this is the way it is practised today.

To me, his cuts are a great example of these, opening new perspectives for art, new points of view on the world and also new questions. The wound, for this, is more than just pain: the wound is a symbol of mortality, brevity, uncertainty and fragility. A wound can make us think and makes us think the way we think, and this is very important to keep our feet grounded. As hard as it is to suffer and as much as it is in a perfect narrative of existence it would be wonderful (and right) to gain knowledge only through positive reinforcements, as long we as a species are unwilling to avoid each other's suffering as much like our own, we are bound to remain in the unsolved and insanity.

Let us take pleasure in the cinema and its happy endings, its beauty that we take for granted and which we mistakenly end up taking as a template for our lives since the visual arts, however are the children of suffering. Every artist who wants to tell a piece of truth, has had to pass through the wound.