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Inadequacy
Concepts like art and life must mix with each other since there is no point in keeping a distance between human activity and the human itself. The art of life is a form (creative energy sexual) Who said that? This is the reason why the most intriguing art is the one which talks about life, postheaven.net that reveals different experiences, recollects specifics, questions, and perspectives.

In the realm of life, it is necessary to disbelieve the notion of a perfectionism to be attained (in in order to be able to meet this kind of expectation, the only art we could refer to is that of the cinema). Error is the hallmark of being Human and the block that we've been at one point or another: the faulty judgement, impulsiveness, fear or anger, the unending search for security and control, wrong choices. Don't you dare say you've never made any of these mistakes?

Open: a new perspective from which to look
If we fall, we hurt ourselves more or less and tend to look at the fall as a mistake, or to make the mistake a fault because due to the expectation we have of ourselves and others. The wound is actually the place where we can discover the truth. It is from here that we are no longer in the idea of perfection (which should be the case if it should not hurt) and look at what is broken: we look through it and then look at our own self-image.

Fontana cut her hair with the consciousness the possibility of opening up, breaking or tearing as destruction is often the most creative action, and especially in a world in which, even from a young age, we are immersed in a powerful, imprinted systems of values and beliefs. It is no coincidence that Fontana stated in 1963 in the course of an interview Nerio Minuzzo:

"The critiques always criticized me, but I have never was concerned about it. I went ahead anyway and I didn't take any kind of salute. In the past, they called me "the one that has the holes', with a little pity. However, today I can see that my holes and cuts have created a taste that is accepted, and they even have practical uses. In bars and theatres they create ceilings using holes. Because today, you see that even people on the street understand the new forms. It is the artists, unfortunately, who understand more '.

When Fontana speaks of street people, he is evoking the idea of imperfection where the form of the hole is like 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 on a plaster sculpture of a man and calls the piece "Black Man".

A few years later, the cut is transformed into the conquest of space, as a triumph of painting and sculpture, through a new spatiality that combines both an end to verticality in favour of an open passageway.

The inhalation and exhaling the canvas is reminiscent from afar, in a more intellectual and bourgeois sense of the work Gina Pane would later do on her skin: the gesture remains the eternal main character in this context, where art is bound to be destroyed. The wound and the cut represent the path, boundary and exchange. The artist breaks the canvas and declares it to be finite. the holes become black holes that give depth and make us perceive the infinite , which we'll never know.

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

If we make a mistake, when we hurt or injure the other, we have a waiting time before the reaction. First the shock of the mistake and the failure overcome, and then finding out the best path to take to compensate or avoid it and then waiting for the consequences of that break, that mistake, which could actually be a amazing and new resource. Or not.

A few people have understood (and understand) this philosophy because they are constantly judging the way that human beings and reality ought to be, and how they should be compared to the two-dimensional nature that is the nature of canvas. We continue to defend with all of our might the right ways, the best way to present and function in society, so much that we turn to standards that end up defining normativity.

It's impossible to find anything more confusing. In our belief that we are experts and everything, we apply our standard to every other organism and ecosystem on the planet, but in reality we see it from a narrow and biased point of view that is not in line with the reality of Anthropocentrism as well as personal interpretations of the other that are almost never the correct ones.

Accept: no perfection in the absolute sense.
This is also true for the society that demands us to be better at all cost, but without reflecting on the fact that maybe, instead of improving standards, we could learn to be more accepting of things just the way it is. Do we accept pain? Do we accept death? Accept the bodies of others? Do we accept diversity? And, most importantly, once we accept, do you dignify?

Most of the time do we choose to ignore the things that do not match the "perfect" nature of our own little planet or universe. This causes us to be horrified, angry, and irritated and swept under the carpet and we then show the imperfections that we really are, but refuse to accept.

Understanding one's own limitations is important, as is realising the interconnectedness of everything that is the global system. Either we are ALL put in a position where we can give our best, or there's no incentive or competition worth the effort with the sole motive of increasing inequalities. It's great and great that some people who have put in a lot of work have succeeded at it, just like the ones who are lucky. However, when you look at it in the larger context, always pushing the boundaries of what is possible it's a perfection' in an imperfect situation; not a 'Perfection' in the absolutist sense.

Can this be a reality?

Cut and let the truth be revealed
We can say that Fontana was a tinkerer, as from the beginning, Fontana resisted the straightforward ways to be successful, opting instead to experiment with the unknown and the unknowable, that means he decided to leave the notion of being the one, he followed the research path which led him to discover some truths.

In my very personal view, Fontana is the one who cuts the curtain and lets light in, even though the black sails are obscured in the background. A spatial artist as well as one of the forerunners of that art understood not solely as a work, but as a gesture, an act, in and around it. as a result of action in space, and performance as the activation of narrative, of which much is practiced in the present.

To me, his cuts illuminate all these, opening new perspectives for art, new points of view about the world, as well as new questions. The wound, for this, is more than pain: the wound highlights mortality, brevity, uncertainty and fragility. A wound can make us think as well as make us doubt the way we think, and this is very important to ensure that we remain in the right place. As hard as it is to be a victim and as difficult as it would be in a perfect tale of our existence it would be wonderful (and appropriate) to gain knowledge only through positive reinforcements, as long that we as a nation are unable to avoid each other's suffering as much like our own, we're stuck in the unsolved, and insanity.

So let's enjoy the cinema and the happy endings it brings, its beauty that we take as a given and which we misunderstand and take as a template for our lives as the visual arts, on the other hand are the product of pain, and every artist who wishes to tell a piece of truth, must go through the pain.