5 Methods Of Lucio Fontana Domination

Imperfection
Concepts such as art and life should be mixed with each other because there is no point in not separating the work of humans and human being itself. Life is art (creative energy - sexual) Who said that? The most interesting art is that it talks about life that reveals different experiences, recollects details, curiosities, perspectives.

In life, it is necessary to reject the idea of a perfectionism to be attained (in response to this kind of expectation The only art that we can think of is that of the cinema). Error is the hallmark of being Human, the stumbling block that we've been at one point or another: superficial judgment, haste, anger, the incessant desire for safety and sinkbush4.jigsy.com control bad choices. Don't you dare say you've never made any of these mistakes?

Open: new perspective from which to see
When we fall, we hurt our bodies more or less and tend to look at the fall as a mistake, or to make the error as a result of the expectations we set of ourselves and other people. The injury is actually the place where we can see the truth. It is from here that we stop taking refuge in the idea of perfect (which if it were such would not be a problem) and examine what's broken: we look through it and then look at ourselves.

Fontana cut her hair with the consciousness of breaking, opening, or tearing because destroying is often the strongest creative act, especially in a society where, from an early age, we are immersed in a strong, impregnating model of belief and values. It's not a coincidence that Fontana stated in 1963 in an interview with Nerio Minuzzo that:

"The critics have always criticized me, but I have never was concerned about it. I went ahead anyway and I never took the salute of anyone. In the past, they called me 'the one who has holes', with some pity even. But today I see that my holes and cuts have been a hit that is accepted, and they even have practical applications. In theatres and bars, they make ceilings with holes. Since today, as you can see, even the people on the street understand the latest forms. The artists are the ones however, who are the only ones to understand little '.

When Fontana talks about streetspeople, he is evoking the image of imperfection in which the form of the hole is similar to any other, in which the becoming of life is manifested. He's not scared of dirt nor of the violence of creative expression He throws tar onto the sculpture of a man , and names the piece 'Black Man'.

The cut becomes the conquest of space, as a triumph of sculpture and painting by a new space which combines them: a break from verticality, in favor of the possibility of crossing.

This palpitation, inhaling and exhaling of the canvas is , from afar, reminiscent in a more intellectual 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 art is destined to be destroyed; the wound and the cut represent the path, boundary and exchange. The artist breaks the canvas and declares its finiteness; the holes transform into black holes, which give the illusion of depth and reveal the infinite that we will never understand.

Wait: we are discovering new things that we don't yet know
Fontana called the cuts "Waits," which are openings that allow new and unique things emerge that we do not yet are aware of.

When we commit mistakes, and hurt or injure the other one, we must wait a certain time before the reaction. The first reaction is the shock of the mistake and the failure overcome, after that, figuring out what path to take to compensate or to get it out of the way; then we wait for the consequences of that break, that mistake, which could be a brand new and great source. But it's not.

Many people do not understand (and are able to comprehend) this concept 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 of the canvas. We keep fighting with all our might the right methods, the correct way to present and function in society, so much that we rely on standards that end up defining the concept of normativity.

There is nothing more absurd than this. Convinced that we know everything that we do, we compare our standards to all other living organisms and ecosystem on the planet However, we see it from a narrow and biased viewpoint which has nothing to do with reality. Anthropocentrism as well as individual interpretations of the other which are rarely the correct ones.

Accept: there is no perfection in the absolute sense.
The same is true of the society that demands us to do our best at all cost, but without considering that, instead of increasing standards, we need to accept more of the world in the present. Do we accept pain? Do we accept death? Accept bodies? Do we accept diversity? And, most importantly, once accepting, do we honor our diversity?

Very often no is it that we are able to hide the things that do not match the "perfect" nature of our little world or the universe. This causes us to be shocked, angry, disgusted and covered up and we then show the imperfections that we really are, but do not accept.

Understanding one's own limitations is important, as is realising the interconnectedness of everything that is the world system. Either we are ALL placed in a position to give our best or there is no incentive or competition worth the effort to be put into it, unless for the motive of increasing inequalities. It's great and great that some people after much effort have made it, like the ones who are lucky. However, in a larger context, always pushing the boundaries a little further, it will be 'a perfect' in an impermanent setting; there is no "perfection" in the absolute sense.

Does this even exist?

Cut and let the truth be revealed
It is possible to say that Fontana tried, because from the beginning, he rejected the easy ways to be successful, opting instead to try out the untested and the uncertain, that means he decided to leave the notion of being the only one and following the path of study that led him to unravel certain truths.

For me, and my personal opinion, Fontana is the one who rips the curtain and lets light in, even though there are black sails that obscure behind the cuts. A spatial artist in the same way as one of the early pioneers of this art, it is not understood solely as a work, but also as a gesture as a gesture, around, and as a result of action on space, performance as the expression of a narrative, of which much is being done today.

His cuts are a great example of this, opening up new perspectives to art and new perspectives on the world and also new questions. The wound that he has caused is more than just pain: the wound reveals mortality, brevity, uncertainty and fragility. A wound can make us think and makes us think the way we think, and this is vital to ensure that we remain on the ground. While it can be difficult to suffer and as much as, in a perfect tale of life it is ideal (and appropriate) to gain knowledge only through positive reinforcements, as long that we as a nation are unwilling to avoid each other's suffering as much as our own, we're bound to remain in the unsolved and insanity.

So let us enjoy the cinema and the happy endings it brings, its beauty and perfection that is taken for granted , and that we misunderstand and take as a model for life, because the visual arts on the other hand are the children of suffering. Every artist who wants to convey a bit of truth, has had to pass through the wound.