Best Lucio Fontana Tips You Will Read This Year

Imperfection
Concepts such as art and life must mix with each other since there is no reason for keeping a distance between human work and the human itself. The art of life is a form (creative energy sexual) Who said that? This is the reason why the most interesting art is that is about life, which unravels different experiences, recollects the details, curiosity, and points of view.

When it comes to the world, it is imperative to disbelieve the notion of a perfection to be reached (in response to such expectations, the only art we can refer to is that of the cinema). Error is the hallmark of being Human The stumbling block into which we have every one of us at one point or another: impulsive judgement, haste, https://canvas.instructure.com/eportfolios/1761976/Home/5_Lucio_Fontana_Secrets_You_Never_Knew fear or anger, the unending desire for safety and control, wrong choices. Do you think you've not made one of these mistakes?

Open: a new perspective from which to look
If we fall, we injure ourselves more or less intensely and are inclined to judge the cause of our fall, and to think the error as a result our expectations have of ourselves and other people. The wound is actually the place where we can see the truth. From there, we stop taking refuge in the illusion of perfection (which if it were such should not hurt) and take a look at what's damaged: we examine it and look at ourselves.

Fontana cut her hair with the consciousness that breaking and opening is or tearing since destruction is often the most creative action, and especially in a culture that, since a very early stage, we're immersed in a powerful, imprinted model of belief and values. It is no coincidence that Fontana stated in 1963 in an interview Nerio Minuzzo:

"The critiques always criticized me, but I have never thought about it. I went ahead anyway and I never took any kind of salute. For years they called me 'the one that has the holes', with a little pity. Today, I realize that my holes and cuts have created a taste and are widely accepted. They even have practical uses. In bars and theatres they make ceilings with holes. Since, today that even people who walk by understand the new forms. It's the artists that are the ones who know little '.

When Fontana talks about street people, he invokes the idea of imperfection in which the hole is a form like any other where the transformation of life can be seen. He is not afraid of dirt nor of the brutality of creative expression: he throws tar on a plaster sculpture of a man , and names the sculpture 'Black Man'.

A few years later, the cut becomes the conquest of space, in the form of an overthrow of painting and sculpture, by a new space that contains them both: an end to verticality to create an open passageway.

The palpitation that occurs, both inhaling and exhaling of the canvas, can be seen from afar in a more intellectual and bourgeois version of the work Gina Pane would later perform 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 are path, boundary and exchange. The artist breaks the canvas in two and declares its finiteness; the holes become black holes that give the illusion of depth and reveal the infinite that we will never understand.

Wait: new things we don't yet know
Fontana called the cuts "Waits," openings that allow new and unique things emerge which we do not have a clue about.

When we commit a mistake, when we hurt or injure the other, we have a waiting period before we react. First the shock of the error and the failure to overcome, and then finding out the best way to go to rectify the mistake or avoid it Then we await the consequences of that fracture or error, which could be a brand new and great source. But it's not.

Many people do not understand (and do not comprehend) this philosophy because they constantly judge how reality and human beings ought to be, and how they should be compared to the two-dimensionality of the canvas. We fight every inch of our being the correct ways, the best way to appear and be in the world, so that we turn to rules that eventually define the concept of normativity.

Nothing could be more incoherent. We are convinced that we know everything, we apply our yardstick to all other living organisms and ecosystem around the globe however, in reality we see it from a narrow , biased perspective that is not in line with reality. Anthropocentrism, but also individual interpretations of the other which are rarely the right ones.

Accept: no perfection in the absolute sense.
The same is true of this society that wants us to do our best at all cost, but without considering that perhaps, rather than improving standards, we could learn to be more accepting of the world as it is. Do we accept pain? Do we accept death? Do we accept bodies? Do we accept diversity? Most importantly, after accepting, do we honor our diversity?

In most cases do we choose to ignore those things that don't fit with the 'perfection' of our own little planet or universe. We are shocked, angry, disgusted 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 essential as is recognizing the interconnectedness of everything in the world system: either we are ALL placed in a position where we can give our best or there is no competition or effort worthwhile to be put into it, unless for the goal of creating inequalities. It is all well and good to know that some after much effort have made it, as have those who have been 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 absolute sense.

Does this even exist?

Cut: let the truth in
We can say that Fontana attempted to do so, since from the very beginning Fontana resisted the straightforward ways to be successful, opting instead to try out the untested and the uncertain, that means he decided to leave the pretense of being the only one, he followed the path of study that led him to unravel certain facts.

For me, and in my personal opinion, Fontana is the one who cuts the veil and lets the light in, even though there are black sails that obscure in the background. A spatial artist in the same way as one of the forerunners of the art that is understood not just as a piece of work, but also as a gesture as a gesture, around, and as a consequence of action on space, performance as the activation of a narrative, of which much is being done today.

To me, his cuts illuminate all this, opening up new perspectives for art and new perspectives about the world, as well as new questions. The wound that he has caused is not just pain, the wound highlights the fragility, mortality, and fragility. Wounding makes us question and makes us think, and this practice is very important to stay on the ground. While it can be difficult to suffer and as much as it is in a perfect tale of our existence, it would be great (and just) to learn only through positive reinforcements, as long as we as a society do not want to be a part of one another's pain as 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 perfection so taken for granted , and that we misunderstand and take as a template for our lives as the visual arts, however are the children of suffering, and any artist who wants to tell a piece of truth, had to traverse the pain.