Edició de la pàgina «Best Lucio Fontana Tips You Will Read This Year»

Imperfection<br>Concepts like art and life have to be mixed with one another because there is no reason for maintaining a separation between the work of humans and human. Life is art (creative energy sexual), who said that? The most fascinating art is one is about life, that reveals different experiences, the details, curiosity, and points of view.<br><br>In life, it is essential to reject the idea of a perfection to be achieved (in response to expectations of this sort The only art we can refer to is that of film). Error is the hallmark of being Human The stumbling block upon which we've all fallen at one time or another: impulsive judgement, impulsiveness, fear, anger, the incessant desire for safety and control bad choices. Don't you dare say you've never made any of these mistakes?<br><br>Open: a new perspective from which to look<br>When we fall, we hurt our bodies more or less and are prone to judge that fall, to consider the error as a result due to the expectation we set of ourselves and others. The wound is actually the point from which we discover the truth. From there, we are no longer in the illusion of perfection (which should be the case if it shouldn't be hurting) and examine what is damaged: we examine the wound and examine ourselves.<br><br>Fontana cut with the awareness the possibility of opening up, breaking or tearing since destruction is often the most creative action, and particularly in a culture that, since a very early age, we are immersed in a strong, impregnating model of belief and values. It is no coincidence that Fontana declared in 1963 during an interview Nerio Minuzzo:<br><br>"The people who criticize me have often criticized me, but I never worried about it, I went on regardless and I never took anyone's salute. Over the years, I was called "the one with the holes', with some pity even. But today I see that my cuts and holes have been a hit, are accepted and even have practical applications. In bars and theaters, they create ceilings using holes. Since, today, even the people in the street can comprehend the new forms. It's the artists that are the ones who know little '.<br><br>When Fontana talks about street people, he is evoking the image of imperfection in which the hole is a form that is similar to every other one in which the becoming of life can be seen. He's not scared of dirt nor of the brutality of his creative work He throws tar onto an artifact made of plaster of a human figure and calls the sculpture 'Black Man'.<br><br>A few years later, the cut is transformed into the conquest of space, as a triumph of painting and sculpture, by a new space which combines them: a break from verticality in favour of a crossing passage.<br><br>The inhalation and exhaling the canvas is reminiscent from afar, in a more cerebral and bourgeois version of the work Gina Pane later did on her skin: the gesture is nevertheless the eternal protagonist in that context where art is destined to be destroyed; the wound and the cut represent border, path and exchange. The artist opens the canvas by splitting it in two and declares its finiteness; the holes transform into black holes, which give depth and make us perceive the infinite that we will never be able to comprehend.<br><br>Wait: we are discovering new things that we haven't discovered yet<br>Fontana called the cuts "Waits," which are openings that allow new and new things are born that we don't have a clue about.<br><br>When we make an error, or [https://postheaven.net/traincoal7/want-more-money-get-lucio-fontana postheaven.net] cause harm or injury to another injuring or hurting another, we need to wait for a time before the reaction. The first reaction is the shock of making a mistake and the failure overcome, after that, finding out the best steps to take to rectify the mistake or to get it out of the way Then we await the consequences of that fracture, that mistake, which could be a brand amazing and new source. It could also be a waste of time.<br><br>Many people do not understand (and understand) this philosophy because they constantly judge how reality and human beings should be, too used to the two-dimensionality of the canvas. We keep fighting with all of our might the best methods, the correct method of presenting and being in society, so much that we turn to rules that eventually define the concept of normativity.<br><br>There is nothing more absurd than this. We are convinced that we know everything that we do, we compare our standards to all other living organisms and ecosystem in the world However, we are looking at it from a narrow , biased point of view which has nothing to do with the reality of Anthropocentrism as well as personal interpretations of other theories that are almost never the correct ones.<br><br>Accept: there is no perfection in the absolute sense.<br>The same is true of our society, which demands to be the best at all costs, without reflecting on the fact that, instead of increasing standards, we need to become more accepting of what is, just in the present. Do we accept pain? Do we accept death? Accept the bodies of others? Do we accept diversity? The most important thing is, after we accept, do you respect our differences?<br><br>In most cases do we choose to ignore the things that do not match the "perfect" of our own little planet or universe. It makes us shocked, angry, disgusted to be swept away, ignored, or swept under the carpet and we then show the imperfections that we really are, but do not accept.<br><br>Knowing one's own limits is essential and so is understanding the interconnectedness of all that is the world system: either we are ALL put in a position to do our best or there is no incentive or competition worth the effort with the sole motive of increasing the spread of inequality. It's all very well and good that some after much effort have made it, as have those who have been fortunate. However, in a larger sense, constantly stretching the boundaries a little further it's a perfect' in an impermanent situation; not a 'Perfection' in the absolutist sense.<br><br>Does this even exist?<br><br>Cut and let the truth be revealed<br>It is possible to say that Fontana tried, because from the beginning, Fontana resisted the straightforward routes to success, and opted instead to experiment with the unknown and the uncertain, that is to say: abandoning the pretense of being the one that was successful, he pursued the path of research that led him to uncover certain truths.<br><br>For me, and my very personal view, Fontana is the one who rips the veil and lets the light shine through, even if he put obscuring black sails in the background. An artist of spatial art in the same way as one of the pioneers of the art that is understood not only as a work but also as a gesture as a gesture, around, and as a consequence of action on space, performance as the expression of a narrative, of which much is being done today.<br><br>To me, his cuts reveal all of this, opening up new perspectives on art and new perspectives on the world and also new questions. The wound, for this, is more than just pain: the wound highlights the idea of mortality, shortness, uncertainty and fragility. A wound can make us think as well as make us doubt, and this practice is vital to keep our feet grounded. As difficult as it is to be a victim and as difficult as it would be in a perfect narrative of life it would be wonderful (and just) to gain knowledge only by positive reinforcements. As long that we as a nation do not want to be a part of the suffering of others as well as our own, we're condemned to the unresolved and incomplete reality.<br><br>Let us take pleasure in the cinema and its happy endings its beauty and perfection that is taken for granted , and that we mistakenly end up taking as a model for life since the visual arts however are the product of suffering. Every artist who wishes to convey a bit of truth, had to pass through the wound.