Top 25 Quotes On Lucio Fontana

Imperfection
Concepts such as art and life have to be mixed with each other since there is no reason for maintaining a separation between human work and the human being itself. The art of life is a form (creative energy - sexual) Who would have thought that? The most interesting art is that is about life, which unravels different experiences, specifics, questions, anotepad.com and points of view.

When it comes to life, it is necessary to reject the idea of a perfectionism that can be achieved (in order to respond to expectations of this sort The only art we could refer to is film). Error is the hallmark of being Human, the stumbling block upon which we've been at one point or another: superficial judgement, impulsiveness, fear or anger, the unending desire for safety and control and making the wrong decisions. Don't you dare say you've not made one of these errors?

Open: a new perspective from which to see
When we slip, we hurt ourselves more or less intensely and are prone to judge the fall as a mistake, or to make the error as a result due to the expectation we set of ourselves and others. The wound is actually the place that we are able to see the truth, from which we stop taking refuge in the idea of perfect (which should be the case if it shouldn't be hurting) and take a look at what's damaged: we examine the wound and examine ourselves.

Fontana cut with the awareness the possibility of opening up, breaking or or tearing because destroying is often the strongest creative act, all the more so in a society where, from an early age, we are immersed in a powerful, imprinted systems of values and beliefs. It's not a coincidence that Fontana said in 1963 in an interview Nerio Minuzzo that:

"The critiques always maligned me, but I have never was concerned about it. I went on regardless and never accepted anyone's salute. In the past, they called me 'the one that has the holes', with a little pity. But today I see that my holes and cuts have created a taste, are accepted and even find practical applications. In theatres and bars, they make ceilings with holes. Since, today, even the people on the street understand the latest forms. It is the artists however, who are the only ones to understand less '.

When Fontana talks about the street, he is evoking the imagery of imperfection, where the hole is a shape like any other in which the becoming of life can be seen. Fontana isn't afraid of the dirt, nor the violent nature of the creative act He throws tar onto an artifact made of plaster of a man and calls the piece "Black Man".

The cut becomes the conquest of space, in the form of an overthrow of sculpture and painting through a new spatiality which combines them: a break from verticality to create an open passageway.

The inhalation 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 is nonetheless the immortal main character in this context, where art is bound to be destroyed. The cuts and wounds are border, path and exchange. The artist breaks the canvas by splitting it in two and declares its finiteness; the holes are transformed into black holes, which give depth and make us perceive the infinite that we will never understand.

Wait: we are discovering new things that we haven't discovered yet
Fontana described the cuts as "Waits," which are the openings from which new and new things are born which we do not know.

When we make an error, or hurt or injure the other injuring or hurting another, we need to wait for a period of time before we can react. It starts with the shock of the error and the failure over, then figuring out what steps to take to compensate or get away with it; then we wait for the effects of the fracture or error, which could be a brand innovative and valuable source. Or not.

Many people do not understand (and are able to comprehend) this philosophy , as they constantly judge the way that human beings and reality ought to be, and how they should be compared to the two-dimensional nature of the canvas. We keep fighting with all of our might the correct ways, the best method of presenting and being in the world, so that we rely on norms that ultimately define normativity.

It's impossible to find anything more confusing. Convinced that we know everything that we do, we compare our standards to all other living organisms and ecosystem in the world, but in reality we view it from a narrow , biased viewpoint which has nothing to do with the reality of Anthropocentrism as well as personal interpretations of the other that are almost never the right ones.

Accept that there is no absolute perfection.
The same is true of our society, which demands to be the best at all cost, but without pondering the fact that, instead of improving standards, we could learn to be more accepting of things just as it is. Do we accept pain? Do we accept death? Do we accept bodies? Do we accept diversity? And, most importantly, once accepting, do we honor our diversity?

Very often no, we resort to invisibilising what does not coincide with the "perfect" of our very own planet or the universe. It makes us feel angry, shocked, and disgusted to be swept away, ignored, or covered up, and so we manifest the imperfections that we actually are, but do not accept.

Being aware of one's limits is crucial, as is realising the interconnectedness of everything in the world system. Either we are ALL put in a position where we can give our best or there is no reason to compete or exert effort, except for the motive of increasing inequalities. It is all well and good to know that some who have put in a lot of work have succeeded at it, just like the ones who are lucky. But in the broader sense, constantly stretching the boundaries of what is possible, it will be 'a perfection' in an imperfect setting; there is no 'Perfection' in the absolutist sense.

Does this even exist?

Cut Let the truth come out
It is possible to say that Fontana attempted to do so, since from the very beginning Fontana rejected the simple routes to success, and opted instead to experiment with the unknown and the uncertain, that is to say, he renounced the notion of being the only one that was successful, he pursued the research path which led him to discover certain truths.

For me, and in my personal opinion, Fontana is the one who tears open the veil and allows the light in, even though the black sails are obscured in the background. An artist of spatial art in the same way as one of the early 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 the space, as the expression of a narrative, which is a large part of what is practised today.

To me, his cuts illuminate all these, opening new perspectives on art, new points of view on the world , and new questions. The wound that he has caused is more than just pain: the wound highlights the idea of mortality, shortness, uncertainty and fragility. Wounding makes us question as well as make us doubt how we can improve our lives, and this practice is very important to ensure that we remain grounded. As hard as it is to endure and as hard as, in a perfect narrative of our existence, it would be great (and right) to gain knowledge only through positive reinforcements, as long we as a species are unable to avoid the suffering of others as well as our own, we're condemned to the unresolved and incomplete reality.

Let us take pleasure in the cinema and its happy endings, its beauty and perfection that is taken as a given and which we misunderstand and take as a template for our lives, because the visual arts, on the other hand are the children of pain, and every artist who wants to speak the truth, had to pass through the wound.