Top Lucio Fontana Secrets

Inadequacy
Concepts like art and life must mix with each other because there is no point in keeping a distance between the work of humans and human being itself. Art is life (creative energy - sexual), who said that? The most interesting art is that is about life, which unravels different experiences, the details, curiosity, and points of view.

In life, it is necessary to disbelieve the notion of a perfectionism that can be reached (in response to such expectations the only form of art we could refer to is that of the cinema). The nature of error is the essence of being Human The stumbling block upon which we've been at one point or another: impulsive judgment, haste or anger, the unending search for security and control, wrong choices. Don't tell me you have not made one of these mistakes?

Open: new perspective to view the world from
If we slip, we hurt our bodies more or less and are prone to judge the cause of our fall, and to think the error as a result of the expectations we hold of ourselves and other people. 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 if it were such would not be a problem) and take a look at what is broken. We look at it and look at ourselves.

Fontana cut with the awareness the possibility of opening up, breaking or or tearing since destruction is often the most powerful creative action, and particularly in a society in which, even from a young stage, we're immersed in a powerful, imprinted system of beliefs and models. It's not a coincidence that Fontana said in 1963 in the course of an interview Nerio Minuzzo that:

"The critiques always been a slam on me, but I have never thought about it. I just went with it and I never took the salute of anyone. For years they called me "the one that has the holes', with some pity even. However, today I can see that my holes and cuts have been a hit and are widely accepted. They even find practical applications. In bars and theaters, they make ceilings with holes. Since, today, even the people who walk by understand the latest forms. The artists are the ones that are the ones who know little '.

When Fontana speaks of the street, he is evoking the image of imperfection where the form of the hole is that is similar to every other one where the transformation of life is manifested. He is not afraid of the dirt, nor https://hinson-gravesen-2.hubstack.net/prime-10-lucio-fontana-accounts-to-observe-on-twitter the violent nature of creative expression He throws tar onto the sculpture of a man and calls the sculpture "Black Man".

Years later, the cut transforms into the conquer of space, as a triumph of sculpture and painting through a new spatiality which combines them: a break from verticality in favour of an open passageway.

The inhalation and exhaling from the canvas, can be seen 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 character in the context of art is destined to be destroyed. The wound and the cut are border, path and exchange. The artist breaks the canvas by splitting it in two and proclaims the canvas's finiteness. the holes are transformed into black holes, which give the illusion of depth and reveal the infinite that we will never know.

Wait: we are discovering new things that we don't yet know
Fontana named the cuts "Waits," the gaps from which new and unique things emerge that we do not yet know.

If we make an error, or hurt or injure the other one, we must wait a certain period of time before we can react. It starts with the shock of making a mistake and the failure over, then figuring out what way to go to rectify the mistake or get away with it Then we await the consequences of that break, that mistake, which could actually be a new and great resource. Or not.

Few understood (and understand) this philosophy , as they constantly judge what reality and the human condition are, in addition, affixed to the two-dimensional nature that is the nature of canvas. We keep fighting with all of our might the best practices, the right way to appear and be in society, so much that we rely on standards that end up defining the concept of normativity.

It's impossible to find anything more confusing. Convinced that we know everything, we apply our yardstick to all other living organisms and ecosystem in the world However, we are looking at it from a narrow , biased perspective which has nothing to do with the reality of Anthropocentrism and personal interpretations of other theories that are almost never the most accurate.

Accept: no perfection in the absolute sense.
This also applies to this society that wants us to do our best every chance they get, without reflecting on the fact that maybe, instead of increasing standards, we need to accept more of things 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 we dignify?

Very often no is it that we are able to hide what does not coincide with the "perfect" nature of our very own planet or the universe. This causes us to be feel angry, shocked, and disgusted and swept under the carpet and we then show our imperfections, which we are in reality, yet do not accept.

Knowing one's own limits is important as is recognizing the interconnectedness of everything in the world system: either we are ALL put in a position to do our best or there is no competition or effort worthwhile, except for the motive of increasing the spread of inequality. It's all very well and good that some with a lot of effort have achieved it, just like the ones who are lucky. But in the broader sense, constantly stretching the boundaries a little further, it will be 'a perfection' in an 'imperfect situation; not a 'Perfection' in the absolutist sense.

Can this be a reality?

Cut Let the truth come out
We can say that Fontana was a tinkerer, as from the beginning, he rejected the easy ways to be successful, opting instead to experiment with the unknown and unpredictability, which means he decided to leave the idea of being the only one that was successful, he pursued the path of study that led him to uncover some facts.

For me, and in my very personal view, Fontana is the one who rips the veil and allows the light shine through, even if the black sails are obscured in the background. A spatial artist in the same way as one of the forerunners of that art understood not just as a piece of work, but as a gesture, an act, in and around it. as a consequence of action on space, performance as the activation of a narrative, of which much is being done today.

His cuts reveal all of this, opening up new perspectives on art as well as new perspectives on the world , and new questions. The wound that he has caused is more than just pain: the wound reveals mortality, brevity, uncertainty and fragility. Wounding makes us question, makes us question how we can improve our lives, and this practice is very important to keep our feet grounded. As difficult as it is to suffer and as much as it would be in a perfect story of life it is ideal (and right) to gain knowledge only by positive reinforcements. As long we as a species are unwilling to avoid each other's suffering as much as our own, we are bound to remain in the unsolved and to live in an insanity.

Let us take pleasure in the cinema and its happy endings its perfection so taken for granted and which we take as a template for our lives since the visual arts however, are the daughters of pain, and every artist, in order to convey a bit of truth, must traverse the pain.