lucio fontana on the threshold like life and art must be mixed with each other since there is no reason for not separating human work and the human being itself. Life is art (creative energy sexual) Who would have thought that? That is why the most intriguing art is the one it talks about life that reveals different experiences, recollects details, curiosities, perspectives.
When it comes to living it is imperative to disbelieve the notion of a perfection to be attained (in response to this kind of expectation The only art we can refer to is that of cinema). OAI of error is the essence of being Human, the stumbling block into which we have all fallen at one time or another: impulsive judgment, impulsiveness, fear, anger, the incessant need for control and security, wrong choices. Don't you dare say you've not made one of these errors?
Open: new perspective from which to see
When we fall, we injure ourselves more or less intensely and are prone to judge the fall as a mistake, or to make that the mistake was a result of the expectations we have of ourselves and other people. The injury is actually the place from which we discover the truth, from which we are no longer in the idea of perfection (which if it were such shouldn't be hurting) and look at what's damaged: we examine it and then look at ourselves.
Fontana cut with the awareness that breaking and opening is and tearing because destroying is often the most powerful creative action, and especially in a society in which, even from a young 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 with Nerio Minuzzo that:
"The people who criticize me have often maligned me, but I have never was concerned about it. I went ahead anyway and never accepted any kind of salute. For years they called me "the one that has the holes', with a bit of pity. But today I see that my cuts and holes have a cult following, are accepted and have even found practical uses. In theatres and bars they create ceilings using holes. Because today, you see that people in the street understand the new forms. It's the artists, unfortunately, who understand more '.
When Fontana talks about street people, he evokes the idea of imperfection in which the hole represents a form like any other in which the becoming of life takes place. He is not afraid of dust nor the brutality of creative expression He throws tar onto an artifact made of plaster of a man , and names it "Black Man".
A few years later, the cut becomes the conquest of space as an attempt to overcome painting and sculpture, through the creation of a new dimension that includes both of them breaking away from verticality to create an open passageway.
The palpitation that occurs, both inhaling and exhaling of the canvas is reminiscent from afar, in a more intellectual and bourgeois version of the work Gina Pane later did on her skin. The gesture is nevertheless the timeless main character in this context, where art is bound to be destroyed. The wound and the cut are the path, boundary and exchange. The artist herself opens the canvas in two and proclaims the canvas's finiteness. the holes become black holes that provide an illusion of depth. They also reveal the infinite , which we'll never know.
We are waiting for new discoveries that we don't yet know
Fontana described the cuts as "Waits," which are openings that allow new and unique things emerge which we don't know.
When we make a mistake and hurt or hurt another, we have a waiting period before we react. It starts with the shock of making a mistake and the failure overcome, after that, figuring out what steps to take to rectify the mistake or to get it out of the way and then waiting for the consequences of the fracture, that error and the possibility of an entirely new resource. It could also be a waste of time.
Few understood (and do not comprehend) this notion since they constantly judge the way that human beings and reality should be, too used to the dual nature that is the nature of canvas. We keep fighting with all of our might the best ways, the best method of presenting and being in society, so much so that we resort to standards that end up defining the concept of normativity.
There is nothing more absurd than this. Convinced that we know everything, we apply our yardstick to every other organism and ecosystem on the planet however, in reality we see it from a narrow , biased perspective that has nothing to do with reality: Anthropocentrism as well as individual interpretations of other theories which are often not the most accurate.
Accept that there is no perfection in the strict sense.
The same is true of this society that wants us to be better at all cost, but without pondering the fact that perhaps, rather than increasing standards, we need to learn to be more accepting of things just as it is. Do we accept pain? Do we accept death? Do we accept body parts? Do we accept diversity? The most important thing is, once we accept, do we honor our diversity?
Very often no is it that we are able to hide those things that don't fit with the "perfect" nature of our very own planet or universe. This causes us to be horrified, angry, angry, pushed away, put under the rug and then we show the very imperfection that we really are, yet we refuse to accept it.
Understanding one's own limitations is crucial, as is realising the interconnectedness of everything that is the global system. Either we are ALL placed in a position to do our best or there is no reason to compete or exert effort with the sole purpose of fuelling the spread of inequality. It's all very well and great that some people after much effort have made it and were so fortunate. But in the larger context, always pushing the boundaries of what is possible the definition of 'a perfection' in an 'imperfect setting; there is no "perfection" in the absolute sense.
Can this be a reality?
Cut and let the truth be revealed
We can say that Fontana attempted to do so, since right from the beginning he rejected the easy ways to be successful, opting instead to try out the untested and unpredictability, which means he decided to leave the pretense of being the one, he followed the path of research that led him to unravel some facts.
For me, and in my very personal view, Fontana is the one who tears open the veil and allows the light shine through, even if he put obscuring black sails behind the cuts. A spatial artist and one of the forerunners of the art that is understood not just as a piece of work, but as a gesture, an act, in and around it. as a result of action on space, performance as the creation of a narrative, which is a large part of what is being done today.
For me, his cuts are a great example of these, opening new perspectives on art and new perspectives on the world , and new questions. The wound that he has caused is more than pain: the wound reveals the fragility, mortality, and fragility. A wound can make us question our existence as well as make us doubt, and this practice is essential to keep our feet on the ground. As difficult as it is to be a victim and as difficult as it is in a perfect tale of our existence it is ideal (and appropriate) to learn only by positive reinforcements. As long that we as a nation are unable to stop one another's pain as than our own, we are bound to remain in the unsolved and incomplete reality.
So let us enjoy the cinema and its happy endings, its beauty that we take for granted , and that we misunderstand and take as a model of life as the visual arts, contrary to what they appear are the children of pain, and every artist who wants to speak the truth, has had to go through the pain.