The way to Promote Lucio Fontana

Inadequacy
Concepts like life and art must be mixed with each other since there is no need for maintaining a separation between human work and the human itself. Art is life (creative energy sexual) Who would have thought that? The most interesting art is that which talks about life, that reveals different experiences, recounts the details, curiosities, and viewpoints.

When it comes to living it is imperative to defy the notion of a perfectionism that can be achieved (in in order to be able to meet expectations of this sort The only art we could refer to is the cinema). The nature of error is the essence of being Human and the block that we've been at one point or another: impulsive judgment, haste, anger, the incessant need for control and security bad choices. Don't tell me you have never made any of these errors?

Open: new perspective to view the world from
If we slip, we hurt our bodies more or less and are inclined to judge the fall as a mistake, or to make the error as a result our expectations have of ourselves and others. The injury is the actual point from which we are able to see the truth. From there, we can no longer rely on the idea of perfect (which in the event that it was so shouldn't be hurting) and examine the things that are broken. We look at it and look at our own self-image.

Fontana cut her hair with the consciousness the possibility of opening up, breaking or and tearing because destroying is often the strongest creative action, and all the more so in a world in which, even from a young age, we are immersed in a powerful, imprinted system of beliefs and models. It is no coincidence that Fontana declared in 1963 during the course of an interview Nerio Minuzzo:

"The critics have always maligned me, but I never was concerned about it. I went on regardless and I never took anyone's salute. For years they called me 'the one with the holes' with a bit of pity. But today I see that my holes and cuts have created a taste, are accepted and have even found practical uses. In theatres and bars they create ceilings using holes. Since today, as you can see, even the people on street are aware of the new forms. It's the artists that are the ones who know more '.

When Fontana talks about the street, he evokes the idea of imperfection in which the hole is an identical form to every other, that the emergence of life can be seen. He is not afraid of dirt , nor of the violence of his creative work and throws tar at the sculpture of a man and calls it "Black Man".

Years later, the cut transforms into the conquer of space, in the sense of an overthrow of sculpture and painting, by creating a new spatiality that contains both of them and a break with verticality, in favor of a crossing passage.

This palpitation, taking in and exhaling from the canvas, is reminiscent from a distance, in a more scholarly and bourgeois form, of the work that Gina Pane would later do on her body: the gesture remains the eternal protagonist in that context where the art will eventually be destroyed. The cuts and wounds are border, path and exchange. The artist herself opens the canvas by splitting it in two and declares its finiteness; the holes become black holes, which give depth and make us perceive the infinite that we will never be able to comprehend.

Wait: we are discovering new things that we don't yet know
Fontana named the cuts "Waits," which are the openings from which new and different things arise which we don't have a clue about.


When we commit a mishap and hurt or harm another person one, we must wait a certain time before the reaction. It starts with the shock of the error and the failure overcome, and then finding out the best way to go to make up for it or avoid it Then we await the consequences of the fracture, that error that could turn out to be a new and great source. But it's not.

A few people have understood (and do not comprehend) this concept since they constantly judge what reality and the human condition are, in addition, affixed to the two-dimensionality on the wall. We keep fighting every inch of our being the right ways, the best way to appear and be in the world, so so that we resort to rules that eventually define the concept of normativity.

There is nothing more absurd than this. We are convinced that we know everything that we do, we compare our standards to every organism and ecosystem around the globe however, in reality we are looking at the world from a narrow and biased viewpoint that is not in line with the reality of Anthropocentrism as well as individual interpretations of the other that are almost never the correct ones.

Accept: there is no perfection in the strict sense.
The same is true of the society that demands us to be better every chance they get, without pondering the fact that perhaps, rather than improving standards, we could learn to be more accepting of things just in the present. Do we accept pain? Do we accept death? Do we accept the bodies of others? Do we accept diversity? Most importantly, after accepting, do we honor our diversity?

Very often no is it that we are able to hide what does not coincide with the 'perfection' of our very own planet or the universe. This causes us to be shocked, angry, disgusted and pushed aside, then put under the rug, and so we manifest the very imperfection that we are in reality, yet refuse to accept.

Being aware of one's limits is essential and so is understanding the interconnectedness of all that is the world system: either we are ALL placed in a position where we can give our best, or there is no reason to compete or exert effort, except for the motive of fostering inequalities. It's great and good that some after long hours have achieved it and are so fortunate. But in the broader context, always pushing the boundaries of what is possible it's a perfection' in an 'imperfect situation; not a 'Perfection' in the absolutist sense.

Does this even exist?

Cut Let the truth come out
We can conclude that Fontana attempted to do so, since from the very beginning Fontana rejected the simple routes to success, and opted instead to explore the unknown and unpredictably, that is to say, he renounced the idea of being the one and following the path of study which led him to discover certain facts.

For lucio fontana painting , and in my personal opinion, Fontana is the one who rips the veil and allows the light in, even though there are black sails that obscure behind the cuts. An artist of spatial art and one of the pioneers of the art that is understood not solely as a work but also as a gesture a gesture, around and in the context of actions on the space, as the activation of a narrative, of which much is practised today.

His cuts reveal all of these, opening new perspectives for art, new points of view about the world and new questions. The wound that he has caused is more than pain: the wound is a symbol of mortality, shortness, uncertainty and fragility. Wounding makes us question and makes us think, and this practice is vital to keep our feet grounded. As difficult as it is to suffer and as much as it is in a perfect story of life it is ideal (and right) to learn through positive reinforcements. As long that we as a nation do not want to be a part of each other's suffering as much like our own, we're 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 that we take as a model for life, because the visual arts, contrary to what they appear are the product of suffering, and any artist, to tell a piece of truth, had to go through the pain.