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Here Is What It is best to Do For your Lucio Fontana
Inadequacy
Concepts like art and life have to be mixed with each other since there is no reason for not separating human activity 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 which talks about life, that reveals different experiences, recollects specifics, questions, and viewpoints.
In life, it is necessary to disbelieve the notion of a perfection to be achieved (in in order to be able to meet this kind of expectation, the only art that we can think of is the cinema). The nature of error is the essence of being Human, the stumbling block into which we have all fallen at one time or another: impulsive judgment, haste, anger, the incessant search for security and control, wrong choices. Don't you dare say you've never made any of these errors?
Open: new perspective to view the world from
When we fall, we hurt ourselves more or less intensely and are prone to judge the fall as a mistake, or to make the mistake a fault because our expectations set of ourselves and other people. The injury is the actual point from which we see the truth, from which we are no longer in the idea of perfect (which should be the case if it shouldn't be hurting) and take a look at the things that are broken. We look at the wound and examine ourselves.
Fontana cut with the awareness the possibility of opening up, breaking or or tearing since destruction is often the strongest artistic act, all the more so in a world where, from an early time, we are ensconced in a strong, impregnating model of belief and values. It is no coincidence that Fontana said in 1963 in the course of an interview Nerio Minuzzo:
"The critics have always criticized me, however, I never was concerned about it. I went ahead anyway and never accepted anyone's salute. In the past, they called me "the guy who has holes', with some pity even. But today I see that my cuts and holes have earned me a reputation that is accepted, and they even find practical applications. In theatres and bars, they have ceilings made of holes. Since, today that even people who walk by understand the new designs. It's the artists, unfortunately, who understand more '.
When Fontana refers to the street, he is evoking the image of imperfection where the hole is a form that is similar to every other one in which the becoming of life is manifested. He's not scared of dirt nor of the violent nature of the creative act He throws tar onto an artifact made of plaster of a man , and names the sculpture 'Black Man'.
The cut transforms into the conquer of space, in the form of an overthrow of sculpture and painting through a new spatiality that combines both the break with verticality to create an open passageway.
The palpitation that occurs, both inhaling and exhaling from the canvas, can be seen from afar in a more intellectual and bourgeois way, of the work that Gina Pane would later do on her body: the gesture is nonetheless the immortal protagonist in that context where art is bound to be destroyed. The wound and the cut represent the path, boundary and exchange. The artist breaks the canvas by splitting it in two and declares its finiteness; the holes are transformed into black holes that give the illusion of depth and reveal the infinite that we will never understand.
We are waiting for new discoveries that we haven't discovered yet
Fontana described the cuts as "Waits," which are openings that allow new and new things are born that we do not yet have a clue about.
When we make an error, or hurt or injure the other, we have a waiting period of time before we can react. It starts with the shock of the error and the failure overcome, after that, figuring out what path to take to compensate or to get it out of the way Then we await the consequences of that fracture and the mistake that could actually be a amazing and new source. Or not.
Few understood (and understand) this concept because they are constantly judging what reality and the human condition are, in addition, affixed to the two-dimensionality that is the nature of canvas. We fight with all our might the right methods, the correct way to present and function as a person in society, that we turn to standards that end up defining normativity.
Nothing could be more incoherent. In our belief that we are experts that we do, we compare our standards to all other living organisms and ecosystem on the planet However, we are looking at it from a narrow and biased perspective that is not in line with reality. Anthropocentrism as well as personal interpretations of the other which are rarely the correct ones.
Accept: no absolute perfection.
This is also true for our society, which demands to be better every chance they get, without considering that, instead of raising standards, we should become more accepting of the world in the present. Do we accept pain? Do we accept death? Do we accept body parts? Do we accept diversity? The most important thing is, after accepting, do we dignify?
In most cases is it that we are able to hide those things that don't fit with the 'perfection' of our little world or the universe. This causes us to be shocked, angry, disgusted to be swept away, ignored, or swept under the carpet, and so we manifest the imperfections that we are in reality, yet we refuse to accept it.
Understanding one's own limitations is important, as is realising the interconnectedness of all that is the world system. Either we are ALL put in a position to give our best, or chappell-nyborg.blogbright.net there's no reason to compete or exert effort with the sole goal of creating the spread of inequality. It's all very well and good that some who have put in a lot of work have succeeded at it, just like the ones who are fortunate. However, in a larger context, always stretching the boundaries just a bit further the definition of 'a perfect' in an impermanent setting; there is no "perfection" in the absolute sense.
Could this ever exist?
Cut and let the truth be revealed
We can conclude that Fontana attempted to do so, since from the beginning, Fontana rejected the simple paths of success, preferring to try out the untested and the unknowable, that is to say, he renounced the idea of being the only one that was successful, he pursued the path of study which led him to discover certain facts.
For me, and in my personal perspective, Fontana is the one who cuts the veil and allows the light in, even though there are black sails that obscure in the background. An artist of spatial art as well as one of the pioneers of this art, it is not understood only as a work but also as a gesture as a gesture, around, and in the context of actions on space, performance as the expression of a narrative, of which much is practised today.
For me, his cuts illuminate all these, opening new perspectives for art as well as new perspectives on the world and also new questions. The wound, for this, is not just pain, the wound is a symbol of the fragility, mortality, and fragility. A wound can make us think, makes us question, and this practice is vital to keep our feet grounded. While it can be difficult to be a victim and as difficult as it would be in a perfect tale of existence, it would be great (and just) to learn only through positive reinforcements, as long that we as a nation are unable to avoid the suffering of others as well than our own, we're stuck in the unsolved, and insanity.
Let us take pleasure in the cinema and its happy endings, its beauty that we take for granted and which we mistakenly end up taking as a model for life as the visual arts contrary to what they appear are the children of pain, and every artist, in order to convey a bit of truth, must pass through the wound.
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