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Genius! How To determine If You must Really Do Lucio Fontana

Inadequacy

Concepts like art and life should be mixed with each other since there is no point in keeping a distance 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 intriguing art is the one it talks about life which unravels different experiences, recollects specifics, questions, and perspectives.

When it comes to life, it is necessary to disbelieve the notion of a perfectionism to be attained (in response to this kind of expectation The only art we could refer to is that of the film industry). Error is the hallmark of being Human, the stumbling block upon which we've all fallen at one time or another: the faulty judgement, haste, fear or anger, the unending search for security and control, wrong choices. Don't tell me you have not made any of these errors?

Open: new perspective from which to look

If we slip, we hurt ourselves more or less and are prone to judge the cause of our fall, and to think the mistake a fault because due to the expectation we have of ourselves and others. The wound is actually the point from which we see the truth. From there, we stop taking refuge in the false notion of perfect (which should be the case if it would not be a problem) and examine what's broken. We look at it and then 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 most powerful artistic act, especially in a culture where, from an early time, we are ensconced in a powerful, imprinted system of beliefs and models. It is no coincidence that Fontana stated in 1963 in an interview with Nerio Minuzzo:

"The critics have always been a slam on me, however, I never worried about it, I just went with it and never accepted any kind of salute. For years they called me "the guy with the holes' with a little pity. However, today I can see that my cuts and holes have been a hit and are widely accepted. They even find practical applications. In bars and theaters, they create ceilings using holes. Because today, you see that even people who walk by understand the latest forms. The artists are the ones, unfortunately, who understand more '.

When Fontana talks about streetspeople, he evokes the imagery of imperfection, where the form of the hole is like any other in which the becoming of life can be seen. He's not scared of dust nor the brutality of his creative work and throws tar at the sculpture of a man and calls the sculpture "Black Man".

Years later, the cut becomes the conquest of space, as a triumph of painting and sculpture, through a new form of space which combines them: an end to verticality to create the possibility of crossing.

This palpitation, inhaling and exhaling the canvas is , from afar, reminiscent in a more philosophical and bourgeois version, of the work that Gina Pane would later do on her skin. The gesture is nonetheless the immortal character in the context of art is destined to be destroyed. The wound and the cut are path, boundary and exchange. The artist opens the canvas in two and proclaims the canvas's finiteness. the holes are transformed into black holes that give an illusion of depth. They also reveal the infinite , which we'll never understand.

Wait: https://frank-kusk.federatedjournals.com/the-lost-secret-of-lucio-fontana we are discovering new things that we haven't discovered yet

Fontana named the cuts "Waits," the gaps from which new and unique things emerge that we do not yet know.

When we make mistakes, and end up hurting or causing harm to someone else, we have a waiting period before we react. It starts with the shock of making a mistake and the failure to overcome, and then deciding on the steps to take to compensate or avoid it and then waiting for the effects of the fracture and the mistake that could turn out to be a innovative and valuable source. It could also be a waste of time.

Few understood (and do not comprehend) this philosophy because they are constantly judging how reality and human beings should be, too used to the two-dimensional nature of the canvas. We fight every inch of our being the right practices, the right way to appear and be in society, so much that we rely on standards that end up defining normativity.

Nothing could be more incoherent. We are convinced that we know everything and everything, we apply our standard to every other organism and ecosystem around the globe However, we are looking at the world from a narrow and biased perspective which has nothing to do with reality. Anthropocentrism and personal interpretations of the other that are almost never the right ones.

Accept: there is no absolute perfection.

The same is true of our society, which demands to be better at all costs, without pondering the fact that maybe, instead of raising standards, we should accept more of what is, just the way it is. Do we accept pain? Do we accept death? Do we accept bodies? Do we accept diversity? Most importantly, after we accept, do you dignify?

Most of the time, we resort to invisibilising the things that do not match the "perfect" nature of our little world or the universe. This causes us to be shocked, angry, disgusted, pushed away, covered up and then we show the very imperfection that we actually are, but refuse to accept.

Knowing one's own 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 incentive or competition worth the effort, except for the motive of increasing inequalities. It's all very well and good that some after much effort have made it, as have the ones who are lucky. However, when you look at it in the larger context, always stretching the boundaries of what is possible it's a perfection' in an 'imperfect setting; there is no 'Perfection' in the absolutist sense.

Does this even exist?

Cut Let the truth come out

We can say that Fontana tried, because right from the beginning, he rejected the easy routes to success, and opted instead to try out the untested and unpredictability, which is to say: abandoning the pretense of being the only one, he followed the path of study that led him to uncover some truths.

In my very personal view, Fontana is the one who cuts the veil and allows the light in, even though there are black sails that obscure behind the cuts. An artist of spatial art in the same way as one of the pioneers of that art understood not solely as a work, but also as a gesture an act, in and around it. in the context of actions on the space, as the activation of narrative, of which much is being done today.

To me, his cuts reveal all of these, opening new perspectives on art and new perspectives about the world, as well as new questions. The wound that he has caused is more than pain: the wound is a symbol of mortality, brevity, uncertainty and fragility. The wound makes us think, makes us question how we can improve our lives, and this practice is vital to ensure that we remain on the ground. As hard as it is to be a victim and as difficult as it would be in a perfect narrative of existence it would be wonderful (and appropriate) to learn through positive reinforcements, as long we as a species do not want to be a part of the suffering of others as well than our own, we are stuck in the unsolved, and insanity.

Let us take pleasure in the cinema and its happy endings its perfection so taken for granted , and that we mistakenly end up taking as a template for our lives since the visual arts, contrary to what they appear, are the daughters of pain, and every artist who wishes to tell a piece of truth, has had to traverse the pain.

Website: https://frank-kusk.federatedjournals.com/the-lost-secret-of-lucio-fontana

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