The A - Z Of Lucio Fontana
from web site
Imperfection
Concepts like art and life should be interspersed with each other because there is no reason for keeping a distance between the human and the human. Life is art (creative energy sexual), who said that? This is the reason why the most fascinating art is one which talks about life, which unravels different experiences, the details, curiosities, and points of view.
In the realm of life, it is necessary to reject the idea of a flawlessness that is to be reached (in order to respond to expectations of this sort the only form of art we can refer to 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: superficial judgment, haste, anger, the incessant desire for safety and control and making the wrong decisions. Do you think you've not made any of these mistakes?
Open: a fresh perspective to view the world from
If we slip, we hurt ourselves more or less intensely and are inclined to judge the cause of our fall, and to think the mistake a fault because of the expectations we set of ourselves and other people. The wound is the actual point from which we see the truth. It is from here that we stop taking refuge in the idea of perfection (which in the event that it was so would not be a problem) and examine what is damaged: we examine it and then look at ourselves.
Fontana cut her hair with the consciousness of breaking, opening, and tearing since destruction is often the most artistic act, particularly in a culture in which, even from a young time, we are ensconced in a powerful, imprinted systems of values and beliefs. It's no accident that Fontana stated in 1963 in an interview Nerio Minuzzo:
"The critics have always criticized me, but I never was concerned about it. I just went with it and never accepted the salute of anyone. In the past, they have called me "the one that has the holes' with a little pity. However, today I can see that my holes and cuts have created a taste, are accepted and even find practical uses. In theatres and bars they create ceilings using holes. Because , OAI that even people on street are aware of the new designs. It is the artists, unfortunately, who understand more '.
When Fontana talks about the street, he invokes the image of imperfection in which the hole is a form like every other, in which the becoming of life is manifested. Fontana isn't afraid of dirt nor of the violent nature of the creative act: he throws tar on the sculpture of a man and calls it "Black Man".
A few years later, the cut becomes the conquest of space as an overthrow of sculpture and painting through an entirely new space that combines both: a break from verticality, in favor of a crossing passage.
This pulsation, which is triggered by inhaling and exhaling of the canvas, is reminiscent from a distance, in a more sophisticated and bourgeois sense of the work Gina Pane later performed on her skin. The gesture remains the eternal character in the context of art is destined to be destroyed; the wound and the cut are the path, boundary and exchange. The artist breaks the canvas and declares its finiteness; the holes become black holes, which give depth and make us perceive the infinite , which we'll never understand.
Wait: new things we do not yet know
Fontana named the cuts "Waits," the openings from which new and new things are born that we do not yet know.
When we commit a mishap or harm another person injuring or hurting another, we need to wait for a period before we react. First the shock of the error and the failure to be over, then figuring out the steps to take to rectify the mistake or avoid it; then we wait for the consequences of that fracture, that error, which could actually be a new and great resource. Or not.
http://tinyurl.com/2apye2v7 understood (and do not comprehend) this notion because they are constantly judging what reality and the human condition are, in addition, affixed to the dual nature of the canvas. We continue to defend every inch of our being the correct ways, the best method of presenting and being in society, so much so that we resort to norms that ultimately define normativity.
There is nothing more absurd than this. Convinced that we know everything and everything, we apply our standard to every other organism and ecosystem on the planet however, in reality we are looking at it from a narrow , biased point of view which has nothing to do with the reality of Anthropocentrism and individual interpretations of the other which are almost never the correct ones.
Accept that there is no perfection in the strict sense.
The same is true of our society, which demands to be better at all cost, but without pondering the fact that perhaps, rather than improving standards, we could become more accepting of what is, just in the present. Do we accept pain? Do we accept death? Do we accept the bodies of others? Do we accept diversity? And, most importantly, once we accept, do we respect our differences?
Very often no is it that we are able to hide the things that do not match the "perfect" of our little world or universe. This causes us to be shocked, angry, disgusted and pushed aside, then put under the rug, and so we manifest the imperfections that we really are, yet do not accept.
Understanding one's own limitations is important and so is understanding the interconnectedness of everything that is the global system. Either we are ALL put in a position to do our best, or there is no incentive or competition worth the effort to be put into it, unless for the goal of fuelling inequalities. It's all very well and good that some after much effort have made it and have been so lucky. However, in a larger context, always stretching the boundaries a little further the definition of 'a perfection' in an imperfect situation; not a "perfection" in the absolute sense.
Could this ever exist?
Cut and let the truth be revealed
It is possible to say that Fontana was a tyrant, as from the beginning, Fontana rejected the simple routes to success, and opted instead to explore the unknown and unpredictably, that is to say, he renounced the pretense of being the only and following the path of research that led him to uncover certain facts.
For me, and my very personal view, Fontana is the one who tears open the veil and allows the light in, even though he put obscuring black sails in the background. An artist of spatial art as well as one of the pioneers of that art understood not solely as a work but also as a gesture which is a gesture that revolves around and as a result of action on space, performance as the activation of a narrative, which is a large part of what is practised today.
For me, his cuts illuminate all these, opening new perspectives for art, new points of view on the world , and new questions. The result of this wound is more than just pain: the wound reveals the fragility, mortality, and fragility. Wounding makes us question as well as make us doubt the way we think, and this is vital to stay grounded. While it can be difficult to suffer and as much as it is in a perfect story of our existence it would be wonderful (and just) to learn through positive reinforcements. As long we as a species are unwilling to avoid each other's suffering as much like our own, we're condemned to the unresolved and insanity.
So let us enjoy the cinema and the happy endings it brings, its beauty and perfection that is taken for granted and which we misunderstand and take as a template for our lives, because the visual arts, however are the product of suffering. Every artist, to convey a bit of truth, had to traverse the pain.
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Concepts like art and life should be interspersed with each other because there is no reason for keeping a distance between the human and the human. Life is art (creative energy sexual), who said that? This is the reason why the most fascinating art is one which talks about life, which unravels different experiences, the details, curiosities, and points of view.
In the realm of life, it is necessary to reject the idea of a flawlessness that is to be reached (in order to respond to expectations of this sort the only form of art we can refer to 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: superficial judgment, haste, anger, the incessant desire for safety and control and making the wrong decisions. Do you think you've not made any of these mistakes?
Open: a fresh perspective to view the world from
If we slip, we hurt ourselves more or less intensely and are inclined to judge the cause of our fall, and to think the mistake a fault because of the expectations we set of ourselves and other people. The wound is the actual point from which we see the truth. It is from here that we stop taking refuge in the idea of perfection (which in the event that it was so would not be a problem) and examine what is damaged: we examine it and then look at ourselves.
Fontana cut her hair with the consciousness of breaking, opening, and tearing since destruction is often the most artistic act, particularly in a culture in which, even from a young time, we are ensconced in a powerful, imprinted systems of values and beliefs. It's no accident that Fontana stated in 1963 in an interview Nerio Minuzzo:
"The critics have always criticized me, but I never was concerned about it. I just went with it and never accepted the salute of anyone. In the past, they have called me "the one that has the holes' with a little pity. However, today I can see that my holes and cuts have created a taste, are accepted and even find practical uses. In theatres and bars they create ceilings using holes. Because , OAI that even people on street are aware of the new designs. It is the artists, unfortunately, who understand more '.
When Fontana talks about the street, he invokes the image of imperfection in which the hole is a form like every other, in which the becoming of life is manifested. Fontana isn't afraid of dirt nor of the violent nature of the creative act: he throws tar on the sculpture of a man and calls it "Black Man".
A few years later, the cut becomes the conquest of space as an overthrow of sculpture and painting through an entirely new space that combines both: a break from verticality, in favor of a crossing passage.
This pulsation, which is triggered by inhaling and exhaling of the canvas, is reminiscent from a distance, in a more sophisticated and bourgeois sense of the work Gina Pane later performed on her skin. The gesture remains the eternal character in the context of art is destined to be destroyed; the wound and the cut are the path, boundary and exchange. The artist breaks the canvas and declares its finiteness; the holes become black holes, which give depth and make us perceive the infinite , which we'll never understand.
Wait: new things we do not yet know
Fontana named the cuts "Waits," the openings from which new and new things are born that we do not yet know.
When we commit a mishap or harm another person injuring or hurting another, we need to wait for a period before we react. First the shock of the error and the failure to be over, then figuring out the steps to take to rectify the mistake or avoid it; then we wait for the consequences of that fracture, that error, which could actually be a new and great resource. Or not.
http://tinyurl.com/2apye2v7 understood (and do not comprehend) this notion because they are constantly judging what reality and the human condition are, in addition, affixed to the dual nature of the canvas. We continue to defend every inch of our being the correct ways, the best method of presenting and being in society, so much so that we resort to norms that ultimately define normativity.
There is nothing more absurd than this. Convinced that we know everything and everything, we apply our standard to every other organism and ecosystem on the planet however, in reality we are looking at it from a narrow , biased point of view which has nothing to do with the reality of Anthropocentrism and individual interpretations of the other which are almost never the correct ones.
Accept that there is no perfection in the strict sense.
The same is true of our society, which demands to be better at all cost, but without pondering the fact that perhaps, rather than improving standards, we could become more accepting of what is, just in the present. Do we accept pain? Do we accept death? Do we accept the bodies of others? Do we accept diversity? And, most importantly, once we accept, do we respect our differences?
Very often no is it that we are able to hide the things that do not match the "perfect" of our little world or universe. This causes us to be shocked, angry, disgusted and pushed aside, then put under the rug, and so we manifest the imperfections that we really are, yet do not accept.
Understanding one's own limitations is important and so is understanding the interconnectedness of everything that is the global system. Either we are ALL put in a position to do our best, or there is no incentive or competition worth the effort to be put into it, unless for the goal of fuelling inequalities. It's all very well and good that some after much effort have made it and have been so lucky. However, in a larger context, always stretching the boundaries a little further the definition of 'a perfection' in an imperfect situation; not a "perfection" in the absolute sense.
Could this ever exist?
Cut and let the truth be revealed
It is possible to say that Fontana was a tyrant, as from the beginning, Fontana rejected the simple routes to success, and opted instead to explore the unknown and unpredictably, that is to say, he renounced the pretense of being the only and following the path of research that led him to uncover certain facts.
For me, and my very personal view, Fontana is the one who tears open the veil and allows the light in, even though he put obscuring black sails in the background. An artist of spatial art as well as one of the pioneers of that art understood not solely as a work but also as a gesture which is a gesture that revolves around and as a result of action on space, performance as the activation of a narrative, which is a large part of what is practised today.
For me, his cuts illuminate all these, opening new perspectives for art, new points of view on the world , and new questions. The result of this wound is more than just pain: the wound reveals the fragility, mortality, and fragility. Wounding makes us question as well as make us doubt the way we think, and this is vital to stay grounded. While it can be difficult to suffer and as much as it is in a perfect story of our existence it would be wonderful (and just) to learn through positive reinforcements. As long we as a species are unwilling to avoid each other's suffering as much like our own, we're condemned to the unresolved and insanity.
So let us enjoy the cinema and the happy endings it brings, its beauty and perfection that is taken for granted and which we misunderstand and take as a template for our lives, because the visual arts, however are the product of suffering. Every artist, to convey a bit of truth, had to traverse the pain.
