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The World's Best Lucio Fontana You may Really Purchase
Imperfection
Concepts like art and life must mix with each other because there is no reason for keeping a distance between human activity and the human. Art is life (creative energy - sexual) Who would have thought that? That is why the most interesting art is that it talks about life that unravels various experiences, recounts the details, curiosity, and points of view.
In the realm of life, it is necessary to disbelieve the notion of a perfectionism to be achieved (in order to respond to this kind of expectation The only art we could refer to is the film industry). Failure is the hallmark of being Human, the stumbling block upon which we've been at one point or another: the faulty judgement, impulsiveness, fear and anger, the constant desire for safety and control, wrong choices. Do you think you've never made any of these errors?
Open: new perspective to view the world from
When we fall, we injure ourselves more or less intensely and are inclined to judge that fall, to consider that the error was a mistake because our expectations have of ourselves and others. The wound is actually the point where we can discover the truth. It is from here that we stop taking refuge in the idea of perfect (which if it were such should not hurt) and take a look at the things that are damaged: we examine it and look at our own self-image.
Fontana cut with the awareness of breaking, opening, and tearing because destroying is often the strongest artistic act, particularly in a society where, from an early age, we are immersed in a strong, impregnating system of beliefs and models. It is no coincidence that Fontana said in 1963 in an interview with Nerio Minuzzo that:
"The critics have always maligned me, but I never worried about it, I went on regardless and never accepted anyone's salute. In the past, they called me "the one who has holes' with a bit of pity. However, today I can see that my holes and cuts have earned me a reputation that is accepted, and they even have practical uses. In bars and theaters, they make ceilings with holes. Since today, as you can see that even people on the street understand the new designs. It's the artists, unfortunately, who understand more '.
When Fontana speaks of street people, he evokes the imagery of imperfection, where the hole is a shape similar to any other, in which the becoming of life can be seen. He is not afraid of dust nor the brutality of creative expression He throws tar onto the sculpture of a man , and names the sculpture "Black Man".
Years later, the cut becomes the conquest of space, in the form of an overthrow of painting and sculpture, through a new spatiality that combines both a break from verticality, in favor of the possibility of crossing.
The palpitation that occurs, both inhaling and exhaling of the canvas, is , from afar, reminiscent in a more philosophical and bourgeois sense, 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 the path, boundary and exchange. The artist breaks the canvas and declares its finiteness; the holes transform into black holes that provide the illusion of depth and reveal the infinite that we will never be able to comprehend.
We are waiting for new discoveries that we don't yet know
Fontana named the cuts "Waits," the gaps from which new and new things are born which we do not are aware of.
When we commit a mistake, when we end up hurting or causing harm to someone else one, we must wait a certain period of time before we can react. The first reaction is the shock of making a mistake and the failure to overcome, after that, finding out the best steps to take to rectify the mistake or avoid it and then waiting for the consequences of that fracture and the mistake that could be a brand amazing and new source. Or not.
A few people have understood (and understand) this concept because they are constantly judging what reality and the human condition ought to be, and how they should be compared to the two-dimensionality of the canvas. We fight with all of our might the correct methods, the correct way to appear and be in the world, so that we rely on standards that end up defining normativity.
There is nothing more absurd than this. In our belief that we are experts and everything, we apply our standard to all other living organisms and ecosystem around the globe however, in reality we view the world from a narrow and biased viewpoint which has nothing to do with reality. Anthropocentrism and personal interpretations of other theories that are almost never the correct ones.
Accept: there is no absolute perfection.
This also applies to our society, which demands to be better every chance they get, without pondering the fact that, instead of raising standards, we should accept more of the world the way it is. Do we accept pain? Do we accept death? Do we accept body parts? Do we accept diversity? And, most importantly, once accepting, do we dignify?
Very often no do we choose to ignore the things that do not match the "perfect" of our own little planet or the universe. It makes us shocked, angry, disgusted to be swept away, ignored, or swept under the carpet and then we show the very imperfection that we actually are, but we refuse to accept it.
Knowing one's own limits is important as is recognizing the interconnectedness of everything in the global system. Either we are ALL placed in a position to give our best, https://notes.io/q2yEc or there's no competition or effort worthwhile, except for the purpose of fuelling inequalities. It is all well and good that some after much effort have made it, as have the ones who are lucky. But in the broader context, always stretching the boundaries a little further the definition of 'a perfection' in an 'imperfect situation; not a "perfection" in the absolute sense.
Can this be a reality?
Cut: let the truth in
It is possible to say that Fontana tried, because from the beginning, Fontana rejected the simple paths of success, preferring to experiment with the unknown and unpredictability, which is to say, he renounced the idea of being the only that was successful, he pursued the path of study that led him to unravel some truths.
For me, and in my personal opinion, Fontana is the one who rips the curtain and lets light shine through, even if there are black sails that obscure behind the cuts. A spatial artist in the same way as one of the early pioneers of that art understood not solely as a work, but as a gesture, an act, in and around it. as a result of action in space, and performance as the activation of a narrative, of which much is practiced in the present.
For me, his cuts illuminate all this, opening up new perspectives to art as well as new perspectives on the world and also new questions. The wound for this, is more than just pain: the wound highlights the idea of mortality, shortness, uncertainty and fragility. The wound makes us think and makes us think, and this practice is vital to ensure that we remain in the right place. As hard as it is to endure and as hard as it is in a perfect narrative of our existence, it would be great (and appropriate) to gain knowledge only by positive reinforcements. As long that we as a nation do not want to be a part of one another's pain as as our own, we're bound to remain in the unsolved and to live in an unfulfilled reality.
So let us enjoy the cinema and the happy endings it brings, its beauty that we take for granted and which we take as a model for life, because the visual arts on the other hand are the product of pain, and every artist, in order to speak the truth, has had to traverse the pain.
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