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Picture Your Lucio Fontana On Prime. Learn This And Make It So
Imperfection
Concepts such as art and life must mix with one another because there is no point in not separating the work of humans and human being itself. The art of life is a form (creative energy sexual) Who said that? The most interesting art is that it talks about life that reveals different experiences, specifics, questions, and points of view.
When it comes to life, it is essential to disbelieve the notion of a perfection to be achieved (in in order to be able to meet expectations of this sort, the only art we can refer to is that of the film industry). Failure is the hallmark of being Human The stumbling block into which we have been at one point or another: the faulty judgement, impulsiveness, https://precise-kiwi-cqll8k.mystrikingly.com/blog/how-you-can-create-your-lucio-fontana-technique-blueprint fear or anger, the unending search for security and control, wrong choices. Don't tell me you have not made one of these mistakes?
Open: new perspective from which to look
When we slip, we hurt ourselves more or less intensely and are inclined to judge that fall, to consider the error as a result due to the expectation we set of ourselves and other people. The injury is actually the point from which we are able to see the truth, from which we are no longer in the illusion of perfect (which should be the case if it should not hurt) and examine what's broken. We look at the wound and examine ourselves.
Fontana cut with the awareness that breaking and opening is tearing because destroying is often the strongest creative act, especially in a world that, since a very early stage, we're immersed in a deeply ingrained system of beliefs and models. It's not a coincidence that Fontana declared in 1963 during an interview with Nerio Minuzzo that:
"The people who criticize me have often maligned me, however, I never thought about it. I just went with it and I never took the salute of anyone. For years they called me "the one who has holes', with some pity even. But today I see that my cuts and holes have created a taste that is accepted, and they even have practical uses. In bars and theaters, they have ceilings made of holes. Since, today the public on the street understand the latest forms. The artists are the ones, unfortunately, who understand less '.
When Fontana refers to street people, he invokes the image of imperfection where the form of the hole is like any other that the emergence of life can be seen. He's not scared of dirt nor of the brutality of the creative act and throws tar at the sculpture of a man and calls the piece 'Black Man'.
A few years later, the cut transforms into the conquer of space, in the form of an overthrow of painting and sculpture, by a new space which combines them: a break from verticality, in favor of an open passageway.
The inhalation and exhaling of the canvas is reminiscent from afar, in a more philosophical and bourgeois sense, of the work that Gina Pane would later do on her skin: the gesture is nonetheless the immortal main character in this context, where art is bound 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 become black holes that give an illusion of depth. They also reveal the infinite , which we'll never be able to comprehend.
Wait: we are discovering new things that we do not yet know
Fontana called the cuts "Waits," openings that allow new and unique things emerge that we don't are aware of.
If we make mistakes, and end up hurting or causing harm to someone else, we have a waiting time before the reaction. First the shock of the mistake and the failure to overcome, after that, figuring out what steps to take to make up for it or avoid it; then we wait for the effects of the fracture and the mistake that could turn out to be a amazing and new resource. It could also be a waste of time.
A few people have understood (and understand) this concept because they are constantly assessing the way that human beings and reality are, in addition, affixed to the two-dimensionality of the canvas. We keep fighting with all our might the right practices, the right way to present and function in the world, so so that we resort to norms that ultimately define the concept of normativity.
Nothing could be more incoherent. In our belief that we are experts, we apply our yardstick to all other living organisms and ecosystem in the world however, in reality we see it from a narrow , biased point of view that is not in line with reality. Anthropocentrism as well as individual interpretations of the other that are almost never the right ones.
Accept that there is no absolute perfection.
The same is true of our society, which demands to be the best at all cost, but without considering that maybe, instead of raising standards, we should learn to be more accepting of what is, just as it is. Do we accept pain? Do we accept death? Accept the bodies of others? Do we accept diversity? And, most importantly, once we accept, do we respect our differences?
Most of the time, we resort to invisibilising what does not coincide with the "perfect" nature of our little world or universe. It makes us shocked, angry, disgusted to be swept away, ignored, or covered up and then we show our imperfections, which we actually are, but refuse to accept.
Knowing one's own limits is crucial as is recognizing the interconnectedness of all that is the global system. Either we are ALL placed in a position to give our best, or there is no incentive or competition worth the effort with the sole purpose of fuelling inequalities. It's great and good to know that some with a lot of effort have achieved it, just like the ones who are lucky. However, in a larger context, always stretching the boundaries just a bit further the definition of 'a perfection' in an imperfect' context; no "perfection" in an absolute sense.
Does this even exist?
Cut: let the truth in
We can say that Fontana tried, because from the very beginning he rejected the easy ways to be successful, opting instead to explore the unknown and the unknowable, that means he decided to leave the idea of being the only one and following the research path that led him to unravel some truths.
For me, and my very personal view, Fontana is the one who tears open the veil and lets the light shine through, even if there are black sails that obscure behind the cuts. An artist of spatial art in the same way as one of the early pioneers of the art that is understood not solely as a work, but as a gesture, a gesture, around and as a result of action in space, and performance as the activation of a narrative, which is a large part of what is practised today.
To me, his cuts illuminate all these, opening new perspectives on art and new perspectives on the world and also new questions. The wound for this, is not just pain, the wound is a symbol of mortality, brevity, uncertainty 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 suffer and as much as, in a perfect tale of life it is ideal (and appropriate) to gain knowledge only through positive reinforcements, as long as we as a society do not want to be a part of the suffering of others as well than our own, we're condemned to the unresolved and incomplete reality.
So let us enjoy the cinema and its happy endings, its beauty and perfection that is 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 pain, and every artist who wishes to tell a piece of truth, must go through the pain.
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