The Lab's Quarterly, 2008, n. 1

Page 132

Il Trimestrale. The Lab's Quarterly, 1, 2008 132

the history of art, and so a lesson for the modern man. The period which coagulates at best the three great lessons, is the one of holes and cuts. The first point is the one, which has been used by most critics. In summon, the main meaning is that we can do art without using the essential elements of art. Kandinskij explained that, in order to create a work, we need form and colour, and that this last one can not exist separately. Fontana demonstrates exactly the contrary, by giving us monochromes with cuts or holes. Plastic values are respected, and moreover we have not only the art through the meaning, but we have art without art. An absolutely revolutionary form to understand composition. The most stimulating aspect concerns the other two points. We are always in the period of holes and cuts. The canvass in itself can have two meanings: for the artist, it represents the prime tool of his job; for the spectator, the place where feelings are concentrated, that is the artist and man's place of the soul. For the first ones, the cut has an absolutely dramatic meaning. Cut, hole the meaning is one of damage, cut the umbilical cord which joins the artist with the public. But this cut has another deeper meaning: besides the clear spatial meaning, that is the one of going over the limit of the given space, by overcoming the rules imposed in art by the prospective invention, which goes from Paolo Uccello until our current days, there is something more. If we analyse, even superficially, we can observe that behind the cut there is the black. Black without hope. The aim of the work is, therefore, to reveal to the artist that the phase of art, built on the research of styles and concerning the research of new material, is now finished. We must give dignity to that black again, by avoiding to let it dominate in artistic expressions. In other words, we invite the giving of form to the content, which must be the epicentre of artistic life. Fontana has pulled off Maya's veil, and he found black, an unbearable black which we must light. Fontana's contribution, as an untiring great theoretic – expert of art- does not finish here. A very particular period of his production seems to have a wonderful centrality in it, the one known as little theatres. The little theatres are extremely complex works, undervalued by most people, which have in themselves a very original element. We have stopped with Kandinskij, who was searching for the great synthesis of arts, and now we find Fontana who

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