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It is a very strange
emotion. It is the first

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time that I almost
destroy a frame of a friend.

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I hope I do not destroy it
and cooperate to perfect this

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idea that we have together in
the space of an artistic trend.

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I hope I do not destroy it and
cooperate to perfect this idea.

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I hope I do not destroy it
and cooperate to perfect this

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idea that we have together in
the space of an artistic trend.

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I hope I do not destroy it
and cooperate to perfect this

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idea that we have together in
the space of an artistic trend.

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With his usual misguided language,
full of disparate implications,

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he wanted to affirm the
authenticity of his personal research,

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in contrast to his note in
use of academic ability,

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often repulsed by critics
who do not love him.

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In the beginning, he was a
good sculptor and he did these

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things to make people notice,
to catch people around them,

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he used them for propaganda,
to catch monuments.

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It was also a bad faith. I always believed
in my research with an extraordinary faith.

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Fortunately, I was able to bring them
to the end because I had this master

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who gave me as a sculptor the ease
of making money and dedicating myself.

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It is said that a hobby
returns from the root of

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others, but with a true
passion for these new research,

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on time, space, on the cosmos,
which are current things of today.

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As I say, it is an
experimental fact in which I am

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very happy and it has
been one of the precursors,

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the new absolute form,
with the utmost respect

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to Picasso, Gigno,
Massimo and Aboccioni,

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the hole, this famous hole,
is not a hole in the canvas,

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but it is the first dimension
in the void of freedom,

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to artists, to artists, to men,
to create art with any means.

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I already think that art is pure
philosophy, it has ended a social function.

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With a hole, the oldest
root of its heightality,

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it combines with a deep
visceral psycho-disorder,

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but it also remains the
deep mystery of Horger

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Lewis Borges and Cuccio,
the Argentine cutting.

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I believe that the phrase
Iubucco passes to the infinite

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of lice is exactly the
confirmation of the assumption

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that the question was
not to change the way

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of making art, it was
not a matter of fashion.

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The space of the canvas is no longer a
space intended to contain a representation,

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but to give us a
measure of the infinite and

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the only way is to
find the perfect sign.

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What is the perfect sign? This is the sign,
among other things, the oriental practices.

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It is the sign without
matter, the sign Zen.

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In short, it was a time of great controversy
between figurative and abstractism,

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Fontana represented the acme,
the culmination of what is not done,

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cutting a canvas with a gesture like this.

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And the artist asks us not to decipher it,
to let us go to the summary of what we see,

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as if it were a music of forms that
we had to listen to, to be in presence

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and to see what it suggests,
what makes us born.

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If you had to think of
it as a theater show, I

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would say that it is a
contemporary dance show.

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The lesson of Fontana is a lesson
absolutely of inventive freedom

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and of genius that has
solicited this freedom.

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Let's say that in this course of the
sign, which is a sign on the paper,

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but in some way also incites
it, the first ideas of cutting begin,

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that is, the possibility of creating a space
beyond that has already been introduced

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and made with the holes, but of
developing it in a more glamorous way

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and more unique way, because in Italy
there will also be a space beyond that.

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This is the way it is. He's not like that.

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He's very conscious, I
think, of the actual flow of time

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within which the spectator exists
and within which the artwork exists.

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This is the way it is.

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This is the way it is.

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This is the way it is.

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This is the way it is.

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To be continued...