If the avant-garde is perfectly institutionalized, the voice of otherness can be mistaken as a call to order. In the world upside down, cutting the pictorial surface today no longer means the quest for truth but a calculated marketing choice. Using another term of military jargon, the artistic strategy can be distorted and transformed into a new sophisticated product that criticizes itself, reaching its perversion.
Paradoxically, today the artistic institution wants to be at the forefront and decisively rejects a reactionary image of itself: "Oh, it's so contemporary!".
The avant-garde offers many more possibilities: it's cool and fun, it's new and theatrical, it's sophisticated and opaque enough to be incomprehensible. The autonomy of art and its immunity are strengthened with each renewed cut on the canvas. It is not a question of finding an alternative to the system, because not all of it is negative. Fontana Uncut is the repeated breaking gesture, made to act against itself to the point of implosion. There is no new space out there waiting for us, but the infinite surface of manipulation: the purest superficiality of copy-and-paste.