1.0MACT/CACT Arte Contemporanea Ticinohttps://www.cacticino.net/en/wp_cacticinohttps://www.cacticino.net/en/author/wp_cacticino/rich600338<blockquote class="wp-embedded-content" data-secret="7YlnxotZMq"><a href="https://www.cacticino.net/en/exhibitions/melancholia/">Melancholia / Wunderkammer Langenthal</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://www.cacticino.net/en/exhibitions/melancholia/embed/#?secret=7YlnxotZMq" width="600" height="338" title="“Melancholia / Wunderkammer Langenthal” — MACT/CACT Arte Contemporanea Ticino" data-secret="7YlnxotZMq" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript"> /* <![CDATA[ */ /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://www.cacticino.net/wp-includes/js/wp-embed.min.js /* ]]> */ </script> https://www.cacticino.net/wp-content/uploads/2019/02/SITO-1941-Vase-a.jpg12801058[vc_row][vc_column][vc_images_carousel images=”14281″ img_size=”full” onclick=”link_no” speed=”7000″ autoplay=”yes” hide_pagination_control=”yes” hide_prev_next_buttons=”yes” wrap=”yes”][/vc_column][/vc_row][vc_row][vc_column width=”2/3″][vc_custom_heading text=”Melancholia ” font_container=”tag:h1|font_size:25|text_align:left|color:%23000000″ google_fonts=”font_family:Roboto%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C500%2C500italic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal” css=”.vc_custom_1556113839438{margin-bottom: -0.1em !important;}”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Mathias Balzer / Serge Brignoni / Lorenzo Casanova / Ugo Cleis / Carlo Cotti / Felice Filippini / Martin Lauterburg / Valter Luca Signorile” font_container=”tag:h1|font_size:25|text_align:left|color:%23000000″ google_fonts=”font_family:Roboto%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C500%2C500italic%2C700%2C700italic%2C900%2C900italic|font_style:400%20regular%3A400%3Anormal”][vc_custom_heading text=”Wunderkammer Langenthal” font_container=”tag:h1|font_size:25|text_align:left|color:%23000000″ google_fonts=”font_family:Roboto%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C500%2C500italic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal” css=”.vc_custom_1556113828306{margin-bottom: -0.1em !important;}”][vc_custom_heading text=”A selection of works in porcelain from the Langenthal Manufactory from 1900 to 1970.” font_container=”tag:h1|font_size:25|text_align:left|color:%23000000″ google_fonts=”font_family:Roboto%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C500%2C500italic%2C700%2C700italic%2C900%2C900italic|font_style:400%20regular%3A400%3Anormal”][vc_custom_heading text=”9 February– 19 April 2020″ font_container=”tag:h1|font_size:18|text_align:left|color:%23000000″ google_fonts=”font_family:Roboto%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C500%2C500italic%2C700%2C700italic%2C900%2C900italic|font_style:400%20regular%3A400%3Anormal”][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width=”1/3″][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”black”][/vc_column][/vc_row][vc_row][vc_column width=”2/3″][vc_column_text]Exactly what constitutes an art show is something that may sometimes no longer be defined even by curators and critics, let alone by artists, who are too focused on creating worlds of illusion and existential modules combined, almost as though some of them were in a constant state of crisis and intent on a thoroughly personal experience that might be equated with a ‘musical score’, something quite other than the commonplace. We believe that a creative approach of this kind should also be adopted by curators, making them the subjects of art and of work, rather than the protagonists of a world that is in many respects far too institutionalised. The freedom of this fantastic world, with its ability to invent other impossible worlds and non-existent islands, is something beyond price. And acting as a curator, rather than as a mere pen-pusher: that’s how this could well become the way for us to follow. MELANCHOLIA sets out to follow these guidelines with their randomised, experimental approach, while nevertheless encompassing a discussion of forgotten history, whose causes principal and contributory could have strong links with cultural policy. And within this sort of permanent, pernicious state of melancholy, which dominates our human existence and envelops everything that has ever been, here we find that the malaise of living restores the link between existence and existentialism, consciously and simultaneously redefining the concept of forgotten times and pasts. In this post-contemporary, post-productive or post-whatever-else-you-like age, we have witnessed phenomena of the replacement of artistic values once considered to be entrenched and indispensable with the dominant concept of strategies about art, in which even this important useless geography – the place of art – has slowly but surely established its roots within the market of museums. In the circles of art and of art history, there has been an almost normal and consequential forgetting of whole series of reference points that would once have constituted the strong points of a culture or even of a space for contemplating artistic creation, whose definition would be traced back to well-defined national, geographic and territorial contexts: so within clear borders. It is sadly melancholic to realise how the process of forgetting our historical roots, and so also the consequential shift undertaken by many artists, their work and even their entire generation in just a handful of decades, now opens the way for us – almost as though it were a natural epoch-making attitude of study and of resistance – to experience glimmers of research and of revival of artists that the younger generations neither know nor remember, barring their way to engage in research. The exhibition shows works by artists who have made […]