{"version":"1.0","provider_name":"MACT\/CACT Arte Contemporanea Ticino","provider_url":"https:\/\/www.cacticino.net\/en\/","author_name":"wp_cacticino","author_url":"https:\/\/www.cacticino.net\/en\/author\/wp_cacticino\/","title":"Human Nature - MACT\/CACT Arte Contemporanea Ticino","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"GSMsGYVLIv\"><a href=\"https:\/\/www.cacticino.net\/en\/exhibitions\/human-nature\/\">Human Nature<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.cacticino.net\/en\/exhibitions\/human-nature\/embed\/#?secret=GSMsGYVLIv\" width=\"600\" height=\"338\" title=\"&#8220;Human Nature&#8221; &#8212; MACT\/CACT Arte Contemporanea Ticino\" data-secret=\"GSMsGYVLIv\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!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);\n\/\/# sourceURL=https:\/\/www.cacticino.net\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.cacticino.net\/wp-content\/uploads\/2023\/08\/SITO-Hanimann-05_Owl_2.jpg","thumbnail_width":1280,"thumbnail_height":839,"description":"[vc_row][vc_column][vc_images_carousel images=&#8221;29951&#8243; img_size=&#8221;full&#8221; onclick=&#8221;link_no&#8221; speed=&#8221;7000&#8243; autoplay=&#8221;yes&#8221; hide_pagination_control=&#8221;yes&#8221; hide_prev_next_buttons=&#8221;yes&#8221; wrap=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;2\/3&#8243;][vc_custom_heading text=&#8221;Human Nature&#8221; font_container=&#8221;tag:h1|font_size:25|text_align:left|color:%23000000&#8243; google_fonts=&#8221;font_family:Roboto%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C500%2C500italic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal&#8221; css=&#8221;.vc_custom_1768581057669{margin-bottom: -0.1em !important;}&#8221;][vc_row_inner][vc_column_inner][vc_custom_heading text=&#8221;Alex Hanimann&#8221; font_container=&#8221;tag:h1|font_size:25|text_align:left|color:%23000000&#8243; google_fonts=&#8221;font_family:Roboto%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C500%2C500italic%2C700%2C700italic%2C900%2C900italic|font_style:400%20regular%3A400%3Anormal&#8221; css=&#8221;&#8221;][vc_custom_heading text=&#8221;In collaboration with the Museum Villa dei Cedri in Bellinzona&#8221; font_container=&#8221;tag:h1|font_size:25|text_align:left|color:%23000000&#8243; google_fonts=&#8221;font_family:Roboto%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C500%2C500italic%2C700%2C700italic%2C900%2C900italic|font_style:400%20regular%3A400%3Anormal&#8221; css=&#8221;&#8221;][vc_custom_heading text=&#8221;13 March &#8211; 2 August 2026&#8243; font_container=&#8221;tag:h1|font_size:18|text_align:left|color:%23000000&#8243; google_fonts=&#8221;font_family:Roboto%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C500%2C500italic%2C700%2C700italic%2C900%2C900italic|font_style:400%20regular%3A400%3Anormal&#8221; css=&#8221;&#8221;][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=&#8221;1\/3&#8243;][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=&#8221;black&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;2\/3&#8243;][vc_column_text css=&#8221;&#8221;]The work of Alex Hanimann has been evolving on the Swiss art scene since the middle of the 1990s. As a matter of fact, it was at this precise time that the international scene that had held sway in the eighties started moving towards the demise of a season when such leading Swiss artists as Gertsch, Disler, Cahn, Stalder, Fischli\/Weiss, Federer, Walker and many others had been involved in working beyond the borders of the confederation. Alex Hanimann is fully entitled to be regarded as subscribing to the tradition \u2013 but also to the consequences \u2013 of this panorama, since he somehow represents that moment in history when a necessary requalification of language took place in the eighties, a time that was marked so strongly by such a considerable aggregative and collective energy as to give us now pause to reflect on those roaring years as something of a last avant-garde, characterised by the formation of common intentions: those were the years of the Transavant-garde and of the movement of the Neue Wilde, who not only constituted a way to reinterpret German Expressionism and the Fauves, but also included other cross-fertilisations within their numbers. The artist from St Gallen belongs to the generation of creatives who are almost the orphans of a time that was heading towards the transition and uncertainty of an equally confused, fluid society, when the forms of grammar were undergoing change and the specific techniques of production were rarefying towards a transmediality that would cancel out previous criteria based on the relationship between medium and meaning, while marking the contemporary scene not as a force of the present so much as a future-oriented and futuristic form of new languages, at the very moment when new digital technologies were penetrating into artistic production worldwide. Although his practice of art was originally rooted in painting, Hanimann almost immediately broke the bounds of that stylistic medium, questioning it in its entirety, cross-fertilising its contents with spoken language (which is actually also a heritage of the Swiss tradition of graphic arts, whence he descends) and playing pleasantly with both meanings and significances, almost as though his were a planned art or a pack of cards, in which the interpretation of the image is at one and the same time a puzzle and\/or a mirror of an increasingly virtual society, shorn of its character. It was this distinctive trait that also brought about his approach to the dimension of photography. From the archive of images captured through his lens in the course of the last twenty years, the artist has extracted such series as Wilderness, Driving as far as I can see and Maria, in which he combines issues and forms in compositions capable of conveying this foundation of his work. The aesthetic preponderance of these new virtual and digital technologies did the [&hellip;]"}