{"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":"Martin Disler \/ TOMAK \/ 2 performances by Nina Staehli and Pier Giorgio De Pinto - MACT\/CACT Arte Contemporanea Ticino","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"1kIl0Ymce1\"><a href=\"https:\/\/www.cacticino.net\/en\/exhibitions\/lieux-communs\/\">Martin Disler \/ TOMAK \/ 2 performances by Nina Staehli and Pier Giorgio De Pinto<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.cacticino.net\/en\/exhibitions\/lieux-communs\/embed\/#?secret=1kIl0Ymce1\" width=\"600\" height=\"338\" title=\"&#8220;Martin Disler \/ TOMAK \/ 2 performances by Nina Staehli and Pier Giorgio De Pinto&#8221; &#8212; MACT\/CACT Arte Contemporanea Ticino\" data-secret=\"1kIl0Ymce1\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\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<\/script>\n","thumbnail_url":"https:\/\/www.cacticino.net\/wp-content\/uploads\/2019\/12\/SITO-79379907_7178924186169.jpg","thumbnail_width":510,"thumbnail_height":720,"description":"[vc_row][vc_column][vc_images_carousel images=&#8221;26631,25620,25624,26571,26629,24351&#8243; img_size=&#8221;full&#8221; onclick=&#8221;link_no&#8221; speed=&#8221;4000&#8243; autoplay=&#8221;yes&#8221; hide_pagination_control=&#8221;yes&#8221; hide_prev_next_buttons=&#8221;yes&#8221; wrap=&#8221;yes&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;2\/3&#8243;][vc_custom_heading text=&#8221;Lieux communs&#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_1583433569282{margin-bottom: -0.1em !important;}&#8221;][vc_row_inner][vc_column_inner][vc_custom_heading text=&#8221;Martin Disler \/ TOMAK&#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;][vc_custom_heading text=&#8221;19 September \u2013 19 December 2021&#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;][vc_empty_space][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=&#8221;1\/3&#8243;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;2\/3&#8243;][vc_custom_heading text=&#8221;Id\u00e9e re\u00e7ue&#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_1632211780561{margin-bottom: -0.1em !important;}&#8221;][vc_row_inner][vc_column_inner][vc_custom_heading text=&#8221;Performance by Nina Staehli with Yoshi, Moshi &amp; James&#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;][vc_custom_heading text=&#8221;Saturday 16 October 2021 at 7.30 p.m.&#8221; 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;][vc_empty_space][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=&#8221;1\/3&#8243;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;2\/3&#8243;][vc_custom_heading text=&#8221;The Wish Key&#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_1632211945480{margin-bottom: -0.1em !important;}&#8221;][vc_row_inner][vc_column_inner][vc_custom_heading text=&#8221;Interactive performance with Pier Giorgio De Pinto&#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;][vc_custom_heading text=&#8221;Saturday 6 November and Sunday 7 November 2021 from 4 p.m. to 8 p.m.&#8221; 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;][vc_empty_space][\/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]Intent on filing a whole series of publications dating back to the years 1960-1970, I find myself browsing through them and notice, always with renewed and pleasant interest, that the time of visionaries anticipating positive change remains one of the drivers of art and of artistic research, be that a social or an existential phenomenon, or also a utopia. Until the decades that followed post-war reconstruction, the twentieth century offered us an important, sometimes difficult and neurotic, cross-section through history that aimed at renewal and research and was induced by the particular, delicate context of transition from one century to another: it could be described as a societal dimension that focused on catharsis, in which a greater involvement of artistic output in political awareness and commitment was a notable feature of the realms of knowledge, enabling it to permeate the entire century with this socio-revolutionary climate, right up to the dawn of the new millennium. The last century seems to have come to a halt on the moment when it reached completion with the advent of the new millennium, giving rise to artistic output that, more often than not, is lacking in vigour and Utopian verve, as though the sole \u2013 and weak \u2013 mode of thinking had given way inexorably to the concept of slogans and stereotypes to the detriment of research, feeding fashions and markets and swallowing up complacent artists and authors. And so the concept of avant-garde and of the cultural manifesto has made way for globalisation, which has left us all poorer inside, but with the illusion that each of us can choose individually what others actually want, with the result that we end up as orphans of any idea of freedom and self-determination, as well as oblivious to and uninterested in our history and the process whereby it was constructed. Plastification has gradually eroded the \u2013 always valid \u2013 concept that history is we ourselves and that what we have is what we have wanted to be. This brief and by no means exhaustive socio-economic impression leads to the conclusion that never before has it been so interesting and necessary to employ interactive \u2013 if not actually comparative \u2013 approaches to eras and artists. LIEUX COMMUNS sets out to present two artists under one and the same roof: artists who are apparently distinct, yet who are conjoined by their passion, their vigour and their rebellion against d\u00e9j\u00e0-vu and orthodoxy. They share no aesthetic approaches, other than a profound, free reflection about existence \u2013 in general \u2013 as a [&hellip;]"}