{"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":"POST.PAYSAGES. Curated by Mattia Desogus. - MACT\/CACT Arte Contemporanea Ticino","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"SSesgKkXHd\"><a href=\"https:\/\/www.cacticino.net\/en\/exhibitions\/post-paysages-curated-by-mattia-desogus\/\">POST.PAYSAGES. Curated by Mattia Desogus.<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.cacticino.net\/en\/exhibitions\/post-paysages-curated-by-mattia-desogus\/embed\/#?secret=SSesgKkXHd\" width=\"600\" height=\"338\" title=\"&#8220;POST.PAYSAGES. Curated by Mattia Desogus.&#8221; &#8212; MACT\/CACT Arte Contemporanea Ticino\" data-secret=\"SSesgKkXHd\" 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\/2022\/07\/SITO-1962-Matti-Basis_1.jpg","thumbnail_width":1280,"thumbnail_height":1179,"description":"[vc_row][vc_column][vc_images_carousel images=&#8221;13013&#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;POST.PAYSAGES.&#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_1745759230001{margin-bottom: -0.1em !important;}&#8221;][vc_row_inner][vc_column_inner][vc_custom_heading text=&#8221;Matti Basis \/ Serge Brignoni \/ Jon Campbell \/ Carmelo Cutuli \/ Oded Feingersh \/ Debora Fella \/ Yona Lotan \/ Federica Pamio \/ Carlo Alberto Rastelli \/ Liu Yujia&#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;Curated by Mattia Desogus&#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;16 May &#8211; 10 August 2025&#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 question of landscape started being tackled with increasing interest in artistic circles towards the end of the seventeenth century. In the area of figurative representation, the aesthetic of illustrating the visual field evolved in artists, as something approaching a necessity \u2013 or perhaps a devotional practice \u2013 made its presence felt in representations of a forest, of clouds or of a sheet of water. That sentiment, which drove art until the triumph of the Romantic era, must necessarily be sought in the artist\u2019s desire to immerse himself in that immensity, in that infinite perfection that dominates events. The human being\u2019s aptitude for employing an artistic capacity to indulge in total meditation when faced with nature was a typical trait of the nineteenth century, when the virtuoso performances of Flemish art were finally surpassed, as the focus zoomed in on man, and thus on the artist, now minimised and impotent in the presence of extreme natural phenomena. The very brushstrokes themselves became active participants in the whirlwind of the sublime, charging the artistic gesture with impetus and transferring those sentiments onto the canvas, where they would involve and overwhelm, in a complete mutation that painting would thenceforth never more abandon. So, sentiment. If we were to allow ourselves to be lulled today into allusions about the transformation of the dialogue between artist and landscape, we would be talking about post-landscape. Ever since the years immediately following the world wars, the artist \u2013 whose inherited scene of landscape painting is mutated and in progressive turmoil \u2013 has learned to reinterpret previous experiences, managing to identify personally with the space, conjuring up the same sentiments as his predecessors. To quote the words of Michael Jakob, \u201clandscape is an experience of self\u201d. Nor can there be any other starting point for research. The perception of space, achieved maybe by merely opening a window to look out onto a garden or by contemplating the complexity of a flower, still evokes the idea of the sublime by triggering those mysterious mechanisms of the human memory. For some, it is also a wake-up call for our spiritual side as it surveys creation. We have Italo Calvino to thank for reminding us that nature can also be hostile and may often set in motion a sensation of disorientation, if not of actual danger: a hostility whose roots can be traced, first and foremost, to the consequences of human activity on the environment. More than ever before, we find ourselves today coming to terms with the changes wrought by anthropisation, which wriggle their way between inevitable and prissy attempts at safeguarding the landscape, only to arrive at an unjustified process of victim-blaming of their own actions. Even urban spaces [&hellip;]"}