{"version":"1.0","provider_name":"Antinomie","provider_url":"https:\/\/antinomie.it","author_name":"Jonny Costantino","author_url":"https:\/\/antinomie.it\/index.php\/author\/jonny-costantino\/","title":"Dirty woman and criminal baby. Marlene Dumas - Jonny Costantino","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"GsT0bSzQ7o\"><a href=\"https:\/\/antinomie.it\/index.php\/2023\/02\/06\/dirty-woman-and-criminal-baby-marlene-dumas\/\">Dirty woman and criminal baby. Marlene Dumas<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/antinomie.it\/index.php\/2023\/02\/06\/dirty-woman-and-criminal-baby-marlene-dumas\/embed\/#?secret=GsT0bSzQ7o\" width=\"600\" height=\"338\" title=\"&#8220;Dirty woman and criminal baby. Marlene Dumas&#8221; &#8212; Antinomie\" data-secret=\"GsT0bSzQ7o\" 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:\/\/antinomie.it\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/antinomie.it\/wp-content\/uploads\/2023\/02\/cover-Magnetic-Fields-.jpg","thumbnail_width":1280,"thumbnail_height":945,"description":"I corpi di Marlene Dumas affiorano da un\u2019oscurit\u00e0 dalla quale non si emancipano, al pari dei Prigioni di Michelangelo che non si distaccano dalla pietra di cui sono fatti. Nei dipinti dumasiani il lato luminoso non \u00e8 una forza che si oppone al lato oscuro: la luce \u00e8 nelle tenebre. La luce \u00e8 una vena che scorre tra figura e sfondo. Incisa zampilla in superficie. La luce \u00e8 una ferita nel corpo della notte.\u00a0"}