{"id":3364,"date":"2020-01-26T20:03:36","date_gmt":"2020-01-26T20:03:36","guid":{"rendered":"https:\/\/postarchive.org\/?page_id=3364"},"modified":"2020-02-10T17:26:31","modified_gmt":"2020-02-10T17:26:31","slug":"noticias","status":"publish","type":"page","link":"https:\/\/postarchive.org\/en\/noticias\/","title":{"rendered":"News"},"content":{"rendered":"

[vc_row][vc_column][vc_custom_heading text=”News” font_container=”tag:h3|text_align:left” google_fonts=”font_family:Raleway%3A100%2C200%2C300%2Cregular%2C500%2C600%2C700%2C800%2C900|font_style:400%20regular%3A400%3Anormal”][vc_empty_space height=”5px”][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

CONVERSA COM TOMA MUTEBA LUNTUMBUE<\/a><\/h5>\n

29 Mar\u00e7o 2019 | Sexta-feira | 18h Entrada livre<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]Toma Muteba Luntumbue \u2013 historiador de arte, artista, educador e curador independente leciona na \u00c9cole de Recherche Graphique (ERG) e na escola nacional de artes pl\u00e1sticas La Cambre em Bruxelas, B\u00e9lgica. O seu principal foco no trabalho curatorial \u00e9 a mem\u00f3ria, as din\u00e2micas urbanas e as transforma\u00e7\u00f5es territoriais na cidade, a manipula\u00e7\u00e3o dos res\u00edduos media, a iconografia nacional, as imagens no contexto p\u00f3s-colonial congol\u00eas. Foi o diretor art\u00edstico da 4\u00aa e 5\u00aa Bienal de Lubumbashi, Rencontres Picha em 2015-2017. O seu trabalho curatorial inclui as exposi\u00e7\u00f5es: “Ligablo” na Royal Library of Belgium (2010-11), “Transferts” no BOZAR Centre for Fine Arts, Bruxelas (2003), “Table Manners” no Kapelle van Groeningen, Kortrijk (2003), “D\u00e9marcations” no Centre Wallonia Brussels em Paris (2005), “Exitcongomuseum” no Royal Museum for Central Africa em Tervuren (2000-2001).<\/p>\n

Foi diretor art\u00edstico da plataforma DesignfabKinshasa na Acad\u00e9mie des Beaux-Arts de Kinshasa, 2014-2015. Enquanto artista, Toma Muteba Luntumbue teve exposi\u00e7\u00f5es individuais na Cit\u00e9 Miroir em Li\u00e8ge 2017, B\u00e9lgica, na La Chaufferie em Estrasburgo, Fran\u00e7a, no Aquarium em Valenciennes, Fran\u00e7a e na galeria Extraspazio em Roma. Participou em exposi\u00e7\u00f5es coletivas internacionais em espa\u00e7os de arte de prest\u00edgio tais como o S.M.A.K. (Municipal Museum of Contemporary Art) em Ghent, MuHKA Museum of Contemporary Art Antwerp, Marta Herford na Alemanha, Kunsthalle em Budapeste, Hungria, e no Migros Museum of Contemporary Art em Zurique, Su\u00ed\u00e7a.[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2982″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/christabelle-peters\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

CONVERSA COM EMEKA OGBOH<\/a><\/h5>\n

17 de Setembro de 2019 | Ter\u00e7a-feira | 18:00
\nMorada: Rua Damasceno Monteiro 12, Gra\u00e7a
\nEntrada livre
\nConversa em ingl\u00eas<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]Sufferhead Original \u00e9 um projecto de cerveja artesanal inspirado nos gostos e experi\u00eancias alimentares dos africanos que vivem na Europa e comunica alguns dos estere\u00f3tipos recebidos, pol\u00edticas de diferen\u00e7a e integra\u00e7\u00e3o associadas ao seu destino expatriado. A cerveja Sufferhead \u00e9 desenvolvida com base no feedback da interac\u00e7\u00e3o com os africanos que vivem na Europa, e essas interac\u00e7\u00f5es cobriram t\u00f3picos sobre migra\u00e7\u00e3o, assimila\u00e7\u00e3o e multiculturalismo. Os dados resultantes inspiraram o desenvolvimento da receita da cerveja.[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2987″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/conversa-com-emeka-ogboh\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

CHRISTABELLE PETERS<\/a><\/h5>\n

Novembro 2018<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]<\/p>\n

\n

Christabelle Peters \u00e9 escritora e te\u00f3rica cultural. Atualmente, \u00e9 professora de hist\u00f3ria cultural e pol\u00edtica da Am\u00e9rica Latina na Universidade de Bristol e \u00e9 especializada na interconex\u00e3o entre ra\u00e7a e identidade nacional nos pa\u00edses de l\u00edngua espanhola e portuguesa da orla Atl\u00e2ntica. \u00c9 autora de Cuban Identity and the Angolan Experience (Nova Iorque: Palgrave Macmillan, 2012). O seu novo projeto, Angola after Colonialism: Race, Politics and National Identity (Bloomsbury\/I. B. Tauris, livro a ser publicado futuramente) prop\u00f5e um paradigma alternativo ao \u2018Atl\u00e2ntico negro\u2019 de Paul Gilroy para investigar a ra\u00e7a nas sociedades hisp\u00e2nicas e lus\u00f3fonas. Para o centro de investiga\u00e7\u00e3o art\u00edstica do Hangar, em Lisboa, coordena o programa ‘Lisboa, \u00c1frica na Europa’, que investiga as possibilidades de uma conceptualiza\u00e7\u00e3o multilingue e multirregional da di\u00e1spora africana.<\/p>\n<\/div>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2977″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/christabelle-peters\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

Conversa com Sammy Baloji e Filip de Boeck<\/a><\/h5>\n

24 de Mar\u00e7o de 2018
\n18:00 \u2013 20:00
\nHangar \u2013 Centro de Investiga\u00e7\u00e3o Art\u00edstica<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]Sammy Baloji e Filip De Boeck falar\u00e3o do seu livro <\/span>Suturing the City: Living Together in Congo\u2019s Urban Worlds<\/i><\/span> (2016) e da sua exposi\u00e7\u00e3o <\/span>Urban Now: City Life in Congo<\/i><\/span>, que estar\u00e1 patente em Lisboa a partir do final de Mar\u00e7o (Galeria Av. da \u00cdndia). <\/span><\/p>\n

Modera\u00e7\u00e3o:<\/strong> Ana Balona de Oliveira<\/span><\/p>\n

Organiza\u00e7\u00e3o:<\/strong>
\nAna Balona de Oliveira, Pensando a Partir do Sul<\/a>:<\/strong> Comparando Hist\u00f3rias P\u00f3s-Coloniais e Identidades Diasp\u00f3ricas atrav\u00e9s de Pr\u00e1ticas e Espa\u00e7os Art\u00edsticos, Transnational Perspectives on Contemporary Art: Identities and Representation, CASt-IHA-FCSH-NOVA e Visual Culture, Migration, Globalization and Decolonization, CITCOM-CEC-FLUL\u00a0<\/span><\/p>\n

M\u00f3nica de Miranda, Post-Archive<\/a>:<\/strong> Politics of Memory, Place and Identity, CITCOM-CEC-FLUL[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2972″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/conversa-com-sammy-baloji-e-filip-de-boeck\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

CONVERSA COM IRIT ROGOFF<\/a><\/h5>\n

20 de Outubro, 2017 (Sexta-feira), 19h
\nEntrada Livre<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]”Amplia\u00e7\u00e3o – Densidades Locais e Circula\u00e7\u00f5es art\u00edsticas Globais ”<\/p>\n

Actualmente existem hist\u00f3rias de arte muito ricas e densas e pr\u00e1ticas locais que envolvem a especificidade do lugar, a sua designa\u00e7\u00e3o hist\u00f3rica bem como particularidades sociais, pol\u00edticas e culturais. Assim que estas pr\u00e1ticas come\u00e7am a circular amplamente, s\u00e3o reduzidas a uma simples linguagem significante que pode ser acolhida pelo mundo internacional da arte. Nesta palestra, a reflex\u00e3o proposta sobre esta problem\u00e1tica assenta na constata\u00e7\u00e3o de que n\u00e3o se pode reproduzir a totalidade de uma especificidade local pela circula\u00e7\u00e3o do trabalho, mas ao mesmo tempo, \u00e9 preciso encontrar alguma forma que tenha significado a n\u00edvel internacional. Que ferramentas temos \u00e0 nossa disposi\u00e7\u00e3o para repensar esta dupla modalidade das artes em circula\u00e7\u00f5es global?[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2965″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/conversa-com-irit-rogoff\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

GRADA KILOMBA | CONVERSA COM A ARTISTA<\/a><\/h5>\n

3 de Novembro, 2017 (Sexta-feira), 19h
\nEntrada Livre<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]O Hangar em parceria com as edi\u00e7\u00f5es Orfeu Negro e a Faculdade de Letras da Universidade de Lisboa organiza uma conversa p\u00fablica com a artista Grada Kilomba moderada por Manuela Ribeiro Sanches. A artista falar\u00e1 sobre sua pr\u00e1tica art\u00edstica com um destaque sobre o livro “Mem\u00f3rias da Planta\u00e7\u00e3o: Epis\u00f3dios do Racismo Di\u00e1rio”, com apoio da v\u00eddeo-documenta\u00e7\u00e3o da leitura encenada de epis\u00f3dios que exploram o racismo quotidiano em forma de hist\u00f3rias psicanal\u00edticas, vinculando teoria p\u00f3s-colonial com narrativa l\u00edrica. A combina\u00e7\u00e3o dessas duas palavras, planta\u00e7\u00e3o e mem\u00f3rias, descreve o racismo n\u00e3o apenas como o reencenar de um passado colonial, mas tamb\u00e9m como realidade traum\u00e1tica actual.[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2955″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/grada-kilomba-conversa-com-a-artista\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

CROSSWORDS \u2013 CROSSED WORLDS \u2014 CONVERSA<\/a><\/h5>\n

24 Setembro 2016 19h00
\n\u00a9 Zineb Sedira<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]<\/p>\n

A conversa centrar-se-\u00e1 nas diversas formas em que o texto \u00e9 usado na arte visual.
\nDo seu uso n\u00e3o como significante mas como mat\u00e9ria, \u00e0 encarna\u00e7\u00e3o em som atrav\u00e9s em que palavras traduzidas se transformam em espelhos que reflectem mem\u00f3ria pessoal e identidade, a discuss\u00e3o ter\u00e1 o prop\u00f3sito de desenlear a rela\u00e7\u00e3o inter-semi\u00f3tica entre palavras e imagens.<\/div>\n
<\/div>\n
Dirigida pela curadora Gabriela Salgado com a participa\u00e7\u00e3o dos artistas Zineb Sedira e Reynier Leyva Novo esta conversa forma parte do projecto de investiga\u00e7\u00e3o dirigido por M\u00f3nica de Miranda \u201cPost Archive\u201d no CEC.<\/div>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2949″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/crosswords-crossed-worlds-conversa\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

RITOS DE REGRESSO \u2013 POL\u00cdTICAS DA MEM\u00d3RIA E DA DI\u00c1SPORA \u2014 CONVERSA<\/a><\/h5>\n

30 Setembro 2016 18h<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]<\/p>\n

\n
Conversa com Keith Piper e Roshini Kempadoo, organizada por M\u00f3nica de Miranda no \u00e2mbito do seu projecto de investiga\u00e7\u00e3o POST-ARCHIVE.<\/div>\n
<\/div>\n
Este projecto e esta conversa olha para o arquivo como uma ferramenta cr\u00edtica para conceptualizar o valor heur\u00edstico da hist\u00f3ria, da heran\u00e7a e da mem\u00f3ria, em debates sobre os discursos p\u00f3s-coloniais. As respostas ao arquivo colonial s\u00e3o uma corrente significativa na cultura do fim do s\u00e9c. XX e in\u00edcio do s\u00e9c. XXI. Em muitos contextos diferentes e recorrendo a v\u00e1rios media visuais, os artistas tem vindo a criticar e a desconstruir mitos e estere\u00f3tipos de identidade dominantes na cultura Ocidental. As quest\u00f5es te\u00f3ricas que informam este assunto incluem a rela\u00e7\u00e3o entre est\u00e9tica e pol\u00edtica, formas de resist\u00eancia, a estrutura e operacionalidade dos ester\u00f3tipos culturais nas culturas visuais, quest\u00f5es de ag\u00eancia cultura, a rela\u00e7\u00e3o entre p\u00f3s-colonialismo e feminismo, hibridismo cultural e a apropria\u00e7\u00e3o inter-cultural.<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2934″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/ritos-de-regresso-politicas-da-memoria-e-da-diaspora\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

PERSONAL GEOGRAPHIES, ART AND THE SELF \u2014 CONVERSA<\/a><\/h5>\n

2 Junho 2016 19h
\n\u00a9 Phoebe Boswell, Dadangu, 2016<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]<\/p>\n

\n
Semin\u00e1rio organizado no \u00e2mbito do PROGRAMA PARALELO da exposi\u00e7\u00e3o KIN<\/a> com Christabelle Peters, Giulia Lamoni e Carlos Garrido Castellano, organizado por M\u00f3nica de Miranda.<\/div>\n
<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”2607″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/personal-geographies-art-and-the-self-conversa\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

\u2018LIVE SALON\u2019 \u2013 FAISAL ABDUL ALLAH \u2013 PERFORMANCE L WORKSHOP L MASTERCLASS<\/a><\/h5>\n

5\/11 \u2013 19.30
\nPERFORMANCE
\n6\/11- 16.30 >19h30
\nWORKSHOP PARA JOVENS
\n7\/ 11- 19.30 > 21h
\nMASTERCLASS \u2013 Arte e Comunidade<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]FAISAL ABDUL ALLAH<\/p>\n

The art of Abdu\u2019Allah and his contemporaries in the early 1980s can be evaluated in a manner that fills an important void within available scholarship on the subject of contemporary art in relation to Afro-British culture. What began as an artistic gesture in the 1980s more fully materialised in the early twenty-first century as a complete conceptual approach that questioned issues of race and identity in relation to issues of cultural diversity and multiculturalism. Abdu\u2019Allah\u2019s work broke away from the British artistic establishment and the rules of institutional representation, particularly insofar as he began selecting his subjects from \u00e9migr\u00e9 utopia, Afro-British social consciousness, Muslim identity, and working-class life. He also integrated other views of London, portraying it as a city of dislocated communities that were powerless in the existing world of art.<\/p>\n

Excerpt from \u2018The Art of Dislocation\u2019 by Professor Barbaro Martinez-Ruiz, Michaelis School of Fine Art, University of Cape Town.
\nhttp:\/\/faisalabduallah.com\/<\/a>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1862″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/live-salon-faisal-abdul-allah-performance-l-workshop-l-masterclass\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

\u2018\u201cGHOST\u201d ARTIST TALK PERSONAL ARCHIVES: MEMORY, IDENTITY AND MIGRATION<\/a><\/h5>\n

OCTOBER 23, 2015 @ 19:00 \u2013 23:00
\nALIA SYED + CHILA KUMARI BURMAN + ANJALIKA SAGAR
\nChair : Bruno Leit\u00e3o
\norganized by M\u00f3nica de Miranda
\nentrada livre<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]<\/p>\n

This Artist Talk, organised by M\u00f3nica de Miranda, is part of the Hangar research program. Working in partnership with CEC (Centre of Comparitive Research, Lisbon) and Train (Research Center of Transnational, London) it will relay and broaden ideas encouraged by the \u201cGHOSTS\u201d exhibition.<\/p>\n

The talk will examine the role of the artist as researcher, analysing issues raised by the work of the artists concerning identity politics, the relationship between art, globalisation and subjectivity, in an age of increasing migration and global diaspora communities.<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1858″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/ghost-artist-talk-personal-archives-memory-identity-and-migration\/”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/p>\n

HANGAROUND<\/a><\/h5>\n

Matin\u00e9 Angolana
\nM\u00fasica + Cinema + Almo\u00e7o
\nDomingo 13 de Setembro com Chalo Correia, Jorge Mendon\u00e7a Oliveira<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]<\/p>\n

\n

Program<\/h4>\n

Hangaround: || Matin\u00e9 Angolana || M\u00fasica + Cinema + Almo\u00e7o || Domingo 13 de Setembro<\/strong> com Chalo Correia<\/a>, Jorge Mendon\u00e7a Oliveira<\/a><\/p>\n

Almo\u00e7o Angolano \u2013 13h ( sujeito a reservas geral@hangar.com.pt<\/a> )<\/p>\n

Carnaval da Vict\u00f3ria de Ant\u00f3nio Ol\u00e9 (Cinema)- 15h30 (entrada Livre)<\/p>\n

\n

Chalo Correia (Concerto-baile)- 17h30 (entrada Livre)<\/p>\n

Chalo Correia (voz, guitarra, harm\u00f3nica) + Galiano Neto (percuss\u00e3o , voz) + Jo\u00e3o Louro (guitarra)<\/p>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”1828″ img_size=”280×200″ alignment=”center” onclick=”custom_link” link=”https:\/\/postarchive.org\/wp2024\/ghost-artist-talk-personal-archives-memory-identity-and-migration\/”][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_custom_heading text=”News” font_container=”tag:h3|text_align:left” google_fonts=”font_family:Raleway%3A100%2C200%2C300%2Cregular%2C500%2C600%2C700%2C800%2C900|font_style:400%20regular%3A400%3Anormal”][vc_empty_space height=”5px”][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text] CONVERSA COM TOMA MUTEBA LUNTUMBUE 29 Mar\u00e7o 2019 | Sexta-feira | 18h Entrada livre [\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_column_text]Toma Muteba Luntumbue \u2013 historiador de arte, artista,…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"_links":{"self":[{"href":"https:\/\/postarchive.org\/en\/wp-json\/wp\/v2\/pages\/3364"}],"collection":[{"href":"https:\/\/postarchive.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/postarchive.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/postarchive.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/postarchive.org\/en\/wp-json\/wp\/v2\/comments?post=3364"}],"version-history":[{"count":4,"href":"https:\/\/postarchive.org\/en\/wp-json\/wp\/v2\/pages\/3364\/revisions"}],"predecessor-version":[{"id":3721,"href":"https:\/\/postarchive.org\/en\/wp-json\/wp\/v2\/pages\/3364\/revisions\/3721"}],"wp:attachment":[{"href":"https:\/\/postarchive.org\/en\/wp-json\/wp\/v2\/media?parent=3364"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}