{"id":1496,"date":"2021-06-06T16:12:45","date_gmt":"2021-06-06T14:12:45","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=1496"},"modified":"2024-08-03T08:58:05","modified_gmt":"2024-08-03T06:58:05","slug":"edition2021-artistes","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/edition2021-artistes\/","title":{"rendered":"Edition2021 Artistes"},"content":{"rendered":"\n
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Edition 2021 – Les artistes et leurs oeuvres<\/span><\/h2>\n

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Awena Cozannet<\/span><\/strong><\/a>
Ce qui nous rassemble, 2019
<\/strong>Cinq formes min\u00e9rales et organiques composent un paysage, lac en absence et monumentalit\u00e9 de la montagne. Ce qui nous rassemble <\/em>invite \u00e0 r\u00e9fl\u00e9chir \u00e0 notre histoire commune, \u00e0 ce qui nous lie et nous structure. Elle interroge la notion de fronti\u00e8re physique et la notion d\u2019\u00e9cart entre soi et l\u2019autre, ce qui d\u00e9finit notre identit\u00e9. Elle questionne l\u2019urgence du d\u00e9placement et la n\u00e9cessit\u00e9 du mouvement \u00e0 l\u2019aune de l\u2019actualit\u00e9 migratoire et climatique.<\/p>\n

Five mineral and organic forms make up a landscape, a lake in absence and the monumentality of the mountain. What brings us together invites us to reflect on our common history, on what binds and structures us. It questions the notions of physical border and the gap between oneself and the other, which defines our identity. It also questions the urgency of displacement and the necessity of movement in the light of current migration and climate.<\/em><\/p>\n<\/div>\n\n\n\n

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Martine Feipel & <\/strong><\/a>Jean Bechameil<\/strong><\/a><\/span>
Moon in the Tree, 2018
<\/strong>En partant d\u2019objets courants et communs \u00e0 chacun, les artistes nous entrainent dans un univers bancal o\u00f9 tout semble en suspend dans une \u00e9trange intemporalit\u00e9. Les objets sont d\u00e9tourn\u00e9s de leurs usages et de leur sens pour proposer des situations d\u00e9cal\u00e9es, mais fond\u00e9es sur la modification de leur mat\u00e9rialit\u00e9 et de leur forme. D\u00e8s lors, ils sont comme des \u00e9l\u00e9ments de m\u00e9moire tangible d\u2019o\u00f9 s\u2019\u00e9chappent tout contr\u00f4le.<\/p>\n

Starting with common objects, the artists take us into a wobbly universe where everything seems to be suspended in a strange timelessness. The domestic and common objects are diverted from their uses and their meaning to propose shifted situations but based on the modification of their materiality and their form. Therefore, they become elements of tangible memory from where all control is escaping.<\/em><\/p>\n<\/div>\n\n\n\n

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St\u00e9phane Guiran<\/strong><\/a><\/span>
M\u00e9moires d\u2019ormes, 2021<\/strong>
Le r\u00eave des neiges \u00e9ternelles II, 2021
<\/strong>Les \u0153uvres de St\u00e9phane Guiran, inspir\u00e9es de la nature, nous interrogent sur notre propre nature. Ses sculptures, souvent faites \u00e0 partir de cristaux et de min\u00e9raux, jouent sur la force contenue dans la fragilit\u00e9. Elles mettent en regard les mat\u00e9riaux cr\u00e9\u00e9s par la nature et ceux faits par l\u2019homme, en particulier \u00e0 travers son travail sur la m\u00e9moire industrielle des r\u00e9sidus de cristalleries. De ce dialogue entre la nature et nos productions industrielles nait une po\u00e9sie de la transformation, de la mutation, comme un nouveau langage \u00e0 explorer.<\/p>\n

St\u00e9phane Guiran\u2019s works, inspired by nature, ask us about our own nature. His sculptures, often made from crystals and minerals, play on the strength contained in fragility. They compare the materials created by nature and those made by man through his work on the industrial memory of crystal factory waste. From this dialogue between nature and our industrial productions comes a poetry of transformation, of mutation, like a new language to explore.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Gonzalo Lebrija<\/strong><\/a><\/span>
Cubo Torcido, 2017<\/strong>
Gonzalo Lebrija est co-fondateur
et directeur de OPA \u2013 Oficina para Proyectos de Arte \u2013 un lieu d\u2019exposition \u00e0 Guadalajara, l\u2019un des plus importants en Am\u00e9rique Centrale.
L\u2019artiste explore dans son \u0153uvre les notions de temps, de libert\u00e9, de jeu\u00a0et leur relation au pouvoir. Cubo Torcido <\/em>est une \u0153uvre qui synth\u00e9tise, dans un dessin bidimensionnel, une transformation suppos\u00e9e du temps\u00a0et de l\u2019espace par un geste subtil.<\/p>\n

Gonzalo Lebrija is co-founder and director of OPA \u2013 Oficina para Proyectos de Arte \u2013 an exhibition space in Guadalajara, one of the most important in Central America. In his work, the artist explores the notions of time, freedom, play and their relationship to power. These questions give rise to actions and gestures that give his practice a performative dimension. <\/span>Cubo Torcido<\/span> is a work that synthesises, in a two-dimensional drawing, a supposed transformation of time and space through a subtle gesture.<\/span><\/em><\/p>\n<\/div>\n\n\n\n

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Quentin Lefranc<\/strong><\/a><\/span>
Action Office, 2021
<\/strong>Con\u00e7ue comme un lieu d\u2019\u00e9tude, l\u2019architecture sert de\u00a0cadre, de territoire, de terrain de jeu pour les propositions de Quentin Lefranc. Plac\u00e9es\u00a0\u00e0\u00a0la confluence de plusieurs pratiques, ses pi\u00e8ces fonctionnent comme des parenth\u00e8ses ouvertes dans l\u2019espace.\u00a0Action Office<\/em>\u00a0a \u00e9t\u00e9 r\u00e9alis\u00e9e \u00e0 la suite d\u2019une r\u00e9sidence avec l\u2019entreprise LSB la salle blanche. Entreprise qui\u00a0con\u00e7oit et am\u00e9nage des espaces de soins aseptiques pour les milieux hospitaliers, des laboratoires et salles \u00e0 atmosph\u00e8res contr\u00f4l\u00e9es pour l\u2019industrie pharmaceutique.\u00a0<\/p>\n

Conceived as a place of study, architecture serves as a framework, a territory, a playground for Quentin Lefranc\u2019s proposals. Placed at the confluence of several practices, his pieces function as open parentheses in space. Action Office was created following a residency with the company LSB la salle blanche. This company designs and fits out aseptic care spaces for hospitals, laboratories and controlled atmosphere rooms for the pharmaceutical industry.<\/em><\/p>\n<\/div>\n\n\n\n

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Charles Le Hyaric<\/b><\/a><\/span>
La n\u00e9buleuse des dryades, 2021
<\/strong>Nich\u00e9e au creux des arbres, La n\u00e9buleuse des dryades<\/em> s\u2019int\u00e8gre au lieu qu\u2019elle investit. R\u00e9alis\u00e9e principalement en filasse, sa forme \u00e9voque tout aussi bien une cr\u00e9ature onirique, une b\u00eate ou une carcasse archa\u00efque aux origines ind\u00e9finissables. Le spectateur peut s\u2019approcher de l\u2019\u0153uvre et d\u00e9couvrir un tout autre univers : un monde organique, biologique, cellulaire, rendu possible gr\u00e2ce \u00e0 la lumi\u00e8re ondulante qui traverse le maillage de la structure ainsi que le feuillage des arbres dans lesquels la sculpture prend place.<\/p>\n

Nestled in the hollow of the trees, La n\u00e9buleuse des dryades is integrated into the place it occupies. Mainly made of filament, its shape evokes a dreamlike creature, a beast or an archaic carcass of indefinable origins. The spectator can approach the work and discover a completely different universe: an organic, biological, cellular world, made possible by the undulating light that passes through the mesh of the structure as well as the foliage of the trees in which the sculpture is set.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Kokou Ferdinand Makouvia<\/b><\/a><\/span>
Akossiwa,
le temps d\u2019une routine, 2017
<\/strong>L\u2019artiste s\u2019enquiert inlassablement de toute la mati\u00e8re qui compose l\u2019existant. D\u00e8s lors, il se conditionne \u00e0 une collaboration \u00e9troite avec la mati\u00e8re dans tous ses \u00e9tats : il fait de son \u00e9nergie une \u00e2me s\u0153ur dans le dialogue, il se confronte \u00e0 sa substance incarn\u00e9e comme une r\u00e9alit\u00e9 persistante avec laquelle il est vital d\u2019apprendre \u00e0 composer, il l\u2019utilise comme un m\u00e9dium pour communiquer avec l\u2019invisible. Tant dans sa pratique de la sculpture que de la performance, il est l\u2019intercesseur d\u2019une dichotomie entre le faire et le laisser-faire.<\/p>\n

Through his practice, the artist tirelessly conducts an inquiry into all of the materials that make up our world, necessarily working in close collaboration with them and their various qualities. <\/span>He engages in an impassioned dialogue with the energy of matter, confronting its embodied substance as a vital force with which to compose, a medium through which he can communicate with the invisible. Through his sculptural work and his performances, he acts as an intercessor in a dichotomy between shaping forms and letting forms take shape.<\/span><\/em><\/p>\n<\/div>\n\n\n\n

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Juliette Minchin<\/b><\/a><\/span>
Omphalos, 2020
<\/strong>Omphalos<\/em> appara\u00eet comme une architecture sacr\u00e9e, un sanctuaire imaginaire. L\u2019oeuvre s\u2019inspire des traditions qui c\u00e9l\u00e8brent le passage du temps au moyen de la cire. Elle emprunte son imaginaire \u00e0 l\u2019architecture des mausol\u00e9es. En r\u00e9f\u00e9rence aux bandelettes de laine qui prot\u00e9geaient l\u2019Omphalos<\/em> dans l\u2019Antiquit\u00e9 grecque, Juliette Minchin enveloppe partiellement la structure de grands lambeaux de cire.<\/p>\n

Omphalos appears as a sacred architecture, an imaginary sanctuary. The work is inspired by traditions that celebrate the passage of time using wax. She borrows her imagination from the architecture of mausoleums. In reference to the woolen bands that protected the conic stone Omphalos in ancient Greece, Juliette Minchin partially envelops the structure in large shreds of wax.<\/em><\/p>\n<\/div>\n\n\n\n

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Aur\u00e9lie P\u00e9trel<\/b><\/a><\/span>
Tokyo Bay, 2011
<\/strong>La pratique photographique d\u2019Aur\u00e9lie P\u00e9trel interroge le statut de l\u2019image, son utilisation ainsi que les m\u00e9canismes de sa production. Ancr\u00e9es dans la dur\u00e9e, ses recherches visent \u00e0 ramener la prise de vue au centre de la r\u00e9flexion multisensorielle \u00e0 l\u2019aide de dispositifs spatiaux. L\u2019artiste pose ainsi la question de la mutation-mutabilit\u00e9 d\u2019une image, son potentiel de fractalisation, non seulement en soi mais aussi dans ce qu\u2019elle peut provoquer comme trouble en son exp\u00e9rience de pluriperception.<\/p>\n

Aur\u00e9lie P\u00e9trel\u2019s photographic practice questions the status of the image, its use and the mechanisms of its production. Rooted in duration, her research aims to bring the act of taking a shot back to the centre of multisensory thinking by means of spatial devices. The artist thus raises the question of the \u201cmutation-mutability\u201d of an image, its potential for fracturing, not only in itself but also in its ability to disturb the experience of multi-perception.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Florian Pugnaire & David Raffini<\/b><\/a><\/span>
L\u2019Onde, 2017<\/strong>
Leur duo est marqu\u00e9 par la probl\u00e9matique de la sculpture comme \u00ab\u00a0work event\u00a0\u00bb et \u00e9galement par un penchant pour l\u2019avenir des objets industriels. L\u2019Onde<\/em> \u00e9voque le retentissement d\u2019une onde de choc. La premi\u00e8re t\u00f4le arbore en son centre un impact produisant une violente d\u00e9formation de la mati\u00e8re. \u00ab\u00a0L\u2019onde\u00a0\u00bb n\u2019est pas simplement une image arr\u00eat\u00e9e, mais la repr\u00e9sentation d\u2019une p\u00e9riode dans l\u2019espace. A hauteur d\u2019homme, elle mat\u00e9rialise une distance parcourue dans un temps donn\u00e9, ou l\u2019inverse.<\/p>\n

Their duo is marked by the problematic of sculpture as a work event and by a penchant for the future of industrial objects. L\u2019Onde evokes the reverberation of a shock wave. The first sheet has an impact in its center that produces a violent deformation of the material. The \u201cwave\u201d is not simply a still image, but the representation of a period in space. At human height, it materializes a distance travelled in a given time, or the opposite.<\/em><\/p>\n<\/div>\n\n\n\n

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Stefan Rinck<\/b><\/a><\/span>
Mistral Boys, 2021
<\/strong>Les figures de pierre de Stefan Rinck composent une population bigarr\u00e9e et comique, d\u2019animaux pour la plupart, chim\u00e8res ou monstres, costum\u00e9s, masqu\u00e9s et dot\u00e9s d\u2019attributs. Cette assembl\u00e9e discordante de non-humains provient d\u2019un imaginaire archa\u00efque, tiss\u00e9 de mythes et de l\u00e9gendes. De ces figures grotesques l\u2019on reconna\u00eet le comique vitaliste, typique du r\u00e9alisme m\u00e9di\u00e9val, qui s\u2019exprimait lors de f\u00eates religieuses et populaires.<\/p>\n

Stefan Rinck\u2019s stone figures form a motley and comical community of animals, chimeras and monsters, wearing costumes, masks and are endowed with particular symbols. This assembly of non-humans is coming from an archaic imaginary world, woven from myths and legends. From these grotesque figures, we recognize the vitalist comedy typical of medieval realism which could be observed during the parades of religious and popular festivities.<\/em><\/p>\n<\/div>\n\n\n\n

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Kevin Rouillard<\/b><\/a><\/span>
Jaune 2021, 2021
<\/strong>Essentiellement sculpturale, la pratique de Kevin Rouillard est inscrite dans un processus de pr\u00e9l\u00e8vement et de r\u00e9cup\u00e9ration, qui questionne d\u2019une part le contexte d\u2019\u00e9mergence des formes qu\u2019il r\u00e9cup\u00e8re, et d\u2019autre part les conditions d\u2019apparition des \u0153uvres qu\u2019il cr\u00e9e. Ses grands assemblages de panneaux m\u00e9talliques, carcasses de bidons br\u00fbl\u00e9s et d\u00e9pli\u00e9s, sont pour lui une mani\u00e8re d\u2019\u00e9voquer le monde ouvrier et la circulation des biens \u00e0 travers le monde.<\/p>\n

Essentially sculptural, Kevin Rouillard\u2019s practice is set in a process of sampling and recuperation, which questions on the one hand the context of the emergence of the forms that he gathers and, on the other, the arrival context of the works he creates. His large assemblages of metallic panels and the carcasses of burnt, flattened canisters are, for him, a way to evoke the world of workers and the circulation of goods throughout the world.\u00a0<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Linda Sanchez<\/b><\/a><\/span>
L\u2019autre, 2017
<\/strong>L\u2019autre <\/em>appartient \u00e0 une s\u00e9rie de pi\u00e8ces qui interroge non seulement la construction et le paysage mais aussi l\u2019architecture du geste. Suivant une partition de gestes, tel un script, neuf colonnes sont construites par strates, exactement de la m\u00eame mani\u00e8re. Motifs color\u00e9s, quantit\u00e9 de mat\u00e9riau, pente, mais aussi inclusions, lignes de fracture, points de fragilit\u00e9s sont reproduits \u00e0 l\u2019identique. En cons\u00e9quence, pouss\u00e9es au sol, les neuf colonnes se cassent et s\u2019\u00e9rodent aussi de la m\u00eame mani\u00e8re.<\/p>\n

The Other belongs to a series of pieces that question not only construction and landscape but also the architecture of gesture. Following a score of gestures, like a script, nine columns are built in layers, in the same way. Coloured patterns, quantity of material, slope, but also inclusions, fracture lines, points of fragility are reproduced identically. As a result, when pushed to the ground, the nine columns break and erode in the same way.<\/em><\/p>\n<\/div>\n\n\n\n

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Pierre-Alexandre Savriacouty<\/b><\/a><\/span>
O-3, 2021
<\/strong>Au d\u00e9but du XVIe si\u00e8cle des ouvertures sur la fa\u00e7ade de l\u2019\u00e9glise de Saint-Paul de Vence furent construites. Au XVIIIe, ces m\u00eames voies furent referm\u00e9es. Pens\u00e9 comme un don au village, l\u2019artiste a dupliqu\u00e9 cette ancienne porte et propose une r\u00e9ouverture de ce passage. Explorant le potentiel de cet espace temporel, il fait appel aux propri\u00e9t\u00e9s de la mati\u00e8re \u00e0 pouvoir se r\u00e9g\u00e9n\u00e9rer, survivre et d\u00e9velopper des formes instinctives et imm\u00e9moriales.<\/p>\n

In the early 16th century, openings were made in the wall of the church of Saint-Paul de Vence. In the 18th century, these same openings were closed back. As a gift to the village, the artist has duplicated this ancient door and proposes a reopening of this passage. Exploring the potential of this temporal space, he invokes the properties of matter to be able to regenerate, survive and develop instinctive and immemorial forms.<\/em><\/p>\n<\/div>\n\n\n\n

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Scenocosme :
Gr\u00e9gory Lasserre & Ana\u00efs met den Ancxt<\/b><\/a><\/span>
Phonofolium, 2011
<\/strong>Le couple d\u2019artistes Scenocosme travaille sur des hybridations possibles entre v\u00e9g\u00e9tal et technologie num\u00e9rique. Phonofolium<\/em> est une \u0153uvre interactive pr\u00e9sentant un arbuste qui r\u00e9agit au moindre contact \u00e9lectrostatique humain par des sonorit\u00e9s. Lorsqu\u2019une personne caresse l\u2019arbuste, celui-ci se met \u00e0 chanter en fonction de la proximit\u00e9 du contact. En m\u00ealant r\u00e9alit\u00e9 et imaginaire, cette \u0153uvre propose une exp\u00e9rience sensorielle qui questionne nos relations \u00e9nerg\u00e9tiques invisibles avec les \u00eatres-vivants.\u00a0<\/p>\n

The artist couple Scenocosme works on possible hybridisations between plants and digital technology. Phonofolium is an interactive work presenting a shrub that reacts to the slightest human electrostatic contact with sounds. When a person strokes the shrub, it starts to sing according to the proximity of the contact. By mixing reality and imagination, this work offers a sensory experience that questions our invisible energetic relationships with living beings.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Elodie Seguin<\/b><\/a><\/span>
Unit\u00e9 de lieu, 2021
<\/strong>Les \u0153uvres d\u2019Elodie Seguin r\u00e9sultent d\u2019un processus long et permanent de recherche pour trouver leur finalit\u00e9 au moment de l\u2019exposition. A quelques m\u00e8tres d\u2019un cimeti\u00e8re, sa proposition prend la forme d\u2019un volume transparent en plexiglass aux dimensions d\u2019un corps, enterr\u00e9 devant un olivier, entre le paysage et le chemin de ronde de la ville. La fusion de ce mat\u00e9riau artificiel et du sol terreux signe le vocabulaire d\u2019Elodie Seguin comme une id\u00e9e, comme un non-objet en r\u00e9ponse \u00e0 l\u2019existant.<\/p>\n

Elodie Seguin\u2019s artworks result from a long and continuous process and find their final form for the moment of the exhibition. A few meters from a cemetery, her proposal appears as a transparent volume in plexiglass and is sized like a human body. Her artwork is buried in front of an olive tree, between the landscape and the village\u2019s covered way. The fusion of this artificial material and the earthy soil is a print of Elodie Seguin\u2019s vocabulary. As an idea and a non-object, this is a response to the existing.<\/em><\/p>\n<\/div>\n\n\n\n

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Charlotte vander Borght<\/b><\/a><\/span>
Mass V, 2020<\/strong>
Le travail de Charlotte vander Borght est essentiellement sculptural. Les sculptures de la s\u00e9rie MASS<\/em> sont toutes r\u00e9alis\u00e9es \u00e0 partir de panneaux de dibond produits dans les ann\u00e9es 70, r\u00e9cup\u00e9r\u00e9s d\u2019une fa\u00e7ade d\u2019un immeuble moderniste parisien. Initialement industriels, Charlotte vander Borght les a refa\u00e7onn\u00e9s, r\u00e9imagin\u00e9s et peints afin d\u2019invoquer leur charge \u00e9motionnelle comme d\u2019une m\u00e9moire affective et collective ancr\u00e9e dans la mati\u00e8re, oscillant entre abstraction et figuration.<\/p>\n

Charlotte vander Borght\u2019s practice is essentially sculptural. <\/span>Each sculpture in the <\/span>MASS<\/span> series uses 1970s dibondpanels salvaged from a facade of a modernist building in Paris. Hovering between abstraction and figuration, Charlotte vander Borght has repurposed, reshaped and painted these initially industrial panels in order to elicit their emotional power, to expose the affective and collective memory that is latent in materials.<\/span><\/em><\/p>\n<\/div>\n\n\n\n

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Delphine Wibaux<\/b><\/a><\/span>
T\u00e9moin souple, cimes, 2021<\/strong>
Delphine Wibaux met au point ce qu\u2019elle nomme des \u00abcaptations\u00bb en utilisant diff\u00e9rents m\u00e9diums. Attentive aux signaux faibles, elle cherche\u00a0de mani\u00e8re sensible \u00e0 redonner du
sens et de la perception \u00e0 l\u2019\u00e9gard du vivant. D\u00e9pos\u00e9e sur les graviers, cette sculpture dialogue avec deux arbres gardiens \u2013 rhizomes de ce jardinage in\u00e9dit. L\u2019image r\u00e9v\u00e8le la cime d\u2019un arbre ou de racines, en intime relation avec les fossiles pr\u00e9sents au sein du calcaire.<\/p>\n

Delphine Wibaux develops what she calls \u201ccaptures\u201d using different media. Attentive to weak signals, she seeks in a sensitive manner to restore meaning and perception to the living.<\/em>
This sculpture imagined for BIS, called \u201cT\u00e9moin souple\u201d and placed on the gravel, dialogues with two guardian trees \u2013 rhizomes of this new gardening. The image reveals the top of a tree or roots, in intimate relation with the fossils present within the limestone.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u00a0<\/h4>\n

\u00c9dition 2021 ><\/span><\/a><\/strong><\/span><\/h4>\n

Le commissariat <\/a>artistique ><\/a><\/strong><\/span>
Le jury ><\/a><\/strong><\/span>
Le parcours “une galerie – un artiste” ><\/a>
Nos remerciements ><\/a><\/strong><\/span><\/h4>\n\n\n
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Edition 2021 – Les artistes et leurs oeuvres \u00a0 Awena CozannetCe qui nous rassemble, 2019Cinq formes min\u00e9rales et organiques composent un paysage, lac en absence et monumentalit\u00e9 de la montagne. Ce qui nous rassemble invite \u00e0 r\u00e9fl\u00e9chir \u00e0 notre histoire commune, \u00e0 ce qui nous lie et nous structure. Elle interroge la notion de fronti\u00e8re …<\/p>\n

Edition2021 Artistes<\/span> Lire la suite \u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":""},"_links":{"self":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1496"}],"collection":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/comments?post=1496"}],"version-history":[{"count":29,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1496\/revisions"}],"predecessor-version":[{"id":3570,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1496\/revisions\/3570"}],"wp:attachment":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/media?parent=1496"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}