{"id":7108,"date":"2016-07-26T09:46:00","date_gmt":"2016-07-26T09:46:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=7108"},"modified":"2022-12-15T09:53:31","modified_gmt":"2022-12-15T09:53:31","slug":"manifesta-11-workers-of-the-world-unite","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/manifesta-11-workers-of-the-world-unite\/","title":{"rendered":"Manifesta 11\u2014Workers of the World, Unite?"},"content":{"rendered":"\n

Manifesta 11<\/strong><\/a><\/p>\n\n\n\n

The European Biennial of Contemporary Art<\/strong><\/a> (various venues, Zurich, Switzerland), Jun 6\u2013Sept 9, 2016<\/strong><\/p>\n\n\n\n

80,000 kg of human excrement in an art gallery, a Paralympian spinning her wheelchair across Lake Zurich and mournful, lovelorn robots are some of the more entertaining works in Manifesta 11. Curated by the artist Christian Jankowski<\/a> and entitled \u201cWhat People Do for Money: Some Joint Ventures\u201d, the 11th<\/sup> edition of Europe\u2019s roving biennial is simultaneously comedic and tame.<\/p>\n\n\n\n

Each of the thirty participating artists in the exhibition chose a \u201chost\u201d\u2014a professional from the city of Zurich. These ranged from sewage workers to dentists, firefighters, engineers, and dog stylists. The resulting new commissions are displayed around the city and at the main exhibition sites: the L\u00f6wenbr\u00e4u-Areal, a former brewery-turned-art site, and the Helmhaus, a historic building in downtown Zurich.<\/p>\n\n\n\n

\"\"
Mike Bouchet, \u201cThe Zurich Load, L\u00f6wenbr\u00e4ukunst\u201d. Photo: Camilo Brau<\/figcaption><\/figure>\n\n\n\n

Art has a long preoccupation with labor, from Dutch Renaissance paintings of farm laborers and Lowry\u2019s bleak images of factory workers in Northern England to contemporary neo-Marxist theory. But Jankowski\u2019s aim is not to contribute to this tradition by investigating the meaning and iconography of labor in the 21st<\/sup> century. With his curatorial strategy of pairing artists with professionals and approach of exhibiting the resulting works in locations from fire stations to dog parlors, he aims to extend art into real life in order to create absurd theatrical situations that extend the boundaries of both labor and art. Labor\u2014and its images, from scans of Michel Houellebeq\u2019s spleen to watercolors of orgasming women\u2014are aestheticized and rendered as artistic gesture.<\/p>\n\n\n\n

This is, of course, part of the Jankowskian M.O.: as an artist<\/a>, he has collaborated with everyone from politicians to priests and wrestlers. Realized on the scale of a biennial, with over 30 satellite sites to be visited in addition to the main L\u00f6wenbr\u00e4u-Areal and Helmhaus spaces, however, Jankowski\u2019s method shows its limitations. Marco Schmitt\u2019s version of Luis Bu\u00f1uel\u2019s 1962 film The Exterminating Angel<\/em> has the Zurich Police force engage in a macabre dinner in the Museum of Crime. Located in a side room at the Zurich police academy, the setting neither particularly adds nor detracts from the film: it is, in the end, just another bland room in a perfunctionarily refurbished nineteenth-century building. The partner piece in the L\u00f6wenbr\u00e4u-Areal\u2014each offsite has a corresponding work in one of the two main venues\u2014is an installation of German shepherds and panthers snarling at each other. It is not clear how the pairing functions, nor how the separate pieces relate to each other.  Other works devolve into Situationist comedy: the dentist\u2019s office with Torbj\u00f8rn R\u00f8dland\u2019s photographs of decaying dentistry, for instance (\u201cMathew Mark Luke John and Other Photographs\u201d). The receptionist confided to Ran Dian that they took the photographs down during practice hours to avoid frightening the patients.<\/p>\n\n\n\n

To read Manifesta 11 as a Jankowskian artwork on a large scale is to render the participating artists a disservice because they follow other, often conflicting aims. Yet it is intriguing to see how the artists most aligned with Jankowski\u2019s approach\u2014i.e. whose practice involves large-scale project management\u2014have produced the strongest works. This includes Marguerite Humeau\u2019s piece \u201cWhen Skies Above Were Not Yet Named, 1\u2033, realized in the Machine Laboratory of Zurich\u2019s technical university, the ETH. The artist designed two autonomous robots modeled on cynodonts (early warm-blooded creatures). Connected via wifi and hormonal vapors, the robots circle each other deep in the bowels of the lab, falling in and out of love. Humeau\u2019s sense of the absurd elevates this otherwise stentorian piece: is she critiquing love, thinking about machine emotion or just testing the limits of her practice? Likewise, Mike Bouchet\u2019s installation of 80,000 kg of human excrement produced by the citizens of Zurich on March 24 2016 takes the Beuyssian concept of the social sculpture to new heights: Beuys famously claimed \u201ceveryone is an artist\u201d and contribute to the work of art that is society as a whole. A room full of treated and compressed human excrement being displayed as art is also a tongue-in-cheek comment  both the nature of art and the act of ennoblement that follows the declaration of an object as a work of art.<\/p>\n\n\n\n

To artistically anchor the new commissions, Francesca Gavin has curated a \u201cHistorical Exhibition: Sites under Construction\u201d which unites artists who take labor as both their subject and their aesthetic. Loosely divided into nine thematic sections, from the self-reflective \u201cProfessions in the Art World\u201d to \u201cPortraits of Professions\u201d, this races from Sophie Calle\u2019s hiring a detective to follow her around Paris to Simon Denny\u2019s intricate blockchain installation and Kim Gordon\u2019s glitter circle. While the links between artworks and sections may be tenuous, Gavin has assembled an impressive oeuvre of works that reflect on the relationships between different forms of labor.<\/p>\n\n\n\n

As a whole, the biennial stutters and falters. Jankowski\u2019s willfully na\u00efve investigation into labor as art\u2014he even hired Zurich school children as \u201cart detectives\u201d to produce \u201cmaking of\u201d films that are shown in a floating pavilion on Lake Zurich\u2014cannot escape wider questions regarding how labor is constructed in the 21st<\/sup> century. The works fail to penetrate metaquestions regarding precariousness and insecurity: indeed, the only piece to thematize the risks inherent in labor is Teresa Margolles\u2019s \u201cPoker de Damas\u201d, a film in which a Zurich transgender sex worker plays poker with two Mexican counterparts. Intended to be staged as Tableau Vivant in a hotel in Zurich\u2019s red light district, this plan was abandoned owing to the murder of Karla, one of the participants, in December 2015. The empty room contains a somber sound installation narrating the circumstances of the murder.<\/p>\n\n\n\n

The off-sites in Manifesta 11 often feel rather arbitrary. The artworks are inserted with no consequence or real interaction, with the conceptual elements of each joint venture losing out to the primacy of art\u2019s aesthetic status. While this once again raises questions about the limits of art, its presentation and spaces, nowhere does the biennial address this directly. A stroll around the off-sites on a sunny day may make for a pleasant diversion, but the visitor is left hankering for a clearer assessment of the relationship between art and labor today.<\/p>\n\n\n\n

\"Maurizio<\/a>
Maurizio Cattelan, \u201cMontage, Z\u00fcrichsee, Wheelchair Postcard\u201d. Photo: Maurizio Cattelan.<\/figcaption><\/figure>\n\n\n\n
\"\"
Michel Houellebecq, \u201cMati\u00e8re\u201d, Helmhaus. Photo: Manifesta11\/Eduard Meltzer<\/figcaption><\/figure>\n\n\n\n
\"\"
Marguerite Humeau, \u201cWhen Skies are not named yet (I)\u201d, installation at Satellite ETH. Copyright Manifesta11\/Eduard Meltzer.<\/figcaption><\/figure>\n\n\n\n
\"\"
Teresa Margolles, \u201cSatellite Rothaus\u201d. Photo: Manifesta11\/Wolfgang Traeger.<\/figcaption><\/figure>\n\n\n\n
\"\"
Torbj\u00f8rn R\u00f8dland, \u201cInraoral\/Extraoral\u201d, L\u00f6wenbr\u00e4ukunst. Photo: Manifesta11\/Eduard Meltzer.<\/figcaption><\/figure>\n\n\n\n
\"\"
Marco Schmitt, \u201cExterminating Badges\u201d, video still, 2016. Courtesy of Manifesta 11<\/figcaption><\/figure>\n\n\n\n
\"\"
Marco Schmitt, \u201cExterminating Badges\u201d, video still, 2016. Courtesy of Manifesta 11<\/figcaption><\/figure>\n\n\n\n
\"\"
Andrea \u00c9va Gyoeri. Courtesy of Manifesta11 \u00a9Wolfgang Traeger<\/figcaption><\/figure>\n\n\n\n
\"\"
Evgeny Antufiev\u2019s joint venture with pastor Martin R\u00fcsch at the Wasserkirche. Courtesy of Manifesta 11, \u00a9Wolfgang Traeger<\/figcaption><\/figure>\n\n\n\n
\"\"
Pablo Helguera\u2019s \u201cArtoons\u201d for Manifesta 11. Photo : Hili Perlson.<\/figcaption><\/figure>\n\n\n\n
\"\"
Jon Kessler for Manifesta 11. Courtesy of Manifesta 11 \u00a9Wolfgang Traeger<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Manifesta 11 The European Biennial of Co … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":7167,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[149,3249,3250,415,67,1425,3251,102,3252,1333,416,1710,3253,1298,374,393,600,419,210,460,230,421],"yoast_head":"\nManifesta 11\u2014Workers of the World, Unite? - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Manifesta 11\u2014Workers of the World, Unite? - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Manifesta 11 The European Biennial of Co … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2016-07-26T09:46:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-12-15T09:53:31+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/maxresdefault-2.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"720\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Manifesta 11\u2014Workers of the World, Unite?\",\"datePublished\":\"2016-07-26T09:46:00+00:00\",\"dateModified\":\"2022-12-15T09:53:31+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/\"},\"wordCount\":1191,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"art\",\"art and labor\",\"art biennial\",\"art gallery\",\"artist\",\"Christian Jankowski\",\"European Biennial\",\"exhibition\",\"Geoffrey Wang\",\"Jeni Fulton\",\"magazine\",\"Manifesta 11\",\"Manifesta Biennial\",\"Ran Dian review\",\"randian\",\"randian online\",\"Zurich\",\"\u6b63\u5728\u5e03\u5c55\",\"\u71c3\u70b9\",\"\u827a\u672f+\",\"\u827a\u672f\u5bb6\",\"\u827a\u672f\u753b\u5eca\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/\",\"url\":\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/\",\"name\":\"Manifesta 11\u2014Workers of the World, Unite? - \u71c3\u70b9 Ran Dian\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/#website\"},\"datePublished\":\"2016-07-26T09:46:00+00:00\",\"dateModified\":\"2022-12-15T09:53:31+00:00\",\"breadcrumb\":{\"@id\":\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/#breadcrumb\"},\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"http:\/\/www.randian.art\/zh-hant\/%e4%b8%bb%e9%a0%81\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Manifesta 11\u2014Workers of the World, Unite?\"}]},{\"@type\":\"WebSite\",\"@id\":\"http:\/\/www.randian.art\/#website\",\"url\":\"http:\/\/www.randian.art\/\",\"name\":\"\u71c3\u70b9 Ran Dian\",\"description\":\"art magazine\",\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\/\/www.randian.art\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"zh-TW\"},{\"@type\":\"Organization\",\"@id\":\"http:\/\/www.randian.art\/#organization\",\"name\":\"\u71c3\u70b9 Ran Dian\",\"url\":\"http:\/\/www.randian.art\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"zh-TW\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png\",\"contentUrl\":\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png\",\"width\":761,\"height\":118,\"caption\":\"\u71c3\u70b9 Ran Dian\"},\"image\":{\"@id\":\"http:\/\/www.randian.art\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\",\"name\":\"Lien\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"zh-TW\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/image\/\",\"url\":\"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g\",\"contentUrl\":\"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g\",\"caption\":\"Lien\"},\"sameAs\":[\"http:\/\/www.randian.art\"],\"url\":\"http:\/\/www.randian.art\/zh-hant\/author\/lien\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Manifesta 11\u2014Workers of the World, Unite? - \u71c3\u70b9 Ran Dian","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/","og_locale":"zh_TW","og_type":"article","og_title":"Manifesta 11\u2014Workers of the World, Unite? - \u71c3\u70b9 Ran Dian","og_description":"Manifesta 11 The European Biennial of Co … Continue reading →","og_url":"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/","og_site_name":"\u71c3\u70b9 Ran Dian","article_published_time":"2016-07-26T09:46:00+00:00","article_modified_time":"2022-12-15T09:53:31+00:00","og_image":[{"width":1280,"height":720,"url":"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/maxresdefault-2.jpg","type":"image\/jpeg"}],"author":"Lien","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Lien","\u9810\u4f30\u95b1\u8b80\u6642\u9593":"8 \u5206\u9418"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/#article","isPartOf":{"@id":"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/"},"author":{"name":"Lien","@id":"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb"},"headline":"Manifesta 11\u2014Workers of the World, Unite?","datePublished":"2016-07-26T09:46:00+00:00","dateModified":"2022-12-15T09:53:31+00:00","mainEntityOfPage":{"@id":"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/"},"wordCount":1191,"commentCount":0,"publisher":{"@id":"http:\/\/www.randian.art\/#organization"},"keywords":["art","art and labor","art biennial","art gallery","artist","Christian Jankowski","European Biennial","exhibition","Geoffrey Wang","Jeni Fulton","magazine","Manifesta 11","Manifesta Biennial","Ran Dian review","randian","randian online","Zurich","\u6b63\u5728\u5e03\u5c55","\u71c3\u70b9","\u827a\u672f+","\u827a\u672f\u5bb6","\u827a\u672f\u753b\u5eca"],"articleSection":["Reviews"],"inLanguage":"zh-TW","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/#respond"]}]},{"@type":"WebPage","@id":"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/","url":"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/","name":"Manifesta 11\u2014Workers of the World, Unite? - \u71c3\u70b9 Ran Dian","isPartOf":{"@id":"http:\/\/www.randian.art\/#website"},"datePublished":"2016-07-26T09:46:00+00:00","dateModified":"2022-12-15T09:53:31+00:00","breadcrumb":{"@id":"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/#breadcrumb"},"inLanguage":"zh-TW","potentialAction":[{"@type":"ReadAction","target":["http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/"]}]},{"@type":"BreadcrumbList","@id":"http:\/\/www.randian.art\/manifesta-11-workers-of-the-world-unite\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"http:\/\/www.randian.art\/zh-hant\/%e4%b8%bb%e9%a0%81\/"},{"@type":"ListItem","position":2,"name":"Manifesta 11\u2014Workers of the World, Unite?"}]},{"@type":"WebSite","@id":"http:\/\/www.randian.art\/#website","url":"http:\/\/www.randian.art\/","name":"\u71c3\u70b9 Ran Dian","description":"art magazine","publisher":{"@id":"http:\/\/www.randian.art\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"http:\/\/www.randian.art\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"zh-TW"},{"@type":"Organization","@id":"http:\/\/www.randian.art\/#organization","name":"\u71c3\u70b9 Ran Dian","url":"http:\/\/www.randian.art\/","logo":{"@type":"ImageObject","inLanguage":"zh-TW","@id":"http:\/\/www.randian.art\/#\/schema\/logo\/image\/","url":"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png","contentUrl":"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png","width":761,"height":118,"caption":"\u71c3\u70b9 Ran Dian"},"image":{"@id":"http:\/\/www.randian.art\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb","name":"Lien","image":{"@type":"ImageObject","inLanguage":"zh-TW","@id":"http:\/\/www.randian.art\/#\/schema\/person\/image\/","url":"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g","contentUrl":"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g","caption":"Lien"},"sameAs":["http:\/\/www.randian.art"],"url":"http:\/\/www.randian.art\/zh-hant\/author\/lien\/"}]}},"_links":{"self":[{"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/posts\/7108"}],"collection":[{"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/comments?post=7108"}],"version-history":[{"count":1,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/posts\/7108\/revisions"}],"predecessor-version":[{"id":7176,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/posts\/7108\/revisions\/7176"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/media\/7167"}],"wp:attachment":[{"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/media?parent=7108"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/categories?post=7108"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/tags?post=7108"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}