{"id":34561,"date":"2021-12-13T07:13:53","date_gmt":"2021-12-13T06:13:53","guid":{"rendered":"http:\/\/a-desk.org\/?p=34561"},"modified":"2023-07-09T14:33:40","modified_gmt":"2023-07-09T12:33:40","slug":"dior-makes-herstory","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/","title":{"rendered":"Dior makes Herstory"},"content":{"rendered":"

Des que Maria Grazia Chiuri<\/strong> (Roma, 1964) es va convertir en la primera directora creativa de Dior el 2016, les col\u00b7laboracions art\u00edstiques de la maison<\/em> amb dones artistes s\u00f3n nombroses. L’aposta feminista que presenta a les passarel\u00b7les ha evolucionat des d’aquella ic\u00f2nica samarreta amb el lema We should all be feminist<\/em><\/strong> de la seva col\u00b7lecci\u00f3 debut, llu\u00efda per diverses personalitats de l’star system<\/em> i arribant a colar-se a l’\u00faltima pel\u00b7l\u00edcula d’Almod\u00f3var, Madres Paralelas<\/a><\/em> (2021). El protagonisme del moviment feminista despr\u00e9s de l’esc\u00e0ndol del #MeToo ha servit a Chiuri per explorar i explotar el discurs fins a la sacietat, aliant-se amb la causa establint sinergies art\u00edstiques exclusivament amb dones (com va ser el cas de la tercera edici\u00f3 de Dior Lady Art<\/strong>) o col\u00b7laborant amb l’escola-taller Chanakya, un centre de l’\u00cdndia que instrueix dones en la t\u00e8cnica del brodat, el domini del qual \u00e9s un rol reservat all\u00e0 als homes.<\/p>\n

\"\"

DIOR, Maria Grazia Chiuri. Foto:\u00a0Jean-Paul Goude para Harper\u2019s Bazaar, 2017<\/p><\/div>\n

Part de responsabilitat d’aquest rumb la t\u00e9 la seva filla Rachele Regini<\/strong>, assessora cultural de la firma especialitzada en estudis de g\u00e8nere, art, mitjans i cultura. No obstant aix\u00f2, que la ind\u00fastria de la moda tregui r\u00e8dit dels moviments socials no \u00e9s cap novetat. De fet, es retroalimenten. Coco Chanel i les gar\u00e7onne<\/em>, Yves Saint Laurent i l’esperit de Maig del 68 o Vivienne Westwood i el Punk<\/em> van de la m\u00e0. La moda de luxe va ser i \u00e9s contracultura. I si vestir-se t\u00e9 un significat pol\u00edtic, la moda \u00e9s una eina pol\u00edtica, des del complement fins al total look<\/em>. En aquest sentit, l’est\u00e8tica revolucion\u00e0ria forma part de per si de la cultura de la maison Dior<\/em>: des de la import\u00e0ncia dels sans-culottes<\/em> a inicis de la Revoluci\u00f3 Francesa als incroyables<\/em> i les merveilleuses<\/em> de l’\u00e8poca del Directori, arist\u00f2crates decadents que van inspirar un dels antecessors de Chiuri, John Galliano, per crear la col\u00b7lecci\u00f3 que el va catapultar com a dissenyador. Per no parlar del mateix New Look<\/strong>, la silueta ultra femenina llan\u00e7ada per Christian Dior despr\u00e9s de la II Guerra Mundial que va significar la tornada al glamour<\/em> i el gust per l’opul\u00e8ncia, tot un motor per a la ind\u00fastria gal\u00b7la de llavors. Avui dia, la lluita rau en la reivindicaci\u00f3 de la roba sense g\u00e8nere, causa abanderada per celebritats com Billy Porter o Mark Bryan. Aix\u00ed, la moda acaba encoratjant un esperit de protesta, en els seus propis codis.<\/p>\n

No obstant, no \u00e9s estrany que s’hagi criticat Chiuri per mercantilitzar el feminisme sota el paraigua del luxe. Un feminisme que arbitra entre la segona i la quarta onada, valent-se de la primera en les formes i de la segona en el fons. Aquesta espectacularitzaci\u00f3 del moviment en clau fastuosa \u00e9s possible gr\u00e0cies a l’hegemonia cultural emparada pel capitalisme, per\u00f2 tamb\u00e9 a una certa sororitat entre classes, ja que l’elit no n’\u00e9s l’\u00fanica beneficiada, tamb\u00e9 ho \u00e9s el col\u00b7lectiu. El problema \u00e9s acceptar que un serveixi de l’altre. O que els drets d’unes passin perqu\u00e8 les altres puguin comprar la samarreta<\/a>\u00a0de 600\u20ac. El missatge queda aix\u00ed supeditat a la posada en escena, per\u00f2 fa efecte. Aix\u00f2, juntament amb les cont\u00ednues proclames contra el patriarcat (com el top <\/a> portat per Cara Delevingne a la passada Gala Met) eclipsen els que probablement siguin els majors \u00e8xits de Chiuri envers la causa.<\/p>\n

\"\"

DIOR, Judy Chicago. Foto:Kevin Tachman, 2020<\/p><\/div>\n

La directiva escuda la seva defensa del moviment per a una marca de luxe de la talla de Dior a trav\u00e9s de l’art, mantenint un idil\u00b7li amb les pr\u00e0ctiques feministes de la segona onada arran de la col\u00b7lecci\u00f3 P\/V 2018<\/strong>, per a la qual va desempolsar noms com el de Linda Nochlin<\/strong>, historiadora de l’art que va plantejar la perspectiva de g\u00e8nere dins la disciplina amb Per qu\u00e8 no hi ha hagut grans dones artistes?<\/em><\/strong> (1971). Judy Chicago<\/strong><\/a>, una altra gl\u00f2ria de l’art feminista, va dissenyar per a la col\u00b7lecci\u00f3 P\/V 2020<\/a> els missatges d’apoderament femen\u00ed de les banderoles brodades per les aprenents de l’escola taller Chanakya, amb q\u00fcestions com \u201cI si les dones governessin el m\u00f3n?\u201d<\/strong> . Al seu dia, Chicago va apostar per enaltir t\u00e8cniques artesanals com el brodat, relegat a una condici\u00f3 menor (com les dones al llarg de la hist\u00f2ria) pel seu vincle dom\u00e8stic (femen\u00ed) tal com va plasmar a la seva obra m\u00e9s \u00e8pica: The Dinner Party<\/em><\/strong> (1979), on figuren noms com el de Virginia Woolf. Precisament, sobre aquest encimbellament de la tradici\u00f3 artesanal va reflexionar la col\u00b7lecci\u00f3 Alta Costura O\/I 2021<\/a>, amb picada d’ullet a Woolf incl\u00f2s. L’artista parisenca Eva Jospin<\/strong> va idear per a l’ocasi\u00f3 la Chambre de Soie<\/em><\/strong>, en honor a la sala de brodats del Palazzo Colonna de Roma, al\u00b7ludint, alhora, a Una habitaci\u00f3n propia (1929). L’obra, que evoca la tactilitat de les fibres t\u00e8xtils, recobra un sentit desposse\u00eft durant el confinament per Covid-19, transformant la materialitat que sorgeix del llenguatge subversiu del brodat en mem\u00f2ria, una q\u00fcesti\u00f3 extensible a les peces de la desfilada.<\/p>\n

\"\"

DIOR, Eva Jospin. Foto: Sarah Meyssonnier\/REUTERS, 2021<\/p><\/div>\n

A aquesta milit\u00e0ncia feminista s’hi va unir l’artista visual Marinella Senatore<\/strong>, que va il\u00b7luminar la Piazza del Duomo de Lecce amb una impressionant estructura de llums LED per a la col\u00b7lecci\u00f3 creuer 2021<\/a>, unificant tradici\u00f3, folklore i avantguarda art\u00edstica. El muntatge de luminarie<\/em> va ser testimoni de l’homenatge al brodat, l’encaix o el macram\u00e9 i va ser c\u00f2mplice en irradiar frases de protesta a l’estil de Jenny Holzer<\/strong>: servint-se de la ret\u00f2rica com a vehicle per q\u00fcestionar l’statu quo<\/em>. Missatges lluminosos pels quals Chiuri ja havia apostat pr\u00e8viament a la desfilada Pr\u00eat-\u00e0-<\/strong><\/a>Porter O\/I 2020<\/strong><\/a> al costat de l’artista conceptual Claire Fontaine<\/strong>, on la paraula \u201cConsent\u201d parpellejava en verd, ambre i vermell. En aquesta ocasi\u00f3, va introduir la col\u00b7lecci\u00f3 de tall uniformat amb la sent\u00e8ncia I Say I<\/em>2<\/em>, tretes del manifest La presenza dell’uomo nel femminismo<\/em><\/strong> (1971) del col\u00b7lectiu feminista Rivolta Femminile<\/strong>.<\/p>\n

\"\"

DIOR, Marinella Senatore. Foto Cortes\u00eda Dior (web)<\/p><\/div>\n

\"\"

DIOR, Claire Fontaine. Foto: Cortes\u00eda Dior (web)<\/p><\/div>\n

Per sort, no tot s\u00f3n esl\u00f2gans de pancarta, un recurs tan desfasat com el moment en qu\u00e8 Angela Merkel reconeix p\u00fablicament ser feminista<\/a>: els \u00faltims dies del seu mandat. Les possibilitats art\u00edstiques expandeixen altres formes de protesta, sent destacable la transformaci\u00f3 a qu\u00e8 l’artista Silvia Giambrone<\/strong> va sotmetre la Galeria dels Miralls de Versalles per a la col\u00b7lecci\u00f3 <\/strong><\/a>Ready to Wear <\/strong><\/a>O\/I 2021<\/strong><\/a>, el principal prop\u00f2sit del qual, el reflex i l’autopercepci\u00f3, va quedar anul\u00b7lat en veure’s reempla\u00e7ats per excel\u00b7lents cera i espines. Una clara al\u00b7lusi\u00f3 als contes de princeses on el mirall \u00e9s tant una arma com un handicap, en qu\u00e8, segons Chiuri, no ens hem de mirar per construir la nostra pr\u00f2pia identitat. L’espai, s\u00edmbol de l’absolutisme mon\u00e0rquic, tamb\u00e9 va ser testimoni d’un ball per la llibertat femenina coreografiat per la israeliana Sharon Eval<\/strong>, esdevingut en 8M<\/a>. A m\u00e9s, la dissenyadora va rec\u00f3rrer a diverses il\u00b7lustradores per crear 5 teasers <\/a>animats que representessin una visi\u00f3 contempor\u00e0nia dels contes de fades, publicant-los a les xarxes socials abans de presentar la col\u00b7lecci\u00f3.<\/p>\n

\"\"

DIOR, Silvia Giambrone. Foto: Sophie Carre (en la web de Giambrone)<\/p><\/div>\n

Totes aquestes connexions no s\u00f3n casuals. Totes fan \u00e8mfasi en el paper de la dona des d’una perspectiva femenina, apostant per una Herstory<\/strong>. Chiuri suma, en temps present, la visibilitat de creadores coet\u00e0nies, cosa que tamb\u00e9 duu a terme el seu company Kim Jones<\/strong>, director creatiu de Dior Homme<\/strong>, que fa el mateix amb homes artistes. En aquesta capitania, i podr\u00edem dir mecenatge, la firma de luxe advoca per una narrativa conseq\u00fcent amb els valors que defensa. Al cas: dissenys per a dones, fets per dones.<\/p>\n

 <\/p>\n

(Foto de portada: Marinella Senatore,\u00a0Luminarie<\/em>, 2020. Instal\u00b7laci\u00f3 per a la desfilada Dior 2020, col\u00b7lecci\u00f3 creuer 2021 a Lecce (Italia). Foto: Alessandro Garofalo. Cortesia de l’artista i de Dio<\/span>r)<\/p>\n","protected":false},"excerpt":{"rendered":"

Des que Maria Grazia Chiuri (Roma, 1964) es va convertir en la primera directora creativa de Dior el 2016, les col\u00b7laboracions art\u00edstiques de la maison amb dones artistes s\u00f3n nombroses….<\/p>\n","protected":false},"author":2741,"featured_media":34555,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6131],"tags":[],"coauthors":[6738],"acf":[],"yoast_head":"\nDior makes Herstory – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dior makes Herstory – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Des que Maria Grazia Chiuri (Roma, 1964) es va convertir en la primera directora creativa de Dior el 2016, les col\u00b7laboracions art\u00edstiques de la maison amb dones artistes s\u00f3n nombroses....\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2021-12-13T06:13:53+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-07-09T12:33:40+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/DIOR-Senatore.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"800\" \/>\n\t<meta property=\"og:image:height\" content=\"566\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Elena Gonz\u00e1lez Gonz\u00e1lez\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrit per\" \/>\n\t<meta name=\"twitter:data1\" content=\"Elena Gonz\u00e1lez Gonz\u00e1lez\" \/>\n\t<meta name=\"twitter:label2\" content=\"Temps estimat de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minuts\" \/>\n\t<meta name=\"twitter:label3\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data3\" content=\"Elena Gonz\u00e1lez Gonz\u00e1lez\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/\",\"url\":\"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/\",\"name\":\"Dior makes Herstory – A*Desk\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/DIOR-Senatore.jpg\",\"datePublished\":\"2021-12-13T06:13:53+00:00\",\"dateModified\":\"2023-07-09T12:33:40+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/048b4eac8effa8e15e5b9df3e5a4418b\"},\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/#breadcrumb\"},\"inLanguage\":\"ca\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/DIOR-Senatore.jpg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/DIOR-Senatore.jpg\",\"width\":800,\"height\":566},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/a-desk.org\/ca\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dior makes Herstory\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/a-desk.org\/#website\",\"url\":\"https:\/\/a-desk.org\/\",\"name\":\"A*Desk\",\"description\":\"A*Desk Critical Thinking\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/a-desk.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"ca\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/048b4eac8effa8e15e5b9df3e5a4418b\",\"name\":\"Elena Gonz\u00e1lez Gonz\u00e1lez\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/image\/9a88319a575f29e3ac5df8850b2482f6\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6eab495cf91a49bb22354dd887b5d543?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6eab495cf91a49bb22354dd887b5d543?s=96&d=mm&r=g\",\"caption\":\"Elena Gonz\u00e1lez Gonz\u00e1lez\"},\"url\":\"https:\/\/a-desk.org\/ca\/autor\/elena-gonzalez-gonzalez\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Dior makes Herstory – A*Desk","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":"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/","og_locale":"ca_ES","og_type":"article","og_title":"Dior makes Herstory – A*Desk","og_description":"Des que Maria Grazia Chiuri (Roma, 1964) es va convertir en la primera directora creativa de Dior el 2016, les col\u00b7laboracions art\u00edstiques de la maison amb dones artistes s\u00f3n nombroses....","og_url":"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/","og_site_name":"A*Desk","article_published_time":"2021-12-13T06:13:53+00:00","article_modified_time":"2023-07-09T12:33:40+00:00","og_image":[{"width":800,"height":566,"url":"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/DIOR-Senatore.jpg","type":"image\/jpeg"}],"author":"Elena Gonz\u00e1lez Gonz\u00e1lez","twitter_card":"summary_large_image","twitter_misc":{"Escrit per":"Elena Gonz\u00e1lez Gonz\u00e1lez","Temps estimat de lectura":"7 minuts","Written by":"Elena Gonz\u00e1lez Gonz\u00e1lez"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/","url":"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/","name":"Dior makes Herstory – A*Desk","isPartOf":{"@id":"https:\/\/a-desk.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/#primaryimage"},"image":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/#primaryimage"},"thumbnailUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/DIOR-Senatore.jpg","datePublished":"2021-12-13T06:13:53+00:00","dateModified":"2023-07-09T12:33:40+00:00","author":{"@id":"https:\/\/a-desk.org\/#\/schema\/person\/048b4eac8effa8e15e5b9df3e5a4418b"},"breadcrumb":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/#breadcrumb"},"inLanguage":"ca","potentialAction":[{"@type":"ReadAction","target":["https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/"]}]},{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/#primaryimage","url":"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/DIOR-Senatore.jpg","contentUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/DIOR-Senatore.jpg","width":800,"height":566},{"@type":"BreadcrumbList","@id":"https:\/\/a-desk.org\/ca\/magazine\/dior-makes-herstory\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/a-desk.org\/ca\/"},{"@type":"ListItem","position":2,"name":"Dior makes Herstory"}]},{"@type":"WebSite","@id":"https:\/\/a-desk.org\/#website","url":"https:\/\/a-desk.org\/","name":"A*Desk","description":"A*Desk Critical Thinking","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/a-desk.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"ca"},{"@type":"Person","@id":"https:\/\/a-desk.org\/#\/schema\/person\/048b4eac8effa8e15e5b9df3e5a4418b","name":"Elena Gonz\u00e1lez Gonz\u00e1lez","image":{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/#\/schema\/person\/image\/9a88319a575f29e3ac5df8850b2482f6","url":"https:\/\/secure.gravatar.com\/avatar\/6eab495cf91a49bb22354dd887b5d543?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6eab495cf91a49bb22354dd887b5d543?s=96&d=mm&r=g","caption":"Elena Gonz\u00e1lez Gonz\u00e1lez"},"url":"https:\/\/a-desk.org\/ca\/autor\/elena-gonzalez-gonzalez\/"}]}},"_links":{"self":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/34561"}],"collection":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/users\/2741"}],"replies":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/comments?post=34561"}],"version-history":[{"count":9,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/34561\/revisions"}],"predecessor-version":[{"id":34758,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/34561\/revisions\/34758"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media\/34555"}],"wp:attachment":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media?parent=34561"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/categories?post=34561"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/tags?post=34561"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/coauthors?post=34561"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}