{"id":31108,"date":"2020-12-28T06:00:09","date_gmt":"2020-12-28T05:00:09","guid":{"rendered":"http:\/\/a-desk.org\/?p=31108"},"modified":"2023-07-09T14:45:28","modified_gmt":"2023-07-09T12:45:28","slug":"alberto-entre-la-tribu-y-el-estado","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/","title":{"rendered":"Alberto, between the tribe and the State"},"content":{"rendered":"

Alberto S\u00e1nchez is an artist about whom we know a great deal, even though there are some aspects about such a crucial period in his life as his stay in Paris in 1937, at the time when he took part in the Spanish Pavilion, a period of which relatively little is known.<\/p>\n

Alberto came to Paris in late April, when the construction of the pavilion\u2019s metal structure was coming to a close and the inside walls were being divided into compartments. We don\u2019t know whether he set to work straight away on what would become his signature sculpture for which he would be renowned: El pueblo espa\u00f1ol tiene un camino que conduce a una estrella (The Spanish People have a Path that leads to a Star)<\/em> or he helped with construction on site, or both things at the same time. Thanks to research conducted by Josefina Alix Trueba for the catalogue of Pabell\u00f3n Espa\u00f1ol 1937<\/em>, which was exhibited at the Reina Sof\u00eda in 1987, we know that Alberto worked at the pavilion as an ordinary labourer.<\/p>\n

On the second floor of the pavilion, the section of Plastic Arts and Popular Arts shared a room together. Separated lengthwise using panels, one half exhibited works of art (paintings, drawings, engravings and sculptures) whose main subject matter focused on the tragedy of war and the hardships of the Spanish people; the other half contained a wide array of pottery pieces, wickerwork, esparto works, a few agricultural tools and a rich collection of folk costumes. One of Alberto\u2019s main tasks at the pavilion, other than producing his sculpture, obviously, was the installation of this section. The term popular arts is nothing but a euphemism for minor arts, those generally not acknowledged or accorded authorship, in stark contrast to Art with capital \u201cA\u201d, defined by recognition, authorship, subjectivity, newness, originality or being a unique piece. Although it was claimed that the Popular Arts section was being granted as much weight and relevance as the Plastic Arts\u2019 it wasn\u2019t actually so. The pottery works were reassembled from two private collections and were no more than one hundred pieces. Here is an excerpt of the letter sent by Jos\u00e9 Gaos, the pavilion\u2019s curator, to Jos\u00e9 Prat, Undersecretary of the Presidency, in the wake of the pavilion\u2019s inauguration \u2013 on July 12 \u2013 where a a lack of planning can be noted in that section.<\/p>\n

\u00abThe second Section, assigned to the popular arts, is the most unfortunate. While, on paper, it had to be the most important one, it is so far the emptiest one. A few photographs on the walls, some of them magnificent, but that is all. With pottery having arrived yesterday, and still not in place. I\u2019m not sure if that\u2019s because we haven\u2019t managed to properly make sense of this section of pieces of the popular arts and techniques, from pottery to wickerwork, from lace to espadrilles. Is it really impossible to supply a car to a person familiar with Spain and its popular arts for a few weeks and go to a few villages in different provinces to collect some characteristic samples?\u00bb[1]<\/p><\/blockquote>\n

While Gaos referred to the Popular Arts section as \u201cthe most important one\u201d, it\u2019s hard to understand why he had such scant resources. One feels that Alberto was the sole person in charge of the section. As a matter of fact, Gaos himself deemed Alberto indispensable, besides Lacasa and Sert (the pavilion\u2019s architects), because of his ability to \u201crectify flaws such as those produced in popular works\u201d. What was the intention when they reunited the plastic arts with the popular arts on a single floor? Was it the point to demonstrate the coexistence of a modern, avantgarde Spain \u2013 as exemplified by Picasso \u2013 and an atavistic Spain of craftsmen? What did Gaos mean by \u201cwe haven\u2019t managed to properly make sense of this section\u201d? Self-evidently, there was a great difference in budget and infrastructure between the two of them. Behind the Plastic Arts section was the machinery of the General Administration of Fine Arts, led by Josep Renau, who was responsible for its logistics as well as its contents, and of extending invitations to renowned artists such as Picasso, Mir\u00f3, Calder, J\u00falio Gonz\u00e1lez or Alberto himself. It\u2019s also unclear why, on the one hand, craftmanship was reputedly praised while displaying at the same time photographic panels in the same room as well as on the first floor (the pavilion was to be visited upstairs first) in which that lore was being called into question. We\u2019re referring to a photomontage dedicated to the new role fulfilled by the Spanish woman that we will comment on later, and the panels devoted to the Pedagogical Missions. The Missions were created in 1931 as a cornerstone of the Second Republic\u2019s government cultural propaganda to combat illiteracy. An elite of intellectuals brought reproductions of famous paintings, music, books, talks, theatre or cinema to every corner of the Peninsula to instil \u201cthe breath of progress\u201d into unlettered societies. Most receivers of that State-sponsored colonialism didn\u2019t possess the slightest codes to figure out the slogans or messages emanating from those \u201ccivilizing\u201d campaigns. As it can be seen in photographs which documented those events and activities, they look more like bemused subjects than receptive subjects. The pictures don\u2019t show any kind of mutual exchange or enrichment. What was proved and displayed with said campaigns \u2013 plain and simple \u2013 was that urban or State culture was superior to rural or popular culture. A counterpoint of subaltern culture and \u201ccultivated\u201d culture, far removed from Antonio Gramsci\u2019s theories \u2013 which he was precisely working on at the time from an Italian prison \u2013. By using the word subaltern, Gramsci referred to the lower classes of societies and their marginal parts. Among these, many groups of craftspeople were included, obviously.<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

As evidenced by photomontages dedicated to the Missions, there was a will to dominate on the part of hegemonic culture which disregarded the subaltern classes\u2019 \u201cworldview\u201d. That\u2019s why it is hardly understandable that the Popular Arts section was supposed to be so remarkable when, in fact, the societies of potters, espadrille or wicker manufacturers and weavers, were regarded as a barrier to progress. As the Pedagogical Missions prove, the subaltern classes \u2013 such as the Lumpenproletariat for Marx \u2013 were nothing else than remains of the past whose pre-capitalistic life conditions were an obstacle to the \u201clocomotive of history\u201d. From the standpoint of official or hegemonic culture, crafts were nothing else but archaic resistances which repeated the same stereotypies over and over, with barely any willingness to change.<\/p>\n

Besides running the Popular Arts section, Alberto devised, and it is our belief that he also built, a number of shelves as displays for exhibition, two of them consisting of different levels for pottery pieces and a lower one for wickerwork and other objects. It may be assumed that Alberto must have personally built the shelves because manual work, craft, manufacture, the properties of materials and tools, were of great importance to him.<\/p>\n

\"\"<\/a><\/p>\n

In the catalogue for the exhibition Alberto 1895-1962, shown at the Reina Sof\u00eda in 2001, those shelves are hardly mentioned and they are not listed either. Despite having been described by Alix as \u201cwonderful wooden shelves, with sinuous shapes, with drilled openings and which occasionally looked like pottery, or ploughing implements, or a mix of both\u201d,[2] we don\u2019t know if they were considered by Alberto to be works of art or mere displays. It seems difficult to imagine Picasso in this frame of mind since, as an \u201cartist-genius\u201d, he didn\u2019t differentiate between plates or paintings when it came to signing his works. Alberto, however, because of his nature, must have been somehow embarrassed to betray his humble background. The son of a baker and a maid, he became a blacksmith\u2019s assistant at ten years old. At fifteen, he worked as a baker while he learnt to read and write. Unquestionably subaltern origins which made his work at the pavilion as an ordinary worker seem natural. According to Alix, he earnt the same salary as the rest, around 3000 francs per month, which only covered essentials. There is something mysterious, telluric almost, regarding Alberto\u2019s commitment with the section of Popular Arts. Why, earning so little, did he continue to work even after the pavilion\u2019s opening, not merely completing the installation but making changes as materials kept arriving late?<\/p>\n

In a speech given by Alberto in Madrid, in late 1932, entitled El arte como superaci\u00f3n personal (Art as personal self-improvement), <\/em>some key features of his thinking can be ascertained which may also serve as an answer to some of the questions raised here. Alberto uses the adjective \u201cartistic artist\u201d for the individualist artist, a slave to himself who eschews what\u2019s simple and natural. He also posits that the \u201cstatuary, the painting-picture-theatre and the contemplative poet and the rhetoric writer in history\u201d are only of use to \u201cidle people in the capacity of great lord and master\u201d. On the contrary, he prefers an art with soul that \u201cnurtures the person and elevates it to cleanliness\u201d.<\/p>\n

In the Popular Arts section, as it has been mentioned, there was a photomontage dedicated to women\u2019s new role which portrayed a militiawoman wearing an overall next to a young woman dressed in a typical costume of Salamanca, wearing all sorts of beads and ornaments. In that photomontage, the Popular Front asserted their revolutionary potential alluding to the new role assumed by women in contrast to her role in a vernacular and backwards Spain, as represented by the young Salamancan woman. The photomontage included a paragraph which encouraged women to free themselves from superstition and the squalor of the past and become an active part of the future which was being built. Two worlds which appeared as antagonistic and irreconcilable, when they could have actually been complementary. In no way a point is being made of contesting women\u2019s emancipation or the social revolution which was born in 1936, but quite the contrary. One must go beyond rational logic to understand other ways of doing and thinking such as those represented by the young Salamancan woman with her singing, her dancing, her magic or her rituals. Ancient forms of attachment to nature which, as Gramsci said, shouldn\u2019t be considered to be \u201can oddity, a rarity or a quaint element but something that is deeply serious and must be taken seriously. Only thus education will become more efficient and will really shape the birth of a new culture in the great popular masses. That is, the distinction between modern culture and popular culture or folklore will disappear\u201d.[3] This same space, with no divide between the popular and the modern, was inhabited by Alberto, right in the hiatus between ancestral and modern, between country and town, between tribe and State.<\/p>\n

<\/a>\"\"<\/a><\/p>\n

(Images:\u00a0photomontages by Xavier Aren\u00f3s specifically for this collaboration)<\/p>\n

[1] Alix Trueba, Josefina. Pabell\u00f3n Espa\u00f1ol 1937. Exposici\u00f3n Internacional de Par\u00eds<\/em>. Madrid: Centro de Arte Reina Sof\u00eda- Ministerio de Cultura, 1987, pp. 129, 130.<\/p>\n

[2] Ib\u00edd., p. 90.<\/p>\n

[3]. Gramsci, Antonio. Cuadernos de la c\u00e1rcel. <\/em>Tomo 6. M\u00e9xico, D.F.: Ediciones Era, 2.000, pp. 205, 206.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Alberto S\u00e1nchez is an artist about whom we know a great deal, even though there are some aspects about such a crucial period in his life as his stay in…<\/p>\n","protected":false},"author":2692,"featured_media":31092,"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":[6087],"tags":[],"coauthors":[6629],"acf":[],"yoast_head":"\nAlberto, between the tribe and the State – 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\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alberto, between the tribe and the State – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Alberto S\u00e1nchez is an artist about whom we know a great deal, even though there are some aspects about such a crucial period in his life as his stay in...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2020-12-28T05:00:09+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-07-09T12:45:28+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/a-desk.org\/wp-content\/uploads\/2020\/12\/IMAGEN-1-Misiones-356x400.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"356\" \/>\n\t<meta property=\"og:image:height\" content=\"400\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Xavier Aren\u00f3s\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Xavier Aren\u00f3s\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/\",\"url\":\"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/\",\"name\":\"Alberto, between the tribe and the State – A*Desk\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2020\/12\/IMAGEN-1-Misiones.jpg\",\"datePublished\":\"2020-12-28T05:00:09+00:00\",\"dateModified\":\"2023-07-09T12:45:28+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/8dd13f53aa43570897cbbe40f74b0c54\"},\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2020\/12\/IMAGEN-1-Misiones.jpg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2020\/12\/IMAGEN-1-Misiones.jpg\",\"width\":1691,\"height\":1900},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/a-desk.org\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Alberto, between the tribe and the State\"}]},{\"@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\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/8dd13f53aa43570897cbbe40f74b0c54\",\"name\":\"Xavier Aren\u00f3s\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/image\/0ef159d7d0509638fc89619bf08d477f\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/8a3148c17dca30914904e1a05e9fc14f?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/8a3148c17dca30914904e1a05e9fc14f?s=96&d=mm&r=g\",\"caption\":\"Xavier Aren\u00f3s\"},\"url\":\"https:\/\/a-desk.org\/en\/autor\/xavier-arenos\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Alberto, between the tribe and the State – 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\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/","og_locale":"en_US","og_type":"article","og_title":"Alberto, between the tribe and the State – A*Desk","og_description":"Alberto S\u00e1nchez is an artist about whom we know a great deal, even though there are some aspects about such a crucial period in his life as his stay in...","og_url":"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/","og_site_name":"A*Desk","article_published_time":"2020-12-28T05:00:09+00:00","article_modified_time":"2023-07-09T12:45:28+00:00","og_image":[{"width":356,"height":400,"url":"http:\/\/a-desk.org\/wp-content\/uploads\/2020\/12\/IMAGEN-1-Misiones-356x400.jpg","type":"image\/jpeg"}],"author":"Xavier Aren\u00f3s","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Xavier Aren\u00f3s","Est. reading time":"9 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/","url":"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/","name":"Alberto, between the tribe and the State – A*Desk","isPartOf":{"@id":"https:\/\/a-desk.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/#primaryimage"},"image":{"@id":"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/#primaryimage"},"thumbnailUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2020\/12\/IMAGEN-1-Misiones.jpg","datePublished":"2020-12-28T05:00:09+00:00","dateModified":"2023-07-09T12:45:28+00:00","author":{"@id":"https:\/\/a-desk.org\/#\/schema\/person\/8dd13f53aa43570897cbbe40f74b0c54"},"breadcrumb":{"@id":"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/#primaryimage","url":"https:\/\/a-desk.org\/wp-content\/uploads\/2020\/12\/IMAGEN-1-Misiones.jpg","contentUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2020\/12\/IMAGEN-1-Misiones.jpg","width":1691,"height":1900},{"@type":"BreadcrumbList","@id":"https:\/\/a-desk.org\/en\/magazine\/alberto-entre-la-tribu-y-el-estado\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/a-desk.org\/en\/"},{"@type":"ListItem","position":2,"name":"Alberto, between the tribe and the State"}]},{"@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":"en-US"},{"@type":"Person","@id":"https:\/\/a-desk.org\/#\/schema\/person\/8dd13f53aa43570897cbbe40f74b0c54","name":"Xavier Aren\u00f3s","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/a-desk.org\/#\/schema\/person\/image\/0ef159d7d0509638fc89619bf08d477f","url":"https:\/\/secure.gravatar.com\/avatar\/8a3148c17dca30914904e1a05e9fc14f?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/8a3148c17dca30914904e1a05e9fc14f?s=96&d=mm&r=g","caption":"Xavier Aren\u00f3s"},"url":"https:\/\/a-desk.org\/en\/autor\/xavier-arenos\/"}]}},"_links":{"self":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts\/31108"}],"collection":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/users\/2692"}],"replies":[{"embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/comments?post=31108"}],"version-history":[{"count":6,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts\/31108\/revisions"}],"predecessor-version":[{"id":31121,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts\/31108\/revisions\/31121"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/media\/31092"}],"wp:attachment":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/media?parent=31108"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/categories?post=31108"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/tags?post=31108"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/coauthors?post=31108"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}