{"id":1145,"date":"2012-10-15T14:00:36","date_gmt":"2012-10-15T12:00:36","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/?page_id=1145"},"modified":"2015-01-03T20:38:29","modified_gmt":"2015-01-03T18:38:29","slug":"anthologies","status":"publish","type":"page","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/anthologies","title":{"rendered":"Anthologies"},"content":{"rendered":"<p>In anthologies one can read selection of texts of our guest lecturers, interviews, texts of final <em>World of Art<\/em>&#8216;s exhibitions, visual material etc. Anthologies are important segment for introducing <em>World of Art<\/em> program to professional and nonprofessional public. At the same time they are valuable study material for learning about art, curatorial and critical practices.<\/p>\n<hr \/>\n<p><a name=\"07\"><\/a><\/p>\n<table style=\"padding-top: 15px;\" width=\"100%\" border=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\" width=\"250px\"><img decoding=\"async\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/zborniki\/svet7-14.jpg\" alt=\"Zbornik letnikov 7-14, 2012\" \/><\/td>\n<td valign=\"top\"><strong>Anthology DILEMMAS OF CURATORIAL PRACTICES<\/strong><br \/>\nYears 7\u201314, 2012<br \/>\n<strong>Editors:<\/strong> Sa\u0161a Nabergoj, Barbara Bor\u010di\u0107<br \/>\n<strong>Editors assistant:<\/strong> Simona \u017dvanut<br \/>\n<strong>Texts:<\/strong><br \/>\n<strong>Curatorial and Institutional Strategies (lectures\/texts, conversations, reflections)<\/strong><br \/>\n<strong>Selection of texts 2007\u20132012:<\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2213\">Pau Cata: <em>Theory as Practice: Creative Research on CeRCCa\u2019s Local Context<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2061\">S\u00f8nke Gau and Katharina Schlieben: <em>Marginalised Artistic Practices and Self-Organisation: &#8216;Work to do! Self-Organisation in Precarious Working Conditions&#8217;<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2087\">Angela Harutyunyan: <em>Apart We Are Together: Topographical Curating<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/archives\/5362\">Petra Kap\u0161: <em>Lete ali Mnemozina za fu-(turo) OR kot omniprisotna trojnost: poiesis, tehn\u00e9, parrhesia<\/em> (in Slovene only)<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2138\">Dorothee Richter: <em>Artists and Curators as Authors \u2013 Competitors, Collaborators, or Teamworkers?<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2163\">Nora Sternfeld and Luisa Ziaja: <em>What Comes After the Show? On Post-representational Curating<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2085\">Andrzej Szczerski: <em>Curating and the Importance of Artwork<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2283\">Sa\u0161a Nabergoj: <em>We are Interested in Ways of Working Based on Local Needs (conversation: Petja Grafenauer)<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2138\">Dorothee Richter: <em>Some Aspect of a Future Curatorial Education and the Development of the Field of Curating and Art Mediation<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2313\">Clementine Deliss: <em>Curator is the One who Generates Ideas in Collaboration with Artists (conversation: Sa\u0161a Nabergoj)<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2320\">Petja Grafenauer: <em>That&#8217;s What LabSUs Meant to me<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2326\">Petja Grafenauer: <em>The Significance of Inter-regional Integration for Curatorial Practices<\/em><\/a><\/li>\n<\/ul>\n<p><strong>From the Workshops Archive:<\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2235\">Eda \u010cufer: <em>The Interview as a Tool <\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2228\">Suzana Milevska: <em>Voice(s) of One\u2019s Own: Writing a Catalogue Text as a Specific Genre of Interdisciplinary and Performative Writing<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/archives\/2549\" target=\"_blank\">Round table: <em>Curatorial Practices in Slovenia<\/em><\/a> (in Slovene only)<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2258\">Sandra Bel\u0161ak: <em>Pretty Dirty<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2250\">Iva Kova\u010d: <em>Iconoclasm or the Absolution of Visual Pleasure<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2255\">Lara Plav\u010dak: <em>Around the World of Art in 4.380 Days<\/em><\/a><\/li>\n<\/ul>\n<p><strong>World of Art. Years 1997\u20132012:<\/strong> Documentation<\/p>\n<p><strong>Press clipping<\/strong><\/p>\n<p>Slovene\/English Edition<\/p>\n<p>Price: 20 eur.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<hr \/>\n<p><a name=\"05-06\"><\/a><\/p>\n<table style=\"padding-top: 15px;\" width=\"100%\" border=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\" width=\"250px\"><img decoding=\"async\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/zborniki\/svet0103.jpg\" alt=\"Zbornik Strategije predstavljanja 2 in 3, 2004\" \/><\/td>\n<td valign=\"top\"><strong>Anthology STRATEGIES OF PRESENTATION II and III<\/strong><br \/>\n(With catalogues of exhibiotions <em>Camera Lucida<\/em> and <em>Fade In Fade Out<\/em>)<br \/>\nDouble edition, 2004<br \/>\n<strong>Editors:<\/strong> Barbara Bor\u010di\u0107, Sa\u0161a Glavan<br \/>\n<strong>Texts:<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/buden_txt.htm\" target=\"_blank\">Boris Buden: <em>Art as a Political Intervention: The Austrian Case<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/dronet_txt.htm\" target=\"_blank\">Anne Cartel, David Dronet:<em> Multimedia cultural centre Station Mir<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/esche_txt.htm\" target=\"_blank\">Charles Esche: <em>The possibility forum &#8211; institutional change and modest proposals<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/jewesbury_txt.htm\" target=\"_blank\">Daniel Jewesbury:<em> Scopo<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/keser_txt.htm\" target=\"_blank\">Ivana Keser:<em> Author&#8217;s Newspaper: The Freedom of Misinformation<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/misiano_txt.htm\" target=\"_blank\">Viktor Misiano:<em> Strategies of Exhibiting from Modernisation towards De-Modernisation<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/pogacar_txt.htm\" target=\"_blank\">Tadej Poga\u010dar: <em>This Is What You Want &#8211; This Is What You Get<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/topolove_txt.htm\" target=\"_blank\">Donatella Ruttar, Moreno Miorelli: <em>Stazione di Topolo<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/sivavec_txt.htm\" target=\"_blank\">Nevenka \u0160ivavec: <em>The Lure of the Local<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/skart_txt.htm\" target=\"_blank\">\u0160KART: <em>Pesme koje su pobegle<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/whw_txt.htm\" target=\"_blank\">WHW: <em>In Between: Independence and the Lures of Institutionalisation<\/em><\/a><\/li>\n<\/ul>\n<p><strong>Conversations with lecturers: <\/strong>Barbara Bor\u010di\u0107, Eda \u010cufer, Dejan Grba, Ur\u0161ka Jurman, Tanja Mastnak, Aldo Milohni\u0107, Aleksandra Mir\u0107i\u0107, Sa\u0161a Glavan, Alenka Pirman, Nevenka \u0160ivavec, Vladimir Tupanjac, Beti \u017derovc (<a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/0102inter.htm\" target=\"_blank\">2001\/02<\/a>, <a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/0203inter.htm\" target=\"_blank\">2002\/03<\/a>)<\/p>\n<p>Slovene\/English Edition<\/p>\n<p>Price: 20 eur.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<hr \/>\n<p><a name=\"04\"><\/a><\/p>\n<table style=\"padding-top: 15px;\" width=\"100%\" border=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\" width=\"250px\"><img decoding=\"async\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/zborniki\/svet00.jpg\" alt=\"Zbornik\" \/><\/td>\n<td valign=\"top\"><strong>Anthology STRATEGIES OF PRESENTATION I, 2000\/2001<\/strong><br \/>\n<strong>Editors:<\/strong> Barbara Bor\u010di\u0107, Sa\u0161a Glavan<br \/>\n<strong>Texts:<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_clementine_ang.htm\" target=\"_blank\">Cl\u00e9mentine Deliss: <em>Metronome: Curatorial Practice and Research beyond Exhibitions<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_branko_ang.htm\" target=\"_blank\">Branislav Dimitrijevi\u0107: <em>The Grand Compromise: On Examples of the Use of Political References in Serbian Art of the<br \/>\n90&#8217;s, and its Historical Background<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_eurovision_ang.htm\" target=\"_blank\">Marion von Osten, Peter Spillman in Susanna Perin: <em>Euro-Vision of the World of Art<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_mike_ang.htm\" target=\"_blank\">Mike Hentz: <em>Translation<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_marko_ang.htm\" target=\"_blank\">Marko Ko\u0161nik: <em>Abstraction and Action<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_oliver_ang.htm\" target=\"_blank\">Oliver Marchart: <em>Political Strategies as Artistic Strategies: The Use of Multiple Names<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_olesya_ang.htm\" target=\"_blank\">Olesya Turkina: <em>St. Petersburg&#8217;s Neo-academism. Revival of the Great Story<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_miha_ang.htm\" target=\"_blank\">Miha Zadnikar: <em>Restructuring Subculture<\/em><\/a><\/li>\n<\/ul>\n<p><strong>Conversations with lecturers:<\/strong> <a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/0001inter.htm\" target=\"_blank\">Eda \u010cufer, Ur\u0161a Jurman<\/a><\/p>\n<p><strong>Reports:<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_tecajnice_ang.htm\" target=\"_blank\">Participants of the course: <em>Media is a weapon, use it<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_simona_ang.htm\" target=\"_blank\">Simona Zorko: <em>The Round Table &#8216;Cultural spaces: Metelkova Mesto (Metelkova City) and Art Academies&#8217;<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_alenka_ang.htm\" target=\"_blank\">Alenka Gregori\u010d: <em>Nothing New in the West, neither in the East<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_sandra_ang.htm\" target=\"_blank\">Sandra Sajovic: <em>Cultural Tourism<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_sonja_ang.htm\" target=\"_blank\">Sonja Zavrtanik: <em>Vienna : Belgrade<\/em><\/a><\/li>\n<\/ul>\n<p>Slovene\/English Edition<\/p>\n<p>Price: 15 eur.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<hr \/>\n<p><a name=\"03\"><\/a><\/p>\n<table style=\"padding-top: 15px;\" width=\"100%\" border=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\" width=\"250px\"><img decoding=\"async\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/zborniki\/svet99.jpg\" alt=\"Zbornik\" \/><\/td>\n<td valign=\"top\"><strong>Anthology GEOPOLITCS AND ART, 1999<\/strong><br \/>\n<strong>Editor:<\/strong> Sa\u0161a Glavan<br \/>\n<strong>Texts:<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99charlytxang2.htm\" target=\"_blank\">Charles Harrison: <em>The Merits of Incompetence<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99andeltxang.htm\" target=\"_blank\">Jaroslav Andel: <em>Art&#8217;s shifting Grounds: The Case of Czechoslovakia \/ Czech Republic<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99calintxtang.htm\" target=\"_blank\">C\u0103lin Dan: <em>Geography of Doom. An Estimate of Possibilities<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99borutxang.htm\" target=\"_blank\">Borut Vogelnik: <em>The privatisation of time<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99rutartxang.htm\" target=\"_blank\">Du\u0161an Rutar: <em>Digital Aesthetics, global Images and Ethics of New Tribalism<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99editxang.htm\" target=\"_blank\">Edi Muka: <em>Permanent Instability<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99peljhantxang.htm\" target=\"_blank\">Marko Peljhan: <em>Permanent Instability<\/em><\/a><\/li>\n<\/ul>\n<p><strong>Conversations with lecturers:<\/strong> <a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99inter.htm\" target=\"_blank\">Eda \u010cufer<\/a><\/p>\n<p><strong>Reports:<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99excursions.htm\" target=\"_blank\">Sa\u0161a Glavan: <em>Travelling the World of Art<\/em><\/a><\/li>\n<li>Polona Tratnik: <em>The Process of forming the concept for the exhibition Visitors<\/em><\/li>\n<\/ul>\n<p>Slovene\/English Edition<\/p>\n<p>Price: 12 eur.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<hr \/>\n<p><a name=\"02\"><\/a><\/p>\n<table style=\"padding-top: 15px;\" width=\"100%\" border=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\" width=\"250px\"><img decoding=\"async\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/zborniki\/svet98.jpg\" alt=\"Zbornik\" \/><\/td>\n<td valign=\"top\"><a name=\"02\"><\/a><strong>Anthology THEORIES OF DISPLAY, 1997\/1998<\/strong><br \/>\n(With exhibition catalogue <em>Ko umetnost nabija<\/em>)<br \/>\n<strong>Editors: <\/strong>Metka Vre\u010dar, Nata\u0161a Petre\u0161in, Igor Zabel<br \/>\n<strong>Texts:<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98steph2.htm\" target=\"_blank\">Stephen Bann: <em>Display Across the Ages<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98ute2.htm\" target=\"_blank\">Ute Meta Bauer: <em>Do-It-Yourself: Exhibitions by Artists during the 20th Century<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98zgon2.htm\" target=\"_blank\">Nadja Zgonik: <em>The Role of National Identity Research in Theories of Display in Slovenia: Between Past and Present<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98konst2.htm\" target=\"_blank\">Konstantin Akinsha: <em>Notes on the Underground<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98poga2.htm\" target=\"_blank\">Tadej Poga\u010dar: <em>P.A.R.A.S.I.T.E. Museum of Contemporary Art and New Parasitism<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98zab2.htm\" target=\"_blank\">Igor Zabel: <em>Exhibition Strategies in the Nineties: A Few Examples from Slovenia<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98vuk2.htm\" target=\"_blank\">Vuk \u0106osi\u0107: <em>Net.Art, the Text<\/em><\/a><\/li>\n<\/ul>\n<p><strong>Reports:<\/strong> Ur\u0161a Jurman: <em>Progress Report<\/em><\/p>\n<p>Slovene\/English Edition<\/p>\n<p>Sold out.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<hr \/>\n<table style=\"padding-top: 15px;\" width=\"100%\" border=\"0\">\n<tbody>\n<tr>\n<td valign=\"top\" width=\"250px\"><img decoding=\"async\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/zborniki\/svet97.jpg\" alt=\"Zbornik\" \/><\/td>\n<td valign=\"top\"><a name=\"01\"><\/a><strong>CONCEPTUAL ART IN THE 60&#8217;s AND 70&#8217;s, 1996\/1997<\/strong><br \/>\n(With exhibition catalogue <em>This Art is Recycled<\/em>)<br \/>\n<strong>Editors:<\/strong> Ljubica Klan\u010dar, Lilijana Stepan\u010di\u010d, Igor \u0160panjol<\/p>\n<p>Slovene edition only.<\/p>\n<p>Sold out.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>In anthologies one can read selection of texts of our guest lecturers, interviews, texts of final World of Art&#8216;s exhibitions, visual material etc. Anthologies are important segment for introducing World of Art program to professional and nonprofessional public. At the same time they are valuable study material for learning about art, curatorial and critical practices. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-1145","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/1145","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/comments?post=1145"}],"version-history":[{"count":34,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/1145\/revisions"}],"predecessor-version":[{"id":2344,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/1145\/revisions\/2344"}],"wp:attachment":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/media?parent=1145"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/categories?post=1145"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/tags?post=1145"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}