{"id":7751,"date":"2025-06-18T14:01:13","date_gmt":"2025-06-18T12:01:13","guid":{"rendered":"https:\/\/labiennale.art.pl\/?page_id=7751"},"modified":"2025-09-01T14:02:34","modified_gmt":"2025-09-01T12:02:34","slug":"2026-2","status":"publish","type":"page","link":"https:\/\/labiennale.art.pl\/en\/competition\/2026-2\/","title":{"rendered":"2026"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":3867,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"p-competition.php","meta":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v16.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/labiennale.art.pl\/en\/competition\/2026-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"2026 - Pawilon Polski w Wenecji\" \/>\n<meta property=\"og:url\" content=\"https:\/\/labiennale.art.pl\/en\/competition\/2026-2\/\" \/>\n<meta property=\"og:site_name\" content=\"Pawilon Polski w Wenecji\" \/>\n<meta property=\"article:modified_time\" content=\"2025-09-01T12:02:34+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/labiennale.art.pl\/#website\",\"url\":\"https:\/\/labiennale.art.pl\/\",\"name\":\"Pawilon Polski w Wenecji\",\"description\":\"W Mi\\u0119dzynarodowej Wystawie Sztuki \\u2014 La Biennale di Venezia Polska uczestniczy od 1932 roku, a w Mi\\u0119dzynarodowej Wystawie Architektury \\u2014 od roku 1991.\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":\"https:\/\/labiennale.art.pl\/?s={search_term_string}\",\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/labiennale.art.pl\/en\/competition\/2026-2\/#webpage\",\"url\":\"https:\/\/labiennale.art.pl\/en\/competition\/2026-2\/\",\"name\":\"2026 - Pawilon Polski w Wenecji\",\"isPartOf\":{\"@id\":\"https:\/\/labiennale.art.pl\/#website\"},\"datePublished\":\"2025-06-18T12:01:13+00:00\",\"dateModified\":\"2025-09-01T12:02:34+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/labiennale.art.pl\/en\/competition\/2026-2\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/labiennale.art.pl\/en\/competition\/2026-2\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/labiennale.art.pl\/en\/competition\/2026-2\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"item\":{\"@type\":\"WebPage\",\"@id\":\"https:\/\/labiennale.art.pl\/en\/\",\"url\":\"https:\/\/labiennale.art.pl\/en\/\",\"name\":\"Home\"}},{\"@type\":\"ListItem\",\"position\":2,\"item\":{\"@type\":\"WebPage\",\"@id\":\"https:\/\/labiennale.art.pl\/en\/competition\/\",\"url\":\"https:\/\/labiennale.art.pl\/en\/competition\/\",\"name\":\"Competition\"}},{\"@type\":\"ListItem\",\"position\":3,\"item\":{\"@id\":\"https:\/\/labiennale.art.pl\/en\/competition\/2026-2\/#webpage\"}}]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","ACF":{"pavilion_photo":{"ID":6120,"id":6120,"title":"2015_fot. Barbara K. Kaniewska CCBYSA_2","filename":"2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-scaled.jpg","filesize":803129,"url":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2023\/10\/2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-scaled.jpg","link":"https:\/\/labiennale.art.pl\/en\/konkurs\/2024-2\/2015_fot-barbara-k-kaniewska-ccbysa_2\/","alt":"","author":"1","description":"","caption":"Fasada Polskiego Pawilonu w Wenecji, fot. Barbara K. Kaniewska","name":"2015_fot-barbara-k-kaniewska-ccbysa_2","status":"inherit","uploaded_to":5734,"date":"2023-10-31 14:38:18","modified":"2023-10-31 14:38:49","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/labiennale.art.pl\/wp-includes\/images\/media\/default.png","width":2560,"height":1707,"sizes":{"thumbnail":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2023\/10\/2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-340x340.jpg","thumbnail-width":340,"thumbnail-height":340,"medium":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2023\/10\/2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-340x227.jpg","medium-width":340,"medium-height":227,"medium_large":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2023\/10\/2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-768x512.jpg","medium_large-width":768,"medium_large-height":512,"large":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2023\/10\/2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-1024x683.jpg","large-width":1024,"large-height":683,"1536x1536":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2023\/10\/2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-1536x1024.jpg","1536x1536-width":1536,"1536x1536-height":1024,"2048x2048":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2023\/10\/2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-2048x1365.jpg","2048x2048-width":2048,"2048x2048-height":1365,"archive_thumbnail":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2023\/10\/2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-680x454.jpg","archive_thumbnail-width":680,"archive_thumbnail-height":454,"poster_thumbnail":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2023\/10\/2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-605x403.jpg","poster_thumbnail-width":605,"poster_thumbnail-height":403,"large_thumbnail":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2023\/10\/2015_fot.-Barbara-K.-Kaniewska-CCBYSA_2-1920x1280.jpg","large_thumbnail-width":1920,"large_thumbnail-height":1280}},"competition_info":"<p><strong>The results of the competition for the curatorial project of the exhibition in the Polish Pavilion at the 61st International Art Exhibition in Venice in 2026<\/strong><\/p>\n<p><strong>The Minister of Culture and National Heritage, Marta Cienkowska, has approved the project <em>Liquid Tongues<\/em>, submitted by curators Ewa Chomicka and Jolanta Woszczenko, for realisation in the Polish Pavilion at the 61st International Art Exhibition in Venice in 2026. Authored by Bogna Burska in collaboration with Daniel Kotowski, with the participation of Ch\u00f3r w Ruchu, Alicja Czyczel, Aleksandra Gryka and Magdalena Mosiewicz, the project has been recommended as the winning proposal by the competition jury.<\/strong><\/p>\n<p>On 20 August, the jury for the second stage of the competition convened at Zach\u0119ta \u2013 National Gallery of Art to select the curatorial project for the exhibition in the Polish Pavilion at the 61st International Art Exhibition in Venice in 2026. Appointed by the Minister of Culture and National Heritage, the jury consisted of: Marta Czy\u017c, Dorota Jarecka, Donata Jaworska, Magdalena Komornicka, Emilia Orzechowska, Agnieszka Pindera, Stanis\u0142aw Ruksza, Joanna Soko\u0142owska, Piotr Stasiowski, Urszula \u015awi\u0119cicka and Olga Wysocka. Jury member Matylda Taszycka was absent from the deliberations of the competition\u2019s second stage.<\/p>\n<p>From the 95 entries submitted to the competition, the jury selected the project <em>Liquid Tongues<\/em>, proposed by curators Ewa Chomicka and Jolanta Woszczenko and authored by Bogna Burska in collaboration with Daniel Kotowski, with the participation of Ch\u00f3r w Ruchu, Alicja Czyczel, Aleksandra Gryka and Magdalena Mosiewicz.<\/p>\n<p>The jury\u2019s statement:<\/p>\n<p>\u2018The winning project, <em>Liquid Tongues<\/em>, has been selected for addressing the challenge of communication inspired by more-than-human life. By exploring International Sign Language and the communicative practices of whales, it raises questions about forming new relationships and sensitivities that transcend the boundaries of otherwise inaccessible worlds. Experimenting with diverse forms of expression, the work broadens the horizons of social imagination concerning the right to participate in a shared world. It speaks of the dream of reaching understanding through gesture and the body.\u2019<\/p>\n<p><em>Eclipse<\/em>, submitted by Natalia Sielewicz with the participation of Agnieszka Polska, has been selected as the reserve project.<\/p>\n<p>In accordance with the competition regulations, all projects admitted to the competition will be made public in a form chosen by the organiser. Concepts of the exhibitions and summaries for all projects submitted to the competition are available, while full scenarios with visualisations will only be published with the curators\u2019 consent.<\/p>\n<p>61st International Art Exhibition \u2013 La Biennale di Venezia<br \/>\n9 May\u201322 November 2026<br \/>\nMore about the Art Biennale: <a href=\"https:\/\/www.labiennale.org\/en\/art\/2026\">https:\/\/www.labiennale.org\/en\/art\/2026<\/a><\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p style=\"text-align: left;\"><strong>Competition announcement<\/strong><\/p>\n<p>The Minister of Culture and National Heritage and Zach\u0119ta \u2014 National Gallery of Art are announcing a COMPETITION for an exhibition project for the Polish Pavilion to be presented at the 61st International Art Exhibition in Venice in 2026.<\/p>\n<p>The competition is open and made up of two stages.<\/p>\n<p>For the first stage, please submit:<\/p>\n<ul>\n<li>the general concept of the exhibition, stating the main theme,<\/li>\n<li>an overall visualisation of the exhibition<\/li>\n<li>an overall cost estimate of the exhibition.<\/li>\n<\/ul>\n<p>In the competition procedure, the first and last name of the curator (or curator team) is concealed in both stages (I and II). The competition documentation may provide the names of the artists\/architects to be presented in the exhibition.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>The deadline for submitting projects for stage I is 18 July 2025. \u00a0<\/strong><\/p>\n<p>By this date the proposals must arrive at the organiser\u2019s address, at:<\/p>\n<p>Zach\u0119ta \u2014 National Gallery of Art<\/p>\n<p>Pl. Ma\u0142achowskiego 3<\/p>\n<p>00-916 Warsaw<\/p>\n<p>in an envelope marked \u2018Biennale Sztuki 2026\u2019<\/p>\n<p>&nbsp;<\/p>\n<p><strong>The planned date for publishing the results of stage I is:<\/strong> <strong>23.07.2025<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>The\u00a0labiennale.art.pl\u00a0web site will announce the emblems of the teams that qualify for stage II.\u00a0The project designers should supply the documentation for stage\u00a0II\u00a0by 18.08.2025. As the applicants\u2019 names are concealed, the organiser will not be reaching out to participants to submit these documents.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>The competition&#8217;s Jury:<\/p>\n<ol>\n<li>Marta Czy\u017c \u2013 art historian, curator, representative of the team exhibiting in the Polish Pavilion during the 60th International Art Exhibition in Venice,<\/li>\n<li>Dorota Jarecka \u2013 art historian and critic (representative of AICA Polska),<\/li>\n<li>Donata Jaworska \u2013 director of the Department for National Institutions of Culture (representative of the Ministry of Culture and National Heritage of the Republic of Poland)<\/li>\n<li>Magdalena Komornicka \u2013 art historian, curator, head of the department of Museum of Modern Art in Warsaw &#8211; Pavilion on the Vistula<\/li>\n<li>Emilia Orzechowska \u2013 curator, artist, producer, cultural animator, director of Center of Art Gallery EL in Elbl\u0105g<\/li>\n<li>Agnieszka Pindera \u2013 curator, art theorist, director of Zach\u0119ta \u2013 National Gallery of Art, commissioner of the Polish Pavilion in Venice<\/li>\n<li>Stanis\u0142aw Ruksza \u2013 art historian, curator, director of TRAFO Center for Contemporary Art in Szczecin<\/li>\n<li>Joanna Soko\u0142owska \u2013 curator, author and editor of publications on contemporary art<\/li>\n<li>Piotr Stasiowski \u2013 art historian, director of National Museum in Gda\u0144sk<\/li>\n<li>Urszula \u015awi\u0119cicka \u2013 artist, board president of Association of Polish Artists and Designers<\/li>\n<li>Matylda Taszycka \u2013 art historian, curator and critic, leading the scientific projects for AWARE association in Paris<\/li>\n<li>Olga Wysocka \u2013 cultural manager, political scientist, director of Adam Mickiewicz Institute<\/li>\n<\/ol>\n<p>Full conditions and rules of participation in the competition are to be found in the competition regulations.<\/p>\n<p>Downloads:<\/p>\n<p>\u2014announcement about changes in the competition regulations (in Polish) [<a href=\"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/07\/20250701_Ogloszenie_o_zmianie_regulaminu.pdf\">pdf<\/a>] \/published on 1.07.2025\/<\/p>\n<p>\u2014competition regulations (in Polish) [<a href=\"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/07\/20250701_Regulamin_tekst_jednolity_po_zmianach.pdf\">pdf<\/a>] \/published on 1.07.2025\/<\/p>\n<p>\u2014floor plan of the Polish Pavilion [<a href=\"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2018\/07\/Pawilon-POLONIA.zip\">zip<\/a>]<\/p>\n<p>&nbsp;<\/p>\n<p>61st International Art Exhibition \u2014 La Biennale di Venezia<\/p>\n<p>9 May\u201322 November 2026<\/p>\n<p>more on the <a href=\"https:\/\/www.labiennale.org\/en\/art\/2026\">Art Biennale 2026<\/a><\/p>\n","competition_curator":"<p>Curatorial Text by <strong>Koyo Kouoh<\/strong><\/p>\n<p><strong>In Minor Keys<\/strong><br \/>\n[Take a deep breath]<br \/>\n[Exhale]<br \/>\n[Drop your shoulders]<br \/>\n[Close your eyes]<\/p>\n<p>This is an invitation to encounter these words in the immediate physical, meteorological, ambient, and karmic conditions in which they meet you. To shift to a slower gear and tune in to the<br \/>\nfrequencies of the minor keys. Because, though often lost in the anxious cacophony of the present chaos raging through the world, the music continues. The songs of those producing beauty in spite of tragedy, the tunes of the fugitives recovering from the ruins, the harmonies of those repairing wounds and worlds.<\/p>\n<p style=\"text-align: right;\">There is a reason, after all, that some people wish to colonize the moon, and others dance before it as an ancient friend.<br \/>\n\u2014 James Baldwin, 1972 <sup>[1]<\/sup><\/p>\n<p>The minor key, in music, alludes both to the structure of a song and to its emotional effects. It is a rich idea, so rich that it quickly overflows its technical definition and spills with metaphor. It summons moods, the blues, the call-and-response, the morna, the second line, the lament, the allegory, the whisper.<\/p>\n<p>The minor keys refuse orchestral bombast and goose-step military marches and come alive in the quiet tones, the lower frequencies, the hums, the consolations of poetry, all portals of<br \/>\nimprovisation to the elsewhere and the otherwise. The minor keys ask for listening that calls on the emotions and sustains them in return.<\/p>\n<p>The minor keys are also the small islands, worlds amid oceans with distinct and endlessly rich ecosystems, social lives that are articulated, for better and worse, within much larger political<br \/>\nforms and ecological stakes. Here, the evocation of the key and the island extends to an archipelago of oases: gardens, courtyards, compounds, lofts, dance floors \u2014 the other worlds that<br \/>\nartists make, the intimate and convivial universes that refresh and sustain even in terrible times; indeed, especially in terrible times.<\/p>\n<p style=\"text-align: right;\">Look at the creole garden, you put all species on such a little lick of land:<br \/>\navocados, lemons, yams, sugarcanes \u2026plus thirty or forty other species on this bit of<br \/>\nland that doesn\u2019t go more than fifty feet up the side of the hill, they protect each other.<br \/>\nIn the great Circle, everything is in everything else.<br \/>\n\u2014 \u00c9douard Glissant, 1993<sup>[2]<\/sup><\/p>\n<p>These are the cues for an exhibition; an exhibition tuned in to the minor keys; an exhibition that invites listening to the persistent signals of earth and life, connecting to soul frequencies. If, in music, the minor keys are often associated with strangeness, melancholy and sorrow, here their joy, solace, hope, and transcendence manifest as well.<\/p>\n<p>In the minor keys, sound and sensation are grounding, they hold the cadences, melodies, and silences of resonant worlds that gather and create together a polyphonous assembly of art, convening and communing in convivial collectivity, beaming across the void of alienation and the crackle of conflict.<\/p>\n<p>The 61st edition of the Biennale Arte is grounded in a deep belief in artists as the vital interpreters of the social and psychic condition and catalysts of new relations and possibilities. The exhibition\u2019s composition is formed by artistic practices that open portals, that refresh and nourish, that prompt relation and relationship, that advance concept and form through networks and schools \u2014 understood freely and informally.<\/p>\n<p>The intended effect scrambles cohesion and dissonance in the manner of a free-jazz ensemble, or perhaps, at the scale of the Biennale Arte, a festival of ensembles with a common premise: that poetics liberate and people make beauty together.<\/p>\n<p>Through, relation, sharing, and transcendence, the artists and practices that operate in this spirit, like jazz, across methods, scales, senses and forms, propose to visitors an exhibitional experience that is more sensory than didactic, renewing rather than exhausting, and fortifying for the work ahead.<\/p>\n<p>Through a visual and meditative procession, the exhibition prompts all senses to interconnect and meander from one universe to the other, rendering visible the possibilities that reside in the inbetween spaces and beyond the portals.<\/p>\n<p style=\"text-align: right;\">&#8230;there is no choice but to tune in like jazzmen to these imperative mutations.<br \/>\nThe jazzman constantly meditates on the unpredictable, stands within it according to the<br \/>\nlaws of polyrhythm, and improvises breathtaking moments.<br \/>\nWe small-island Caribbeans are not ready, but we have this resource.<br \/>\nThe change will have to be so profound that we will no doubt have to add to the knowledge of jazz, the old<br \/>\ntotemisms, animisms, analogisms, and other metaphysics too summarily discarded.<br \/>\nThese old-world poems are already precious scores.<br \/>\n\u2014 Patrick Chamoiseau, 2023<sup>[3]<\/sup><\/p>\n<p>In this spirit, the international exhibition of the 61st Biennale Arte intends neither a litany of commentary on world events, nor an inattention or escape from compounding and continuous intersecting crises. Rather, it proposes a radical reconnection with art\u2019s natural habitat and role in society: that is the emotional, the visual, the sensory, the affective, the subjective.<\/p>\n<p><em><strong>In Minor Keys<\/strong><\/em> are sequences of exhilarating journeys that address the sensate and the affective, inviting visitors to marvel, meditate, dream, revel, reflect, and commune in realms where time is not corporate property nor at the mercy of relentlessly accelerated productivity.<\/p>\n<p>After all, it is clear by now that the enduring time of capital and empire maligned local, Indigenous and terrestrial knowledges as chimeric, and dismissed co-constitutive artistic practices as artisanal, intended for decoration or devotional rituals.<\/p>\n<p>The \u2018civilizing mission\u2019 flattens all with condescending contempt, and in the contemporary era entire societies and ecologies are regarded as collateral damage in the headstrong pursuit of growth supported by ruthlessness and greed. In refusing the spectacle of horror, the time has come to listen to the minor keys, to tune in <strong><em>sotto voce<\/em><\/strong> to the whispers, to the lower frequencies; to find the oases, the islands, where the dignity of all living beings is safeguarded.<\/p>\n<p>The exhibition posits that such radical shifts are taking place \u2014 indeed, have been underway all along \u2014 in the minor keys, and the artists, poets, performers, and filmmakers whom the exhibition will convene are grounded in their commitments to realizing them. Artists are channels to and between the minor keys and listening to, rather than speaking for them is at the core of the curatorial conceit.<\/p>\n<p>The exhibition <strong><em>In Minor Keys<\/em><\/strong> stands as a collective score composed together with artists who have built universes of imagination. Artists who work at the boundaries of form, and whose practices can be thought of as intricate melodies to be heard both collectively and on their own terms. These are artists whose practices seamlessly bleed into society.<\/p>\n<p>Artists who accommodate daily life as part of a logical and aesthetically consistent relation of parts. Artists who are exceedingly generous and hospitable to life.<\/p>\n<p style=\"text-align: right;\">In our myths, in our songs, that\u2019s where the seeds are.<br \/>\nIt is not possible to constantly hone on the crisis.<br \/>\nYou have to have the love and you have to have the magic, that\u2019s also life.<br \/>\n\u2014 Toni Morrison, 1977<sup>[4]<\/sup><\/p>\n<hr \/>\n<p>[1] James Baldwin, No Name in the Street (New York: Dial Press, 1972).<br \/>\n[2] Edouard Glissant, Tout-monde (Paris: Gallimard, 1993), 208; translated by Eric Prieto, 2010.<br \/>\n[3] Patrick Chamoiseau, &#8216;We Caribbeans are not ready but have the resources to adapt to unavoidable<br \/>\nclimate mutations,&#8217; Le Monde, June 29 2023.<br \/>\n[4] Toni Morrison interviewed by John Callaway, WTTW, Chicago, 1977.<\/p>\n","competition_projects":false,"competition_winner":"","competition_winner_project":{"ID":6007,"post_author":"1","post_date":"2023-10-18 15:32:34","post_date_gmt":"2023-10-18 13:32:34","post_content":"","post_title":"","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"6007","to_ping":"","pinged":"","post_modified":"2023-10-18 15:32:34","post_modified_gmt":"2023-10-18 13:32:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=projekty&#038;p=6007","menu_order":0,"post_type":"projekty","post_mime_type":"","comment_count":"0","filter":"raw"},"competition_contact":""},"_links":{"self":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/pages\/7751"}],"collection":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/comments?post=7751"}],"version-history":[{"count":6,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/pages\/7751\/revisions"}],"predecessor-version":[{"id":7802,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/pages\/7751\/revisions\/7802"}],"up":[{"embeddable":true,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/pages\/3867"}],"wp:attachment":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/media?parent=7751"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}