{"id":3196,"date":"2018-04-06T12:27:44","date_gmt":"2018-04-06T10:27:44","guid":{"rendered":"https:\/\/www.generazionecritica.it\/GC\/en\/?p=3196"},"modified":"2021-01-18T15:43:13","modified_gmt":"2021-01-18T14:43:13","slug":"kenta-cobayashi","status":"publish","type":"post","link":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/","title":{"rendered":"Kenta Cobayashi"},"content":{"rendered":"

> Metronom:\u00a0You live in Tokyo in a shared residency with other artists you depict\u00a0 \/ feature in some of your works. Can you describe your personal artistic experience of the city of Tokyo?<\/em><\/p>\n

Kenta Cobayashi: I lived in Tokyo up to a year ago\u2014now I live elsewhere. It is a unique experience to have lived in a city going under a fast-paced transformation especially for the 2020 Tokyo Olympics, and now to observe it from the outside. One thing I remember fondly is the many strolls I\u2019ve gone on with my friends from around 2 AM till morning. Right around then, I have gotten tired of following club scenes or fashion and simply wandered about; instead, getting engaged in visiting places like shrines dotted around the city. The sense of time we experience from the progress of city development\u2014constantly revitalizing with vigour akin to that of the Instagram feed\u2014is in coexistence with the sense of time conveyed through the mythology, dating back thousands of years, embedded in these shrines. Perhaps Tokyo was an ideal location to learn about the many \u201clayers of time\u201d. The sharehouse too provided me with insight into the perception of time. What struck me the most was the discovery of a coincidental synchronized trend breaking out in different communities that have branched out from a single share house. To be specific, during the same period of time we were into Japanese mythology, a previous member of the shared residency, who I have not kept in touch for a while, was also into it. It was experienced in the likeness of regaining a small dose of primitive sensation.<\/p>\n

> M:\u00a0You\u00a0describe yourself as a\u00a0\u2018digital native\u2019. Can your practice be considered closer to the \u201clink\u201d or to the \u201cshare button\u201d, by which I mean closer to hyper-textual realities or in some way made-up of quotations and appropriations?<\/i><\/p>\n

KC: If I were to rephrase the words \u201clink\u201d and \u201cshare button\u201d, it would be \u201cwormhole\u201d. [1] The images are misshapen\u2014as if bugs have eaten out of them\u2014with my intention to express that the photographs are the result of interference from a different dimension, beyond its two-dimensional layer. I think the concept of \u201chypertext\u201d can be considered a branch of philosophy in itself. \u201cOrdinary texts\u201d without links will go unseen by others\u2014except by its authors. There is no meaning in those kinds of spaces. The act of putting links on them\u2014and thus interconnecting them with different universes\u2014gives texts life for the first time. Let\u2019s say one \u201cclicks\u201d on a link and moves from page A to page B. Which one of the two pages is the user situated in that specific moment? This is the kind of \u201csense of space\u201d I want to manifest in my works. A photograph gets captured by way of a \u201cclick\u201d and gets distorted by way of a \u201cclick\u201d as well.<\/p>\n

> M:\u00a0In the show From My Point of View you presented a 9-square-grid called \u201cHello #square #smudge\u201d. The paint\/graphic signs that determine the work seem to chase through one frame to the other. Can you explain this piece and it\u2019s a reference to your long-term project \u201cEverything\u201d?<\/em><\/p>\n

KC: This connects with the above-mentioned answer: I want to express that a single image doesn\u2019t exist independently\u2014\u201ceverything\u201d connects up from all kinds of angles. And because of this interconnectedness, an image is constantly in dialogue with \u201ceverything\u201d. In this work, I focus on a \u201csquare\u201d. The graphic signs of each photograph get overlaid and intertwined with that of other photographs via a mouse cursor, stretching out the data of colour embedded in the square of bitmap\u2014a basic unit of an image.<\/p>\n

> M:\u00a0You also present a video work. How do you deal with video as a medium? What is your personal approach to technology and its obsolescence?<\/em><\/p>\n

KC: I am interested in the \u201clayer of time\u201d coverable with the video medium. Here, the graphic signs transcend layers, thus connecting the work into a single theme.\u00a0 I get the same type of sensation when I take photos in the style of straight photography. Technology, on its surface, seems to be a thing where a vast variety of things appear and disappear, one after another. But come to think of it, all things operate on the surface (interface) of the concept we call, \u201ctechnology\u201d. It embodies a universality that applies to all time periods (even the age when wall paintings were drawn in the Lascaux cave 20,000 years ago). The history of mankind can be seen as a dance with technology\u2014we hug and thrust, and at times stumble due to its heavyweight or occasionally make light spins. And now, humanity will need to take the next step forward with the imminent arrival of the era of AI. If we don\u2019t feel it out and instead contemplate on what kind of step to make, we won\u2019t be able to dance gracefully.<\/p>\n

> M:\u00a0In your work we can perceive a personal attitude towards distortion. Why do you feel the necessity to intervene inside the digital reality? How do you deal with the \u2018gesture\u2019 and the \u2018fortuity\u2019 of the signs?<\/em><\/p>\n

KC: It\u2019s apparent that the density of the \u201cdigital world\u201d will continue to grow worldwide. With this status quo, I thought, why not take the lead in diving into the said expanse and \u201cswim\u201d\u2014like a child sticking a finger in the puddle of water to play. Adults might think it is a meaningless act. But people can learn from its ripples, the characteristics of or the influence of gravity on water molecules. I believe that the universe we\u2019re living in, is embedded in all things created by human beings.<\/p>\n

\u00a0[1] wormhole.\u00a0In physics, a wormhole is a tunnel in space that is believed to connect different parts of the universe;\u00a0a\u00a0tunnel\u00a0in the\u00a0geometry\u00a0of\u00a0space-time\u00a0postulated\u00a0to\u00a0connect\u00a0different parts of the\u00a0universe.<\/em> (Collins English Dictionary)<\/p>\n

___<\/p>\n

Kenta Cobayashi\u00a0<\/strong><\/a>(Japan, 1992) He received a BA at Tokyo Zokei University, Tokyo (2015). He has had solo exhibitions at G\/P gallery (Tokyo, 2017 and 2016). His works have been featured in major group exhibitions such as From My Point of View<\/em>, Metronom (2018);\u00a0GIVE ME YESTERDAY<\/em>\u00a0at Fondazione Prada (Milan, 2016);\u00a0New Rube Goldberg Machine<\/em>, KAYOKO YUKI\u00b7KOMAGOME SOKO (Tokyo, 2016);\u00a0New Material<\/em>, Casemore Kirkeby (San Francisco, 2016);\u00a0Close to the Edge: New Photography from Japan<\/em>, MIYAKO YOSHINAGA (New York, 2016);\u00a0trans-tokyo \/ trans-photo<\/em>, Jimei \u00d7 Arles International Photo Festival (Xiamen, China, 2015);\u00a0The Devil May Care<\/em>, \u00a0Noorderlicht Photogallery (Groningen, NL, 2015);\u00a0The Exposed #7<\/em>, G\/P gallery Shinonome (Tokyo, 2014). His works have been acquired by major institutions like Asian Art Museum, San Francisco. His first photo book ‘Everything_1′<\/em>\u00a0was published by Newfave in 2016.<\/p>\n

Cover image: \u00a9 Kenta Cobayashi,\u00a0\u201cHello #square #smudge\u201d, <\/em>2017<\/p>\n

http:\/\/kentacobayashi.com\/<\/a><\/p>\n

06\/04\/2018<\/p>\n","protected":false},"excerpt":{"rendered":"

> Metronom:\u00a0You live in Tokyo in a shared residency with other artists you depict\u00a0 \/ feature in some of your works. Can you describe your personal artistic experience of the city of Tokyo? Kenta Cobayashi: I lived in Tokyo up to a year ago\u2014now I live elsewhere. It is a unique experience to have lived […]<\/p>\n","protected":false},"author":2,"featured_media":3188,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","jetpack_post_was_ever_published":false},"categories":[208],"tags":[700,1022,496,497,1021,250,1023,1024,424],"class_list":["post-3196","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-fondazione-prada","tag-from-my-point-of-view","tag-gp-gallery","tag-japan","tag-kenta-cobayashi","tag-metronom-en","tag-shared-residency","tag-shibuya","tag-tokyo-en"],"yoast_head":"\nKenta Cobayashi - Generazione Critica<\/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:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kenta Cobayashi - Generazione Critica\" \/>\n<meta property=\"og:description\" content=\"> Metronom:\u00a0You live in Tokyo in a shared residency with other artists you depict\u00a0 \/ feature in some of your works. Can you describe your personal artistic experience of the city of Tokyo? Kenta Cobayashi: I lived in Tokyo up to a year ago\u2014now I live elsewhere. It is a unique experience to have lived […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/\" \/>\n<meta property=\"og:site_name\" content=\"Generazione Critica\" \/>\n<meta property=\"article:published_time\" content=\"2018-04-06T10:27:44+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-01-18T14:43:13+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2018\/04\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00-1024x575.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"575\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"GC\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"GC\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/\"},\"author\":{\"name\":\"GC\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#\\\/schema\\\/person\\\/2adaefbfdbc7cee037159aa19bb82535\"},\"headline\":\"Kenta Cobayashi\",\"datePublished\":\"2018-04-06T10:27:44+00:00\",\"dateModified\":\"2021-01-18T14:43:13+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/\"},\"wordCount\":1131,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.generazionecritica.it\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00.png\",\"keywords\":[\"fondazione prada\",\"From My Point of View\",\"g\\\/p gallery\",\"japan\",\"kenta cobayashi\",\"metronom\",\"shared residency\",\"Shibuya\",\"Tokyo\"],\"articleSection\":[\"INTERVIEWS\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/\",\"url\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/\",\"name\":\"Kenta Cobayashi - Generazione Critica\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.generazionecritica.it\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00.png\",\"datePublished\":\"2018-04-06T10:27:44+00:00\",\"dateModified\":\"2021-01-18T14:43:13+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/#primaryimage\",\"url\":\"https:\\\/\\\/www.generazionecritica.it\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00.png\",\"contentUrl\":\"https:\\\/\\\/www.generazionecritica.it\\\/wp-content\\\/uploads\\\/2018\\\/04\\\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00.png\",\"width\":1600,\"height\":898},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/interviews\\\/kenta-cobayashi\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Kenta Cobayashi\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/\",\"name\":\"Generazione Critica\",\"description\":\"Progetto di ricerca dedicato alle pi\u00f9 recenti esperienze artistiche contemporanee\",\"publisher\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#organization\",\"name\":\"Generazione Critica\",\"url\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/www.generazionecritica.it\\\/wp-content\\\/uploads\\\/2024\\\/01\\\/cropped-GC-1.jpg\",\"contentUrl\":\"https:\\\/\\\/www.generazionecritica.it\\\/wp-content\\\/uploads\\\/2024\\\/01\\\/cropped-GC-1.jpg\",\"width\":512,\"height\":512,\"caption\":\"Generazione Critica\"},\"image\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#\\\/schema\\\/person\\\/2adaefbfdbc7cee037159aa19bb82535\",\"name\":\"GC\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/60c2597594822df9b38c5573b1c0c242205c662c36281837697fca0bda5bbb7c?s=96&d=identicon&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/60c2597594822df9b38c5573b1c0c242205c662c36281837697fca0bda5bbb7c?s=96&d=identicon&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/60c2597594822df9b38c5573b1c0c242205c662c36281837697fca0bda5bbb7c?s=96&d=identicon&r=g\",\"caption\":\"GC\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Kenta Cobayashi - Generazione Critica","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:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/","og_locale":"en_US","og_type":"article","og_title":"Kenta Cobayashi - Generazione Critica","og_description":"> Metronom:\u00a0You live in Tokyo in a shared residency with other artists you depict\u00a0 \/ feature in some of your works. Can you describe your personal artistic experience of the city of Tokyo? Kenta Cobayashi: I lived in Tokyo up to a year ago\u2014now I live elsewhere. It is a unique experience to have lived […]","og_url":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/","og_site_name":"Generazione Critica","article_published_time":"2018-04-06T10:27:44+00:00","article_modified_time":"2021-01-18T14:43:13+00:00","og_image":[{"width":1024,"height":575,"url":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2018\/04\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00-1024x575.png","type":"image\/png"}],"author":"GC","twitter_card":"summary_large_image","twitter_misc":{"Written by":"GC","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/#article","isPartOf":{"@id":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/"},"author":{"name":"GC","@id":"https:\/\/www.generazionecritica.it\/en\/#\/schema\/person\/2adaefbfdbc7cee037159aa19bb82535"},"headline":"Kenta Cobayashi","datePublished":"2018-04-06T10:27:44+00:00","dateModified":"2021-01-18T14:43:13+00:00","mainEntityOfPage":{"@id":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/"},"wordCount":1131,"commentCount":0,"publisher":{"@id":"https:\/\/www.generazionecritica.it\/en\/#organization"},"image":{"@id":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/#primaryimage"},"thumbnailUrl":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2018\/04\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00.png","keywords":["fondazione prada","From My Point of View","g\/p gallery","japan","kenta cobayashi","metronom","shared residency","Shibuya","Tokyo"],"articleSection":["INTERVIEWS"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/","url":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/","name":"Kenta Cobayashi - Generazione Critica","isPartOf":{"@id":"https:\/\/www.generazionecritica.it\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/#primaryimage"},"image":{"@id":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/#primaryimage"},"thumbnailUrl":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2018\/04\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00.png","datePublished":"2018-04-06T10:27:44+00:00","dateModified":"2021-01-18T14:43:13+00:00","breadcrumb":{"@id":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/#primaryimage","url":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2018\/04\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00.png","contentUrl":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2018\/04\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00.png","width":1600,"height":898},{"@type":"BreadcrumbList","@id":"https:\/\/www.generazionecritica.it\/en\/interviews\/kenta-cobayashi\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.generazionecritica.it\/en\/"},{"@type":"ListItem","position":2,"name":"Kenta Cobayashi"}]},{"@type":"WebSite","@id":"https:\/\/www.generazionecritica.it\/en\/#website","url":"https:\/\/www.generazionecritica.it\/en\/","name":"Generazione Critica","description":"Progetto di ricerca dedicato alle pi\u00f9 recenti esperienze artistiche contemporanee","publisher":{"@id":"https:\/\/www.generazionecritica.it\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.generazionecritica.it\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.generazionecritica.it\/en\/#organization","name":"Generazione Critica","url":"https:\/\/www.generazionecritica.it\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.generazionecritica.it\/en\/#\/schema\/logo\/image\/","url":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2024\/01\/cropped-GC-1.jpg","contentUrl":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2024\/01\/cropped-GC-1.jpg","width":512,"height":512,"caption":"Generazione Critica"},"image":{"@id":"https:\/\/www.generazionecritica.it\/en\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/www.generazionecritica.it\/en\/#\/schema\/person\/2adaefbfdbc7cee037159aa19bb82535","name":"GC","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/60c2597594822df9b38c5573b1c0c242205c662c36281837697fca0bda5bbb7c?s=96&d=identicon&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/60c2597594822df9b38c5573b1c0c242205c662c36281837697fca0bda5bbb7c?s=96&d=identicon&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/60c2597594822df9b38c5573b1c0c242205c662c36281837697fca0bda5bbb7c?s=96&d=identicon&r=g","caption":"GC"}}]}},"jetpack_shortlink":"https:\/\/wp.me\/p3GfTA-Py","jetpack_featured_media_url":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2018\/04\/\u30b9\u30af\u30ea\u30fc\u30f3\u30b7\u30e7\u30c3\u30c8-2017-07-08-4.51.00.png","_links":{"self":[{"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/posts\/3196","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/comments?post=3196"}],"version-history":[{"count":0,"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/posts\/3196\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/media\/3188"}],"wp:attachment":[{"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/media?parent=3196"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/categories?post=3196"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/tags?post=3196"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}