{"id":8586,"date":"2022-11-02T14:32:29","date_gmt":"2022-11-02T13:32:29","guid":{"rendered":"https:\/\/www.generazionecritica.it\/GC\/en\/?p=8586"},"modified":"2022-11-02T14:32:00","modified_gmt":"2022-11-02T13:32:00","slug":"revolver-sylvie-fleur","status":"publish","type":"post","link":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/","title":{"rendered":"REVOLVER | SYLVIE FLEURY"},"content":{"rendered":"<p><em>Turn Me On Please,<em> no more of that kind of stuff\u00a0<\/em><\/em> is the title of Sylvie Fleury&#8217;s solo exhibition at the Agnelli Art Gallery: <em>Revolver<\/em>, a work from 2009, fits perfectly into the ironic and allusive vision of the exhibition that the artist proposes, as a slogan and as a provocation. A gun, placed on a museum base, an archaeological piece\u00a0or perhaps an object recovered from a\u00a0crime scene, is transformed into a roaring and aggressive hair dryer: two polar opposite stereotypes, the gunman man and the pin up woman. The household appliance becomes a weapon, the stereotype turns against itself and shows a stance against patriarchal power.<\/p>\n<p>The golden gun with decorations that refer to the typical settings of western films, in which the female figure is practically completely absent, becomes the new weapon in the hand of every woman: the decontextualization and its transformation into a household appliance (subtle allusion that the artist does to market dynamics within the art world) makes it an everyday object, a symbol of an acquisition of power that can be and must be exercised at any time. Sylvia Fleury, always moving between different genres such as pop art, minimalism and ready made, does not fully recognize herself in a single genre\u00a0but rather plays at mixing plans and definitions to build a critique of gender stereotypes. Sculpture becomes a playful but meditated critique of boring mental schemes that have populated mass culture and that still maintain a strong root in collective thought. The artist, playing with the limits of the history of art and the standardized attitudes of our society, offers a seductive and radical image: the weapon is the everyday life, the distinction is the gaze with which one observes.<\/p>\n<p style=\"font-weight: 400;\"><em>Bang Bang, he shot me down<\/em><br \/>\n<em>Bang Bang, I hit the ground<\/em><br \/>\n<em>Bang Bang, that awful sound<\/em><br \/>\n<em>Bang Bang, my baby shot me down&#8221;<a href=\"applewebdata:\/\/1FFFF169-7F1B-4AE7-9474-CC9387242937#_ftn1\" name=\"_ftnref1\"><strong>[1]<\/strong><\/a><\/em><\/p>\n<p>Nancy Sinatra sang <em>Bang Bang<\/em> in 1966, Sylvia Fleur with <em>Revolver<\/em> seems to give the opportunity to turn the lines with her lethal design: the weapon loses its purely masculine heritage to transform itself into a dialectical object with a new subversive charge. &#8220;<em>Bang Bang<\/em>, <em>I shot you down. Bang bang, you hit the ground<\/em> \u201d, could now sing Nancy Sinatra.<\/p>\n<p>Revolver is on display within Sylvie Fleury&#8217;s solo<em> Turn Me On Please, no more of that kind of stuff<\/em> at the Pinacoteca Agnelli Turin until January 15, 2023.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\">Sylvie Fleury<br \/>\n<em>Revolver<\/em>, 2009<br \/>\n<em>Turn Me On Please, no more of that kind of stuff<\/em>, credit Installation view Pinacoteca Agnelli Torino, Courtesy Almine Rech Gallery Brussels<\/p>\n<p style=\"font-weight: 400;\"><a href=\"applewebdata:\/\/1FFFF169-7F1B-4AE7-9474-CC9387242937#_ftnref1\" name=\"_ftn1\">[1]<\/a> <em>Bang Bang (My Baby Shot me Down), <\/em>Nancy Sinatra, 1966<\/p>\n<p style=\"font-weight: 400;\">02\/11\/2022<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Turn Me On Please, no more of that kind of stuff\u00a0 is the title of Sylvie Fleury&#8217;s solo exhibition at the Agnelli Art Gallery: Revolver, a work from 2009, fits perfectly into the ironic and allusive vision of the exhibition that the artist proposes, as a slogan and as a provocation. A gun, placed on [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8584,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","jetpack_post_was_ever_published":false},"categories":[210],"tags":[2876,2510,367,2875,1472,2358,2874,2872,2362,1088,2873],"class_list":["post-8586","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-works-in-focus","tag-consumism","tag-contemporary","tag-contemporary-art","tag-femminism","tag-frieze-sculpture","tag-pinacoteca-agnelli","tag-pinacoteca-agnelli-torino","tag-revolver","tag-sylvie-fleury","tag-torino","tag-turn-me-on-please"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>REVOLVER | SYLVIE FLEURY - 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\/works-in-focus\/revolver-sylvie-fleur\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"REVOLVER | SYLVIE FLEURY - Generazione Critica\" \/>\n<meta property=\"og:description\" content=\"Turn Me On Please, no more of that kind of stuff\u00a0 is the title of Sylvie Fleury&#8217;s solo exhibition at the Agnelli Art Gallery: Revolver, a work from 2009, fits perfectly into the ironic and allusive vision of the exhibition that the artist proposes, as a slogan and as a provocation. A gun, placed on [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/\" \/>\n<meta property=\"og:site_name\" content=\"Generazione Critica\" \/>\n<meta property=\"article:published_time\" content=\"2022-11-02T13:32:29+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2022\/11\/2_Sylvie_Fleury_Revolver.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"4252\" \/>\n\t<meta property=\"og:image:height\" content=\"2835\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\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=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/\"},\"author\":{\"name\":\"GC\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#\\\/schema\\\/person\\\/2adaefbfdbc7cee037159aa19bb82535\"},\"headline\":\"REVOLVER | SYLVIE FLEURY\",\"datePublished\":\"2022-11-02T13:32:29+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/\"},\"wordCount\":438,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.generazionecritica.it\\\/wp-content\\\/uploads\\\/2022\\\/11\\\/2_Sylvie_Fleury_Revolver.jpg\",\"keywords\":[\"Consumism\",\"Contemporary\",\"contemporary art\",\"Femminism\",\"Frieze Sculpture\",\"Pinacoteca Agnelli\",\"Pinacoteca Agnelli Torino\",\"Revolver\",\"Sylvie Fleury\",\"Torino\",\"Turn Me On Please\"],\"articleSection\":[\"WORKS IN FOCUS\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/\",\"url\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/\",\"name\":\"REVOLVER | SYLVIE FLEURY - Generazione Critica\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.generazionecritica.it\\\/wp-content\\\/uploads\\\/2022\\\/11\\\/2_Sylvie_Fleury_Revolver.jpg\",\"datePublished\":\"2022-11-02T13:32:29+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/#primaryimage\",\"url\":\"https:\\\/\\\/www.generazionecritica.it\\\/wp-content\\\/uploads\\\/2022\\\/11\\\/2_Sylvie_Fleury_Revolver.jpg\",\"contentUrl\":\"https:\\\/\\\/www.generazionecritica.it\\\/wp-content\\\/uploads\\\/2022\\\/11\\\/2_Sylvie_Fleury_Revolver.jpg\",\"width\":4252,\"height\":2835},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/works-in-focus\\\/revolver-sylvie-fleur\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"REVOLVER | SYLVIE FLEURY\"}]},{\"@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\"},\"url\":\"https:\\\/\\\/www.generazionecritica.it\\\/en\\\/author\\\/marcella\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"REVOLVER | SYLVIE FLEURY - 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\/works-in-focus\/revolver-sylvie-fleur\/","og_locale":"en_US","og_type":"article","og_title":"REVOLVER | SYLVIE FLEURY - Generazione Critica","og_description":"Turn Me On Please, no more of that kind of stuff\u00a0 is the title of Sylvie Fleury&#8217;s solo exhibition at the Agnelli Art Gallery: Revolver, a work from 2009, fits perfectly into the ironic and allusive vision of the exhibition that the artist proposes, as a slogan and as a provocation. A gun, placed on [&hellip;]","og_url":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/","og_site_name":"Generazione Critica","article_published_time":"2022-11-02T13:32:29+00:00","og_image":[{"width":4252,"height":2835,"url":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2022\/11\/2_Sylvie_Fleury_Revolver.jpg","type":"image\/jpeg"}],"author":"GC","twitter_card":"summary_large_image","twitter_misc":{"Written by":"GC","Est. reading time":"2 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/#article","isPartOf":{"@id":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/"},"author":{"name":"GC","@id":"https:\/\/www.generazionecritica.it\/en\/#\/schema\/person\/2adaefbfdbc7cee037159aa19bb82535"},"headline":"REVOLVER | SYLVIE FLEURY","datePublished":"2022-11-02T13:32:29+00:00","mainEntityOfPage":{"@id":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/"},"wordCount":438,"commentCount":0,"publisher":{"@id":"https:\/\/www.generazionecritica.it\/en\/#organization"},"image":{"@id":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/#primaryimage"},"thumbnailUrl":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2022\/11\/2_Sylvie_Fleury_Revolver.jpg","keywords":["Consumism","Contemporary","contemporary art","Femminism","Frieze Sculpture","Pinacoteca Agnelli","Pinacoteca Agnelli Torino","Revolver","Sylvie Fleury","Torino","Turn Me On Please"],"articleSection":["WORKS IN FOCUS"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/","url":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/","name":"REVOLVER | SYLVIE FLEURY - Generazione Critica","isPartOf":{"@id":"https:\/\/www.generazionecritica.it\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/#primaryimage"},"image":{"@id":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/#primaryimage"},"thumbnailUrl":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2022\/11\/2_Sylvie_Fleury_Revolver.jpg","datePublished":"2022-11-02T13:32:29+00:00","breadcrumb":{"@id":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/#primaryimage","url":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2022\/11\/2_Sylvie_Fleury_Revolver.jpg","contentUrl":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2022\/11\/2_Sylvie_Fleury_Revolver.jpg","width":4252,"height":2835},{"@type":"BreadcrumbList","@id":"https:\/\/www.generazionecritica.it\/en\/works-in-focus\/revolver-sylvie-fleur\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.generazionecritica.it\/en\/"},{"@type":"ListItem","position":2,"name":"REVOLVER | SYLVIE FLEURY"}]},{"@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"},"url":"https:\/\/www.generazionecritica.it\/en\/author\/marcella\/"}]}},"jetpack_featured_media_url":"https:\/\/www.generazionecritica.it\/wp-content\/uploads\/2022\/11\/2_Sylvie_Fleury_Revolver.jpg","jetpack_shortlink":"https:\/\/wp.me\/p3GfTA-2eu","_links":{"self":[{"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/posts\/8586","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=8586"}],"version-history":[{"count":0,"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/posts\/8586\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/media\/8584"}],"wp:attachment":[{"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/media?parent=8586"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/categories?post=8586"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.generazionecritica.it\/en\/wp-json\/wp\/v2\/tags?post=8586"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}