{"id":1661,"date":"2023-11-02T23:30:31","date_gmt":"2023-11-02T23:30:31","guid":{"rendered":"https:\/\/bgsw.pl\/strona-archiwalna\/?p=1661"},"modified":"2024-02-04T19:39:39","modified_gmt":"2024-02-04T19:39:39","slug":"marta-frej-the-vulva-or-shame-the-witches-tower-in-slupsk","status":"publish","type":"post","link":"https:\/\/bgsw.pl\/strona-archiwalna\/en\/marta-frej-the-vulva-or-shame-the-witches-tower-in-slupsk\/","title":{"rendered":"Marta Frej \/ The vulva or shame \/ The Witches’ Tower in S\u0142upsk"},"content":{"rendered":"\t\t
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Opening<\/strong>
12.10.2023 \/ 5 p.m.<\/strong>\u00a0<\/span>\/ free admission
Witches’ Tower in S\u0142upsk<\/strong>\u00a0\/ al.\u00a0F. Nullo 8<\/p>

Exhibition<\/strong>
12.10 \u2013 27.12.2023<\/strong><\/span>
*ticketed entry to the gallery<\/a><\/p>

Artists invited to co-create the exhibition:<\/strong><\/p>

Antonina Dobrowolska<\/strong> (she\/her) \u2013 born in 2001, creator of dramatic, poetic and prose texts.\u00a0Radical feminist.\u00a0He studies theater knowledge at the Theater Academy in Warsaw.<\/p>

Maciej Raczy\u0144ski<\/strong>\u00a0(he, him) \u2013 born in 2001. He defended his diploma at the Faculty of New Media Art with the work\u00a0\u00a0„Portraits of Masculinity” (painting works) and „The issue of masculinity in Western visual arts” (theoretical work). Feminist.<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\"Marta<\/figure><\/div>
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Photo \/ Krzysztof Tomasik<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Diana Lenart
kuratorka wystawy<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Women do not own their bodies, they rather rent them, conforming to social norms.\u00a0Trying to meet these standards, we impose on our bodies the rigor of holiness or promiscuity, becoming hostages of the world of surplice and saber.\u00a0Despite the dominance of corporeality in the Western world, we have not gotten rid of the taboo of the female body and its needs.\u00a0Deep-seated shame stretches across our civilization like a tail.\u00a0A tail that we will only be able to shed thanks to a sincere revolution in morals.\u00a0However, this one is not coming.<\/p>

Marta Frej has been exploring and contesting taboo topics since the beginning of her artistic activity.\u00a0We treat her work as our voice – a belief that many Polish women wear like a tattoo.\u00a0In our homeland, where we are not worthy of human rights, we seek strength in unity, but shame prevents many of us from expressing our needs and joining the opposition.\u00a0Women’s social roles in Poland are like commandments carved on stone tablets, reminding us of the shame we still have to feel.\u00a0We are ashamed to deny it, we are also ashamed of our own shame.\u00a0The bodily taboo, the embarrassment of one’s own body and physicality, is the beginning of something whose consequences we painfully feel in our social, professional and family lives.\u00a0Because our identity has its origins in corporeality and its negation, and what constitutes resistance to the subordination and objectification of the female body is born from loss.<\/p>

Marta Frej’s exhibition was divided into three parts representing conventional time periods – prehistory and the beginnings of civilization, a woman’s childhood and youth, and the present, which brings new ideas – understanding and hope.\u00a0The first one is about freedom and freedom that we either have in our imagination or pay a high price for.\u00a0The original independence resounds here, heralding the original sin that religion has made us believe, making us feel guilty not only for ourselves, but also for the „sins” of the entire human race.<\/p>

With the decline of „primitive” freedom came the era of fear.\u00a0It is also an allegory of the times before conscious childhood, which is freely taken for granted and the lack of consequences is a permanent state.\u00a0Marta created a ceramic bestiary for these needs: ”\u00a0vagina dentata<\/em>\u00a0” – representing the mythical fear of women, frivolous, liberated vaginas, winking at us with the eye of a proto-vagina.<\/p>

The upper floor has been arranged as a girls’ room, where, in addition to paintings and illustrations, there will be disturbing premiere installations.\u00a0The culmination of the exhibition, in accordance with the artist’s wishes, is the presentation of a new generation of artists associated with feminist art – Maciej Raczy\u0144ski (in private, Marta’s son) and Antonina Dobrowolska.\u00a0Maciej will present the work „Portraits of Masculinity”, which consists of 4 painted images of men and recordings of conversations with their heroes.\u00a0Antonina Dobrowolska will present the text of her own feminist drama „Baby”, in which one can find an analogy to the poet’s work, which has been modernized.\u00a0You can hear the terrifying news that reaches us from the delivery rooms of Polish hospitals.<\/p>

We invite you to a multi-threaded exhibition that deals with a difficult topic, but one that is closest to everyone, because it concerns our body and the courage to defend its autonomy.\u00a0To quote Marta, „The fight for women’s rights is a fight for human rights.”<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Maciej Raczy\u0144ski
\nINTERVIEW
WITH MARTA FREJ (FRAGMENTS OF STATEMENT)<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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vulva<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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  1. „external genital organs of women and female mammals”<\/li>
  2. daw.\u00a0<\/em>„shame, disgrace, disgrace”<\/li><\/ol>

    PWN dictionary<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    I was most ashamed of the fact that I masturbated with great joy and pleasure.\u00a0It was the most intense shame because I was an example of a child who, as soon as he could walk, discovered the joy of masturbation.\u00a0I was getting to know my body without knowing there was anything wrong with it.\u00a0It was a very important and intense experience for me.\u00a0I wasn’t hiding, so I was caught very quickly and they started to talk me out of it, embarrassing me.\u00a0My parents said what I was doing was ugly and they made sure I didn’t do it.\u00a0On the one hand, I felt joy, the pleasure of discovering my body and making friends with it, but on the other hand, I was made to feel that it was wrong.<\/p>

    It usually happens that once they instill shame in your head, it will always accompany you until you decide to deal with it – for example, with therapy.\u00a0I had a lot of childhood shame because our culture is very productive when it comes to the sources of shame.\u00a0Shaming girls and boys has a wonderful, long tradition in Poland.\u00a0Female teachers are especially good at this.\u00a0Disciplining girls in my primary school was done by instilling a sense of shame.\u00a0In the case of boys it was a raised voice, in the case of girls it was the phrase: \u201cHow can you!\u00a0You should be ashamed of yourself.\u201d\u00a0I remember the taste of this shame very well from my childhood.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    My intuition and experience tell me that this order is more often addressed to girls than to boys.\u00a0The woman is more identified with this shame.\u00a0It’s the girl who has to watch herself, because she’s provocative.\u00a0This is due to the fact that a man does not have to control himself because he cannot.\u00a0His drives, his vitality, but also, subliminally, his fertility, are so important and intense that we do not try to tame them.\u00a0Girls must watch out for themselves because they are under „care” resulting from the fact that as a society we realize that women bear responsibility, guilt and consequences.\u00a0After all, we cannot agree to the creation of „other people’s” children.\u00a0A common fear of a man in the family is that the children are not genetically his, which is not so rare.\u00a0Our national fear, however, is that the children who will be born will be the offspring of a „stranger” – culturally, racially, religiously.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    I also used to find the vulva ugly. The question is, what came first? Is the word ugly first or is the organ ugly to us because we are culturally conditioned that way. The word vulva has never stuck out to me, and I even disliked it very much. I have yet to meet a woman who likes the word. However, after the last few months of working on the exhibition, I\u2019ve ticked off \u201cvulva\u201d because I don\u2019t like having words in my dictionary that I associate badly. That\u2019s my problem, that something has a bad connotation. A word is just a word. I don\u2019t know why I should give in to the social decree that \u201cvulva\u201d sounds bad. After all, it is a word that still functions in our language. It defines one of the most important parts of my body, so all I can do is to tame it. And by taming the word, I also tame its meaning. And at the same time my own shame. I have never been friendly with my vulva, my shame, rather I have repressed it. Not talking about things that are so important, denying their existence, is a mistake. That\u2019s why I\u2019ve done the work and why I use the word \u201cvulva\u201d deliberately, to tame it more and more for myself and other women. Mostly people I ask about the word \u201cvulva\u201d (or srom in Polish) point to a combination of the meanings \u201cpussy\u201d and \u201cshame\u201d. We have a pussy, so\u00a0we must be ashamed. It is the same thing. There is a gesture that has been operating in many cultures for thousands of years, it is called \u201canasuromai\u201d and involves a group of women exposing their vulvas by lifting their skirts to ward off enemies or to put a spell on the sea to make it favourable to fishermen. It is historically documented that \u201canasuromai\u201d works. So if this gesture can carry consequences, it means that by the power of shame, much can be accomplished \u2013 enemies are shamed, so they flee. Let\u2019s swap vectors. Then pussy has great power, the power to shame, but it does not bring shame to the person who possesses it. Then the word can be dealt with.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    Religion achieves the goal of power over people in the simplest ways.\u00a0This is based on fear, and this fear can be triggered by shame, threats and, in part, empty promises.\u00a0Women are promised much less.\u00a0I have always believed that religion will take more from me than it will give, even though the Catholic Church is the largest in terms of the number of followers.\u00a0It is also true that there is a lot going on around the topic of shame, and women are very sensitive about it, so maybe that is why they give in so often?\u00a0My parents declared themselves believers, but they did not practice or use religious arguments in raising me.<\/p>

    Don’t look in the mirror, you’ll see the devil<\/strong><\/p>

    In this respect, both of my grandmothers were no different from many others.\u00a0In their opinion, a woman should be modest and should not devote too much time to her appearance.\u00a0On the other hand, it is a paradox, because appearance has been constantly assessed.\u00a0These contradictory messages are also a way to confuse and raise girls to be less aware and active people.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    The second pole of purity<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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    The myth of the hymen is very deeply rooted in society.\u00a0Also the biological fiction of this construct.\u00a0We behave as if there is no science, no progress.\u00a0We take a myth from the Middle Ages directly and it becomes our reality forever.\u00a0No one effectively refutes this ad cathedra.\u00a0This proves the need for such myths, because they maintain people’s belief in miracles, superstition, and, consequently, the role of the church in spreading these superstitions.\u00a0I don’t know why women need the virginity myth, but I know why men need it.\u00a0This is a subliminal message that a virgin, i.e. a person who has not done something, is a reward for a mentor, a guide, i.e. someone who knows what he is doing.\u00a0As if defloration was such a difficult and sophisticated activity.<\/p>

    The second thing is that this myth is exploited by corporations that want us to be ashamed of our appearance.\u00a0There is a lot of money behind it and many people make money from it.\u00a0As a society, we are increasingly moving towards denying our mortality.\u00a0As humanity, we make a lot of effort to deny the passage of time.\u00a0We put incomparably less effort into trying to come to terms with it.\u00a0There are trends and ideas that are intended to help us come to terms with the passage of time and the essence of being human, i.e. mortality.\u00a0So far, they have not been able to overcome attempts to deny the truth.<\/p>

    The patriarchal society needs us as reproductives, as handmaids, as mothers.\u00a0Our capacity for motherhood is paramount.\u00a0When we are no longer capable of being mothers, the only role we have in society is that of a grandmother, a caregiver.\u00a0We rarely associate 60-year-old women with CEOs of large companies and successful women.\u00a0There are few such social roles and role models for women.\u00a0The industry uses this fact to help us impersonate a woman who is still socially useful.\u00a0We are young, we are fertile \u2013 we are needed.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    A woman who pays more attention to her appearance than her mind is comfortable for patriarchy, unlike a conscious woman, because such a woman is dangerous for patriarchy.\u00a0Because she is stronger.\u00a0Moreover, the advantage of the female body over the male body has been scientifically proven.\u00a0Women are more resistant, live longer, and suffer from diseases less frequently, including during pandemics, because they are capable of giving life.\u00a0This is also terrifying knowledge, because if we were less entangled in patriarchal patterns, we could use our power better.\u00a0It is not without reason that the exhibition will be held in the Witches’ Tower – a place that is directly connected with the history of uncomfortable women’s activities, often costing their lives.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    Blood and economy<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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    Something that is common, normal, is so enchanted by advertising that shows that period blood is not blood because it is blue, but I am starting to understand why.\u00a0Data on period poverty shows that many people do not have access to basic hygiene products, while in Spain the possibility of period leave has become available.\u00a0When we convert it into money and translate it into the language of economics, we may be able to understand why it is in society’s interest to remain silent on this issue.\u00a0I agree that my taxes cover various human needs, even though these are not often my needs.\u00a0Social solidarity requires it.\u00a0This is something that needs to be addressed, because the same is true of unpaid work, which is most often performed by women.\u00a0Those in power do not want to talk about it because it would change the economy.\u00a0If we went on strike like Icelandic women, we could have a real impact on the economy.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    Men<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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    My son defended his thesis on feminism.\u00a0I’m not proud just because Maciek chose this topic.\u00a0He grew up in such a home, so it’s natural.\u00a0My partner Tomek and I cover the issue of feminism in every possible way.\u00a0We read a lot about this topic and educate ourselves.\u00a0We both grew up in very patriarchal times, countries and families.\u00a0We are constantly breaking out of established patterns.\u00a0We are trying to get along in Poland, where feminism means not liking men because it is against toxic masculinity.\u00a0It is difficult to live in such ideas and negotiate this feminism without substantive support.\u00a0No one in Poland has written about the fact that patriarchy also harms men.\u00a0This is a new theory.\u00a0Apart from the translated book Bell Hooks, there is no discussion about it in our homeland.\u00a0The three of us are interested in feminism that includes men and is open to all genders.\u00a0We believe that nothing can be changed if only one group is interested.\u00a0Inclusiveness is needed.\u00a0Maciek’s diploma thesis is an attempt to capture the topic of masculinity.\u00a0He talked to 4 men of different ages about how they perceive masculinity and how they deal with it.\u00a0He also wrote a work on masculinity in art \u2013 both past and contemporary art.\u00a0Bell Hooks’ book „Ready for a Change” made a huge impression on him and helped him write a work in which there is no single model of masculinity.\u00a0My son’s generation already knows that men can show emotions and that stereotypes can serve us, but they need to be taken into consideration.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    Taboo<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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    Taboo is inextricably linked with shame.\u00a0The only way to get to grips with the taboo is to exchange experiences and talk.\u00a0Taboo is elusive because we can believe that there is no taboo in front of us, but at the same time we cannot generalize it.\u00a0Ania (Anna Pamu\u0142a, writer, co-author of the Tabubabki project) and I asked what they called their private parts.\u00a0There were a lot of definitions, almost 2,000 answers.\u00a0Many women said that they did not like any of these terms because they were either vulgar or infantile, and the scientific ones were too cold.\u00a0They asked why they couldn’t name their most intimate parts according to their emotions.\u00a0After all, these are the most important things: a sense of happiness, creativity.\u00a0They had no words for it.\u00a0There are a lot of women who don’t want to have a pussy.\u00a0I don’t assume it’s innate.\u00a0I think it is hard, multi-generational work of society and culture.\u00a0I came across the description of my works, which I persistently create, that there is pussy everywhere.\u00a0This may seem obsessive, but it is paying back a debt to the pussy because it was absent from my conversations with women, from my self, from my works.\u00a0She was never a narrator.\u00a0Women often consider my works vulgar, meaning their pussy is vulgar to them, and\u00a0vulgaris<\/em>\u00a0means common, everyday.\u00a0One for everyone.\u00a0I didn’t think it could be a taboo topic, but I tabooed it myself.\u00a0Ania and I are constantly trying to break this taboo and notice how the project changes us, our sex life and our attitude towards the world.\u00a0We had no idea that as two mature, adult women, we would discover how much is pushed under the carpet, how much silence there is on important issues.\u00a0This is rooted very deeply.\u00a0Only now am I carefully beginning to recognize the shame in myself that has always accompanied me, but was like an invisible filter, like the air I breathe.\u00a0I’m finally starting to feel its inadequacy, I have a feeling what would happen if there was no shame.\u00a0How different my life could be, how free I could be.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    MARTA FREJ<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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    Visual artist, president of the Kulturoholizm Foundation, activist, feminist.\u00a0She graduated from the Academy of Fine Arts.\u00a0W\u0142adys\u0142aw Strzemi\u0144ski in \u0141\u00f3d\u017a.\u00a0She obtained her diploma in 2004. In the years 2005\u20132009, she was an assistant in the Painting and Drawing Studio of Marek Czajkowski at the Academy of Fine Arts in \u0141\u00f3d\u017a.\u00a0Winner of the Glasses of Equality 2015 award, awarded by the Foundation.\u00a0Izabela Jaruga-Nowacka.\u00a0Co-author of the book „Memes and Graffy” with Agnieszka Graff.\u00a0Winner of the Ol\u015bnienia Onet 2017 award in the art category.\u00a0Author of the book „120 faces of Marta Frej” and the herstory comic „Dromaderki”, created as part of a scholarship from the Marshal of the Silesian Voivodeship in 2018.\u00a0An illustrator who permanently cooperates with Gazeta Wyborcza and Polityka weekly.\u00a0The most popular works are paintings with captions illustrating the contemporary life of women in Poland.\u00a0The works, which took the form of paintings, were exhibited in various galleries throughout Poland.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    Implemented with financial assistance from the Pomeranian Voivodeship<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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    Opening 12.10.2023 \/ 5 p.m. \/ free admission Witches’ Tower in S\u0142upsk \/ al. F. Nullo 8 Exhibition 12.10 \u2013 27.12.2023 *ticketed entry to the gallery Artists invited to co-create the exhibition: Antonina […]<\/p>\n","protected":false},"author":1,"featured_media":448,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[275,161],"tags":[],"class_list":["post-1661","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-2023-en-exhibitionarchive","category-exhibitionarchive","entry","has-media"],"_links":{"self":[{"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/posts\/1661","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/comments?post=1661"}],"version-history":[{"count":30,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/posts\/1661\/revisions"}],"predecessor-version":[{"id":7283,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/posts\/1661\/revisions\/7283"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/media\/448"}],"wp:attachment":[{"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/media?parent=1661"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/categories?post=1661"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/tags?post=1661"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}