{"id":549,"date":"2017-03-06T14:09:26","date_gmt":"2017-03-06T13:09:26","guid":{"rendered":"http:\/\/www.korrespondance.org\/site\/?p=549"},"modified":"2017-03-06T14:27:22","modified_gmt":"2017-03-06T13:27:22","slug":"clavijo","status":"publish","type":"post","link":"http:\/\/www.korrespondance.org\/site\/fr\/2017\/03\/06\/clavijo\/","title":{"rendered":"Vladimir Clavijo-Telepnev &#8211; Morceaux choisis"},"content":{"rendered":"<h3><em>Cet article fait partie des \u00ab\u00a0expositions virtuelles\u00a0\u00bb dans lesquelles nous pr\u00e9sentons des artistes d&rsquo;aujourd&rsquo;hui dont le travail nous a particuli\u00e8rement s\u00e9duit.<\/em><\/h3>\n<h4 style=\"text-align: left;\">Le photographe et artiste Vladimir Clavijo Telepnev, plus connu du monde culturel sous le nom de Clavijo, a ouvert il y a un an \u00e0 Nice un atelier.<\/h4>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/\uffd0\uffa1\uffd0\uffbd\uffd0\uffb8\uffd0\uffbc\uffd0\uffbe\uffd0\uffba-\uffd1\uff8d\uffd0\uffba\uffd1\uff80\uffd0\uffb0\uffd0\uffbd\uffd0\uffb0-25-2.jpg\"><img loading=\"lazy\" class=\"wp-image-478 size-medium alignleft\" src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/\uffd0\uffa1\uffd0\uffbd\uffd0\uffb8\uffd0\uffbc\uffd0\uffbe\uffd0\uffba-\uffd1\uff8d\uffd0\uffba\uffd1\uff80\uffd0\uffb0\uffd0\uffbd\uffd0\uffb0-25-2-255x300.jpg\" width=\"255\" height=\"300\" srcset=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/\uffd0\uffa1\uffd0\uffbd\uffd0\uffb8\uffd0\uffbc\uffd0\uffbe\uffd0\uffba-\uffd1\uff8d\uffd0\uffba\uffd1\uff80\uffd0\uffb0\uffd0\uffbd\uffd0\uffb0-25-2-255x300.jpg 255w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/\uffd0\uffa1\uffd0\uffbd\uffd0\uffb8\uffd0\uffbc\uffd0\uffbe\uffd0\uffba-\uffd1\uff8d\uffd0\uffba\uffd1\uff80\uffd0\uffb0\uffd0\uffbd\uffd0\uffb0-25-2-768x905.jpg 768w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/\uffd0\uffa1\uffd0\uffbd\uffd0\uffb8\uffd0\uffbc\uffd0\uffbe\uffd0\uffba-\uffd1\uff8d\uffd0\uffba\uffd1\uff80\uffd0\uffb0\uffd0\uffbd\uffd0\uffb0-25-2.jpg 860w\" sizes=\"(max-width: 255px) 100vw, 255px\" \/><\/a><\/p>\n<p style=\"text-align: left;\">Clavijo est issu d\u2019une famille d\u2019artistes et de photographes professionnels. Cela se ressent imm\u00e9diatement dans ses travaux. Contrairement \u00e0 de nombreux photographes \u00e0 la mode, Clavijo cr\u00e9e une \u0153uvre contemporaine en s\u2019appuyant sur une connaissance profonde des traditions et des styles des beaux-arts.<\/p>\n<p style=\"text-align: left;\">Son grand-p\u00e8re et sa grand\u2019m\u00e8re maternels, Vladimir et Margarita Telepnev, \u00e9taient artistes. Son grand-p\u00e8re paternel, Edmundo Clavijo Kubilos, \u00e9tait un photographe et poss\u00e9dait son atelier, et son p\u00e8re Pedro Clavijo \u00e9tait un journaliste colombien, reporter \u00e0 la radio.<\/p>\n<p style=\"text-align: left;\">Vladimir Clavijo est dipl\u00f4m\u00e9 de l\u2019acad\u00e9mie polygraphique de Moscou, en tant qu\u2019artiste- graphiste. Il a travaill\u00e9 comme reporter pour des publications italiennes, fran\u00e7aises, espagnoles. Il a commenc\u00e9 dans le m\u00eame temps \u00e0 s\u2019int\u00e9resser \u00e0 la photographie artistique.<\/p>\n<p style=\"text-align: left;\">Depuis 1996, il travaille activement avec le monde de la mode et enseigne la photographie artistique.<\/p>\n<h4 style=\"text-align: left;\">\u00a0<div id=\"metaslider-id-566\" style=\"max-width: 350px;\" class=\"ml-slider-3-37-0 metaslider metaslider-flex metaslider-566 ml-slider ms-theme-default\" role=\"region\" aria-roledescription=\"Slideshow\" aria-label=\"Slideshow\">\n    <div id=\"metaslider_container_566\">\n        <div id=\"metaslider_566\" class=\"flexslider\">\n            <ul aria-live=\"polite\" class=\"slides\">\n                <li style=\"display: block; width: 100%;\" class=\"slide-469 ms-image\" aria-roledescription=\"slide\" aria-label=\"slide-469\"><img src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/EV-1168x675mm-350x600.jpg\" height=\"600\" width=\"350\" alt=\"\" class=\"slider-566 slide-469\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-465 ms-image\" aria-roledescription=\"slide\" aria-label=\"slide-465\"><img src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/AD-1168x675mm-e1487004729404-300x514.jpg\" height=\"600\" width=\"350\" alt=\"\" class=\"slider-566 slide-465\" \/><\/li>\n            <\/ul>\n        <\/div>\n        \n    <\/div>\n<\/div><\/h4>\n<h4 style=\"text-align: left;\">Mus\u00e9e Pouchkine<\/h4>\n<p style=\"text-align: left;\">Clavijo prend r\u00e9guli\u00e8rement part \u00e0 des expositions tant personnelles que de groupe, dans des sites parmi les plus prestigieux \u2013 par exemple au mus\u00e9e Pouchkine de Moscou et dans le mus\u00e9e d\u2019Etat d\u2019histoire contemporaine de Russie. Il est expos\u00e9 aux c\u00f4t\u00e9s d\u2019Ilya Kabakov, Grisha Bruskine, Natalya Nesterova et d\u2019autres artistes contemporains.<\/p>\n<p style=\"text-align: left;\">Ses travaux sont pr\u00e9sents dans les collections de Dimitri Medvedev, Nursultan Nazarbaev, Elton John, de Marie-Christine, Princesse Michael de Kent, de Peter Greenaway\u2026<\/p>\n<h4 style=\"text-align: left;\"><a href=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF082156.jpg\"><img loading=\"lazy\" class=\"alignleft wp-image-467\" src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF082156-300x300.jpg\" width=\"220\" height=\"220\" srcset=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF082156-300x300.jpg 300w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF082156-150x150.jpg 150w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF082156-768x768.jpg 768w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF082156-1024x1024.jpg 1024w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF082156-250x250.jpg 250w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF082156-174x174.jpg 174w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF082156.jpg 1200w\" sizes=\"(max-width: 220px) 100vw, 220px\" \/><\/a>Impression sur bois<\/h4>\n<p style=\"text-align: left;\">Ces derniers temps, Clavijo a commenc\u00e9 \u00e0 exp\u00e9rimenter l\u2019impression de certains travaux sur des planches en bois, avec un format allant du A4 \u00e0 de grands formats de 1,5&#215;2 m\u00e8tres.<\/p>\n<p style=\"text-align: left;\">Coll\u00e9es sur des planches, les photographies sont recouvertes d\u2019un vernis et produisent la sensation d\u2019\u00eatre des toiles anciens de ma\u00eetres. La fronti\u00e8re avec la peinture devient floue.<\/p>\n<p style=\"text-align: left;\">Le temps para\u00eet s\u2019arr\u00eater et les objets acqui\u00e8rent une immobilit\u00e9 mystique.<\/p>\n<p style=\"text-align: left;\">Cela se ressent particuli\u00e8rement dans ses natures mortes.<\/p>\n<p style=\"text-align: left;\"><div id=\"metaslider-id-492\" style=\"max-width: 500px;\" class=\"ml-slider-3-37-0 metaslider metaslider-flex metaslider-492 ml-slider ms-theme-default\" role=\"region\" aria-roledescription=\"Slideshow\" aria-label=\"Slideshow\">\n    <div id=\"metaslider_container_492\">\n        <div id=\"metaslider_492\" class=\"flexslider\">\n            <ul aria-live=\"polite\" class=\"slides\">\n                <li style=\"display: block; width: 100%;\" class=\"slide-466 ms-image\" aria-roledescription=\"slide\" aria-label=\"slide-466\"><img src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF052185F052185--500x750.jpg\" height=\"750\" width=\"500\" alt=\"\" class=\"slider-492 slide-466\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-468 ms-image\" aria-roledescription=\"slide\" aria-label=\"slide-468\"><img src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/CF098970-copy-2-500x750.jpg\" height=\"750\" width=\"500\" alt=\"\" class=\"slider-492 slide-468\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-471 ms-image\" aria-roledescription=\"slide\" aria-label=\"slide-471\"><img src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/LIM-440x357mm-500x750.jpg\" height=\"750\" width=\"500\" alt=\"\" class=\"slider-492 slide-471\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-472 ms-image\" aria-roledescription=\"slide\" aria-label=\"slide-472\"><img src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/OCH-440x357mm-500x750.jpg\" height=\"750\" width=\"500\" alt=\"\" class=\"slider-492 slide-472\" \/><\/li>\n            <\/ul>\n        <\/div>\n        \n    <\/div>\n<\/div>\n<p style=\"text-align: left;\">Clavijo est devenu c\u00e9l\u00e8bre en tant que ma\u00eetre du noir et blanc et de la monochromie s\u00e9pia, dans un style r\u00e9tro. Cette technique est particuli\u00e8rement adapt\u00e9e au rendu de la beaut\u00e9 du corps f\u00e9minin, comme dans la s\u00e9rie \u00ab\u00a0Sensualit\u00e9\u00a0\u00bb.<\/p>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/P3140457.jpg\"><img loading=\"lazy\" class=\"size-full wp-image-503 alignnone\" src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/P3140457.jpg\" alt=\"\" width=\"600\" height=\"733\" srcset=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/P3140457.jpg 600w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/P3140457-246x300.jpg 246w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/a><\/p>\n<p style=\"text-align: left;\">Toutefois, ces derniers temps Clavijo se tourne activement vers la couleur, surtout pour des travaux imprim\u00e9s directement sur des planches. Ces photographies deviennent picturales, comme les meilleures toiles des ma\u00eetres de la Renaissance.<\/p>\n<p style=\"text-align: left;\"><div id=\"metaslider-id-493\" style=\"max-width: 500px;\" class=\"ml-slider-3-37-0 metaslider metaslider-flex metaslider-493 ml-slider ms-theme-default\" role=\"region\" aria-roledescription=\"Slideshow\" aria-label=\"Slideshow\">\n    <div id=\"metaslider_container_493\">\n        <div id=\"metaslider_493\" class=\"flexslider\">\n            <ul aria-live=\"polite\" class=\"slides\">\n                <li style=\"display: block; width: 100%;\" class=\"slide-473 ms-image\" aria-roledescription=\"slide\" aria-label=\"slide-473\"><img src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/RUK-242x145mm-500x750.jpg\" height=\"750\" width=\"500\" alt=\"\" class=\"slider-493 slide-473\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-474 ms-image\" aria-roledescription=\"slide\" aria-label=\"slide-474\"><img src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/RUK-440x357mm-500x750.jpg\" height=\"750\" width=\"500\" alt=\"\" class=\"slider-493 slide-474\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-475 ms-image\" aria-roledescription=\"slide\" aria-label=\"slide-475\"><img src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/ruki-8chereshna-cop-2-500x750.jpg\" height=\"750\" width=\"500\" alt=\"\" class=\"slider-493 slide-475\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-476 ms-image\" aria-roledescription=\"slide\" aria-label=\"slide-476\"><img src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/ruki-8chereshna-cop-500x750.jpg\" height=\"750\" width=\"500\" alt=\"\" class=\"slider-493 slide-476\" \/><\/li>\n            <\/ul>\n        <\/div>\n        \n    <\/div>\n<\/div>\n<p style=\"text-align: left;\">Il est possible de voir et d\u2019acqu\u00e9rir des travaux de Clavijo-Telepnev \u00e0 Nice, dans son atelier\u00a0:<\/p>\n<p style=\"text-align: left;\">Rue du Commandant Beretta, 06000 Nice, France<\/p>\n<p style=\"text-align: left;\">Mais aussi sur son site <a href=\"http:\/\/www.clavijo.ru\">www.clavijo.ru<\/a>.<\/p>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/YULIA-SHLIAPA-NEW-2.jpg\"><img loading=\"lazy\" class=\"wp-image-477 size-large alignleft\" src=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/YULIA-SHLIAPA-NEW-2-798x1024.jpg\" width=\"640\" height=\"821\" srcset=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/YULIA-SHLIAPA-NEW-2-798x1024.jpg 798w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/YULIA-SHLIAPA-NEW-2-234x300.jpg 234w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/YULIA-SHLIAPA-NEW-2-768x986.jpg 768w, http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/YULIA-SHLIAPA-NEW-2.jpg 1013w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Cet article fait partie des \u00ab\u00a0expositions virtuelles\u00a0\u00bb dans lesquelles nous pr\u00e9sentons des artistes d&rsquo;aujourd&rsquo;hui dont le travail nous a particuli\u00e8rement s\u00e9duit. Le photographe et artiste Vladimir Clavijo Telepnev, plus connu du monde culturel sous le nom de Clavijo, a ouvert il y a un an \u00e0 Nice un atelier. &nbsp; Clavijo est issu d\u2019une famille<a href=\"http:\/\/www.korrespondance.org\/site\/fr\/2017\/03\/06\/clavijo\/\">[&#8230;]<\/a><\/p>\n","protected":false},"author":1,"featured_media":476,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[36],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v15.1.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Vladimir Clavijo-Telepnev - Morceaux choisis - Association Korrespondance<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.korrespondance.org\/site\/fr\/2017\/03\/06\/clavijo\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vladimir Clavijo-Telepnev - Morceaux choisis - Association Korrespondance\" \/>\n<meta property=\"og:description\" content=\"Cet article fait partie des \u00ab\u00a0expositions virtuelles\u00a0\u00bb dans lesquelles nous pr\u00e9sentons des artistes d&rsquo;aujourd&rsquo;hui dont le travail nous a particuli\u00e8rement s\u00e9duit. Le photographe et artiste Vladimir Clavijo Telepnev, plus connu du monde culturel sous le nom de Clavijo, a ouvert il y a un an \u00e0 Nice un atelier. &nbsp; Clavijo est issu d\u2019une famille[...]\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.korrespondance.org\/site\/fr\/2017\/03\/06\/clavijo\/\" \/>\n<meta property=\"og:site_name\" content=\"Association Korrespondance\" \/>\n<meta property=\"article:published_time\" content=\"2017-03-06T13:09:26+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-03-06T13:27:22+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/ruki-8chereshna-cop.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"750\" \/>\n\t<meta property=\"og:image:height\" content=\"1200\" \/>\n<meta name=\"twitter:card\" content=\"summary\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"http:\/\/www.korrespondance.org\/site\/#website\",\"url\":\"http:\/\/www.korrespondance.org\/site\/\",\"name\":\"Association Korrespondance\",\"description\":\"Art nomade\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":\"http:\/\/www.korrespondance.org\/site\/?s={search_term_string}\",\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"fr-FR\"},{\"@type\":\"ImageObject\",\"@id\":\"http:\/\/www.korrespondance.org\/site\/fr\/2017\/03\/06\/clavijo\/#primaryimage\",\"inLanguage\":\"fr-FR\",\"url\":\"http:\/\/www.korrespondance.org\/site\/wp-content\/uploads\/2017\/02\/ruki-8chereshna-cop.jpg\",\"width\":750,\"height\":1200},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.korrespondance.org\/site\/fr\/2017\/03\/06\/clavijo\/#webpage\",\"url\":\"http:\/\/www.korrespondance.org\/site\/fr\/2017\/03\/06\/clavijo\/\",\"name\":\"Vladimir Clavijo-Telepnev - Morceaux choisis - Association Korrespondance\",\"isPartOf\":{\"@id\":\"http:\/\/www.korrespondance.org\/site\/#website\"},\"primaryImageOfPage\":{\"@id\":\"http:\/\/www.korrespondance.org\/site\/fr\/2017\/03\/06\/clavijo\/#primaryimage\"},\"datePublished\":\"2017-03-06T13:09:26+00:00\",\"dateModified\":\"2017-03-06T13:27:22+00:00\",\"author\":{\"@id\":\"http:\/\/www.korrespondance.org\/site\/#\/schema\/person\/b81f05f878099981a4bd2adeb491af2b\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"http:\/\/www.korrespondance.org\/site\/fr\/2017\/03\/06\/clavijo\/\"]}]},{\"@type\":\"Person\",\"@id\":\"http:\/\/www.korrespondance.org\/site\/#\/schema\/person\/b81f05f878099981a4bd2adeb491af2b\",\"name\":\"Caroline, Anna\",\"image\":{\"@type\":\"ImageObject\",\"@id\":\"http:\/\/www.korrespondance.org\/site\/#personlogo\",\"inLanguage\":\"fr-FR\",\"url\":\"http:\/\/2.gravatar.com\/avatar\/828da604f5a4f5679eb6b3fad14fd0a6?s=96&d=mm&r=g\",\"caption\":\"Caroline, Anna\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","_links":{"self":[{"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/posts\/549"}],"collection":[{"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/comments?post=549"}],"version-history":[{"count":31,"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/posts\/549\/revisions"}],"predecessor-version":[{"id":599,"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/posts\/549\/revisions\/599"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/media\/476"}],"wp:attachment":[{"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/media?parent=549"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/categories?post=549"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.korrespondance.org\/site\/wp-json\/wp\/v2\/tags?post=549"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}