{"id":96133,"date":"2017-07-06T16:34:59","date_gmt":"2017-07-06T14:34:59","guid":{"rendered":"http:\/\/www.myza.co.za\/img_9000a-jean-dubuffet-1901-1985-paris-site-avec-sept-personnages-site-with-seven-figures-1981-colmar-unterlinden\/"},"modified":"2017-07-06T16:34:59","modified_gmt":"2017-07-06T14:34:59","slug":"img_9000a-jean-dubuffet-1901-1985-paris-site-avec-sept-personnages-site-with-seven-figures-1981-colmar-unterlinden","status":"publish","type":"post","link":"https:\/\/www.myza.co.za\/press\/img_9000a-jean-dubuffet-1901-1985-paris-site-avec-sept-personnages-site-with-seven-figures-1981-colmar-unterlinden\/","title":{"rendered":"IMG_9000A Jean Dubuffet. 1901-1985. Paris. Site avec sept personnages. Site with seven Figures. 1981. Colmar. Unterlinden."},"content":{"rendered":"

IMG_9000A Jean Dubuffet. 1901-1985. Paris. Site avec sept personnages. Site with seven Figures. 1981. Colmar. Unterlinden.<\/strong>
\n\"Big
\nImage by jean louis mazieres<\/a><\/i>
\nJean Dubuffet. 1901-1985. Paris. Site avec sept personnages. Site with seven Figures. 1981. Colmar. Unterlinden. <\/p>\n

L’ART CONTEMPORAIN : UNE IDEOLOGIE TRES SERIEUSE<\/p>\n

Nombreux sont ceux qui ont le sentiment tr\u00e8s vif que l’Art Contemporain "se fout de notre gueule". Mais il faut aussi comprendre pourquoi.
\nL’Histoire de la peinture europ\u00e9enne d\u00e9montre une r\u00e9alit\u00e9 qui parcourt tous les si\u00e8cles : l’Art est fondamentalement id\u00e9ologique et politique. L’Art est id\u00e9ologique c’est \u00e0 dire qu’il est le reflet, l’expression, du syst\u00e8me de valeurs qui fa\u00e7onne une soci\u00e9t\u00e9 donn\u00e9e \u00e0 une \u00e9poque donn\u00e9e. L’Art est politique car ce syst\u00e8me de valeurs est toujours impos\u00e9 par les puissances gouvernantes de l’\u00e9poque. Ces puissances gouvernantes ne se confondent pas n\u00e9cessairement avec les chefs politiques au pouvoir. Ce sont des Influences qui d\u00e9bordent souvent le cercle \u00e9troit des dirigeants manifestes, les politiciens.
\nL’art Gr\u00e9co-Romain est command\u00e9 par sa vision d’un monde o\u00f9 l’Harmonie universelle d\u00e9pend du respect par les Dieux et par les hommes, chacuns \u00e0 leurs places, des grands r\u00e8gles qui r\u00e9gissent les grands \u00e9quilibres naturels.
\nUn des premiers commandements de l’Islam est la condamnation de la repr\u00e9sentation de Dieu et son art pictural est le reflet de cette interdiction.
\nUne des grandes guerres civiles dans l’Empire Byzantin a \u00e9t\u00e9 de savoir si on repr\u00e9senterait ou non Dieu, la Vierge….C’est la crise iconoclaste qui s’ach\u00e8ve par la victoire des Images.
\nDe 500 \u00e0 1500 en Europe l’Art a \u00e9t\u00e9 presque exclusivement catholique, ou orthodoxe \u00e0 l’Est. Pendant Mille ans la peinture et la sculpture europ\u00e9enne ont \u00e9t\u00e9 inspir\u00e9es presque exclusivement par cette id\u00e9ologie religieuse.
\nLe premier acte des protestants dans toute l’Europe a \u00e9t\u00e9 de d\u00e9truire les \u00e9glises et les oeuvres d’art catholiques. De nouvelles valeurs, plus profanes et mat\u00e9rialistes, plus inspir\u00e9es par l’Ancien Testament, se sont alors mises en place. La peinture profane des Pays Bas, \u00e0 partir du 17\u00e8 si\u00e8cle est l’illustration de ces nouvelles inspirations id\u00e9ologiques.
\nLes communistes de tous les r\u00e9gimes, de L\u00e9nine \u00e0 Mao, ont condamn\u00e9 l’art d\u00e9g\u00e9n\u00e9r\u00e9 des capitalistes.
\nHitler a fait de m\u00eame d\u00e8s les ann\u00e9es 1930. Ces r\u00e9gimes totalitaires et g\u00e9nocidaires n’ont \u00e9t\u00e9 cr\u00e9ateurs d’aucune manifestation artistique notable.
\nLes D\u00e9mocraties ont en r\u00e9ponse impos\u00e9 id\u00e9ologiquement et politiquement leur art.
\nC’est tr\u00e8s exactement ce que signifie la cr\u00e9ation du MOMA, en 1929, \u00e0 New York par les Rockefeller: L’Art Contemporain est la traduction en art des id\u00e9ologies qui gouvernent l’Occident contemporain exactement comme le Retable d’Issenheim est la traduction en art de l’id\u00e9ologie catholique qui a r\u00e9git l’Europe du 5\u00e8 au 16\u00e8 si\u00e8cle. Et comme la peinture des Pays Bas du Si\u00e8cle d’Or est la traduction en art du changement d’id\u00e9ologie qui est r\u00e9sult\u00e9 de la R\u00e9forme protestante.
\nIl n’est pas possible de comprendre l’art contemporain, expos\u00e9 dans nos mus\u00e9es, si on ne recherche pas quels sont les commandements id\u00e9ologiques auxquels notre soci\u00e9t\u00e9 contemporaine ob\u00e9it. Pas plus qu’on ne peut comprendre l’art europ\u00e9en du 5\u00e8 au 16\u00e8 si\u00e8cle en l’absence de quelques connaissances de l’Ancien et du Nouveau Testament. Puis \u00e0 partir de la Renaissance, en outre, de l’histoire et de la mythologie gr\u00e9co-romaine.
\nBref, nous aussi Occidentaux du 21\u00e8 si\u00e8cle nous avons notre religion et nos 10 commandements : La Raison, la Science, les Techniques, le Progr\u00e8s, l’Evolution, le Bonheur, la D\u00e9mocratie, les Droits de l’Homme, le Gouvernement Mondial, la Libert\u00e9 du Commerce, la Monnaie Unique….et encore bien d’autres cat\u00e9chismes obligatoires impos\u00e9s au gr\u00e9 des circonstances et des modes par les faiseurs de syst\u00e8mes.
\nLes "esprits forts" de notre \u00e9poque se moquent des croyances religieuses des temps pass\u00e9s, mais la Raison et le Progr\u00e8s sont scientifiquement aussi incr\u00e9dibles que l’Immacul\u00e9e Conception et la R\u00e9surrection. La th\u00e9orie de l’Evolution avec son "Big Bang", pens\u00e9e obligatoire en Occident de nos jours, enseign\u00e9e dans tous les manuels et dans toutes les encyclop\u00e9dies, est une cosmogonie absolument aussi fantaisiste que les versions d’H\u00e9siode, celle des Upanishad, des lois de Manou, ou la G\u00e9n\u00e8se. Elle n’a absolument rien de scientifique : Elle est une accumulation d’hypoth\u00e8ses, qui n’ont bien s\u00fbr jamais \u00e9t\u00e9 v\u00e9rifi\u00e9es, et qui sont seulement formul\u00e9es en langage scientifique moderne, au lieu de l’\u00eatre en termes po\u00e9tiques.
\nLa Statue de la Libert\u00e9 et les Proclamation des Droits ont remplac\u00e9 les Vierges \u00e0 l’Enfant, les Christ en croix, et les Tables des Commandements.
\n"La Libert\u00e9, l’Egalit\u00e9 et la Fraternit\u00e9", la "D\u00e9mocratie", populaire ou lib\u00e9rale, et les "Droits de l’Homme" ont justifi\u00e9 autant de guerres, d\u00e9clar\u00e9es ou larv\u00e9es, que le Juda\u00efsme, le Christianisme (catholique, orthodoxe et protestant) ou l’Islam.
\nAu cours des trois derniers si\u00e8cles, l’Occident a fabriqu\u00e9 sa religion profane, une religion de "l’Ici Bas", mat\u00e9rialiste, qui sert les int\u00e9r\u00eats des \u00e9lites actuelles, et permet de mobiliser les foules "dans la bonne direction".
\nToute la civilisation occidentale contemporaine repose sur cette id\u00e9ologie qui s’est impos\u00e9e en deux ou trois si\u00e8cles : celle des "Lumi\u00e8res".
\nCette nouvelle id\u00e9ologie se d\u00e9finit exactement comme toutes les autres id\u00e9ologies avant elle, qu’elles soient sacr\u00e9es ou profanes : "Nous sommes les meilleurs parce que nous d\u00e9tenons La V\u00e9rit\u00e9, et tous les autres sont dans l’Erreur."
\nC’est par une cons\u00e9quence de cette foi que les hommes des Lumi\u00e8res se sont appel\u00e9s eux m\u00eames "Les Lumi\u00e8res". Ils ne se sont pas appel\u00e9s "Les Ombres", bien s\u00fbr.
\n"Les Ombres" c’est tout ce qui a exist\u00e9 avant eux.
\n"Les Ombres" c’est aussi, apr\u00e8s eux, tout ce qui n’est pas eux.
\nC’est un nouveau Nouveau Testament !<\/p>\n

Et l’Art ? On y arrive :
\nPour comprendre l’Art Contemporain, sa signification et sa raison d’\u00eatre, il faut se rappeler que l’une des doctrines fondamentales, ins\u00e9parables des Lumi\u00e8res, consubstantielles aux Lumi\u00e8res, c’est que la lumi\u00e8re n’est pas donn\u00e9e \u00e0 tout le monde.
\nLes Eclair\u00e9s ce n’est pas vous, ce n’est pas nous, ce ne sont surtout pas les peuples.
\nLes Eclair\u00e9s ce sont seulement ceux qui sont dans les parties hautes de la Pyramide des Initi\u00e9s. Une toute petite minorit\u00e9 "d’avant garde \u00e9clair\u00e9e des citoyens".
\nCette Pyramide qui est repr\u00e9sent\u00e9e sur le billet de un dollar, et qui a \u00e9t\u00e9 construite dans la Cour du Louvre \u00e0 Paris. Ce n’est pas par hasard si cette pyramide est ainsi figur\u00e9e sur le dollar, ou a \u00e9t\u00e9 construite au centre de Paris, dans la cour des anciens palais des rois de France. Ce sont des signes r\u00e9serv\u00e9s \u00e0 l’attention des \u00e9clair\u00e9s.
\n "L’avant garde \u00e9clair\u00e9e du prol\u00e9tariat" est une version maintenant un peu d\u00e9pass\u00e9e de cette id\u00e9ologie, mais qui a fonctionn\u00e9 un bon bout de temps, en se proclamant, \u00e9videmment, la meilleure. C’est la version occidentale, lib\u00e9rale, qui a gagn\u00e9.
\nVoil\u00e0 pourquoi l’Art Contemporain est Laid et Absurde : Les Anciens, aux temps des Ombres, avaient patronn\u00e9 un art Beau et compr\u00e9hensible par les peuples.
\nLes Eclair\u00e9s des "Temps Nouveaux", les Initi\u00e9s, ne pouvaient pas continuer sur le m\u00eame chemin, faire la m\u00eame chose que les \u00e9lites "du temps des Ombres". Il fallait que les Eclair\u00e9s inventent quelque chose d’in\u00e9dit, quelque chose de jamais vu, qui marque la rupture, montre leur originalit\u00e9 et fasse la diff\u00e9rence : Ils ont con\u00e7u, justifi\u00e9 et impos\u00e9 un art du Laid et de l’Absurde. Un art qui rassemble les seuls Initi\u00e9s, un art r\u00e9serv\u00e9, qui leur permet de se distinguer des masses et de se reconna\u00eetre entre eux.
\nBien s\u00fbr les Eclair\u00e9s ne comprennent rien de plus que les masses \u00e0 cet art, pas plus qu’ils ne d\u00e9tiennent la V\u00e9rit\u00e9. L’essentiel est ceci : L’Art Contemporain est un Signe. Comme la Pyramide.
\nCet art est leur signe de reconnaissance. Un de ces signes autour des quels ils se regroupent, discr\u00e8tement, et en m\u00eame temps un proc\u00e9d\u00e9 par lequel ils marquent leur sup\u00e9riorit\u00e9 d’Eclair\u00e9s sur les masses born\u00e9es.
\nLe peuple doit entrer dans un mus\u00e9e d’art contemporain, comme s’il entrait dans un Temple des anciennes religions : il faut qu’il se sente totalement d\u00e9pass\u00e9 par un \u00e9trange et inqui\u00e9tant Myst\u00e8re.
\n "Je n’y comprends rien" est l’observation la plus constamment reprise par "les gens du commun", du moins par ceux qui ne font pas semblant de comprendre.
\nC’est bien le but recherch\u00e9, il faut que l’Art des Eclair\u00e9s soit incompr\u00e9hensible aux masses et les tiennent \u00e0 distance respectueuse. C’est un point essentiel de la doctrine des "Lumi\u00e8res". Par d\u00e9finition, il ne peut y avoir de "Lumi\u00e8res" s’il n’y a pas d’Ombres, et il ne peut y avoir d’Eclair\u00e9s s’il n’y a pas des Born\u00e9s, \u00e0 maintenir \u00e0 leur place.
\nL’art du Laid, cette invention g\u00e9niale qui s’\u00e9panouit \u00e0 partir des ann\u00e9es 1950, a mis en place quelque chose de tout \u00e0 fait nouveau et de tout \u00e0 fait d\u00e9routant pour les peuples, car cela n’avait jamais \u00e9t\u00e9 fait auparavant.
\nEn m\u00eame temps, cet art est tout \u00e0 fait sp\u00e9cifique et distinctif pour les Eclair\u00e9s. Cet art leur permet de se particulariser et de se s\u00e9parer de la masse non-inform\u00e9e, tout en imposant une conformit\u00e9 dans laquelle ils se reconnaissent. Tout l’art est de se distinguer en se conformant, cela a \u00e9t\u00e9 tr\u00e8s bien dit par Pierre Bourdieu \u00e0 la fin des ann\u00e9es 1970. C’est l’utilit\u00e9 de l’Art Contemporain, du point de vue des \u00e9lites, et c’est ce qui explique ses caract\u00e9ristiques.
\nLa Peinture et la Sculpture contemporaines ne servent plus \u00e0 cr\u00e9er le Beau, ni \u00e0 plaire aux peuples, ni \u00e0 leur transmettre un message qu’ils puissent comprendre. L’Art Contemporain ne sert plus \u00e0 rapprocher les \u00e9lites et les peuples, il sert au contraire \u00e0 maintenir les distances entre eux.
\nEn effet, \u00e0 l’\u00e8re de la communication de masse, ces arts ne sont plus un lieu n\u00e9cessaire de rencontre entre les \u00e9lites et les peuples. Pour plaire au public il existe des moyens nouveaux et tr\u00e8s efficaces : les grands m\u00e9dias, le cin\u00e9ma, la publicit\u00e9, l’art commercial. Il est possible aussi de laisser se d\u00e9velopper un art mural.
\nEt comme en plus, les Eclair\u00e9s veillent tr\u00e8s attentivement \u00e0 ce qu’il soit possible de faire de l’argent avec cet art r\u00e9serv\u00e9, c’est du pain b\u00e9nit.
\nVoil\u00e0 pourquoi l’Art Contemporain est Laid, Absurde et con-sacr\u00e9 et…. "se fout de notre gueule".
\nL’Art Contemporain est une affaire extr\u00eamement s\u00e9rieuse, id\u00e9ologiquement, politiquement et \u00e9conomiquement.
\nBref tr\u00e8s c’est s\u00e9rieux en tout, sauf en Art.<\/p>\n

CONTEMPORARY ART: A VERY SERIOUS IDEOLOGY<\/p>\n

Many people have the strong feeling that, as has been said, "Contemporary Art fucks us right in the face". But we must also understand why.
\nThe History of European Painting demonstrates a reality that goes through all the centuries: Art is fundamentally ideological and political. Art is ideological, ie it is the reflection, the expression, of the value system which shapes a society at a given time. Art is political because this system of values is always imposed by the ruling powers of the time.
\nThe governing powers do not necessarily overlap with the political leaders in power. These are Influences that often extend beyond the narrow circle of manifest leaders, the politicians.
\nThe Greco-Roman art is driven by his vision of a world where the universal harmony depends on respect by the gods and men, chacuns in their places, of the major rules governing the great natural balances.
\nOne of the first commandments of Islam, is the condemnation of the representation of God and his pictorial art is a reflection of the ban.
\nOne of the great civil war in the Byzantine Empire was to know whether yes or no we would represent God, the Virgin …. This is the iconoclastic crisis, which ended with the victory of Images.
\nFrom 500 to 1500 in Europe Art was almost exclusively Catholic, or Orthodox in the East. For a Thousand Years European painting and sculpture were inspired almost exclusively by this religious ideology
\nThe first act of the Protestants in Europe has been to destroy Catholic churches and works of art. New values, more profane and materialistic, more inspired by the Old Testament, were then put in place. The profane painting of the Netherlands, from the 17th century onwards, illustrates these new ideological inspirations.
\nThe Communists of all regimes, from Lenin to Mao have condemned the degenerate art by the capitalists from 1920. Hitler did the same by the 1930s. These totalitarian and genocidal regimes have been no notable creators of artistic manifestation.
\nDemocracies have, in response, already imposed, ideologically and politically, their art.
\nThis is exactly what it means the creation of the MOMA in 1929 in New York by the Rockefeller:
\nThe Contemporary Art is the translation into art of the ideologies that govern the contemporary West, exactly as the Issenheim Altarpiece is the translation into art of the Catholic ideology that governed Europe from the 5th to the 16th century. And like the painting of the Netherlands of the Golden Age is the translation into art of the change of ideology that resulted from the Protestant Reformation.
\nIt is not possible to understand the contemporary art, exhibited in our museums, if we do not research what are the ideological commandments to which our contemporary society obeys. Juste like it is not possible to understand the European art from the 5th to the 16th century in the absence of some knowledge of the Old and New Testaments. Then from the Renaissance, furthermore, of the history and Greco-Roman mythology.
\nIn short, we Westerners of the 21st century we have our religions and our 10 Commandments: Reason, Science, Techniques, Progress, Evolution, Happiness, Democracy, Human Rights, World Government, Freedom of Commerce, Single Currency … and many other compulsory catechisms imposed according to circumstances and fashions by system makers.
\nThe strong minds of our time mock religious beliefs of the past, but Reason and Progress are as scientifically as no credible as the Immaculate Conception and the Resurrection. The theory of Evolution with its "Big Bang", a compulsory thought in the West today, taught in all textbooks and encyclopedias, is a cosmogony absolutely as whimsical as the versions of Hesiod, that of the Upanishads, the Laws of Manou, or the Genesis. It has absolutely nothing scientific: it is an accumulation of hypotheses, which of course have never been verified, and which are only formulated in modern scientific language, instead of being in poetic terms.
\nThe Statue of Liberty and the Proclamation of Rights have replaced the Virgins with the Child, the Christ in the Cross, and the Tables of the Commandments.
\n"Liberty, Equality and Fraternity", popular or liberal "Democracy", and "Human Rights" have justified as many wars, declared or concealed, asthe Judaism, the Christianity, Catholic, Orthodox And Protestant, or Islam.
\nOver the last three centuries, the West has fabricated its secular religion, a "materialistic" religion of the "lower world," which serves the interests of the current elites and mobilizes the crowds "in the right direction."
\nThe Statue of Liberty has replaced the Virgins with the Child and the Christ in the Cross.
\n"Liberty, Equality and Fraternity", Democracy, popular or liberal, and Human Rights have justified as many wars as Christianity, Catholic and Protestant, or Islam.
\nThe West has fabricated its secular religions, a "materialistic" religion of the "lower world," which serves the interests of the current elites and mobilizes the masses "in the right direction."
\nAll contemporary Western civilization is based on this ideology that has been imposed in two or three centuries: that of the "Enlightenment".
\nThis new ideology is defined exactly like all other ideologies before it, whether sacred or profane: "We are the best because we hold The Truth, and all others are in error."
\nIt is moreover a consequence of this faith that the men of the Enlightenment called themselves "The Enlightenment". They themselves are not called "The Shadows", of course.
\n"The Shadows" is all that existed before them.
\n"The Shadows" is also, after them, everything that is not them.
\nIt’s a new New Testament!
\nAnd Art? We get there :
\nTo understand the Contemporary Art, its meaning and its purpose, we must remember that one of the fundamental doctrines, inseparable from the Enlightenment, consubstantial to the Enlightenment, is that the light is not given to all world.
\nThe Enlightened is not you, it is not us, it is not especially the peoples.
\nThe Enlightened are only those who are in the upper parts of the pyramid of Initiates.
\nA tiny minority "of enlightened vanguard of the citizens".
\nThis pyramid which is represented on the dollar bill, and which was built in the Louvre in Paris. It is not by chance that this pyramid is thus depicted on the dollar, or was built in the center of Paris, in the courtyard of the ancient palaces of the kings of France. These are signs reserved for the attention of the enlightened.
\n "The enlightened vanguard of the proletariat" is a version now a bit outdated of this ideology, but that worked for a long time, proclaiming itself, of course, the best. It is the "liberal" Western version that won.
\nThis is why Contemporary Art is ugly and Absurd: The Ancients, in times of Shadows, had patronized an art Beautiful and comprehensible by the peoples.
\nThe Enlightened of the "New Times", the Initiates, could not continue on the same path, do the same thing as the elites of "the time of the Shadows". It was necessary that the enlightened invent something new, something never seen, that marks the rupture, shows their originality and makes the difference: They have conceived, justified and imposed an art of the Laid and the Absurd. An art that brings together the only Initiates, a reserved art, which allows them to distinguish themselves from the masses and to recognize each other.
\nOf course the Enlightened do not understand anything more than the masses in this art, nor do they hold the Truth. The main thing is this: The Contemporary Art is a Sign. Like the Pyramid.
\nThis art is their sign of recognition. One of these signs around which they group together, discreetly, and at the same time a process by which they mark their superiority of enlightened on the limited masses.
\nThe people must enter in a museum of contemporary art, as if they were entering a Temple of the ancient religions: they must feel completely overwhelmed by an strange and disturbing mystery.
\n "I do not understand it" is the observation most constantly taken up by "common people", at least by those who do not pretend to understand.
\nThis is indeed the aim, the Art of the Enlightened must be incomprehensible to the masses and keep them at a respectful distance. This is an essential point of the Enlightenment doctrine. By definition, there can be no "Lights" if there are no Shadows, and there can be no Enlightened if there are no "not informed", to maintain in their place.
\nThe art of the Laid, this brilliant invention that flourished from the 1950s, has created something completely new and totally disconcerting for the peoples, for it had never been done before.
\nAt the same time, this art is quite specific and distinctive for the enlightened. This art allows them to particularize and separate from the uninformed mass, while imposing a conformity in which they recognize themselves. All art is to distinguish itself by conforming, this was very well said by Pierre Bourdieu in the late 1970s. It is the utility of Contemporary Art, from the point of view of the elites, Is what explains its characteristics.
\nThe contemporary Painting and Sculpture no longer serve to create the Beautiful, nor to please the peoples, nor to convey to them a message that they can understand. The Contemporary Art no longer serves to bring elites and peoples together, but serves instead to maintain the distances between them.
\nIndeed, in the era of mass communication, these arts are no longer a necessary place of encounter between the elites and the peoples. To please the public there are new and very effective ways: the main media, cinema, advertising, commercial art. It is also possible to allow the development of a mural art.
\nAnd in addition, the Enlightened are very careful that it is possible to make money with this reserved art, it is of the blessed bread.
\nThis is why Contemporary Art is Laid, Absurd and Con-sacred and …. "fucks us right in the face"
\nContemporary Art is an extremely serious matter, ideologically, politically and economically.
\nIn short, it is serious in all, except in Art.<\/p>\n

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IMG_9000A Jean Dubuffet. 1901-1985. Paris. Site avec sept personnages. Site with seven Figures. 1981. Colmar. Unterlinden. Image by jean louis mazieres Jean Dubuffet. 1901-1985. Paris. Site avec sept personnages. Site with seven Figures. 1981. Colmar. Unterlinden. L’ART CONTEMPORAIN : UNE IDEOLOGIE TRES SERIEUSE Nombreux sont ceux qui ont le sentiment tr\u00e8s vif que l’Art Contemporain […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","ngg_post_thumbnail":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[9014],"tags":[26685,10962,26686,26688,26684,11926,26683,4085,1034,26687,11920,3071,8585,26689],"class_list":{"0":"post-96133","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-images","7":"tag-26685","8":"tag-10962","9":"tag-avec","10":"tag-colmar","11":"tag-dubuffet","12":"tag-figures","13":"tag-img_9000a","14":"tag-jean","15":"tag-paris","16":"tag-personnages","17":"tag-sept","18":"tag-seven","19":"tag-site","20":"tag-unterlinden","21":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/posts\/96133","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/comments?post=96133"}],"version-history":[{"count":0,"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/posts\/96133\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/media?parent=96133"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/categories?post=96133"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/tags?post=96133"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}