{"id":46190,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46190"},"modified":"2026-03-10T08:34:54","modified_gmt":"2026-03-10T08:34:54","slug":"la-escultura-segun-wurm","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/la-escultura-segun-wurm\/","title":{"rendered":"La escultura seg\u00fan Wurm"},"content":{"rendered":"

Autor:<\/strong> P\u00eda Jard\u00ed<\/p>\n

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 215<\/p>\n\n

Si se puede definir el humor como algo capaz de poner en cuesti\u00f3n lo establecido y reflejarnos lo absurdo evidente de nuestra realidad, algo capaz de cambiar la hiperseriedad de nuestras actitudes para hacernos llegar, con ello, a la verdadera madurez del razonamiento, no puede negarse entonces el sentido del humor que, inteligentemente planteado, caracteriza el trabajo del artista austr\u00edaco Erwin Wurm.<\/p>\n

La obra de Wurm (Bruck\/Mur, 1954) ha sido definida en ocasiones como conceptual,
\nrelacion\u00e1ndola con diferentes lenguajes alternativos, debido quiz\u00e1s
\na la variedad de medios que este artista utiliza (v\u00eddeo, fotograf\u00eda,
\naccionismo), as\u00ed como a la peculiaridad de algunos de los materiales a
\nlos que recurre (desde bol\u00edgrafos o pepinillos hasta ropa usada). Sin embargo,
\nun an\u00e1lisis detallado de su trabajo nos desvela una obra de car\u00e1cter
\neminentemente escult\u00f3rico \u2013en su mayor parte\u2013 y que se define
\npor una serie de \u201ccategor\u00edas\u201d siempre presentes, planteadas
\nno de manera aislada, sino correspondi\u00e9ndose entre s\u00ed cual una red
\nde causa-efecto-causa. <\/p>\n

La dial\u00e9ctica entre vac\u00edo y materia, las posibilidades intr\u00ednsecas
\nde los materiales, el di\u00e1logo entre escultura y objeto no escult\u00f3rico,
\nel cuerpo como soporte y la idea de transformaci\u00f3n; estas \u201ccategor\u00edas\u201d
\nescult\u00f3ricas est\u00e1n pr\u00e1cticamente siempre presentes en la
\nvariada obra de Erwin Wurm, aunque la finalidad de su planteamiento sea la de
\nllevar al l\u00edmite sus significados y poner en cuesti\u00f3n la \u201ccategor\u00eda\u201d
\nmisma \u2013\u00bfla m\u00e1s esencial?\u2013 que define la escultura como
\nlenguaje art\u00edstico cl\u00e1sico: su propia perdurabilidad.<\/p>\n

Desde finales de los a\u00f1os ochenta, Wurm ha producido obras a partir de
\nlas trazas de polvo marcadas por el contorno de objetos que un d\u00eda ocuparon
\naquel lugar ahora vac\u00edo. Lo intangible toma forma, mostr\u00e1ndonos
\nla existencia de unos objetos a partir de su ausencia. As\u00ed, la dial\u00e9ctica
\nentre materia y vac\u00edo \u2013que aqu\u00ed se transforma en la de presencia
\ny ausencia\u2013 se corresponde con las posibilidades intr\u00ednsecas de un
\nmaterial tan poco \u201cescult\u00f3rico\u201d como las part\u00edculas
\nde polvo; un material que, a su vez, estimula muchas asociaciones y procesos mentales.
\nLos restos de polvo, tal como la ceniza que queda del fuego, nos muestran lo que
\nfue y aunque los asociamos a la suciedad, tambi\u00e9n los relacionamos con
\nalgo vivo. La as\u00e9ptica limpieza, en cambio, la asociamos a lo extinto,
\na aquello sin vida. <\/p>\n

Un elemento muy interesante que Wurm hace entrar en juego en esa serie de trabajos
\nes la vitrina \u2013que nos remite al rol establecido de las instituciones art\u00edsticas\u2013,
\ncomo algo que protege el objeto pero tambi\u00e9n que determina lo que es digno
\nde ser visto y, finalmente, lo que es, o no es, arte. Todo ello, planteado en
\nun gesto tan transgresor como cargado de iron\u00eda: el de escenificar la misma
\nausencia.<\/p>\n

Una de las series m\u00e1s conocidas de Erwin Wurm es Gegenst\u00e4nde (1988-2004):
\nprendas de ropa, con los detalles evidentes que las caracterizan \u2013ojales,
\nsolapas, bolsillos\u2013, que, en lugar de mostrar su textura normal, que puede
\ndoblarse, se han transformado en objetos duros, r\u00edgidos, cambiando de forma
\nabsoluta y sorprendente la percepci\u00f3n que tendr\u00edamos de estas mismas
\nprendas si su materialidad fuera la \u201cnormal\u201d. Lo conocido, por pr\u00f3ximo
\ny cotidiano, de una prenda de vestir se convierte aqu\u00ed en algo extra\u00f1o,
\nimpropio, alejado de nuestro entorno, que provoca, a la vez que cierto desasosiego,
\nuna sonrisa inevitable ante su extravagancia. <\/p>\n

Esta p\u00e9rdida de rol de unas ropas que ya no visten al cuerpo humano, sino
\nque crean otras formas, otros cuerpos si se quiere, es lo que de alguna manera
\nse constata en la acci\u00f3n registrada en el v\u00eddeo 59 Positions (59
\nPosturas, 1992), en el que Wurm contin\u00faa explorando las constantes escult\u00f3ricas
\nque definen su obra. Junto al empleo peculiar de un material no escult\u00f3rico
\ncomo la ropa, tambi\u00e9n est\u00e1 presente la idea de la transformaci\u00f3n,
\nya que esta propuesta se basa en el propio proceso. Vemos aqu\u00ed bultos antropom\u00f3rficos
\nque esconden cuerpos agachados o tumbados en el suelo, enfundados literalmente
\nen unas ropas que les limitan y que posibilitan a la vez sus diferentes posturas.
\nAlgo de entra\u00f1able define a esta especie de esculturas vivientes, que contrasta
\ncon lo grotesco de sus contorsiones y movimientos. <\/p>\n

Podemos vincular a estas obras las series de fotograf\u00edas que muestran a
\nla misma persona en su estado \u201cnormal\u201d y tambi\u00e9n engordada-transformada
\npor el uso de prendas de ropa superpuestas, como en la pieza Me, Me, Fat (Yo,
\nyo, gordo, 1993). Igualmente, en el v\u00eddeo Face (a Thousand Portraits) [Cara
\n(mil retratos), 1993-94], se registra un rostro que cada pocos segundos cambia
\nde gesto, de expresi\u00f3n, perdiendo as\u00ed cualquier trazo de personalidad
\npropia e identificable. Estos trabajos tienen en com\u00fan el uso del cuerpo
\nhumano, aunque nunca con una finalidad de introspecci\u00f3n psicoanal\u00edtica,
\ncomo pudiera pensarse en un primer momento. En la obra de Wurm, el cuerpo es un
\nmedio, quiz\u00e1s la herramienta expresiva m\u00e1s accesible, pero es tambi\u00e9n,
\nsobre todo, un soporte que representa la condici\u00f3n de lo perecedero y transitorio,
\ny estos son dos conceptos fundamentales para entender su obra. (Adem\u00e1s,
\nigual que \u201cengorda\u201d a personas, Wurm engorda objetos: casas o coches
\nse muestran como hinchados, sali\u00e9ndose sus contornos de sus propios l\u00edmites,
\ncomo sucede en Fat Car, (Coche gordo, 2001-2004), o en Little Big House (Peque\u00f1a
\ngran casa, 2003).<\/p>\n

Las llamadas One Minute Sculptures (Esculturas de un minuto) que Erwin Wurm realiza
\ndesde finales de los a\u00f1os noventa forman parte de su obra m\u00e1s conocida.
\nSe trata de \u201cesculturas\u201d de un minuto de duraci\u00f3n, interpretadas
\npor el p\u00fablico o por el propio artista, con el uso de elementos y posturas
\ntan singulares como c\u00f3micas: sostenerse con unos cuantos bol\u00edgrafos
\nentre los dedos de los pies, hacer de estanter\u00eda con un mont\u00f3n de
\nlibros en cada mano y entre las piernas, o intentar mantener un cubo de pl\u00e1stico
\nsobre la cabeza. Estas esculturas temporales las encontramos tambi\u00e9n registradas
\nen fotograf\u00edas en donde objetos y muebles centran la atenci\u00f3n: una
\nsilla que se sostiene incomprensiblemente sobre unas zanahorias, el equilibrio
\nimposible de un zapato sobre algo parecido a una escoba o la imagen casi obscena
\nde un banano o pl\u00e1tano entre las dos puertas semiabiertas de un armario.
\nSon esculturas que se definen, como indica su propio t\u00edtulo, por la idea
\nde lo ef\u00edmero y que consiguen alterar de forma esencial los c\u00f3digos
\nde lo que se entiende por escultura (perdurabilidad, patrimonio, memoria colectiva…
\nuna serie de conceptos asociados a la idea tradicional de escultura). A esto hay
\nque a\u00f1adir la noci\u00f3n, eminentemente contempor\u00e1nea, de inmaterialidad,
\ntal como se revela en las obras en las que el artista se limita a dar las instrucciones
\nprecisas, con indicaciones escritas o dibujadas, para la realizaci\u00f3n de
\nla pieza (Take off One Shoe and Listen to It for a While [Qu\u00edtate un zapato
\ny esc\u00fachalo un rato, 2004], Take the Rubber Band and Play the Finnish National
\nHymn [Coge la goma y toca el himno nacional finland\u00e9s, 2002] o Throw Yourself
\nAway [T\u00edrate a la basura, 2004]). Asimismo, las indicaciones para conseguir
\naumentar de talla en ocho d\u00edas \u2013otra vez la obsesi\u00f3n \u201cgordura-transformaci\u00f3n\u201d\u2013
\nen el libro From Men\u2019s size L to size XL. En este \u00faltimo caso, la
\nobra no es el objeto-libro, sino las indicaciones que forman parte de su contenido
\n(\u201cSleep late\u201d [Duerme hasta tarde], \u201cSlow movements\u201d [Movimientos
\nlentos], \u201cWatch TV lying down\u201d [Ve la tele tumbado], etc.), que indican
\nc\u00f3mo llevar a cabo el proceso \u201cescult\u00f3rico\u201d, su realizaci\u00f3n
\na nivel mental, conceptual. As\u00ed, Wurm da un paso m\u00e1s hacia la desmaterializaci\u00f3n,
\nva m\u00e1s all\u00e1 de la especificidad f\u00edsica de los objetos, en
\nun \u00e1gil salto que se eleva de la pesantez y sustancialidad de \u00e9stos,
\nen un esp\u00edritu semejante al gesto de leggerezza a que alud\u00eda Italo
\nCalvino en sus conocidas propuestas para la literatura de nuestro milenio, tratando
\nde quitar peso a la estructura del relato. <\/p>\n

Finalmente, hemos de se\u00f1alar una de las aportaciones m\u00e1s interesantes
\ndel trabajo reciente de Erwin Wurm, en donde el artista, saliendo de las premisas
\npropiamente \u201cescult\u00f3ricas\u201d que hasta ahora hemos definido,
\npone en cuesti\u00f3n otros aspectos de la creaci\u00f3n pl\u00e1stica:
\nla idea misma del arte o del artista. Se trata de la serie Instructions for Idleness
\n(Instrucciones para la holgazaner\u00eda, 2001), realizada a partir de fotograf\u00edas
\nen las que el artista se escenifica a s\u00ed mismo, en diferentes actitudes
\ny escenarios. Una vez m\u00e1s, Wurm, con una mirada ir\u00f3nica, cargada
\nde humor, infringe los preceptos establecidos en torno a conceptos aceptados y
\nnos desvela el discurso \u201cconstruido\u201d, fruto de todo un entramado de
\ncreencias y valores, en torno a la idea del artista y su personalidad. Wurm aborda
\naqu\u00ed el clich\u00e9 del artista como un ser solitario por su condici\u00f3n
\nde creador, de personalidad mani\u00e1tica, contemplativa y nost\u00e1lgica,
\ncon el temperamento propio de Saturno \u2013seg\u00fan afirmaba la tradici\u00f3n
\nantigua\u2013, que personifica todo un t\u00f3pico, una \u201cconstrucci\u00f3n
\nmental\u201d que se ha mantenido, de alguna manera, hasta nuestros d\u00edas.
\nEn esta serie, la imagen del artista mirando al vac\u00edo, ajeno a la realidad
\ny ensimismado en sus pensamientos (\u00bfel artista inspirado, arrebatado?),
\ndurmiendo en un rinc\u00f3n durante las horas de trabajo, o fum\u00e1ndose
\nun porro por la ma\u00f1ana antes del desayuno, son acompa\u00f1adas por t\u00edtulos
\ntan expl\u00edcitos como: Fantasize about nihilism (Fantasea sobre el nihilismo),
\nStay in your pyjamas all day (Qu\u00e9date en pijama todo el d\u00eda) o Be
\nindifferent about everything (Mu\u00e9strate indiferente ante todo).<\/p>\n

Esta es la verdadera dimensi\u00f3n contempor\u00e1nea que define el trabajo
\nde Wurm: su obra consigue transmutar las nociones fundamentales establecidas que
\ndefinen tanto el lenguaje escult\u00f3rico (cuestionando a la vez los conceptos
\nligados a ese lenguaje, como la perdurabilidad o la materialidad) como la propia
\nidea del arte o de la creaci\u00f3n (asociadas tradicionalmente a la locura,
\nel genio y la inspiraci\u00f3n). Y Wurm consigue algo realmente dif\u00edcil,
\ncomo es tratar estos asuntos siempre desde una lograda iron\u00eda, desde el
\ngui\u00f1o y el sentido del humor. <\/p>\n

Alguien dijo en una ocasi\u00f3n que el humor es una afirmaci\u00f3n de la
\nsuperioridad del ser humano ante las otras criaturas del planeta. Lo que es cierto
\nes que el humor es una de las terapias m\u00e1s inteligentes, que nos inmuniza
\nante el peso de la previsible cotidianidad, poni\u00e9ndonos en alerta sobre
\nc\u00f3mo nos tomamos la realidad demasiado en serio. El sentido del humor nos
\npermite siempre poder pensar, como dec\u00eda Malraux: \u201cTout peut toujours
\n\u00eatre pire\u201d (\u201cTodo podr\u00eda siempre ser peor\u201d). <\/p>\n

Sculpture according to Wurm<\/strong><\/p>\n

If humour can be defined as something that can question the established and
\n reflect the evident absurdity of our reality, something capable of changing
\n the hyperseriousness of our attitudes, that allows us to reach the genuine maturity
\n of reasoning, then there is no denying the sense of humour that, intelligently
\n set out, characterises Austrian artist Erwin Wurm\u2019s work.<\/p>\n

The art Wurm (Bruck\/Mur, 1954) has created has often been called conceptual,
\n linking it to different alternative languages, perhaps given the variety of
\n resources the artist uses (video, photography, actionism), and the peculiarity
\n of some of the materials he resorts to (from pens and jerkins to second-hand
\n clothes). Nevertheless, an in-depth analysis of his work reveals an oeuvre that
\n is eminently dedicated to sculpture \u2013mainly\u2013 and is defined by a
\n series of ever-present \u201ccategories,\u201d which are not set out in isolation,
\n but in combination, almost like a cause-effect-cause network. <\/p>\n

The dialectics between vacuum and matter, the intrinsic possibilities of the
\n materials, the dialogue between sculpture and non-sculptural object, the body
\n as a support and the idea of transformation. These sculptural \u201ccategories\u201d
\n almost always appear in Erwin Wurm\u2019s varied oeuvre, although the purpose
\n of his approach is to take them to the limit of their meaning and question the
\n actual \u2013perhaps the most essential?\u2013 \u201ccategory\u201d that
\n defines sculpture as a classical artistic language: its own durability.<\/p>\n

Since the late eighties, Wurm has produced works using the traces of dust left
\n by the outline of objects that once stood in now-empty spaces. The intangible
\n takes shape, revealing the existence of objects via their absence. Thus, the
\n dialectics between matter and vacuum \u2013which here becomes a reasoning between
\n presence and absence\u2013 tallies with the intrinsic possibilities of a material
\n that can hardly be classed as \u201csculptural,\u201d i.e. specks of dust.
\n Furthermore, said material stimulates many associations and mental processes.
\n Dust, like the ash that remains after a fire, represents something that was
\n before and, although we associate it with dirt, we also connect it to something
\n living. Conversely, we associate aseptic cleanliness with the extinct, with
\n lifeless things. <\/p>\n

Wurm uses a very interesting element in this series of works: the glass cabinet
\n \u2013which refers to the established role played by artistic institutions\u2013,
\n as something that protects the object but also that determines what is worthy
\n of viewing and, finally, what is, or what is not, art. This is all set out employing
\n a gesture that is as transgressor as it is loaded with irony: to represent absence
\n itself. <\/p>\n

One of Erwin Wurm\u2019s most famous series is Gegenst\u00e4nde (1988-2004):
\n garments with the details that obviously characterise them as such \u2013buttonholes,
\n lapels, pockets\u2013 no longer presenting their normal texture, soft and foldable,
\n but transformed into hard, rigid objects. The artist absolutely and stunningly
\n changes the perception we would have of those same garments if their materiality
\n were \u201cnormal.\u201d The familiarity, given its proximity and commonplaceness,
\n of a garment is turned into something strange, inappropriate, removed from our
\n environment, and this, as well as causing certain unease, leads our lips to
\n inevitably twitch into a smile on viewing this extravagance. <\/p>\n

That loss of the role played by garments that no longer dress the human body
\n but create other forms, other bodies even, is what is somehow chronicled in
\n the video 59 Positions (1992), in which Wurm continues to explore the sculptural
\n constant features that define his work. Alongside the peculiar employment of
\n non-sculptural material, i.e. clothes, the idea of transformation also appears,
\n since this proposal is based on the process itself. The video shows anthropomorphic
\n shapes that hide bodies crouching or laying on the floor, wearing tight clothes
\n that limit their movements but also allow them to move into the different positions.
\n There is something likeable about this kind of living sculptures, that contrasts
\n with the grotesqueness of their contortions and movements. <\/p>\n

These works can be linked to the series of photographs that present the same
\n person in a \u201cnormal\u201d state and fattened-transformed by putting layers
\n of clothes on, one on top of the other (such as in Me, Me, Fat, 1993). Likewise,
\n the video Face (a Thousand Portraits), 1993-1994, depicts a face that changes
\n its expression every few seconds, losing all traces of its own, identifiable
\n personality. These works all coincide in the use of the human body, yet they
\n never aim to undertake a psychoanalytical introspection, as could seem at first.
\n In Wurm\u2019s oeuvre, the body is a medium, perhaps the most accessible expressive
\n tool, but it is also, above all, a support that represents the condition of
\n what is perishable and transitory. These two concepts are essential to understand
\n his works. (Moreover, just as he \u201cfattens\u201d people, Wurm also fattens
\n objects: houses or cars that appear bloated, bursting out of the seams of their
\n own outlines, as occurs in Fat Car, 2001-2004, or in Little Big House, 2003.)\n<\/p>\n

The pieces called One Minute Sculptures, that Erwin Wurm has been creating since
\n the late nineties, are some of his most celebrated works. These \u201csculptures\u201d
\n last a minute, played by the audience or by the artist himself, using elements
\n and in positions as singular as they are comical: standing up with pens between
\n their toes, acting as a bookcase holding loads of books in each hand and between
\n their legs, or balancing a plastic cube on their heads. These temporary sculptures
\n have also been recorded in photographs where the objects and furniture are the
\n centre of attention: a chair balancing incomprehensibly on some carrots, a shoe
\n balancing impossibly on what looks like a broom or the virtually obscene image
\n of a banana between the doors of a wardrobe, that stand ajar. These sculptures
\n are based, as proposed in the title, on the idea of the ephemeral and essentially
\n alter the codes that define sculpture (durability, heritage, collective memory…
\n a series of concepts linked to the traditional notion of sculpture). This should
\n be considered alongside the, eminently contemporary, idea of immateriality,
\n as revealed in the works in which the artist simply lists the precise instructions,
\n with written or drawn indications, required to create the piece (Take off One
\n Shoe and Listen to It for a While [2004], Take the Rubber Band and Play the
\n Finnish National Hymn [2002] or Throw Yourself Away [2004]). Another example
\n appears in the book From Men\u2019s size L to size XL, including indications
\n on how to increase one clothing size in eight days \u2013once again the \u201cfatness-transformation\u201d
\n obsession. In the latter case, the work is not the object-book but the indications
\n it contains (\u201cSleep late,\u201d \u201cSlow movements,\u201d \u201cWatch
\n TV lying down,\u201d etc.), which show the reader how to perform the \u201csculptural\u201d
\n process, i.e. its mental, conceptual, realisation. Consequently, Wurm takes
\n a step further towards dematerialisation, he goes beyond the physical specificity
\n of the objects, taking a limber jump off their heaviness and substantiality,
\n like the leggerezza Italo Calvino referred to in his famous memos for the literature
\n of this millennium, trying to take a weight of the structure of the story. <\/p>\n

Finally, we must note one of the most interesting contributions of Erwin Wurm\u2019s
\n recent work, where the artist, surpassing the strictly \u201csculptural\u201d
\n premises defined to date, questions other issues that influence plastic creation:
\n the actual idea of art or of the artist. We are referring to the series Instructions
\n for Idleness (2001), created using photographs in which the artist portrays
\n himself, in different attitudes and settings. Once again, Wurm, from an ironic,
\n humorous standpoint, infringes the precepts established regarding conventional
\n concepts and reveals the \u201cconstructed\u201d discourse, fruit of a whole
\n series of beliefs and values, regarding the notion of the artist and his personality.
\n Wurm tackles the clich\u00e9 of the artist as a solitary being given his status
\n as creator, with a maniac, contemplative, nostalgic personality, with a temperament
\n typical of Saturn \u2013the old tradition put it\u2013, that embodied a whole
\n clich\u00e9, a \u201cmental construction\u201d that has lasted, in a way,
\n until our times. In this series, the image of the artist looking out into the
\n void, oblivious to reality and tangled up in his own thoughts (the inspired,
\n impassioned artist?), sleeping in a corner during work hours, or smoking a joint
\n before breakfast, are accompanied by titles as illustrative as: Fantasize about
\n nihilism, Stay in your pyjamas all day or Be indifferent about everything.<\/p>\n

This is the genuine contemporary dimension that defines Wurm\u2019s work: his
\n oeuvre manages to transmute the fundamental pre-established notions that define
\n both the sculptural language (questioning concepts linked to this language,
\n like durability or materiality) and the actual idea of art or creation (traditionally
\n associated to madness, genius and inspiration). The truth is Wurm manages to
\n carry out something quite difficult: to tackle those issues continuously from
\n authentic irony, from playfulness and with a sense of humour. <\/p>\n

Someone once said that humour is an affirmation of the human being\u2019s superiority
\n over the other creatures that inhabit the planet. The truth is that humour is
\n one of the most intelligent therapies, that makes us immune to the predictable
\n weight of commonplaceness, alerting us on how we take reality too seriously.
\n A sense of humour always allows us to think like Malraux: \u201cTout peut toujours
\n \u00eatre pire\u201d [Everything could always be worse]. <\/p>\n

Translation: Laura F. Farhall<\/p>\n","protected":false},"excerpt":{"rendered":"

Autor: P\u00eda Jard\u00ed Revista: L\u00c1PIZ Revista Internacional de Arte n\u00ba 215 Si se puede definir el humor como algo capaz de poner en cuesti\u00f3n lo establecido y reflejarnos lo absurdo evidente de nuestra realidad, algo capaz de cambiar la hiperseriedad de nuestras actitudes para hacernos llegar, con ello, a la verdadera madurez del razonamiento, no […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[10],"tags":[444,351,400],"class_list":["post-46190","post","type-post","status-publish","format-standard","hentry","category-articulos","tag-arte","tag-articulo-html","tag-lapiz-revista-internacional-de-arte"],"acf":[],"_links":{"self":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46190","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/comments?post=46190"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46190\/revisions"}],"predecessor-version":[{"id":48415,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46190\/revisions\/48415"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46190"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46190"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}