{"id":11230,"date":"2016-04-06T15:50:01","date_gmt":"2016-04-06T14:50:01","guid":{"rendered":"http:\/\/www.revuenoire.com\/en\/?p=11230"},"modified":"2016-10-10T15:56:22","modified_gmt":"2016-10-10T14:56:22","slug":"david-damoison-photo","status":"publish","type":"post","link":"https:\/\/www.revuenoire.com\/en\/david-damoison-photo\/","title":{"rendered":"David Damoison &#8211; Photo"},"content":{"rendered":"<div id=\"pl-11230\"  class=\"panel-layout\" ><div id=\"pg-11230-0\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11230-0-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11230-0-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"0\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<figure id=\"attachment_11206\" aria-describedby=\"caption-attachment-11206\" style=\"width: 879px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-10-4.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11206\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-10-4.jpg\" alt=\"\u00a9 photo David Damoison, During theCarnaval in Santo-Dominguo\" width=\"879\" height=\"886\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-10-4.jpg 879w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-10-4-150x150.jpg 150w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-10-4-298x300.jpg 298w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-10-4-768x774.jpg 768w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-10-4-120x120.jpg 120w\" sizes=\"(max-width: 879px) 100vw, 879px\" \/><\/a><figcaption id=\"caption-attachment-11206\" class=\"wp-caption-text\">\u00a9 photo David Damoison, During the Carnaval in Santo-Dominguo, 2002<\/figcaption><\/figure>\n<\/div>\n<\/div><\/div><\/div><div id=\"pgc-11230-0-1\"  class=\"panel-grid-cell\" ><div id=\"panel-11230-0-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"1\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<h3>PHOTO<\/h3>\n<p>born in\u00a01963 in France<\/p>\n<p>\u00a0<\/p>\n<p>works\u00a0mainly\u00a0about\u00a0Caribbean and\u00a0Africa<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>David Damoison, born in 1963 of a Martinican father and a French mother, lives and works in Paris.<\/p>\n<p>\u00a0<\/p>\n<p>After photographic classes at the \u00c9cole Boulle in Paris, he became assistant in the workshops of the Paris American Center. In turn working with Jean Larivi\u00e8re and studio Pin-Up Paris, he learned to print in black and white.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-11230-1\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11230-1-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11230-1-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"2\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>[run the slideshow below]<\/p>\n<div id=\"metaslider-id-11227\" style=\"max-width: 1500px;\" class=\"ml-slider-3-70-0 metaslider metaslider-flex metaslider-11227 ml-slider ms-theme-radix has-dots-nav\" role=\"region\" aria-roledescription=\"Slideshow\" aria-label=\"Damoison diaporama\">\n    <div id=\"metaslider_container_11227\">\n        <div id=\"metaslider_11227\">\n            <ul aria-live=\"polite\" class=\"slides\">\n                <li style=\"display: block; width: 100%;\" class=\"slide-11217 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11217\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON02.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11217\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11219 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11219\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON03.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11219\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11223 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11223\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON05.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11223\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11221 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11221\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON04.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11221\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11201 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11201\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/Damoison_007.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11201\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11225 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11225\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON06.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11225\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11215 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11215\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON01.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11215\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11213 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11213\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-27-4-1500x1500.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11213\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11207 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11207\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-11-6-1500x1500.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11207\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11211 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11211\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-20-34-1500x2264.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11211\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11209 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11209\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-17-33A-1500x995.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11209\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11203 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11203\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/DAMOISON-3-10-1500x1508.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11227 slide-11203\" \/><\/li>\n            <\/ul>\n        <\/div>\n        \n    <\/div>\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-11230-2\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11230-2-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11230-2-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"3\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>His works have been published by Revue Noire, Liberation, \u00c9v\u00e9nement du Jeudi, Le Nouvel Observateur T\u00e9l\u00e9rama. From Cuba to Haiti, tsanto Dominicana to Guadeloupe or Martinique, Congo, Mali, he made a series of photos that were the subject of various exhibitions and publications. His images ask Creoles and African identities through the covered territories. He has collaborated with writers like Rapha\u00ebl Confident for \u2019Les Ma\u00eetres de la parole cr\u00e9ole\u2019 (Editions Gallimard).\u00a0<\/p>\n<p>David Damoison just sees. This is the spontaneous interpretation of any lucid mind in contact with his work. His images are often fragments of the human condition in its most universal aspects. But beyond that, a keen awareness of otherness and its disparities is affirmed with force and subtlety. This results in a preference for the most fragile.<\/p>\n<p>\u00a0<\/p>\n<p>Thus, his photographs bear the desire to correct some representation deficits, never embarrass this manichaeism that seems inherent in this exercise. Show Caribbean, Africa and its diaspora outside any aesthetic and any questionable misery is a feat.<\/p>\n<p>In a world where image is omnipresent, resist influences of clich\u00e9s is particularly rare. This unique intelligence is supported by the photographer by a look that, beyond the lens, retains the generosity to shot\u00a0human in its permanent fragility.<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\">by\u00a0Latyr Diouf (for Anne de Villepoix gallery, Paris)<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<h2>SOLO Exhibitions<\/h2>\n<p>(selection)<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>Mus\u00e9e de la Halle Saint-Pierre. Paris. 1993.<\/p>\n<p>'Les Anneaux de la M\u00e9moire'. Nantes. 1994.<\/p>\n<p>'On Mobility'. Lot Project Wien. Vienne. Autriche. 1994.<\/p>\n<p>'Les Ma\u00eetres de la Parole cr\u00e9ole'. Fond Saint-Jacques. Martinique 1995 et\u00a0Habitation Cl\u00e9ment. Martinique 1996.<\/p>\n<p>'Anderswo III'. Fotogalerie Wien. Autriche. 1996.<\/p>\n<p>'Vodun Voyage'. L\u2019Athanor, Sc\u00e8ne nationale. Albi. 1998 et\u00a0Festival du Marin. Martinique. 2000.<\/p>\n<p>'Paris Cara\u00efbe, le Voyage des Sens'. Festival Terre d\u2019Images. Biarritz. 2000.<\/p>\n<p>'Le Galion'. Le Havre. 2000 et\u00a0Fond Saint-Jacques. Martinique. 2001.<\/p>\n<p>V Rencontres de la Photographie africaine, Bamako, Mali 2001.<\/p>\n<p>'Segregaciones del Caribe urbano'. Museo Jacobo Borges. Caracas. 2003.<\/p>\n<p>'Caracas, la Calle, el Patio'. Guangzhou Photo Biennial. Chine. 2005.<\/p>\n<p>'Caribe Urbano'. Rencontre \u00c9criture Th\u00e9\u00e2trale Contemporaine en Cara\u00efbe. Studio de la Com\u00e9die Fran\u00e7aise. Carroussel du Louvre. Paris. 2005.<\/p>\n<p>'Nuits noires et blanches'. Fort de France, Martinique. 2007 et\u00a0Museum of Afro American Diasporas.\u00a0San Francisco, USA. 2007<\/p>\n<p>Tarmac de la Villette. Paris. 2007<\/p>\n<p>Institut Fran\u00e7ais d\u2019Ha\u00efti. Port au Prince. 2008<\/p>\n<p>Galerie Anne de Villepoix. Paris 2010<\/p>\n<p>Museo de Arte Moderno de Barranquilla. Colombia. 2010<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<h2>collectives EXhibitions<\/h2>\n<p>(selection)<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>'Die Andere Reise'. Kunsthalle. Krems. Autriche. 1996.<\/p>\n<p>'Festival des Trois Continents. Nantes. 1998.<\/p>\n<p>'Ha\u00efti, Anges et D\u00e9mons'. Mus\u00e9e de la Halle Saint-Pierre. Paris. 2000.<\/p>\n<p>Chroniques Nomades. Honfleur. 2000.<\/p>\n<p>Festival Terre d\u2019Images. Biarritz. 2001.<\/p>\n<p>'Ports d\u2019Afrique'. Biennale de Bamako. Mali. 2003 et\u00a0Rencontres photographiques d\u2019Arles. 2004.<\/p>\n<p>'As you like it' curated by Simon Njami. Joburg ArtFair. South Africa. 2008<\/p>\n<p>'Kreyol Factory'. La Villette. Paris. 2009<\/p>\n<p>'Human Conditions'. Noorderlicht festival. Holland. 2009<\/p>\n<p>'Global Caribbean'. Little Ha\u00efti Cultral Center. Art Basel Miami Beach. 2010, Miami et\u00a0Mus\u00e9e International des Arts Modestes. MIAM,S\u00e8te, France. 2010<\/p>\n<p>'Utropicos: Centroamerica y Caribe'. 31th Biennal de Pontevedra. Galicia, Spain. 2010<\/p>\n<p>'City States'. Caribbean Pavilion. Liverpool Biennial. 2010<\/p>\n<p>'Fesman. Dakar, S\u00e9n\u00e9gal. 2010<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<h2>BIBLIOGRAPHy<\/h2>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>Revue Noire. Paris. Collaboration and\u00a0illustrations for\u00a0RN06. 1992 and\u00a0RN09. 1993.<\/p>\n<p>R\u00e9alisation de la partie cara\u00efbe du catalogue de l\u2019exposition 'Otro Pais'. Centro Atlantico de Arte Moderno. Canaries. Espagne. 1995.<\/p>\n<p>Les Ma\u00eetres de la Parole cr\u00e9ole. \u00c9d. Gallimard. 1995. En\u00a0collaboration avec Rapha\u00ebl Confiant et Marcel Lebielle.<\/p>\n<p>Revue Atlantica. 'El Viaje de los Sentidos'. Ul. Sulikowski\u00a0&amp; M. Mitringer. Spain. feb. 1997.<\/p>\n<p>'Le Galion, Canne, douleur s\u00e9culaire, \u00d4 tendresse'. \u00c9d. Ibis Rouge.\u00a02000. Text by Rapha\u00ebl Confiant. Price of the book festival, Ouessant.<\/p>\n<p>'Le Galion ' G\u00e9o. Paris. d\u00e9c. 2000.<\/p>\n<p>'Paris Cara\u00efbe, le Voyage des Sens'. \u00c9d. Atlantica. Paris. 2002.<\/p>\n<p>'Vodou, un tambour pour les Anges'. \u00c9d. Autrement. Paris. 2003.<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<h2>Revue Noire publishing<\/h2>\n<figure id=\"attachment_8503\" aria-describedby=\"caption-attachment-8503\" style=\"width: 225px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/en\/edition\/antho-african-photo\/\" rel=\"attachment wp-att-8503\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-8503\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/RevueNoire-Antho-Photo-EN-p000b-225x300.jpg\" alt=\"Anthology of African Photography\" width=\"225\" height=\"300\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/RevueNoire-Antho-Photo-EN-p000b-225x300.jpg 225w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/RevueNoire-Antho-Photo-EN-p000b-768x1024.jpg 768w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/RevueNoire-Antho-Photo-EN-p000b.jpg 1500w\" sizes=\"(max-width: 225px) 100vw, 225px\" \/><\/a><figcaption id=\"caption-attachment-8503\" class=\"wp-caption-text\">Anthology of African Photography<\/figcaption><\/figure>\n<p>\u00a0<\/p>\n<figure id=\"attachment_2574\" aria-describedby=\"caption-attachment-2574\" style=\"width: 215px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/en\/edition\/revue-noire-09\/\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2574 size-medium\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/01_RN09-RevueNoire09_caraibesCaribbean_Couv11-215x300.jpg\" alt=\"Magazine Revue Noire RN09 Cara\u00efbes vol.II\" width=\"215\" height=\"300\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/01_RN09-RevueNoire09_caraibesCaribbean_Couv11-215x300.jpg 215w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/01_RN09-RevueNoire09_caraibesCaribbean_Couv11-733x1024.jpg 733w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/01_RN09-RevueNoire09_caraibesCaribbean_Couv11.jpg 1500w\" sizes=\"(max-width: 215px) 100vw, 215px\" \/><\/a><figcaption id=\"caption-attachment-2574\" class=\"wp-caption-text\">Magazine Revue Noire RN09 Cara\u00efbes vol.II<\/figcaption><\/figure>\n<p>\u00a0<\/p>\n<figure id=\"attachment_2111\" aria-describedby=\"caption-attachment-2111\" style=\"width: 215px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/en\/edition\/revue-noire-06\/\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2111 size-medium\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/01_RN06-RevueNoire06_Couv1-215x300.jpg\" alt=\"Magazine Revue Noire RN06 Cara\u00efbes vol I\" width=\"215\" height=\"300\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/01_RN06-RevueNoire06_Couv1-215x300.jpg 215w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/01_RN06-RevueNoire06_Couv1-735x1024.jpg 735w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/01_RN06-RevueNoire06_Couv1.jpg 1500w\" sizes=\"(max-width: 215px) 100vw, 215px\" \/><\/a><figcaption id=\"caption-attachment-2111\" class=\"wp-caption-text\">Magazine Revue Noire RN06 Cara\u00efbes vol.I<\/figcaption><\/figure>\n<p>.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>David Damoison (1963 &#8211; works about Caribbean and Africe) photographer<\/p>\n","protected":false},"author":2,"featured_media":11206,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[69],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11230"}],"collection":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/comments?post=11230"}],"version-history":[{"count":0,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11230\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media\/11206"}],"wp:attachment":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media?parent=11230"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/categories?post=11230"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/tags?post=11230"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}