{"id":9949,"date":"2016-03-07T17:23:50","date_gmt":"2016-03-07T16:23:50","guid":{"rendered":"http:\/\/www.revuenoire.com\/en\/art-forum-jan-2013\/"},"modified":"2016-06-03T12:27:17","modified_gmt":"2016-06-03T11:27:17","slug":"art-forum-jan-2013","status":"publish","type":"post","link":"https:\/\/www.revuenoire.com\/en\/art-forum-jan-2013\/","title":{"rendered":"Art Forum &#8211; Jan 2013"},"content":{"rendered":"<figure id=\"attachment_9935\" aria-describedby=\"caption-attachment-9935\" style=\"width: 800px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/Artforum-Janv2013-Pume-2.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-9935\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/Artforum-Janv2013-Pume-2.jpg\" alt=\"Since 20 years, the Congolese artist based in Kinshasa created trough Bylex, his alter ego, a perfect world of words and objects, with forms, utopias and poetry.\" width=\"800\" height=\"945\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/Artforum-Janv2013-Pume-2.jpg 800w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/Artforum-Janv2013-Pume-2-254x300.jpg 254w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/Artforum-Janv2013-Pume-2-768x907.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/a><figcaption id=\"caption-attachment-9935\" class=\"wp-caption-text\">Since 20 years, the Congolese artist based in Kinshasa created trough Bylex, his alter ego, a perfect world of words and objects, with forms, utopias and poetry.<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p>by PASCALE MARTHINE TAYOU\u00a0Best exhibit 2012: Pume Bylex<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Art Forum, Janvier 2013,  &#8216;Best 2012 exhibition by Pascale Marthine Tayou&#8221; : the solo exhibit &#8216;Why Not Bylex ? by Pume&#8217; at Revue Noire.  An universe of words and objects for utopias and poetry.<\/p>\n","protected":false},"author":2,"featured_media":9935,"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":[68],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/9949"}],"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=9949"}],"version-history":[{"count":0,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/9949\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media\/9935"}],"wp:attachment":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media?parent=9949"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/categories?post=9949"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/tags?post=9949"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}