{"id":20,"date":"2011-06-10T02:20:11","date_gmt":"2011-06-09T18:20:11","guid":{"rendered":"http:\/\/postmuseum.wordpress.com\/?p=20"},"modified":"2011-06-10T02:20:11","modified_gmt":"2011-06-09T18:20:11","slug":"madra-on-censorship","status":"publish","type":"post","link":"https:\/\/post-museum.org\/root\/2011\/06\/10\/madra-on-censorship\/","title":{"rendered":"Madra on censorship"},"content":{"rendered":"<p>In her blog Pluversum, Beral Madra posts her press release about the removal of Aidan Salakhova&#8217;s sculptures from Azerbaijan&#8217;s pavilion which she curated in the 54th Venice Biennale.<\/p>\n<p>&lt;\u00a0<a href=\"http:\/\/www.pluversum.blogspot.com\/\">http:\/\/www.pluversum.blogspot.com\/<\/a>\u00a0&gt;<\/p>\n<p>&#8220;Contemporary art production and its theoretical and critical context is being employed and exploited by the official power as well as by the private sector as a tool for high prestige and glory; but at the same time its content and concepts are not tolerated and acknowledged.&#8221;<\/p>\n<p>and<\/p>\n<p>&#8220;I think the artists and curators should have an international legal protection against these conflicts.&#8221;<\/p>\n<span class=\"et_bloom_bottom_trigger\"><\/span>","protected":false},"excerpt":{"rendered":"<p>In her blog Pluversum, Beral Madra posts her press release about the removal of Aidan Salakhova&#8217;s sculptures from Azerbaijan&#8217;s pavilion which she curated in the 54th Venice Biennale. &lt;\u00a0http:\/\/www.pluversum.blogspot.com\/\u00a0&gt; &#8220;Contemporary art production and its theoretical and critical context is being employed and exploited by the official power as well as by the private sector as [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","ngg_post_thumbnail":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8],"tags":[13,26,34,54,62,82],"class_list":["post-20","post","type-post","status-publish","format-standard","hentry","category-international-arts","tag-13","tag-biennale","tag-censorship","tag-madra","tag-salakhova","tag-visual-arts","et-doesnt-have-format-content","et_post_format-et-post-format-standard"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/parjs7-k","_links":{"self":[{"href":"https:\/\/post-museum.org\/root\/wp-json\/wp\/v2\/posts\/20","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/post-museum.org\/root\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/post-museum.org\/root\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/post-museum.org\/root\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/post-museum.org\/root\/wp-json\/wp\/v2\/comments?post=20"}],"version-history":[{"count":0,"href":"https:\/\/post-museum.org\/root\/wp-json\/wp\/v2\/posts\/20\/revisions"}],"wp:attachment":[{"href":"https:\/\/post-museum.org\/root\/wp-json\/wp\/v2\/media?parent=20"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/post-museum.org\/root\/wp-json\/wp\/v2\/categories?post=20"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/post-museum.org\/root\/wp-json\/wp\/v2\/tags?post=20"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}