{"id":2781,"date":"2021-04-11T06:55:14","date_gmt":"2021-04-10T21:55:14","guid":{"rendered":"https:\/\/www.the-concrete.org\/?p=2781"},"modified":"2021-04-11T07:25:58","modified_gmt":"2021-04-10T22:25:58","slug":"english-hokkaido-with-lijiang-with-out","status":"publish","type":"post","link":"https:\/\/www.the-concrete.org\/en\/publication\/english-hokkaido-with-lijiang-with-out\/","title":{"rendered":"HOKKAIDO WITH &#038; LIJIANG WITH\/OUT"},"content":{"rendered":"<p>The experiments presented here, <strong>Hokkaido With<\/strong> and <strong>Lijiang With\/Out<\/strong> are, if you will believe it,<br \/>\nconnected. Think of them as an evolution of inquiries into an artist\u2019s presence or absence in an unfamiliar place, built on both doubt and confidence, both a lack and a surfeit of context. Both projects put pressure on artists by putting them in difficult situations, but by working directly with these problems, the projects and the artists open up new possibilities<br \/>\nin their unusual approaches.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The experiments presented here, Hokkaido With and Lijiang With\/Out are, if you will believe it, connected. Think of them as an evolution of inquiries into an artist\u2019s presence or absence in an unfamiliar place, built on both doubt and confidence, both a lack and a surfeit of context. Both projects put pressure on artists by putting them in difficult situations, but by working directly with these problems, the projects and the artists open up new possibilities in their unusual approaches.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[24,2],"tags":[],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/2781"}],"collection":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/comments?post=2781"}],"version-history":[{"count":10,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/2781\/revisions"}],"predecessor-version":[{"id":2794,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/2781\/revisions\/2794"}],"wp:attachment":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/media?parent=2781"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/categories?post=2781"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/tags?post=2781"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}