{"id":1766,"date":"2025-04-18T21:42:55","date_gmt":"2025-04-18T13:42:55","guid":{"rendered":"https:\/\/couldbe.tw\/clients\/HsiehChun-Te\/?page_id=1766"},"modified":"2026-06-08T09:15:43","modified_gmt":"2026-06-08T01:15:43","slug":"comments","status":"publish","type":"page","link":"https:\/\/01x10.tw\/en\/comments\/","title":{"rendered":"Comments"},"content":{"rendered":"\n
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\n\n\t\t\t\t\"f01\"\n\t\t\t\t\n\t\t\t<\/div>\n\t\t<\/div>\n\n <\/div>\n\n\t\n\t\n\t<\/div> <\/div>\n
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Comments<\/h1> <\/div>\n<\/div>\n\n
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\u00b7 Photo <\/h4>\n

\u00b7 Movie<\/h4>\n

\u00b7 Exhibition<\/h4> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n
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ten-ka<\/h2> <\/div>\n<\/div>\n
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by Dominique Pa\u00efni<\/span><\/strong><\/span><\/p>\n

In a previous series of photographic paintings<\/i> entitled Raw<\/i>, Hsieh Chun-Te staged bodies hindered, torn, crucified in the prospect of maintaining and recording a memory. In these large black and white images, this memory of the fundamental cruelty of insular identity (Taiwan) and of the erotic violence released by certain religious rituals made for an undertaking equivalent to a kind of painting of history<\/i>.<\/span><\/p>\n

The Tenky<\/i> series gives a generic title to a new exhibition that turns away from the ambition of History. While keeping borrowing hybrid references from Western mythologies (Salome and Holofernes…) and an Oriental conception of the world, greater emphasis is now given to the planet’s tragic environmental destiny and to the cataclysms that threaten it -including, especially, those having man as its origin. From this mythological and philosophical register, Hsieh draws the figuration of his apocalyptic haunting, making the hypothesis that its fate is programmed by an irrebuttable cultural unconscious.<\/span>
The Raw<\/i> series used the variations of the photographic point to organize the elements of the representation into a hierarchy. Beyond the contours of the qualities of gray, the intermittence of the blurred and the clear-cut were laying down a perspective that’s as moral as it is spatial.<\/span><\/p>\n

The Tenky<\/i> series makes use of another figurative bias. Hsieh chooses from reality materials that will compete in the picture: the puffiness of the clouds and the oily flatness of the water, the reflection from a lake’s surface and the opacity of the rocks, the landscape devoid of any presence and the solitude of an animal, the calcined tree bark and the luminous epidermis of the exposed bodies… This goes to show the wrong track towards which Hsieh directs the interpretation of his images. The strength of its figuration, that sometimes confines to indecency and suggests a fascination with the “playful cruelty” of a Georges Bataille, is actually masking a formalist project whose opposition of materials and tensions between close patterns, according to the principles of oneiric collage, denotes a secret desire for abstraction. The latter is fought<\/i> and denied to the extent of the lush and delirious composition of the images, but betrayed by the concerted alternating of the accentuated verticality and horizontality of their formats.<\/span>
The recourse to color does not detract from the obsessions of an artist for whom the disasters of war<\/i> by Goya became, to him, the disasters of progress and indifference towards the natural fate of the world. Also, color does suit incendiary terror even better. If contemplation of the planet in peril favors mineral reliefs and endless stretches of lakes, Hsieh aspires to the shelter of taking flight and hopes for the power of images to provide its vision by metamorphosing the rock’s heaviness into an evanescence of clouds.<\/span><\/p>\n

(Translator: Patrick-Guy Desjardins)<\/i><\/span><\/p> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n

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Exhibition\/Press<\/h2> <\/div>\n<\/div>\n
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\n Venise <\/h3>\n
\n Elements de recherche: LE FESTIN DU CHUN-TE: exposition de Hsieh Chun-TE, du 01\/06 au 10\/10\/11, en parall\u00e8le de la 54\u00e8me Exposition Internationale d’Art de la Biennale de Venise (Italie), toutes citations <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n
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\n \"Noir \n <\/div>\n \n \n
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\n Noir festin \u00e0 Venise <\/h3>\n
\n Noir festin \u00e0 Venise\nPar Vincent Noce, envoy\u00e9 sp\u00e9cial \u00e0 Venise\nLe grand cuisinier et photographe ta\u00efwanais, Hsieh Chun-Te, r\u00e9alise deux fois par jour une des performances les plus \u00e9tonnantes qu’ait jamais produites la Biennale. <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n
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\n \"What \n <\/div>\n \n \n
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\n Dominique Pa\u00efni <\/h3>\n
\n What struck me when I first saw Hsieh Chun-Te\u2019s photographs was the atmosphere, the sense of a gathering storm that pervaded many of them. As if Hsieh was representing a postlapsarian world. <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
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Exhibition\/Comments<\/h2> <\/div>\n<\/div>\n\n
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Exhibition \/
Comments<\/h2> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n
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\n \n \"Monique <\/a>\n \n <\/div>\n \n \n
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\n Monique Sicard in Taiwan <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n
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\n Creating a Parallel Universe <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n
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\n Wandering Through the Parallel Universe <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n
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\n The Playful Cruelty of\nHsieh Chun-Te <\/div>\n \n <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

Comments<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1766","page","type-page","status-publish","hentry","has-post-title","has-post-date","has-post-category","has-post-tag","has-post-comment","has-post-author",""],"yoast_head":"\nComments - Hsieh Chun-Te<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/01x10.tw\/en\/comments\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Comments - Hsieh Chun-Te\" \/>\n<meta property=\"og:description\" content=\"Comments\" \/>\n<meta property=\"og:url\" content=\"https:\/\/01x10.tw\/en\/comments\/\" \/>\n<meta property=\"og:site_name\" content=\"Hsieh Chun-Te\" \/>\n<meta property=\"article:modified_time\" content=\"2026-06-08T01:15:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/f01.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"891\" \/>\n\t<meta property=\"og:image:height\" content=\"847\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/01x10.tw\\\/en\\\/comments\\\/\",\"url\":\"https:\\\/\\\/01x10.tw\\\/en\\\/comments\\\/\",\"name\":\"Comments - 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Hsieh Chun-Te","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/01x10.tw\/en\/comments\/","og_locale":"en_US","og_type":"article","og_title":"Comments - Hsieh Chun-Te","og_description":"Comments","og_url":"https:\/\/01x10.tw\/en\/comments\/","og_site_name":"Hsieh Chun-Te","article_modified_time":"2026-06-08T01:15:43+00:00","og_image":[{"width":891,"height":847,"url":"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/f01.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"9 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/01x10.tw\/en\/comments\/","url":"https:\/\/01x10.tw\/en\/comments\/","name":"Comments - Hsieh Chun-Te","isPartOf":{"@id":"https:\/\/01x10.tw\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/01x10.tw\/en\/comments\/#primaryimage"},"image":{"@id":"https:\/\/01x10.tw\/en\/comments\/#primaryimage"},"thumbnailUrl":"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/f01-680x580.jpg","datePublished":"2025-04-18T13:42:55+00:00","dateModified":"2026-06-08T01:15:43+00:00","breadcrumb":{"@id":"https:\/\/01x10.tw\/en\/comments\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/01x10.tw\/en\/comments\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/01x10.tw\/en\/comments\/#primaryimage","url":"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/f01.jpg","contentUrl":"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/f01.jpg","width":891,"height":847},{"@type":"BreadcrumbList","@id":"https:\/\/01x10.tw\/en\/comments\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/01x10.tw\/en\/"},{"@type":"ListItem","position":2,"name":"Comments"}]},{"@type":"WebSite","@id":"https:\/\/01x10.tw\/en\/#website","url":"https:\/\/01x10.tw\/en\/","name":"Hsieh Chun-Te","description":"Taiwanese Contemporary Artist","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/01x10.tw\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"jetpack_sharing_enabled":true,"builder_content":"<img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/f01-680x580.jpg\" width=\"680\" height=\"580\" title=\"f01\" alt=\"f01\">\n<h1>Comments<\/h1>\n<h4>\u00b7 Photo <\/h4> <h4>\u00b7 Movie<\/h4> <h4>\u00b7 Exhibition<\/h4>\n<h2>ten-ka<\/h2>\n<p><strong>by Dominique Pa\u00efni<\/strong><\/p> <p>In a previous series of <i>photographic paintings<\/i> entitled <i>Raw<\/i>, Hsieh Chun-Te staged bodies hindered, torn, crucified in the prospect of maintaining and recording a memory. In these large black and white images, this memory of the fundamental cruelty of insular identity (Taiwan) and of the erotic violence released by certain religious rituals made for an undertaking equivalent to a kind of <i>painting of history<\/i>.<\/p> <p>The <i>Tenky<\/i> series gives a generic title to a new exhibition that turns away from the ambition of History. While keeping borrowing hybrid references from Western mythologies (Salome and Holofernes...) and an Oriental conception of the world, greater emphasis is now given to the planet's tragic environmental destiny and to the cataclysms that threaten it -including, especially, those having man as its origin. From this mythological and philosophical register, Hsieh draws the figuration of his apocalyptic haunting, making the hypothesis that its fate is programmed by an irrebuttable cultural unconscious.<br>The <i>Raw<\/i> series used the variations of the photographic point to organize the elements of the representation into a hierarchy. Beyond the contours of the qualities of gray, the intermittence of the blurred and the clear-cut were laying down a perspective that's as moral as it is spatial.<\/p> <p>The <i>Tenky<\/i> series makes use of another figurative bias. Hsieh chooses from reality materials that will compete in the picture: the puffiness of the clouds and the oily flatness of the water, the reflection from a lake's surface and the opacity of the rocks, the landscape devoid of any presence and the solitude of an animal, the calcined tree bark and the luminous epidermis of the exposed bodies... This goes to show the wrong track towards which Hsieh directs the interpretation of his images. The strength of its figuration, that sometimes confines to indecency and suggests a fascination with the \"playful cruelty\" of a Georges Bataille, is actually masking a formalist project whose opposition of materials and tensions between close patterns, according to the principles of oneiric collage, denotes a secret desire for abstraction. The latter is <i>fought<\/i> and denied to the extent of the lush and delirious composition of the images, but betrayed by the concerted alternating of the accentuated verticality and horizontality of their formats.<br>The recourse to color does not detract from the obsessions of an artist for whom <i>the disasters of war<\/i> by Goya became, to him, the disasters of progress and indifference towards the natural fate of the world. Also, color does suit incendiary terror even better. If contemplation of the planet in peril favors mineral reliefs and endless stretches of lakes, Hsieh aspires to the shelter of taking flight and hopes for the power of images to provide its vision by metamorphosing the rock's heaviness into an evanescence of clouds.<\/p> <p>(<i>Translator: Patrick-Guy Desjardins)<\/i><\/p>\n<h2>Exhibition\/Press<\/h2>\n<img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u5df4\u9ece\u8cbb\u52a0\u6d1b\u65e5\u5831-660x1024-359x557.jpg\" width=\"359\" height=\"557\" title=\"Venise\" alt=\"Elements de recherche: LE FESTIN DU CHUN-TE: exposition de Hsieh Chun-TE, du 01\/06 au 10\/10\/11, en parall\u00e8le de la 54\u00e8me Exposition Internationale d'Art de la Biennale de Venise (Italie), toutes citations\" srcset=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u5df4\u9ece\u8cbb\u52a0\u6d1b\u65e5\u5831-660x1024-359x557.jpg 359w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u5df4\u9ece\u8cbb\u52a0\u6d1b\u65e5\u5831-258x400.jpg 258w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u5df4\u9ece\u8cbb\u52a0\u6d1b\u65e5\u5831-660x1024.jpg 660w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u5df4\u9ece\u8cbb\u52a0\u6d1b\u65e5\u5831-768x1192.jpg 768w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u5df4\u9ece\u8cbb\u52a0\u6d1b\u65e5\u5831-990x1536.jpg 990w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u5df4\u9ece\u8cbb\u52a0\u6d1b\u65e5\u5831.jpg 1000w\" sizes=\"(max-width: 359px) 100vw, 359px\" \/> <h3> Venise <\/h3> Elements de recherche: LE FESTIN DU CHUN-TE: exposition de Hsieh Chun-TE, du 01\/06 au 10\/10\/11, en parall\u00e8le de la 54\u00e8me Exposition Internationale d'Art de la Biennale de Venise (Italie), toutes citations\n<img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u6cd5\u570b\u89e3\u653e\u5831\uff09\u6cd5\u658701_-660x1024-359x557.jpg\" width=\"359\" height=\"557\" title=\"Noir festin \u00e0 Venise\" alt=\"Noir festin \u00e0 Venise Par Vincent Noce, envoy\u00e9 sp\u00e9cial \u00e0 Venise Le grand cuisinier et photographe ta\u00efwanais, Hsieh Chun-Te, r\u00e9alise deux fois par jour une des performances les plus \u00e9tonnantes qu'ait jamais produites la Biennale.\" srcset=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u6cd5\u570b\u89e3\u653e\u5831\uff09\u6cd5\u658701_-660x1024-359x557.jpg 359w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u6cd5\u570b\u89e3\u653e\u5831\uff09\u6cd5\u658701_-193x300.jpg 193w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u6cd5\u570b\u89e3\u653e\u5831\uff09\u6cd5\u658701_-660x1024.jpg 660w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u6cd5\u570b\u89e3\u653e\u5831\uff09\u6cd5\u658701_-768x1192.jpg 768w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u6cd5\u570b\u89e3\u653e\u5831\uff09\u6cd5\u658701_-990x1536.jpg 990w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u6cd5\u570b\u89e3\u653e\u5831\uff09\u6cd5\u658701_.jpg 1000w\" sizes=\"(max-width: 359px) 100vw, 359px\" \/> <h3> Noir festin \u00e0 Venise <\/h3> Noir festin \u00e0 Venise Par Vincent Noce, envoy\u00e9 sp\u00e9cial \u00e0 Venise Le grand cuisinier et photographe ta\u00efwanais, Hsieh Chun-Te, r\u00e9alise deux fois par jour une des performances les plus \u00e9tonnantes qu'ait jamais produites la Biennale.\n<img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u8a55-659x1024-359x557.jpg\" width=\"359\" height=\"557\" title=\"Dominique Pa\u00efni\" alt=\"What struck me when I first saw Hsieh Chun-Te\u2019s photographs was the atmosphere, the sense of a gathering storm that pervaded many of them. As if Hsieh was representing a postlapsarian world.\" srcset=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u8a55-659x1024-359x557.jpg 359w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u8a55-193x300.jpg 193w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u8a55-659x1024.jpg 659w, https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/\u5a01\u5c3c\u65af\u96d9\u5e74\u5c55\u8a55.jpg 700w\" sizes=\"(max-width: 359px) 100vw, 359px\" \/> <h3> Dominique Pa\u00efni <\/h3> What struck me when I first saw Hsieh Chun-Te\u2019s photographs was the atmosphere, the sense of a gathering storm that pervaded many of them. As if Hsieh was representing a postlapsarian world.\n<h2>Exhibition\/Comments<\/h2>\n<h2>Exhibition \/<br>Comments<\/h2>\n<a href=\"https:\/\/01x10.tw\/en\/comment-the-other-is-just-an-other\/\"> <img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/02-1024x768-500x320.jpg\" width=\"500\" height=\"320\" title=\"02\" alt=\"Monique Sicard in Taiwan\"> <\/a> Monique Sicard in Taiwan\n<a href=\"https:\/\/01x10.tw\/en\/comment-on-angels\/\"> <img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/b08-1024x575-500x320.jpg\" width=\"500\" height=\"320\" title=\"b08\" alt=\"On Angels\"> <\/a> On Angels\n<a href=\"https:\/\/01x10.tw\/en\/comment-creating-a-parallel-universe\/\"> <img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/40-1024x563-500x320.jpg\" width=\"500\" height=\"320\" title=\"40\" alt=\"Creating a Parallel Universe\"> <\/a> Creating a Parallel Universe\n<a href=\"https:\/\/01x10.tw\/en\/comment-wandering-through-the-parallel-universe\/\"> <img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/07\/b14-1024x570-500x320.jpg\" width=\"500\" height=\"320\" title=\"Exhibition\" alt=\"Wandering Through the Parallel Universe\"> <\/a> Wandering Through the Parallel Universe\n<a href=\"https:\/\/01x10.tw\/en\/comment-the-playful-cruelty-of-hsieh-chun-te\/\"> <img src=\"https:\/\/01x10.tw\/en\/wp-content\/uploads\/2025\/04\/4.-Gravure-Grand-fait-darmes-Avec-des-morts-de-Francisco-de-Goya-1810-1820-15.5-cm-x-20.5-cm-500x320.jpg\" width=\"500\" height=\"320\" title=\"4. Gravure - Grand fait d'armes ! Avec des morts ! de Francisco de Goya 1810-1820 - 15.5 cm x 20.5 cm\" alt=\"The Playful Cruelty of Hsieh Chun-Te\"> <\/a> The Playful Cruelty of Hsieh Chun-Te","_links":{"self":[{"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/pages\/1766","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/comments?post=1766"}],"version-history":[{"count":193,"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/pages\/1766\/revisions"}],"predecessor-version":[{"id":8126,"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/pages\/1766\/revisions\/8126"}],"wp:attachment":[{"href":"https:\/\/01x10.tw\/en\/wp-json\/wp\/v2\/media?parent=1766"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}