{"id":747,"date":"2020-09-21T17:16:08","date_gmt":"2020-09-21T15:16:08","guid":{"rendered":"https:\/\/labkontempo.com\/fr\/?page_id=747"},"modified":"2022-01-26T13:46:50","modified_gmt":"2022-01-26T12:46:50","slug":"question-de-la-perspective-2","status":"publish","type":"page","link":"https:\/\/2020.labkontempo.com\/en\/question-de-la-perspective-2\/","title":{"rendered":"A QUESTION OF PERSPECTIVE"},"content":{"rendered":"\n<div class=\"wp-block-jetpack-layout-grid alignfull column1-desktop-grid__span-6 column1-desktop-grid__row-1 column2-desktop-grid__span-6 column2-desktop-grid__start-7 column2-desktop-grid__row-1 column1-tablet-grid__span-4 column1-tablet-grid__row-1 column2-tablet-grid__span-4 column2-tablet-grid__start-5 column2-tablet-grid__row-1 column1-mobile-grid__span-4 column1-mobile-grid__row-1 column2-mobile-grid__span-4 column2-mobile-grid__row-2\">\n<div class=\"wp-block-jetpack-layout-grid-column wp-block-jetpack-layout-grid__padding-none\">\n<figure class=\"wp-block-embed is-type-rich is-provider-handler-einbetten wp-block-embed-handler-einbetten\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Au-del\u00e0 de la piti\u00e9 \/ Beyond pity\" width=\"1100\" height=\"619\" src=\"https:\/\/www.youtube.com\/embed\/knHnsyVwNcE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe> \n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center\" style=\"font-size:10px\"><strong>Mukenge\/Schellhammer: &#8220;Au-del\u00e0 de la piti\u00e9<\/strong>&#8221; <br>Video\/Animation, Kinshasa 2020<\/p>\n\n\n\n<p class=\"has-text-align-left\" style=\"font-size:10px\">\u201cBeyond pity\u201d is a reflection on the imaginations of foreigners towards Kinshasa and its inhabitants. They take a stand against certain existing norms of representation of pity and poverty, towards artists in third world countries. The construction of otherness reflects a hierarchical position: far from apprehending the other, the construction of one\u2019s otherness serves to construct oneself and to justify one\u2019s own conceptions of the world. On the other hand, when we look at emerging artists or artists coming from third world countries, a feeling of pity is automatically constructed. In this video, the duo goes beyond pity and takes a stand: pity is based on a kind of arrogance that is not found in compassion. Compassion implies a feeling of shared humanity, beyond any social consideration, and is therefore morally superior to pity.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-jetpack-layout-grid-column wp-block-jetpack-layout-grid__padding-none\">\n<figure class=\"wp-block-embed is-type-rich is-provider-handler-einbetten wp-block-embed-handler-einbetten\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Ton exotisme est mon pain quotidien \/ Your exoticism is my daily bread\" width=\"1100\" height=\"619\" src=\"https:\/\/www.youtube.com\/embed\/69SlySBWQME?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe> \n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center\" style=\"font-size:10px\"><strong>Mukenge\/Schellhammer: \u201cYour exoticism is my daily bread\u201d<\/strong>  <br>Video\/urban intervention, Kinshasa 2020<\/p>\n\n\n\n<p class=\"has-text-align-left\" style=\"font-size:10px\">The word exotic refers to that which is foreign or external to the subject, and therefore touches on the image of the other, the imagination, stereotypes and standards of representation. Many thinkers have wondered about images of the other, stereotypes, and norms, which are ways of denying reality. The construction of otherness reflects a hierarchical position: far from apprehending the other, the construction of someone\u2019s otherness serves to construct one\u2019s self and to justify one\u2019s own conceptions of the world. Through a reversal of points of view, this series of photos and videos is inspired by hijacking strategies of stereotyped images, to deconstruct the dynamics of power and hierarchies resulting from the Western imaginary construct of an elsewhere<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-image alignwide size-large is-style-zoooom\"><img loading=\"lazy\" width=\"524\" height=\"130\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-1-524x130.png\" alt=\"\" class=\"wp-image-1186\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-1-524x130.png 524w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-1-221x55.png 221w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-1-768x191.png 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-1-1536x382.png 1536w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-1-1200x299.png 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-1-550x137.png 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-1-160x40.png 160w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-1-600x149.png 600w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-1.png 1600w\" sizes=\"(max-width: 524px) 100vw, 524px\" \/><figcaption><a href=\"https:\/\/2020.labkontempo.com\/en\/a-sketch-of-the-town-for-manzambi-i\/\"><strong>Sinzo Aanza : \u201cA sketch of the town for Manzambi I\u201d<\/strong><\/a><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignwide size-large is-style-zoooom\"><img loading=\"lazy\" width=\"524\" height=\"105\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-2-524x105.png\" alt=\"\" class=\"wp-image-1188\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-2-524x105.png 524w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-2-221x44.png 221w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-2-768x154.png 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-2-1536x307.png 1536w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-2-1200x240.png 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-2-550x110.png 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-2-160x32.png 160w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-2-600x120.png 600w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-2.png 1600w\" sizes=\"(max-width: 524px) 100vw, 524px\" \/><figcaption><a href=\"https:\/\/2020.labkontempo.com\/en\/a-sketch-of-the-town-for-manzambi\/\"><strong>Sinzo Aanza : \u201cA sketch of the town for Manzambi II\u201d<\/strong><\/a><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignwide size-large is-style-zoooom\"><img loading=\"lazy\" width=\"524\" height=\"102\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-3-524x102.png\" alt=\"\" class=\"wp-image-1189\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-3-524x102.png 524w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-3-221x43.png 221w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-3-768x149.png 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-3-1536x299.png 1536w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-3-1200x233.png 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-3-550x107.png 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-3-160x31.png 160w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-3-600x117.png 600w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-3.png 1600w\" sizes=\"(max-width: 524px) 100vw, 524px\" \/><figcaption><a href=\"https:\/\/2020.labkontempo.com\/en\/a-sketch-of-the-town-for-manzambi-iii\/\"><strong>Sinzo Aanza : \u201cA sketch of the town for Manzambi III\u201d<\/strong><\/a><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignwide size-large is-style-zoooom\"><img loading=\"lazy\" width=\"524\" height=\"121\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-4-524x121.png\" alt=\"\" class=\"wp-image-1190\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-4-524x121.png 524w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-4-221x51.png 221w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-4-768x177.png 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-4-1536x353.png 1536w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-4-1200x276.png 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-4-550x127.png 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-4-160x37.png 160w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-4-600x138.png 600w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Kin-4.png 1600w\" sizes=\"(max-width: 524px) 100vw, 524px\" \/><figcaption><strong><a href=\"https:\/\/2020.labkontempo.com\/en\/a-sketch-of-the-town-for-manzambi-iiii\/\">Sinzo Aanza : \u201cA sketch of the town for Manzambi IIII\u201c<\/a><br><\/strong><br><strong>Photomontage, Kinshasa 2020 <\/strong><br>Manzambi sketches out the city by bringing together at four major crossroads in Kinshasa Matala Mukadi Tshiakatumba, the cursed poet, obstinate and obsessed with the idea of a country where everything can be expressed and realised; Bodys Isek Kingelez, the artist with marvellous urban utopias; and an anonymous young student from Kinshasa who tells in his not-to-be-missed street interviews how he drew up plans for a robot to lighten the load of certain jobs in the city, such as the one of road traffic regulation.<\/figcaption><\/figure>\n\n\n\n<p class=\"has-small-font-size\" style=\"line-height:1.2\">                                                                                                                                                                                                                                  <\/p>\n\n\n\n<div class=\"alignnormal\"><div id=\"metaslider-id-801\" style=\"width: 100%;\" class=\"ml-slider-3-20-3 metaslider metaslider-flex metaslider-801 ml-slider\">\n    <div id=\"metaslider_container_801\">\n        <div id=\"metaslider_801\">\n            <ul aria-live=\"polite\" class=\"slides\">\n                <li style=\"display: none; width: 100%;\" class=\"slide-816 ms-image\"><img width=\"1876\" height=\"2560\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_1.jpg\" class=\"slider-801 slide-816\" alt=\"\" loading=\"lazy\" rel=\"\" title=\"\" style=\"margin: 0 auto; width: 73.7540322581%\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_1.jpg 1876w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_1-183x250.jpg 183w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_1-384x524.jpg 384w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_1-768x1048.jpg 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_1-1126x1536.jpg 1126w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_1-1501x2048.jpg 1501w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_1-1200x1638.jpg 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_1-550x751.jpg 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_1-160x218.jpg 160w\" sizes=\"(max-width: 1876px) 100vw, 1876px\" \/><div class=\"caption-wrap\"><div class=\"caption\">[:fr]Mega Mingiedi: \"Post-Post\", Dessin sur Papier, Kinshasa 2020[:]<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-815 ms-image\"><img width=\"1707\" height=\"2560\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_2klein.jpg\" class=\"slider-801 slide-815\" alt=\"\" loading=\"lazy\" rel=\"\" title=\"\" style=\"margin: 0 auto; width: 67.1098790323%\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_2klein.jpg 1707w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_2klein-167x250.jpg 167w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_2klein-349x524.jpg 349w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_2klein-768x1152.jpg 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_2klein-1024x1536.jpg 1024w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_2klein-1365x2048.jpg 1365w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_2klein-1200x1800.jpg 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_2klein-550x825.jpg 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_2klein-160x240.jpg 160w\" sizes=\"(max-width: 1707px) 100vw, 1707px\" \/><div class=\"caption-wrap\"><div class=\"caption\">[:fr]Mega Mingiedi: \"Post-Post\", Dessin sur Papier, Kinshasa 2020[:]<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-813 ms-image\"><img width=\"2560\" height=\"1707\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_4.jpg\" class=\"slider-801 slide-813\" alt=\"\" loading=\"lazy\" rel=\"\" title=\"\" style=\"margin-top: 16.9827368952%\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_4.jpg 2560w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_4-221x147.jpg 221w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_4-524x349.jpg 524w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_4-768x512.jpg 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_4-1536x1024.jpg 1536w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_4-2048x1365.jpg 2048w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_4-1200x800.jpg 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_4-550x367.jpg 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_4-160x107.jpg 160w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><div class=\"caption-wrap\"><div class=\"caption\">[:fr]Mega Mingiedi: \"Post-Post\", Dessin sur Papier, Kinshasa 2020[:]<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-809 ms-image\"><img width=\"2560\" height=\"1707\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_7.jpg\" class=\"slider-801 slide-809\" alt=\"\" loading=\"lazy\" rel=\"\" title=\"\" style=\"margin-top: 16.9827368952%\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_7.jpg 2560w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_7-221x147.jpg 221w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_7-524x349.jpg 524w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_7-768x512.jpg 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_7-1536x1024.jpg 1536w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_7-2048x1365.jpg 2048w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_7-1200x800.jpg 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_7-550x367.jpg 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_7-160x107.jpg 160w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><div class=\"caption-wrap\"><div class=\"caption\">[:fr]Mega Mingiedi: \"Post-Post\", Dessin sur Papier, Kinshasa 2020[:]<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-808 ms-image\"><img width=\"2560\" height=\"1707\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_8.jpg\" class=\"slider-801 slide-808\" alt=\"\" loading=\"lazy\" rel=\"\" title=\"\" style=\"margin-top: 16.9827368952%\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_8.jpg 2560w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_8-221x147.jpg 221w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_8-524x349.jpg 524w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_8-768x512.jpg 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_8-1536x1024.jpg 1536w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_8-2048x1365.jpg 2048w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_8-1200x800.jpg 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_8-550x367.jpg 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_8-160x107.jpg 160w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><div class=\"caption-wrap\"><div class=\"caption\">[:fr]Mega Mingiedi: \"Post-Post\", Dessin sur Papier, Kinshasa 2020[:]<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-811 ms-image\"><img width=\"1852\" height=\"2560\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_6.jpg\" class=\"slider-801 slide-811\" alt=\"\" loading=\"lazy\" rel=\"\" title=\"\" style=\"margin: 0 auto; width: 72.810483871%\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_6.jpg 1852w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_6-181x250.jpg 181w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_6-379x524.jpg 379w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_6-768x1061.jpg 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_6-1111x1536.jpg 1111w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_6-1482x2048.jpg 1482w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_6-1200x1658.jpg 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_6-550x760.jpg 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_6-160x221.jpg 160w\" sizes=\"(max-width: 1852px) 100vw, 1852px\" \/><div class=\"caption-wrap\"><div class=\"caption\">[:fr]Mega Mingiedi: \"Post-Post\", Dessin sur Papier, Kinshasa 2020[:]<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-812 ms-image\"><img width=\"2560\" height=\"1707\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_5.jpg\" class=\"slider-801 slide-812\" alt=\"\" loading=\"lazy\" rel=\"\" title=\"\" style=\"margin-top: 16.9827368952%\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_5.jpg 2560w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_5-221x147.jpg 221w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_5-524x349.jpg 524w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_5-768x512.jpg 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_5-1536x1024.jpg 1536w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_5-2048x1365.jpg 2048w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_5-1200x800.jpg 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_5-550x367.jpg 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_5-160x107.jpg 160w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><div class=\"caption-wrap\"><div class=\"caption\">[:fr]Mega Mingiedi: \"Post-Post\", Dessin sur Papier, Kinshasa 2020[:]<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-814 ms-image\"><img width=\"2560\" height=\"1707\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_3-2.jpg\" class=\"slider-801 slide-814\" alt=\"\" loading=\"lazy\" rel=\"\" title=\"\" style=\"margin-top: 16.9827368952%\" srcset=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_3-2.jpg 2560w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_3-2-221x147.jpg 221w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_3-2-524x349.jpg 524w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_3-2-768x512.jpg 768w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_3-2-1536x1024.jpg 1536w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_3-2-2048x1365.jpg 2048w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_3-2-1200x800.jpg 1200w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_3-2-550x367.jpg 550w, https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/Mega_3-2-160x107.jpg 160w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><div class=\"caption-wrap\"><div class=\"caption\">[:fr]Mega Mingiedi: \"Post-Post\", Dessin sur Papier, Kinshasa 2020[:]<\/div><\/div><\/li>\n            <\/ul>\n        <\/div>\n        \n    <\/div>\n<\/div><\/div>\n\n\n\n<p class=\"has-small-font-size\" style=\"line-height:1.1\"><a href=\"https:\/\/labkontempo.com\/fr\/mega-mingiedi-tunga-post-post\/\"><strong>Mega Mingiedi Tunga : \u201cPost-Postcolonial\u201d <\/strong><\/a>                                                                                                                                             Drawing on paper papier, 80 x 100 cm, Kinshasa 2020<\/p>\n\n\n\n<p class=\"has-custom-lineheight\" style=\"font-size:14px;line-height:1.4\">In a future-oriented logic, Mega Mingiedi offers a vision that goes ahead in time. He skips the concept that is currently widely used, that of the postcolonial, to speak of the \u201cpost-postcolonial\u201d. His vision stems from a need to render obsolete this notion which haunts almost all current discourse on the African continent and its diaspora. Within this theoretical and acrobatic intellectual framework, the artist has taken the Congolese civil servant as a model in order to have a glimpse of his future in this post-postcolonial logic. He therefore imagines a civil servant freed from the colonial and postcolonial weight, and rather focused on a decolonised and \u2018de-post-colonised\u2019 future. <\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p style=\"font-size:48px;line-height:1.8\"><strong>From laboratory to Laboratory<\/strong><\/p>\n\n\n\n<p class=\"has-larger-font-size\">\u201cLaboratoire Kontempo\u201d (Kontempo Laboratory)<\/p>\n\n\n\n<p class=\"has-large-font-size\">Sorana Munsya<\/p>\n\n\n\n<p>I must say that I liked the name of the project at first. Then it intrigued me and finally swallowed me up. Yes, I suddenly got sucked in by the load of ideas and representations that come with the word. \u201cLaboratory\u201d. It is an important term, I think, even more so in recent months. Seen from Europe, the word is perfectly suited to this period when the lexicon of everybody seems to revolve around terms such as \u201cvaccine\u201d, \u201cinfection\u201d, \u201cprotection\u201d, \u201cimmunity\u201d or \u201ccontamination\u201d. D. Trump and B. Johnson were surprised themselves by the virus infection, finding themselves stuck in their sanitised West. The West that considers itself to be the North and calls the rest of the world South. The West that, satisfied with its constantly renewed modernity, \u201dencourages\u201d this South to follow it in its never-ending race. The West that \u201cwithout wanting to be provocative\u201d proposes to test different potions on the black bodies of the area it calls South. The West that has made a large part of the world, particularly Africa, an open-air laboratory\u2026<\/p>\n\n\n\n<p>A laboratory in which the first tests of the \u201ccapitalist\u201d project were carried out on black bodies and black lands, and where the conquerors initiated a process of savagery. Conquering first the territory by objectifying and enslaving beings. Enslaving by mastering beliefs and knowledges. Becoming masters by inventing the savages. Because carrying a savage side in themselves alone was unbearable. Savagery had to be extracted to be seen artificially in these people, reduced to objects and working tools. Was there a kind of projection? Was this the only way to bear the heavy and dark weight of the necessity of violence for the enterprises of slavery and colonialism?<\/p>\n\n\n\n<p>\u201cAnd I say that between colonization and civilization there is an infinite distance.(\u2026) Col<em>onization works to decivilize the colonizer, to brutalize him in the true sense of the word, to degrade him, to awaken him to buried instincts, covetousness, violence, race hatred, and moral relativism (\u2026) poison has been distilled into the veins of Europe and, slowly but surely, the continent proceeds toward savagery. \u201d Aim\u00e9 C\u00e9saire (Discourses on Colonialism)<\/em> <br>The laboratory did not disappear with the end of colonisation. It became even more inventive and ingenious. Indeed, it was necessary to test the new potions and the other formulas which in post-colonial times are as profitable as during colonial times. So what would be the way to maintain this famous South-North flow? How can the North then keep on accumulating until it suffocates and reaches disgust? The tools of debt and aid seem to be the right ones: in order to make the \u201cex-colonised\u201d people believe, with the complicity of a local bourgeois class, that they should aim towards a Western road of modernity, which is a rocky one.<\/p>\n\n\n\n<p><em>In an underdeveloped country an authentic national middle class ought to consider as its bounden duty to betray the calling fate has marked out for it, and to put itself to school with the people: in other words to put at the people\u2019s disposal the intellectual and technical capital that it has snatched when going through the colonial universities. But unhappily we shall see that very often the national middle class does not follow this heroic, positive, fruitful, and just path; rather, it disappears with its soul set at peace into the shocking ways\u2014shocking because anti-national of a traditional bourgeoisie, of a bourgeoisie which is stupidly, contemptibly, cynically bourgeois. \u201cFrantz Fanon (The Wretched of the Earth).<\/em><\/p>\n\n\n\n<p>Mega Mingiedi, in his work entitled \u201cNew Civil Servant\u201d, makes us enter into the crazy and amazed gaze of a character traversed by the imaginary cartography of Kinshasa. Caught up in the world of administration, this civil servant drawn in pencil, prays for reform and imagines it in a coded language invented by the artist. For even in a world as regulated as that of public administration, governed by a bourgeoisie stupidly bourgeois, only imagination can save this system, which crushes lives and hope. Imagination is nourished by the soil of traditional Kuba motifs and by the urban architecture inherited from colonisation which, despite its symbolic and physical presence, is transformed daily by the city\u2019s inhabitants. This complex interweaving of colonial heritage and of local constructions forms the landscape from which this civil servant invents the utopia of an administration at the service of its population and whose workers would be properly treated in exchange for their good and loyal services. It doesn\u2019t really sound like a utopia. Or at least, it is the kind of utopia which, even if it has its roots in reality, could take us to places of the imagination never before imagined. In fact, it is as if the utopia of this civil servant was boiling in his brain and driving him mad, partly because it mirrors a reality, which too often, imposes itself in the imagination of the ex-colonised: the Western reality.<\/p>\n\n\n\n<p>Let\u2019s not even talk about Western reality any more and let\u2019s rather use the term Western fantasy. The more than ever unbalanced North-South relations also find refuge in the imagination of the \u201cex-colonised\u201d but also in the one of the \u201cex-colonisers\u201d. Caught up in the shock of the \u201cencounter\u201d, just like political relations, the relations between the individuals of the two groups are marked by the flow and circulation of interests and supposedly good intentions.<\/p>\n\n\n\n<p><em>\u201cTake up the White Man\u2019s burden\u2014<br>Send forth the best ye breed\u2014<br>Go send your sons to exile<br>To serve your captives\u2019 need<br>To wait in heavy harness<br>On fluttered folk and wild\u2014<br>Your new-caught, sullen peoples,<br>Half devil and half child\u201d<br>Rudyard Kipling (The White Man\u2019s Burden)<\/em><\/p>\n\n\n\n<p>In the film \u201cYour exoticism is my daily bread\u201d, artists Lydia Schellhammer and Christ Mukenge highlight one of the ways in which Western aid to the African continent shapes the interpersonal relationships of individuals. Indeed, the intimate sphere is not spared by Western fantasy that wants the white man to help black people. The fact that white men support black people seems to be a truth that many still believe. This truth is undermined in an intimate scene of a conversation between a hairdresser from Kinshasa and his client, in which the client admits often pretending that the help offered is indispensable to her well-being, in order to get what she wants. Dealing with what some might call manipulation in this artistic context is an interesting twist. Indeed, it reminds us how the administration of the Belgian Congo made an effort to penetrate the intimacy of Congolese people, who desired a better life and were forced to imitate the coloniser, hoping to receive the famous title of evolved, and thus gain access to what seemed to represent a dignified life. This link between intimacy and power relations is solid, and persists even today in a context where the fantasy of aid lives in the imagination.<\/p>\n\n\n\n<p>The laboratory is also the one of the people of Kinshasa. Kinshasa, a megalopolis constantly reinventing itself, and with an incredible plasticity where artists (and even non-artists) integrate utopia directly into reality. Utopia is defined as \u201ca creation of the imagination that feeds off reality\u201d. The result of the project by artist Sinzo Aanza, which mixes photography and collage, is in my opinion a tribute to what the inhabitants of Kinshasa are capable of creating, to the point of cohabiting with utopia. The distance between the real and the imaginary shrinks until they both merge. Thus, in the photographs he took of four important crossroads in the city of Kinshasa, he integrated elements of the late sculptor Bodys Isek Kingelez\u2019s models. In an interview given in 1995 to the Fondation Cartier on the occasion of his solo exhibition, Kingelez expressed his absolute and irrepressible need to carve and create within matter. This need is extended to the attention paid to the tiniest details and to the complexity of his structures, architectural structures inspired by the Belgian art deco tradition, as well as the ambitious Congolese architecture of the post-independence period. By integrating fragments of works by Bodys Isek Kingelez in his photographs of the city, Sinzo Aanza gives us the opportunity to think of the city as a breeding ground from which utopia can arise. It also allows us to imagine the urban territory as part of utopia, and utopia as part of the urban territory, and thus indicates a certain way of becoming one with it. In addition to that, his photographs, with their particular perspective, give an impression of infinity to the urban landscape. It is as if, despite the density of the city, there is still space to move forward, as if nothing ends, as if everything is going on. In a discussion, he indeed refers to languages such as Lingala, Swahili or Kinande, which are languages that never fall and which seem to integrate more of a three dot punctuation in their rhythm, rather than final and decisive points\u2026<\/p>\n\n\n\n<p><em>\u201cThe thought of errantry is not the thought of dispersion, but the thought of our rallying, by which we migrate from the absolutes of Being to the variables of Relation, where the being is revealed, the indistinction of essence and substance, of immoderation and movement. Errantry is not a colonial exploration or abandonment to wanderings. It knows how to be immobile, and how to carry away. With the thought of errantry, we refuse the unique roots that kill around them: the thought of errantry is one of solidary uprooting and rhizome-like roots. Against the diseases of the single root identity, it is the infinite conductor of identity in relation. Errantry is the place of repetition, arranging the infinite variations that each time distinguish this same repetition as a moment of knowledge. \u201cEdouard Glissant (Philosophy of Relation)<\/em><\/p>\n\n\n\n<p>It is important when talking about the artistic laboratory of Kinshasa to evoke performance art. Like the artistic works previously mentioned, the performance in its intention and execution in Kinshasa makes us reflect on how to become one with utopia starting from elements of reality. Whether in the sculptures of Kingelez or in the costumes made by the performers of Kinshasa collectives such as Eza Possible or Kongo Astronaute \u2013 creation and imagination take root in the realities, sometimes dark and challenging, that the country and the world as a whole have to offer. But they are anchored in life and impose themselves in the public space, reminding us that everything is mobile and that nothing is definitive. In a time when monuments that bear witness to the history of colonisation and slavery are threatened to be unmounted, making a monument out the performers movement and of the artists utopia could constitute the care these spaces need .<\/p>\n\n\n\n<p>Let us perhaps finish this paper by conceding that art and artists are no different from others because they are in Africa. Toma Muteba Luntumbue expressed this idea in part in an interview with Africultures on the occasion of the \u201cTransfers\u201d exhibition shown at the Palais des Beaux-Arts in Brussels in 2003: \u201cArt is not a space that should remain untouched, it is not an immaculate terrain free of waste. It is a human territory, where transfers take place just as in other fields, except that it gives the possibility to ask questions. The luxury of art is not to sell, it is to be able to bring questions to a society that no longer wants to ask itself questions. Art in general is therefore not a space empty of interactions (positive or negative) with the rest of the world, nor is the artistic activity practiced on the African continent.\u201d<\/p>\n\n\n\n<div class=\"wp-block-coblocks-author has-small-font-size\"><figure class=\"wp-block-coblocks-author__avatar\"><img class=\"wp-block-coblocks-author__avatar-img\" src=\"https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/09\/118733953_107089897794381_7309456647788970101_n.jpg\" alt=\"Sorana Munsya\"\/><\/figure><div class=\"wp-block-coblocks-author__content\"><span class=\"wp-block-coblocks-author__name\">Sorana Munsya<\/span><p class=\"wp-block-coblocks-author__biography\">Sorana Munsya is a curator, psychologist and psychotherapist of Congolese origin living in Brussels. She also has a Master\u2019s degree in Development Cooperation from the Catholic University of Louvain-la-Neuve.<br\/>Sorana Munsya was assistant to the artistic director of the 5th Biennale d\u2019art contemporain de Lubumbashi organised by the Picha art centre (founded, among others, by Sammy Baloji) and was part of the editorial team of the contemporary art magazine Afrikadaa. She was also a member of the eponymous collective with whom she organised the African Art Book Fair (Fiac, Art Basel) during the Dakar Biennale in 2018. During the 2016 Dakar Biennale, in collaboration with the IFAA ArtPlatform, she organised an artist residency as well as a series of performances and exhibitions in the Medina district of Dakar. In 2019, she engaged in a work of exchange and writing with the renowned contemporary artist Pascale Marthine Tayou for her solo exhibition \u201cTornado\u201d at the Museum of Modern and Contemporary Art in Ostend (Mu.ZEE). In 2019, she also collaborated as a curator with the International Painting Meetings in Ouagadougou. She regularly writes texts for exhibition catalogues such as that of the Rencontres Photographiques de Bamako, the Congoville exhibition (Middleheim Museum) or for the catalogue of the exhibition \u201cYoung Congo\u201d organised by the art centre Kin Artstudio, as well as for art magazines such as H ART. She has written exhibition texts for artists such as Dome Wood and Guy Wouete. Currently, she is collaborating with Vogue magazine to highlight African photography artists. Sorana Munsya is dedicated to counselling and accompanying African artists.<br\/><\/p>\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link\">https:\/\/labkontempo.com\/fr\/auteurs\/<\/a><\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Mega Mingiedi Tunga : \u201cPost-Postcolonial\u201d Drawing on paper papier, 80 x 100 cm, Kinshasa 2020 In a future-oriented logic, Mega Mingiedi offers a vision that goes ahead in time. He skips the concept that is currently widely used, that of the postcolonial, to speak of the \u201cpost-postcolonial\u201d. His vision stems from a need to render [&hellip;]<\/p>\n<a class=\"read-more-link\" title=\"A QUESTION OF PERSPECTIVE\" href=\" https:\/\/2020.labkontempo.com\/en\/question-de-la-perspective-2\/ \">Read more <span class=\"screen-reader-text\">\"A QUESTION OF PERSPECTIVE\"<\/span><\/a>","protected":false},"author":104559219,"featured_media":1362,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","ngg_post_thumbnail":0,"_starter_page_template":"blank"},"uagb_featured_image_src":{"full":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",1000,562,false],"thumbnail":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-100x100.jpg",100,100,true],"medium":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-221x124.jpg",221,124,true],"medium_large":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-768x432.jpg",768,432,true],"large":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-524x294.jpg",524,294,true],"1536x1536":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",1000,562,false],"2048x2048":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",1000,562,false],"newspack-article-block-landscape-large":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",1000,562,false],"newspack-article-block-portrait-large":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",900,506,false],"newspack-article-block-square-large":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",1000,562,false],"newspack-article-block-landscape-medium":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",800,450,false],"newspack-article-block-portrait-medium":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",600,337,false],"newspack-article-block-square-medium":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",800,450,false],"newspack-article-block-landscape-small":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",400,225,false],"newspack-article-block-portrait-small":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",300,169,false],"newspack-article-block-square-small":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",400,225,false],"newspack-article-block-landscape-tiny":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",200,112,false],"newspack-article-block-portrait-tiny":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",150,84,false],"newspack-article-block-square-tiny":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",200,112,false],"newspack-article-block-uncropped":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",1000,562,false],"eris-archive-image":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987.jpg",1000,562,false],"eris-archive-image-portrait":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-550x309.jpg",550,309,true],"eris-search-image":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-160x90.jpg",160,90,true],"woocommerce_thumbnail":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-300x300.jpg",300,300,true],"woocommerce_single":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-600x337.jpg",600,337,true],"woocommerce_gallery_thumbnail":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-100x100.jpg",100,100,true],"shop_catalog":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-300x300.jpg",300,300,true],"shop_single":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-600x337.jpg",600,337,true],"shop_thumbnail":["https:\/\/2020.labkontempo.com\/wp-content\/uploads\/2020\/10\/IMG_0987-100x100.jpg",100,100,true]},"uagb_author_info":{"display_name":"lydiaschellhammer","author_link":"https:\/\/2020.labkontempo.com\/en\/author\/lydiaschellhammer\/"},"uagb_comment_info":0,"uagb_excerpt":"Mega Mingiedi Tunga : \u201cPost-Postcolonial\u201d Drawing on paper papier, 80 x 100 cm, Kinshasa 2020 In a future-oriented logic, Mega Mingiedi offers a vision that goes ahead in time. He skips the concept that is currently widely used, that of the postcolonial, to speak of the \u201cpost-postcolonial\u201d. His vision stems from a need to render&hellip;","_links":{"self":[{"href":"https:\/\/2020.labkontempo.com\/en\/wp-json\/wp\/v2\/pages\/747"}],"collection":[{"href":"https:\/\/2020.labkontempo.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/2020.labkontempo.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/2020.labkontempo.com\/en\/wp-json\/wp\/v2\/users\/104559219"}],"replies":[{"embeddable":true,"href":"https:\/\/2020.labkontempo.com\/en\/wp-json\/wp\/v2\/comments?post=747"}],"version-history":[{"count":10,"href":"https:\/\/2020.labkontempo.com\/en\/wp-json\/wp\/v2\/pages\/747\/revisions"}],"predecessor-version":[{"id":2352,"href":"https:\/\/2020.labkontempo.com\/en\/wp-json\/wp\/v2\/pages\/747\/revisions\/2352"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/2020.labkontempo.com\/en\/wp-json\/wp\/v2\/media\/1362"}],"wp:attachment":[{"href":"https:\/\/2020.labkontempo.com\/en\/wp-json\/wp\/v2\/media?parent=747"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}