{"id":42124,"date":"2024-06-17T17:56:05","date_gmt":"2024-06-17T08:56:05","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&p=42124"},"modified":"2024-06-17T17:56:05","modified_gmt":"2024-06-17T08:56:05","slug":"by-rope-or-ember","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/42124","title":{"rendered":"By Rope or Ember"},"content":{"rendered":"

Ram\u00f3n Mu\u00f1oz<\/p>\n

\"\"<\/p>\n

Installation View of ‘By Rope or Ember’<\/em><\/p>\n

Mu\u00f1oz’s painting transcends mere aesthetics to become a political and social discourse, where each brushstroke is a gesture of resistance against the homogenization of urban landscapes. His works reflect on the contradiction between the ephemeral and the enduring, the habitable and the desolate.<\/p>\n

Yusto\/Giner
\nC\/Madera, 9. Marbella (M\u00e1laga, Spain)
\n951507053 <\/p>\n

WEBSITE<\/a>\u00a0 INSTAGRAM<\/a>\u00a0 YOUTUBE<\/a><\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-42124","insights","type-insights","status-publish","hentry","category-insight","category-stories"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/42124","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=42124"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=42124"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}