{"id":7506,"date":"2024-05-21T11:30:04","date_gmt":"2024-05-21T09:30:04","guid":{"rendered":"https:\/\/nownowerzemioslo.pl\/?p=7506"},"modified":"2024-05-30T11:52:01","modified_gmt":"2024-05-30T09:52:01","slug":"domoteka-x-now","status":"publish","type":"post","link":"https:\/\/nownowerzemioslo.pl\/en\/domoteka-x-now\/","title":{"rendered":"DOMOTEKA X N\u00d3W"},"content":{"rendered":"

The N\u00f3w. New Craft Association invites you to the next edition of the X N\u00d3W project. Contemporary Polish craft has taken its place in Domoteka, the largest interior design center in Poland.<\/span><\/p>\n

X N\u00f3w is a series of new craft exhibitions held in commercial venues. During last year\u2019s first edition, art and craft were showcased in eight locations \u2013 boutiques, confectioneries, and shops. <\/span>\u2013 <\/b>situated on Mokotowska and Koszykowa Streets in Warsaw. For this edition, the works of N\u00f3w members were presented at Domoteka, with one of the center\u2019s premises converted into a temporary exhibition space.\u00a0<\/span><\/p>\n

The exhibition offers a glimpse into the world of unique, original craft created in the studios of artisans belonging to the N\u00f3w. New Craft Association. On display are high-quality furniture, textiles, and functional and decorative objects made of wood, glass, ceramics, and metal. All of these pieces are elements of interior design, yet their origins differ from items typically available in the stores at Domoteka.\n\nThe distinction is not only in the technologies used or the scale of production. What matters is the personal involvement of the creators throughout the entire production process \u2013 from initial sketches, through samples and prototypes, to the finished work. As a result, the objects become a material record of the artists\u2019 individual character, experience, knowledge, and embodied memory, developed over years of working with the material, allowing them to resonate with viewers in a particularly personal way.<\/span><\/p>\n

Makers: <\/b>Kalina Ba\u0144ka-Kulka, Anna Bera, Katarzyna Harasym, Huba, Olga Milczy\u0144ska, Monika\u00a0Skorupska\/Mosko Ceramics, Aleksander Oniszh, P55 Mirrors, Jakub\u00a0Przyborowski, Marcin Skalski, Square Drop, Jakub \u015awi\u0119cicki, Tartaruga, Beata\u00a0Wietrzy\u0144ska\/In\u00a0Weave, Cyryl Zakrzewski, Magdalena Zarychta<\/b><\/p>\n

Place: <\/b>DOMOTEKA, ul. Malborska 41, Warszawa
\n<\/b>
\nExhibition open:
\n<\/b>10.05 – 30.06.2024
\n<\/b>Mon - Sat. <\/b>\u2013<\/b> sob. 10:00 <\/b>\u2013<\/b> 21:00
\n<\/b><\/p>\n

Event Partner: Domoteka
\n<\/span>Media Partner: Vogue Living
\n<\/span>Curators: Anna Bera, Jakub Przyborowski
\n<\/span>Graphic design: Piotr Ko\u0142akowski
\n<\/span>Photos: Matylda Polak<\/span><\/p>\n

Works:<\/span><\/p>\n

1. Kalina Ba\u0144ka-Kulka<\/b>, kryszta\u0142owe obiekty SMOG, 2019<\/span><\/p>\n

technika i materia\u0142: r\u0119cznie dmuchane i szlifowane szk\u0142o kryszta\u0142owe<\/span><\/p>\n

Delikatne, zdobione r\u0119cznym szlifem kryszta\u0142owe naczynia ukazuj\u0105 krucho\u015b\u0107 industrialnych, ci\u0119\u017ckich, dymi\u0105cych konstrukcji, kt\u00f3re przyczyniaj\u0105 si\u0119 do zanieczyszczenia powietrza. Niegdy\u015b by\u0142y one nieod\u0142\u0105czn\u0105 cz\u0119\u015bci\u0105 przemys\u0142u szklarskiego w Polsce. Projekt upami\u0119tnia zlikwidowane huty szk\u0142a, nawi\u0105zuj\u0105c do miejsc w kt\u00f3rych dzi\u015b pozosta\u0142y tylko wy\u0142\u0105czone z u\u017cycia kominy.
\n<\/span>IG: <\/span>instagram.com\/kalinabankakulka\/<\/span><\/a><\/p>\n

 <\/p>\n

2. Anna Bera<\/b>, krzes\u0142o Shape N.2, 2019<\/span><\/p>\n

technika i materia\u0142: r\u0119cznie rze\u017abione drewno olchowe<\/span><\/p>\n

Projekt krzes\u0142a powsta\u0142 niejako przy okazji. Artystka sfrustrowana i rozczarowana niepowodzeniami w pracy nad innym obiektem zacz\u0119\u0142a swobodnie bawi\u0107 si\u0119 form\u0105 w oprogramowaniu 3D. W ten spos\u00f3b, w zaledwie kilka chwil powsta\u0142 projekt krzes\u0142a z kolekcji \u201cShape\u201d. Jego forma jest wynikiem frustracji i rado\u015bci z uwolnienia si\u0119 od ogranicze\u0144. Obiekt jest wyrazem czystej ekspresji. \u201eShape N.2\u201d pomimo nietypowych proporcji, kt\u00f3re kojarz\u0105 si\u0119 z meblami dzieci\u0119cymi jest pe\u0142nowymiarowym krzes\u0142em.
\n<\/span>IG: <\/span>instagram.com\/annabera_\/<\/span><\/a><\/p>\n

 <\/p>\n

3. Katarzyna Harasym<\/b>, wazony z serii Neokryszta\u0142y, 2023\/2024<\/span><\/p>\n

technika i materia\u0142: slumping i piaskowanie szk\u0142a kryszta\u0142owego<\/span><\/p>\n

Ide\u0105 serii Neokryszta\u0142y jest nadanie nowej formy i \u017cycia starym podniszczonym naczyniom kryszta\u0142owym. Na skutek podgrzewania palnikiem topi\u0105 si\u0119 i s\u0105 swobodnie kszta\u0142towane przez artystk\u0119. Egzemplarze tworzone w ramach serii mog\u0105 by\u0107 b\u0142yszcz\u0105ce lub matowione w procesie piaskowania, a tak\u017ce barwione przez farb\u0119 emaliow\u0105 wtopion\u0105 w szk\u0142o. U\u017cywana technika sprawia, \u017ce niemo\u017cliwe jest dok\u0142adne powt\u00f3rzenie \u017cadnego egzemplarza. Ka\u017cdy nast\u0119pny jest unikatem.\u00a0<\/span><\/p>\n

IG: <\/span>instagram.com\/harasymkaska\/<\/span><\/a><\/p>\n

 <\/p>\n

4. Huba<\/b>, wazon No.138\/23, 2023<\/span><\/p>\n

technika i materia\u0142: terakota nieszkliwiona, wazon toczony na kole, wypalony w prymitywnym piecu na drewno<\/span><\/p>\n

Czarny wazon b\u0119d\u0105cy interpretacj\u0105 korea\u0144skiej butli maebyeong, zwyczajowo u\u017cywanej do ekspozycji kwitn\u0105cych ga\u0142\u0119zi \u015bliwy. Elegancka forma tradycyjnie zarezerwowana dla szkliw seladonowych w kolorze subtelnej zieleni zestawiona jest tu z materia\u0142em, jakim jest czarna ceramika, wytwarzana od tysi\u0119cy lat w prymitywnych piecach w wielu rejonach \u015bwiata \u2013 tak\u017ce w Polsce. Powierzchnia wazonu nosi \u015blady p\u0142omieni i ma surow\u0105, matow\u0105 faktur\u0119. Czarna ceramika jest rodzajem terakoty i jest porowata, st\u0105d wazon zaimpregnowano woskiem pszczelim w celu nadania wodoszczelno\u015bci \u2013 nadaje si\u0119 do trzymania \u017cywych kwiat\u00f3w.<\/span><\/p>\n

IG: <\/span>instagram.com\/huba.studio.ceramics\/<\/span><\/a><\/p>\n

 <\/p>\n

5. Huba<\/b>, wazon No.139\/23, 2023<\/span><\/p>\n

technika i materia\u0142: terakota nieszkliwiona, wazon toczony na kole, wypalony w prymitywnym piecu na drewno<\/span><\/p>\n

Czarny wazon z w\u0105sk\u0105 szyjk\u0105 zosta\u0142 wypalony w prymitywnym piecu na drewno. Na jego powierzchni uwiecznione s\u0105 \u015blady pozostawione przez p\u0142omienie. W zale\u017cno\u015bci od miejsca kolor waha si\u0119 od srebrzystego przez ochr\u0119 po czer\u0144. Czarna ceramika jest porowata, st\u0105d wazon zaimpregnowano woskiem pszczelim w celu nadania wodoszczelno\u015bci \u2013 nadaje si\u0119 do trzymania \u017cywych kwiat\u00f3w.<\/span><\/p>\n

IG: <\/span>instagram.com\/huba.studio.ceramics\/<\/span><\/a><\/p>\n

 <\/p>\n

6. Olga Milczy\u0144ska<\/b>, obiekt ceramiczny Patera, 2023<\/span><\/p>\n

technika i materia\u0142: kamionka formowana r\u0119cznie, angobowana i szkliwiona<\/span><\/p>\n

The object is part of the KUNSTKAMERA collection. Under this name there are collections of curiosities popular in the 16th and 17th centuries, which are a sign of admiration for the magnificence of the natural world.<\/span>
\n<\/span>Naczynie mo\u017ce s\u0142u\u017cy\u0107 jako patera na owoce lub przysmaki, cho\u0107 najlepiej j\u0105 ogl\u0105da\u0107 odwr\u00f3con\u0105 do g\u00f3ry dnem. Wtedy wida\u0107 j\u0105 w ca\u0142ej okaza\u0142o\u015bci. Skomplikowany wz\u00f3r naczynia wida\u0107 w pe\u0142ni, gdy zrezygnuje si\u0119 z jego u\u017cywania. Jest ono zbudowane z mniejszych element\u00f3w, kt\u00f3rych \u0142\u0105czenie wymaga wielu godzin pracy i du\u017cej precyzji. Patera jest wi\u0119c rzemie\u015blniczym wyzwaniem. Jednocze\u015bnie da\u0142a pocz\u0105tek serii zupe\u0142nie nowych, troch\u0119 szalonych obiekt\u00f3w. Teraz stanowi najcenniejsz\u0105, najbardziej nietypow\u0105 cz\u0119\u015b\u0107 zbioru osobliwo\u015bci KUNSTKAMERA.<\/span><\/p>\n

IG: <\/span>instagram.com\/olga.milczynska\/<\/span><\/a><\/p>\n

 <\/p>\n

7. Olga Milczy\u0144ska<\/b>, obiekt ceramiczny Ukwia\u0142, 2023<\/span><\/p>\n

technika i materia\u0142: kamionka formowana r\u0119cznie, angobowana i szkliwiona<\/span><\/p>\n

The object is part of the KUNSTKAMERA collection. Under this name there are collections of curiosities popular in the 16th and 17th centuries, which are a sign of admiration for the magnificence of the natural world. <\/span>Organiczny kszta\u0142t przypomina wymar\u0142e lub fikcyjne gatunki podwodnych ro\u015blin. Ka\u017cda praca, tak jak ka\u017cda ro\u015blina jest wyj\u0105tkowa. Wykonana r\u0119cznie praca wymaga sporo precyzji i dobrego wyczucia materia\u0142u. Obiekt wykonany r\u0119cznie, z ciemnej gliny kamionkowej cz\u0119\u015bciowo pokrytej bia\u0142ym szkliwem. Ka\u017cdy wazon Ukwia\u0142 jest sygnowanym unikatem.<\/span><\/p>\n

IG: <\/span>instagram.com\/olga.milczynska\/<\/span><\/a><\/p>\n

 <\/p>\n

8. Monika Skorupska\/Mosko Ceramics<\/b>, \u015bwieczniki KLUK, 2024<\/span><\/p>\n

technika i materia\u0142: glina barwiona w masie, formowana r\u0119cznie, nieszkliwiona<\/span><\/p>\n

\u015awiecznik na trzy \u015bwiece. Praca stoi w opozycji do serii Fluido, kt\u00f3ra wyko\u0144czeniem z platyny i srebra by\u0142a bardzo zdobnicza, tymczasem nowy obiekt zaskakuje swoim minimalistycznym wygl\u0105dem. Praca powsta\u0142a w spontanicznym, rze\u017abiarskim procesie z gliny barwionej w masie. W za\u0142o\u017ceniu jest konstrukcj\u0105 modu\u0142ow\u0105, zestawian\u0105 z unikatowych form.<\/span><\/p>\n

IG: <\/span>instagram.com\/moskoceramics\/<\/span><\/a>\u00a0<\/span><\/p>\n

 <\/p>\n

9. Aleksander Oniszh<\/b>, sto\u0142ek Stump Stool, 2023<\/span><\/p>\n

technika i materia\u0142: drewno klonu kanadyjskiego i orzecha ameryka\u0144skiego, laminowane, kszta\u0142towane r\u0119cznie i maszynowo<\/span><\/p>\n

Stump Stool jest jednocze\u015bnie abstrakcyjnym obiektem i funkcjonalnym meblem. Nawi\u0105zuj\u0105c do tradycji minimalizmu i sztuki ludowej \u0142\u0105czy w sobie prostot\u0119 i frywolno\u015b\u0107.<\/span><\/p>\n

IG: <\/span>instagram.com\/oniszh\/<\/span><\/a><\/p>\n

 <\/p>\n

10. P55 Mirrors<\/b>mirror: Squiggle Blue, 2023<\/span><\/p>\n

technique and material: silver overlay on decolorized glass. <\/span>DIAMANT\u00ae, black MDF board<\/span><\/p>\n

Squiggle Blue Mirror is a playful exploration of form. The shape of the openwork swirl was created from the designer Marta Morawska-Omalecka\u2019s creative loops and doodles \u2013 freehand sketches by the co-creator of the mirror. The irregular mirror surface, with naturally achieved grays along soft, delicate edges, reflects the very process of its making, as the silvering solution flows over the glass. The mirror is enhanced with a vibrant cobalt blue accent.\n\nModern glass processing combined with artisanal silvering techniques results in a mirror of unexpected form. It can be hung in four different orientations, allowing for a choice and change of visual effect. Its shape creates a strong connection with the surrounding space, emphasizing its unique character. The mirror serves both as a functional interior element and as an original, one-of-a-kind decorative piece.\u00a0<\/span><\/p>\n

IG: <\/span>instagram.com\/p55mirrors\/<\/span><\/a><\/p>\n

 <\/p>\n

11. Jakub Przyborowski<\/b>double mahogany bench, 2023<\/span><\/p>\n

Technique and material: handmade using traditional carpentry techniques from African mahogany wood (sapele)<\/span><\/p>\n

A low bench with a split, asymmetrical top and a dynamic silhouette. The piece can function as a seat or a coffee table. The double bench was created without a precise design, based solely on general assumptions about the piece\u2019s function and character. During the process, the maker relied on intuition, allowing for spontaneous decisions and letting the hand tools guide the work.\n\nThe result is a minimalist yet monumental geometry with simple, clean lines. The piece appears to barely touch the floor thanks to deep chamfers along the edges of the legs. Another striking detail is the hand-cut angled finger joints connecting the tabletop surfaces to the legs, serving as a record of hours of artisanal craftsmanship.<\/span><\/p>\n

IG: <\/span>instagram.com\/jakub_przyborowski\/<\/span><\/a><\/p>\n

 <\/p>\n

12. Marcin Skalski<\/b>Candlesticks from the Tenebr Collection, 2024<\/span><\/p>\n

Technique and material: forged, welded, and polished steel; turned and ebonized wood.<\/span><\/p>\n

The candlesticks are inspired by 16th-century portrait painting, depicting figures in ruffs and long black robes. The name of the collection comes from the style known as \u201ctenebrism,\u201d in which artists used strong chiaroscuro<\/span><\/p>\n

IG: <\/span>instagram.com\/stonesforge\/<\/span><\/a><\/p>\n

 <\/p>\n

13. Square Drop<\/b>Dark \u00e9tag\u00e8re from the Oddity Collection, 2024.<\/span><\/p>\n

Technique and material: solid ash wood, stained; steel screw with cast iron fitting.<\/span><\/p>\n

The \u00e9tag\u00e8re references a multi-tiered piece with open shelves that first appeared in France in the second half of the 18th century. By incorporating an adjustable rotating top, the traditional form of the \u00e9tag\u00e8re has been combined here with that of a side table, greatly enhancing its functionality.\n\nOddity Collection \u2013 Studio Kosmos Project (2020\u20132021). The collection was awarded MUST HAVE at the \u0141\u00f3d\u017a Design Festival 2021.<\/span><\/p>\n

IG: <\/span>instagram.com\/squaredrop\/<\/span><\/a>\u00a0<\/span><\/p>\n

 <\/p>\n

14. Jakub \u015awi\u0119cicki<\/b>Pouf from the Monostriped Landscape series, 2022<\/span><\/p>\n

Technique and material: faux chenille quilt technique using cotton and linen (cover), polyurethane foam filling<\/span><\/p>\n

Inspired by nature, the pouf from the Monostriped Landscape series can also be used as a side table. The cover, made from dead-stock materials using the faux chenille quilt technique, is textured and unusually tactile. The regular stitching pattern is disrupted by freely hanging, unraveled threads from the fabrics.<\/span><\/p>\n

IG: <\/span>instagram.com\/_kuba_swiecicki\/<\/span><\/a>\u00a0<\/span><\/p>\n

 <\/p>\n

15. Tartaruga<\/b>DOMKI kilim from the NORD-SUD Collection, 2023<\/span><\/p>\n

Technique and material: handwoven kilim made of recycled wool and hand-dyed wool, on a cotton warp.<\/span><\/p>\n

The NORD-SUD kilim collection captures memories from journeys; a convergence of many colors, scents, and fleeting emotions\u2014frames preserved only in memory. It is an attempt to confront the completely different experiences of two closely connected people; a creative, nostalgic journey to capture the northern lights and the blazing southern sun.\n\nThe wool used for weaving was sourced from recycled materials. It is a byproduct of mass carpet production and cannot be reused industrially, yet it serves as an excellent material for handcraft. Through artisanal production, we can give these fully valuable raw materials a second life.\n\nChoosing the kilim weaving technique also minimizes waste, reducing scraps from a single piece of fabric to less than a handful of biodegradable wool and cotton remnants. Some of the wool yarn was hand-dyed, so each piece may have slight variations in texture and shade within each color area.<\/span><\/p>\n

IG: <\/span>instagram.com\/tartaruga.studio\/<\/span><\/a><\/p>\n

 <\/p>\n

16. Beata Wietrzy\u0144ska\/In Weave<\/b>, SQUARES NAVY fabric from the Bauhaus Inspired series, 2023.<\/span><\/p>\n

Technique and material: double-layered block fabric, linen and wool.<\/span><\/p>\n

It is a diptych from a series of fabrics inspired by Bauhaus design and its geometric forms. The fabric is decorative but can also serve a practical purpose\u2014as a table runner. It is woven on a linen warp with two types of weft\u2014linen and wool\u2014which differ in color and texture.\n\nThe fabric is reversible: on one side, wool dominates, producing richer, more saturated colors; on the other, natural-colored linen prevails. Both edges are finished with loom-woven tunnels, allowing a rod to be inserted for wall hanging.<\/span><\/p>\n

IG: <\/span>instagram.com\/in_weave\/<\/span><\/a>\u00a0<\/span><\/p>\n

 <\/p>\n

17. Beata Wietrzy\u0144ska\/In Weave<\/b>SQUARES BROWN fabric from the Bauhaus Inspired series, 2023.<\/span><\/p>\n

Technique and material: double-layered block fabric, linen and wool.<\/span><\/p>\n

It is a diptych from a series of fabrics inspired by Bauhaus design and its geometric forms. The fabric is decorative but can also serve a practical purpose\u2014as a table runner. It is woven on a linen warp with two types of weft\u2014linen and wool\u2014which differ in color and texture.\n\nThe fabric is reversible: on one side, wool dominates, producing richer, more saturated colors; on the other, natural-colored linen prevails. Both edges are finished with loom-woven tunnels, allowing a rod to be inserted for wall hanging.<\/span><\/p>\n

IG: <\/span>instagram.com\/in_weave\/<\/span><\/a>\u00a0<\/span><\/p>\n

 <\/p>\n

18. Cyryl Zakrzewski<\/b>, Korallion table from the Organic Design series, 2024<\/span><\/p>\n

technique and material: hand-carved, laminated birch plywood<\/span><\/p>\n

Furniture piece from Organic Design serie<\/span><\/p>\n

IG: <\/span>instagram.com\/cyrylz_design\/<\/span><\/a><\/p>\n

 <\/p>\n

19. Magdalena Zarychta<\/b>, decorative form: Air Vessel V, 2020<\/span><\/p>\n

Technique and material: hot-formed glass, blown into a preform and then shaped by hand, combined with metal elements<\/span><\/p>\n

The \u201cAir Vessels\u201d depict forms with irregular shapes, made from thick, transparent glass. They command attention through their size and mass, seeming to live an independent life through the vibrating structure contained within the glass forms. Some pieces feature a graphic texture created by the interaction of metal oxides with the hot glass. The glass forms are finished with a small opening, designed primarily to contain the air within.<\/span><\/p>\n

IG: <\/span>instagram.com\/magdalenazarychta.artist\/<\/span><\/a>\u00a0<\/span><\/p>\n

 <\/p>\n

20. Magdalena Zarychta<\/b>Decorative form: Imprints IX, 2023.<\/span><\/p>\n

Technique and material: hot-formed glass, blown into a preform and then shaped by hand, combined with metal elements<\/span><\/p>\n

The \u201cAir Vessels\u201d depict forms with irregular shapes, made from thick, transparent glass. They command attention through their size and mass, seeming to live an independent life through the vibrating structure contained within the glass forms. Some pieces feature a graphic texture created by the interaction of metal oxides with the hot glass. The glass forms are finished with a small opening, designed primarily to contain the air within.<\/span><\/p>\n

IG: <\/span>instagram.com\/magdalenazarychta.artist\/<\/span><\/a>\u00a0<\/span><\/p>","protected":false},"excerpt":{"rendered":"

Stowarzyszenie N\u00f3w. Nowe Rzemios\u0142o zaprasza na kolejn\u0105 ods\u0142on\u0119 projektu X N\u00d3W. Wsp\u00f3\u0142czesne polskie rzemios\u0142o zago\u015bci\u0142o w przestrzeni Domoteki, najwi\u0119kszego w Polsce centrum wyposa\u017cenia wn\u0119trz. X N\u00f3w to seria wystaw nowego rzemios\u0142a w lokalach us\u0142ugowych. Podczas zesz\u0142orocznej, pierwszej edycji sztuka i rzemios\u0142o go\u015bci\u0142y w o\u015bmiu punktach \u2013 butikach, cukierniach, sklepach \u2013 zlokalizowanych przy ulicach Mokotowskiej i […]<\/p>\n","protected":false},"author":13,"featured_media":7541,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[255],"tags":[1192],"class_list":["post-7506","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wydarzenia","tag-home"],"_links":{"self":[{"href":"https:\/\/nownowerzemioslo.pl\/en\/wp-json\/wp\/v2\/posts\/7506","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nownowerzemioslo.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nownowerzemioslo.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nownowerzemioslo.pl\/en\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/nownowerzemioslo.pl\/en\/wp-json\/wp\/v2\/comments?post=7506"}],"version-history":[{"count":0,"href":"https:\/\/nownowerzemioslo.pl\/en\/wp-json\/wp\/v2\/posts\/7506\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nownowerzemioslo.pl\/en\/wp-json\/wp\/v2\/media\/7541"}],"wp:attachment":[{"href":"https:\/\/nownowerzemioslo.pl\/en\/wp-json\/wp\/v2\/media?parent=7506"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nownowerzemioslo.pl\/en\/wp-json\/wp\/v2\/categories?post=7506"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nownowerzemioslo.pl\/en\/wp-json\/wp\/v2\/tags?post=7506"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}