{"id":245,"date":"2021-11-04T20:12:34","date_gmt":"2021-11-04T20:12:34","guid":{"rendered":"http:\/\/br1056.teste.website\/~panor514\/revista.panoramacritico.com\/?page_id=245"},"modified":"2021-11-23T12:42:22","modified_gmt":"2021-11-23T12:42:22","slug":"transposicao-30o0152-56s-51o1404-03o-2","status":"publish","type":"page","link":"https:\/\/panoramacritico.com\/revista\/livros\/transposicao-30o0152-56s-51o1404-03o-2\/","title":{"rendered":"Transposi\u00e7\u00e3o 30\u00ba01\u201952.56\u201dS \u2013 51\u00ba14\u201904.03\u201dO"},"content":{"rendered":"\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile is-vertically-aligned-top\" style=\"grid-template-columns:40% auto\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"819\" src=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2021\/11\/Transposicao-30o0152.56S-\u2013-51o1404.03O-1024x819.png\" alt=\"\" class=\"wp-image-226 size-full\" srcset=\"https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2021\/11\/Transposicao-30o0152.56S-\u2013-51o1404.03O-1024x819.png 1024w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2021\/11\/Transposicao-30o0152.56S-\u2013-51o1404.03O-300x240.png 300w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2021\/11\/Transposicao-30o0152.56S-\u2013-51o1404.03O-768x615.png 768w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2021\/11\/Transposicao-30o0152.56S-\u2013-51o1404.03O-1536x1229.png 1536w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2021\/11\/Transposicao-30o0152.56S-\u2013-51o1404.03O-2048x1639.png 2048w, https:\/\/panoramacritico.com\/revista\/wp-content\/uploads\/2021\/11\/Transposicao-30o0152.56S-\u2013-51o1404.03O-1350x1080.png 1350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p><em>Org.: T\u00falio Pinto<\/em><\/p>\n\n\n\n<p>O projeto Transposi\u00e7\u00e3o do artista T\u00falio Pinto, estabelece um di\u00e1logo entre dois espa\u00e7os p\u00fablicos da cidade de Porto Alegre atrav\u00e9s do atravessamento entre as linguagens de escultura, performance, instala\u00e7\u00e3o e fotografia. Os dois lugares em quest\u00e3o est\u00e3o situados no centro da cidade \u2013 a galeria Augusto Meyer da Casa de Cultura M\u00e1rio Quintana e aproximadamente 15 m\u00b2 da Pra\u00e7a da Alf\u00e2ndega.<br><em>The project &#8220;Transposition&#8221; of artist Tulio Pinto, establishes a dialogue between two public spaces of the city of Porto Alegre through the crossing between the languages of sculpture, performance, installation and photography. The two posts in question are situated in the city downtown &#8211; the gallery Augusto Meyer&#8217;s and approximately 15 m\u00b2 of Pra\u00e7a da Alf\u00e2ndega.<\/em> <\/p>\n\n\n\n<p>Dispon\u00edvel para download gratuito:<br><a href=\"https:\/\/www.dropbox.com\/s\/2awgwne9es3br6v\/Transposicao_Catalogo_Web.pdf?dl=1\" data-type=\"URL\" target=\"_blank\" rel=\"noreferrer noopener\">pdf<\/a><\/p>\n<\/div><\/div>\n\n\n\n<p class=\"has-small-font-size\">ISBN: 9788563870056<br>Idioma: portugu\u00eas \/ ingl\u00eas<br>Edi\u00e7\u00e3o: 1\u00aa <br>Ano: 2012<br>P\u00e1ginas: <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Org.: T\u00falio Pinto O projeto Transposi\u00e7\u00e3o do artista T\u00falio Pinto, estabelece um di\u00e1logo entre dois espa\u00e7os p\u00fablicos da cidade de Porto Alegre atrav\u00e9s do atravessamento entre as linguagens de escultura, performance, instala\u00e7\u00e3o e fotografia. Os dois lugares em quest\u00e3o est\u00e3o situados no centro da cidade \u2013 a galeria Augusto Meyer da Casa de Cultura M\u00e1rio [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":95,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-245","page","type-page","status-publish","hentry","post"],"_links":{"self":[{"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/pages\/245","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/comments?post=245"}],"version-history":[{"count":8,"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/pages\/245\/revisions"}],"predecessor-version":[{"id":1099,"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/pages\/245\/revisions\/1099"}],"up":[{"embeddable":true,"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/pages\/95"}],"wp:attachment":[{"href":"https:\/\/panoramacritico.com\/revista\/wp-json\/wp\/v2\/media?parent=245"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}