1992-1994 MA Fine Art, Goldsmiths’ College
\n1977-1980 BA (Hons) Fine Art (Painting), Brighton Polytechnic<\/p>\n
*solo **collaboration<\/p>\n
2026 Religion & Art + the subjective, Goldsmiths College, London
\n2025 Dance, Celebrity, & New York, Winter Gardens, Morecambe
\n2025 The Varieties Of Cinematic Experience, Judson Memorial Church, New York
\n2025 *Sampler, Danielle Arnaud Gallery, London
\n2025 Readymades, Tension Fine Art, London
\n2024 **Listening, St Stephen Walbrook, London (in collaboration with Samaritans)
\n2024 Screening Programme, Danielle Arnaud, London
\n2024 Exile Street \/ High, Ealing Project, London
\n2023-2024 Deep Deep Down, Mudam Luxembourg
\n2023 *Twister, Tin Tabernacle, London
\n2023 **Process\/Rehearsal\/Performance, Laban Theatre, London; Malmesbury Abbey (in collaboration with Lizzi Kew Ross & Co)
\n2023 Religion & Art Live, Lumen, London
\n2022 **Stations of the Crossing, Durham Cathedral (in collaboration with Lizzi Kew Ross & Co)
\n2022 **Here We Are, Laban Theatre, London (in collaboration with Trinity Laban)
\n2021\u00a0Radical Reel: 40 Years of Moving Image, Leeds Art Gallery
\n2021 The Visitors, Morley Gallery, London
\n2021 The Current Thing, Hopscotch Reading Room, Berlin; Microscope Gallery, New York
\n2019 **Where We Are, Laban Theatre, London (in collaboration with Trinity Laban)
\n2019 **All Angels, Marlborough College Chapel
\n2019 Out Fall, Grosvenor Chapel, London
\n2019 *Color Motet, Austin Forum, London
\n2019 *Pastiche Mass, Chelsea College of Arts, London
\n2018 Altered States, St John’s Waterloo, London
\n2018 Mute Loops, Ambika P3, London
\n2017 **Stations of the Resurrection, St Paul’s Cathedral, London (in collaboration with Lizzi Kew Ross & Co)
\n2017 *Stations of the Cross, St Stephen Walbrook, London
\n2017 Armley Mills Industrial Museum, Leeds
\n2016 Motorcycle Cultures II (International Journal of Motorcycle Studies Conference Exhibition), Triangle Space, London
\n2015 Deptford Conversations, Deptford X, London
\n2014 *Christian Disco,\u00a0Museum Boijmans van Beuningen, Rotterdam
\n2014 Foam, P\/N project space, London; AND\/OR, London; Wysing Arts Centre, Cambridge;\u00a0Grand Union, Birmingham
\n2014 Bad Copy, Cardiff Story Museum
\n2014 the tongue shapes words all too quickly, Triangle Space, London
\n2013 Nothing Compares 2 U, SIC, Helsinki
\n2013 Jury Selection, Thirteen Video Art Festival, Stockholm
\n2013 Supernormal, Braziers Park, Oxfordshire
\n2013 On the (im)possibility of a pure praise poem, British Council, Man&Eve, London
\n2013 Art Bosphorus, Istanbul
\n2012 After\/Hours\/Drop\/Box, Andor Gallery, London; Modern Art Oxford; Spike Island, Bristol
\n2012 Brittle Crazie Glass, Islington Mill, Salford
\n2012 Let\u2019s Twist Again: Song and Sound in Artists\u2019 Film Installations, WOMAD Festival 2012, Charlton Park, Wilts
\n2011 Vortex Revisions, Tate Britain, London
\n2011 A Fire In The Master\u2019s House Is Set, Chapter, Cardiff
\n2011 Fraternise – the Salon, Beaconsfield, London
\n2011 Pulp, POLYply8, The Centre for Creative Collaboration, London
\n2011 *My Mum, Beaconsfield, London
\n2010 *The Beginning of the End,\u00a0Beaconsfield, London
\n2010 The Hand, Works|Projects, Bristol
\n2010 Be Glad For The Song Has No End, Wysing Arts Centre, Cambridge
\n2009\u00a0The Enigma of Arrival, Leeds Art Gallery
\n2009 The Other Side, The Crypt Gallery, London
\n2007 *Scorpio Rising 2, Holy Trinity & St Mary, Berwick-upon-Tweed (Berwick Film & Media Arts Festival)
\n2007 Film on Film, Berwick Film & Media Arts Festival, Berwick-upon-Tweed
\n2007 Forest, Temple Bar Gallery, Dublin
\n2007 Play Yourself, Gimpel Fils, London
\n2007 Peter Stanley & Friends, Hortensia Gallery, London
\n2007 ArtFutures, Bloomberg Space, London
\n2006 *Masochistic Opposite, Matthew Bown Gallery, London
\n2006 Dance On Screen, The Place, London
\n2006 Eldorado, Musee d\u2019Art Moderne Grand-duc Jean, Luxembourg
\n2005 *(Version) for Lightsilver, Beaconsfield, London
\n2005 Artfutures, Bloomberg Space, London
\n2005 Be Ready, Heart, For Parting, New Endeavour, Great Eastern Hotel, London
\n2005 Chronic Epoch, Beaconsfield, London
\n2004 *Disco Maquette, Sketch, London
\n2004 Love Story, Danielle Arnaud Contemporary Art, London
\n2004 Vinyl 2, Redux, London \u2192
\n2004 Planet B: die Asthetik des B-Movies in der zeitgenossischen Kunst, Palais Thurn & Taxis and Magazin4, Bregenz
\n2004 Atomic Art Bomb, Modern Art, Oxford
\n2003 Corpa Nova, Spital Sq, London
\n2003 Platform for Art, London Underground Network, London
\n2003 Independence, South London Gallery, London
\n2003 The Last Show, Galerie P, Brussels
\n2002-2003\u00a0Game On, Barbican Art Gallery, London; Royal Museum, Edinburgh; City Art Museum, Helsinki; De Pont Foundation, Tilburg
\n2002 so Jackie, Galerie P, Brussels
\n2002 VideoROM,\u00a0Gian\u00a0Carla Zanutti Gallery, Milan
\n2002 ThugLife, Smart Project Space, Amsterdam
\n2002 *Mark Dean, Volker Diehl Gallery, Berlin
\n2002 About Belief, South London Gallery, London
\n2002 Geometers, Nylon, London
\n2002 *The Return of Jackie & Judy (+ Joey), Laurent Delaye Gallery, London
\n2001 City Racing 1988 – 1998: A Partial Account, ICA, London
\n2001 Century City: Art and Culture in the Modern Metropolis, Tate Modern, London
\n2001 New Acquisitions: Video Works by Mark Dean & Mark Wallinger, Leeds Art Gallery
\n2001 Evolution, Leeds International Film Festival in Millennium Square
\n2001 *Mark Dean, Ikon Gallery, Birmingham
\n2001 Video in the City, Centrum voor Hedendaagse Kunst, Maastricht, The Netherlands
\n2001 Self Portrayal, Laurent Delaye Gallery, London
\n2001 Invitation, Galerie Anton Weller, Paris
\n2001 WR001, WRO Centre, Wroclaw, Poland
\n2001 VideoROM, Valencia Biennial, Spain
\n2001 Mute Loops, Lux Gallery, London
\n2001 Why Me Not You?, Polish Cultural Institute, London
\n2001 VideoVideoVideoVideo, Galerie Anton Weller, Paris
\n2000 Exit: Art and Cinema at the end of the century, Chisenhale Gallery, London, selected by Stuart Morgan \u2192
\n2000 *Ascension, Laurent Delaye Gallery, London
\n2000 The Wreck of Hope, The Nunnery Gallery, London
\n2000 Video Vibe, Gallery of the British School in Rome, and touring to Gallery of Modern Art, Bergamo; MAN, Nuoro; Salara, Bologna; Palazzo Ducale, Genoa; Argos, Brussels; CAC, Vilnius; Elektra Festival, Montr\u00e9al.
\n2000 *Mark Dean, Casa de las Conchas, Salamanca
\n2000 Mommy Dearest, Gimpel Fils, London
\n2000 Realm of the Senses, Turku Art Museum, Finland
\n2000 Version_2000, Centre pour l\u2019Image Contemporaine, Geneva
\n2000 Split Film Festival, Croatia (gallery installation)
\n2000-2003\u00a0Black Box Recorder,\u00a0British Council Touring Exhibition: Museum Ludwig, Cologne; Museum of Modern Art, Buenos Aires; Ata Centre For Contemporary Art, Sofia; Galerija Likovbih Umjetnosti, Osijek; Gallery Vincent Iz Kastva, Pula; Modern Gallery, Rijeka; Art Radionica Barutana, Slavonski Brod; New Film And Video Festival, Split; Union Of Croatian Artists, Zagreb; Atelier K, Beroun; Moravian Gallery, Brno; X Centre Gallery, Pilsen; N-Gallery, Tblisi; Studio Gallery, Budapest; Red Brick Warehouse, Yokohama; Noass, Riga; Centre Of Contemporary Art, Vilnius; Media Link Festival, Podgorica; Bunkier Sztuki Gallery Of Contemporary Art & Manggha Centre, Krakow; Toaca Foundation, Bucharest; Banat Museum, Timisoara; State Museum of Fine Arts, Novosibirsk; Moderna Galerija, Ljubljana; Umetnostna Galerija, Maribor
\n1999 *Dust, Laurent Delaye Gallery, London
\n1999 Imaginaria, ICA, London
\n1999 Mondo 1: Ellen Cantor\/Mark Dean\/Simon Martin, Flag, London
\n1999 Klega\u2019s Flat, Sali Gia Gallery, London
\n1999 Synchronicity, Laurent Delaye Gallery, London
\n1998 Host, Tramway, Glasgow
\n1998 Heavier than Air, Imperial War Museum, London
\n1998 Driving Towards Distraction, Laurent Delaye Gallery, London
\n1998 Back in Love, Coins, London
\n1998 Instantaneous, Beaconsfield, London
\n1997 Ne me quitte pas, GlassBox, Paris
\n1997 Chez l\u2019un, l\u2019autre, Galerie Anton Weller, Paris
\n1997 *I Didn’t Invent It, Laurent Delaye Gallery, London
\n1997 Big Blue 2, Caf\u00e9 Adler\/Caf\u00e9 Fix, Berlin
\n1997 Big Blue, Coins, London
\n1997 B.o.n.go, Bricks & Kicks, Vienna
\n1996 Silent\/Still, Hit & Run, London
\n1996 Flag, Clink Wharf, London
\n1996 I Beg to Differ, Milch, London
\n1996 *Mark Dean, City Racing, London
\n1995 Lost Property, W139, Amsterdam &\u00a0Great Western Studios, London
\n1993-1994\u00a0New Contemporaries 93, Cornerhouse, Manchester;\u00a0Orchard Gallery, Derry;\u00a0Mappin Art Gallery, Sheffield;\u00a0City Museum & Art Gallery, Stoke-on-Trent;\u00a0CCA, Glasgow
\n1992 Mark Dean\/Sera Furneaux\/Richard Wright, City Racing, London
\n1992 Simple Twist of Fate, Riverside Studios, London<\/p>\n
Arts Council England
\nLeeds Art Gallery
\nMusee d\u2019Art Moderne Grand-duc Jean, Luxembourg
\nSaastamoinen Foundation, Espoo Museum of Modern Art<\/p>\n
Barbican International
\nICA London
\nImperial War Museum<\/p>\n
2009 Paul Hamlyn Award for Artists
\n2005 Arts Council England Individual Artist\u2019s Award
\n1999 Cap Gemini Imaginaria\u00a0Digital Art Prize
\n1993 BT New Contemporaries Award<\/p>\n
2013-date \u00a0Chaplain, University of the Arts London + Coordinator, Arts Chaplaincy Projects
\n2003-2013 Lecturer in Fine Art, Goldsmiths’ College, University of London
\n1998-2003 Tutor in Fine Art, Ruskin School of Drawing and Fine Art, Oxford University
\n1992-1997 Project Manager, Fast Forward & Untitled Art Project, London Borough of Southwark
\n1990-1992 Tutor in Charge, London Borough of Southwark
\n1987-1990 Youth & Community Worker, Portobello Project, Inner London Education Authority
\n1982-1985 Photography Tutor, Stopgap Youth Project, City of Westminster<\/p>\n
2023 John Ruskin, the Pre-Raphaelites, and Religious Imagination: Sacre Conversazioni, Palgrave Macmillan, ISBN: 978-3031215537
\n2021 Transforming Christian Thought in the Visual Arts: Theology, Aesthetics, and Practice,\u00a0Routledge, ISBN 9780367443214
\n2019 Ruskin and the Pre-Raphaelites: Sacre Conversazioni, Visual Theology, ISSN 2634 9004
\n2017 Laura Moffatt, ‘Stations of the Cross | Stations of the Resurrection’, Art & Christianity, Summer, No 90
\n2017 Muriel Zagha, \u2018From Psycho to Transcendence\u2019, Elephant, 2017
\n2017 Stations of the Cross | Stations of the Resurrection, Stations 2017, catalogue,\u00a0ISBN 978-1-5272-0874-2s\u00a0\u2192
\n2016 Jonathan Koestl\u00e9-Cate, Art and the Church: A Fractious Embrace, Routledge, London, ISBN 1472437624
\n2015 Margaret Garlake (ed), Beaconsfield: Chronic Epoch, Black Dog Publishing, London,\u00a0ISBN13: 9781908966575
\n2013 Morgan Quaintance, ‘Nothing Compares 2 U: Notes on Sincerity’, catalogue essay
\n2013 Phil Baines, ‘On the (im)possibility of a pure praise poem’,\u00a0Art & Christianity,\u00a0No\u00a075
\n2013 ‘On the (im)possibility of a pure praise poem’, Man&Eve, catalogue essay
\n2013 Helen Gheourgiou Gould, ‘Reimagining the Gospels’,\u00a0\u0192ranciscan, January
\n2012 Lucy Newman Cleeve, ‘Brittle Crazie Glasse’, Man&Eve, catalogue essay
\n2012 Let\u2019s Twist Again: Song and Sound in Artists\u2019 Film Installations, WOMAD Festival, catalogue
\n2011 Paul Bayley, interview with Mark Dean, Art & Christianity Journal, No 67
\n2011 ‘A Fire In The Master’s House is Set’,\u00a0Art Review, October
\n2011 Carly Ross, ‘A Fire in The Master’s House’,\u00a0Creative Review, August
\n2011 Rachel Withers, ‘Mark Dean’,\u00a0Artforum, April
\n2011 Eliza Williams, ‘Mark Dean’,\u00a0Art Monthly\u00a0no 343, February
\n2011 Helen Sumpter, ‘Mark Dean’,\u00a0Time Out\u00a0no 2108, January 13-19
\n2010 Naomi Siderfin, \u2018Mark Dean: The Beginning of The End?\u2019, catalogue essay
\n2009\u00a0The Beatbullying Art Auction, Catalogue
\n2009 Exemplar, Kensington & Chelsea College, Catalogue
\n2008 Arkive City, Interface, University of Ulster, ISBN 978-1-899377-30-5
\n2008 Catherine Moriarty & Angela Weight, ‘The Legacy of Interaction’,\u00a0Tate Papers, Issue 9, ISSN 1753-9854
\n2007 David Curtis,\u00a0A History of Artist’s Film and Video in Britain, 1897-2004, BFI Publishing, London, ISBN 1-84457-096-7
\n2007 Film on Film, Berwick upon Tweed Film & Media Arts Festival, Catalogue,\u00a0ISBN 978-0-9551203-1-2
\n2007 JJ Charlesworth, \u2018Play Yourself’,\u00a0Time Out\u00a0no 1928, August 1-7
\n2007 Susanna Haddon, \u2018Play Yourself at Gimpel Fils’,\u00a0Artvehicle\u00a0no 22, July
\n2007 Peter Stanley & Friends, Kensington & Chelsea College, London, Catalogue
\n2006 Dance On Screen 2006, The Place, London, Catalogue
\n2006\u00a0New Art on View, Scala, London, ISBN 1-85759-443-6
\n2006\u00a0Eldorado, Musee d’Art Moderne Grand-duc Jean, Luxembourg, ISBN2-919923-49-8
\n2005\u00a0Joel Robinson, \u2018Disco Maquette’,\u00a0Art Papers, January\/February
\n2004 Sally O’Reilly, ‘Love Story’, Art Monthly no. 282, December
\n2004 Ian Hunt, \u2018Mark Dean’,\u00a0Art Monthly, no 279, September
\n2004 Love Story, Danielle Arnaud contemporary art, London, catalogue
\n2004\u00a0Planet B: die Asthetik des B-Movies in der zeitgenossischen Kunst, Magazin4 Bregenzer Kunstverein, ISBN 3-937577-53-X
\n2004\u00a0Simon Morrissey,\u00a0\u2018Mark Dean: Disco Maquette’,\u00a0catalogue essay, July
\n2004 Martin Coomer, \u2018Mark Dean: Disco Maquette’,\u00a0Time Out\u00a0No.1774, July
\n2003\u00a0Arts Council Collection Acquisitions 1989 – 2002, Hayward Gallery, London, 2003,\u00a0ISBN 1-85332-230-X
\n2002\u00a0Liam Gillick, in Matthew Arnatt ed.,\u00a0100 Reviews\u00b3, Alberta Press, London,\u00a0ISBN 3-88375-570-2
\n2002 Burgess, Hale, Noble & Owen,\u00a0City Racing,\u00a0Black Dog, London, ISBN 1-901033-47-3
\n2002 Una Henry & Thomas Peutz,\u00a0SMART Papers: Thug Life, Smart Project Space Foundation, Amsterdam, ISSN 1381-5822
\n2002 JJ Charlesworth, ‘About Belief’,\u00a0Contemporary, October
\n2002 Lucy Fisher, ‘Enter the Funhouse’,\u00a0Time Magazine (Europe), August
\n2002 \u2018London Preview’,\u00a0ArtForum, May
\n2002\u00a0Mark Beasley, ‘Mark Dean’,\u00a0Frieze, issue 68
\n2002 Martin Herbert, ‘About Belief’,\u00a0Time Out\u00a0No 1668, Aug 7-14
\n2002\u00a0Tamsin Dillon, ‘Twice Upon a Time’,\u00a0Filmwaves, 1\/2002
\n2002 Martin Herbert, ‘Mark Dean’,\u00a0Time Out, March 13-2
\n2002 Joseph Choonara, ‘Much to Console’, Socialist Review, June
\n2002 PL, ‘Mark Dean’,\u00a0Art Review, February
\n2002 Florence Hallett, ‘Mark Dean’,\u00a0What’s On, March 20
\n2002 Katie Kitamura, ‘Geometers’,\u00a0Contemporary, February
\n2002 Mark Currah, ‘Geometers’,\u00a0Time Out, January
\n2001\u00a0Valencia Biennial, Generalitat Valenciana, Valencia, 2001 ISBN 88-8158-336-4
\n2001\u00a0Justyna Niewiara,\u00a0Why Me, Not You?, Polish Cultural Institute, London, Catalogue
\n2001\u00a0Evolution, Lumen\/Leeds International Film Festival, Leeds, Catalogue
\n2001 ‘Self Portrayal’,\u00a0Time Out
\n2001 Screens\/Ekrany, WRO, Wroclaw, ISBN 83-903824-6-6
\n2001 Peter McCarthy. ‘Red Lights City Lights’,\u00a0ArtSpace, issue 13
\n2000 Imago 2000,\u00a0Ediciones Universidad de Salamanca, ISBN 84-7800-924-8
\n2000 Video Vibe: Art, Music & Video in the UK, Castelvecchi Arte, Rome, ISBN 88-8210-230-0
\n2000 Black Box Recorder, British Council, London ISBN 0-86355-454-7
\n2000 Mommy Dearest, Gimpel Fils, London, Catalogue
\n2000 Version_2000, Centre pour l’Image Contemporaine, Geneva, ISBN 2-940181-13-6
\n2000 Roy Exley ‘Straight to Video’\u00a0Design Week, April
\n2000\u00a0Michael Wilson ‘Mark Dean – Ascension (nothing\/Something Good),\u00a0Art Monthly, no. 235, April
\n2000\u00a0Julian Stallabrass ‘Art I Like’,\u00a0Modern Painters, Summer
\n1999 Kodwo Eshun & John Sutherland,\u00a0Imaginaria ’99, ICA, London, ISBN 1-9000300-23-0
\n1999\u00a0Simon Morrissey, ‘Nothing here, nothing to fear: The work of Graham Gussin &\u00a0Mark Dean’,\u00a0Contemporary Visual Arts, No 25, October
\n1999\u00a0Dr. Future ‘Making the Right Connections’,\u00a0Mute, Issue 15, December
\n1999 Jonathan Romney, ‘Living in a gee-whiz age’,\u00a0The Guardian, October 6
\n1999\u00a0Lynn MacRitchie, ‘Life’s a virtual beach on fantasy island’,\u00a0FT, 22 October
\n1999 ‘Mark Dean: Imaginaria’,\u00a0Sight and Sound, November
\n1999 Simon Morley, ‘Imaginaria 99’,\u00a0The Independent on Sunday, 10 October 26
\n1999 ‘Techno YBAs’,\u00a0Blueprint,\u00a0No. 165, October 20
\n1999 Martin Herbert, ‘Imaginaria: ICA’,\u00a0Time Out, 20-27 October
\n1999 Caroline Smith, ‘Memory Machine: Mark Dean’, Attitude, October
\n1999 ‘PC Art’,\u00a0Gay Times, October
\n1999 Charlotte Mullins, ‘Visual Art Choice’,\u00a0The Independent on Sunday, 26 September
\n1999\u00a0Roy Exley, ‘Mark Dean: Dust’,\u00a0Untitled, No. 18, Spring
\n1999 Sue Hubbard, ‘Mark Dean: Laurent Delaye Gallery’,\u00a0Time Out, February, No. 1076
\n1999 ‘Imaginaria: Mark Dean’,\u00a0Sight and Sound, October
\n1998 Mark Harris,\u00a0Who’s Afraid of Red, White & Blue…ARTicle Press, London,\u00a0ISBN 1-873352-72-7
\n1998 Simon Morley,\u00a0Heavier than Air, Imperial War Museum, London, ISBN 1-901623-09-2
\n1998\u00a0Neal Brown, ‘Instantaneous: Beaconsfield, London’,\u00a0Frieze, June
\n1998 Mark Currah, ‘Driving Towards Distraction’,\u00a0Time Out, June 3-10, No. 1451
\n1998 Artist’s Project for\u00a0Tank\u00a0, No 2, December
\n1996\u00a0Martin Herbert, ‘Mark Dean: City Racing’,\u00a0Time Out, 7-14 February
\n1993 Stuart Morgan,\u00a0BT New Contemporaries 1993, ISBN 0-9515556-3-4
\n1993 Catherine Milner, ‘Positive Exposure for New Talents’,\u00a0The Times, 27 February
\n1993 Alison Roberts, ‘No Longer Sold on Selling’,\u00a0The Times, June
\n1992 Peter Fleissig, ‘Simple Twist of Fate’,\u00a0City Limits, 19-26 March
\n1992 David Lillington, ‘Riverside Open’,\u00a0Time Out, 18-25 March<\/p>\n","protected":false},"excerpt":{"rendered":"
Art Education 1992-1994 MA Fine Art, Goldsmiths’ College 1977-1980 BA (Hons) Fine Art (Painting), Brighton Polytechnic Exhibitions *solo **collaboration 2026 Religion & Art + the subjective, Goldsmiths College, London 2025 Dance, Celebrity, & New York, Winter Gardens, Morecambe 2025 The Varieties Of Cinematic Experience, Judson Memorial Church, New York 2025 *Sampler, Danielle Arnaud Gallery, London […]<\/p>\n","protected":false},"author":7,"featured_media":0,"parent":0,"menu_order":21,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":"","_wp_rev_ctl_limit":""},"class_list":["post-5103","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/chaplachap.com\/art\/wp-json\/wp\/v2\/pages\/5103","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chaplachap.com\/art\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/chaplachap.com\/art\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/chaplachap.com\/art\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/chaplachap.com\/art\/wp-json\/wp\/v2\/comments?post=5103"}],"version-history":[{"count":10,"href":"https:\/\/chaplachap.com\/art\/wp-json\/wp\/v2\/pages\/5103\/revisions"}],"predecessor-version":[{"id":25032,"href":"https:\/\/chaplachap.com\/art\/wp-json\/wp\/v2\/pages\/5103\/revisions\/25032"}],"wp:attachment":[{"href":"https:\/\/chaplachap.com\/art\/wp-json\/wp\/v2\/media?parent=5103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}