{"id":1154,"date":"2021-02-01T12:11:00","date_gmt":"2021-02-01T20:11:00","guid":{"rendered":"https:\/\/www.artandpractice.org\/?p=1154"},"modified":"2021-02-01T12:11:00","modified_gmt":"2021-02-01T20:11:00","slug":"alex-da-corte-a-season-in-hell-at-art-practice","status":"publish","type":"post","link":"https:\/\/www.artandpractice.org\/ja\/news\/alex-da-corte-a-season-in-hell-at-art-practice\/","title":{"rendered":"Alex Da 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href=\"http:\/\/dailyserving.com\/2016\/09\/alex-da-corte-a-season-in-hell-at-art-practice\/\">\u3053\u3053<\/a><\/strong>.<\/p>","protected":false},"excerpt":{"rendered":"<p>There is a scene early on in Lamberto Bava\u2019s 1986 low-budget Italo-horror schlock fest&nbsp;Demons 2: A sinister figure is seen limping down a hallway. He enters a room, picks up a knife that is covered in what looks like blood, and wipes it on his soiled apron. The camera then reveals the source of the gory substance: a jar of syrup that has been knocked over. The man is identified as a baker and goes about decorating a cake for a woman\u2019s birthday party. The scene of once-impending terror is defused with a comedic twist. This mix of dread and absurdist humor provides an appropriate framework for viewing Alex Da [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1154","post","type-post","status-publish","format-standard","hentry","category-contemporary-art"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.artandpractice.org\/ja\/wp-json\/wp\/v2\/posts\/1154","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artandpractice.org\/ja\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artandpractice.org\/ja\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artandpractice.org\/ja\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artandpractice.org\/ja\/wp-json\/wp\/v2\/comments?post=1154"}],"version-history":[{"count":3,"href":"https:\/\/www.artandpractice.org\/ja\/wp-json\/wp\/v2\/posts\/1154\/revisions"}],"predecessor-version":[{"id":1244,"href":"https:\/\/www.artandpractice.org\/ja\/wp-json\/wp\/v2\/posts\/1154\/revisions\/1244"}],"wp:attachment":[{"href":"https:\/\/www.artandpractice.org\/ja\/wp-json\/wp\/v2\/media?parent=1154"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artandpractice.org\/ja\/wp-json\/wp\/v2\/categories?post=1154"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artandpractice.org\/ja\/wp-json\/wp\/v2\/tags?post=1154"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}