{"version":"1.0","provider_name":"\uae4c\uc774\uc5d0 \ub4dc \uc11c\uc6b8","provider_url":"https:\/\/cahierdeseoul.com\/ko\/","author_name":"Jean-nicolas Lechat","author_url":"https:\/\/cahierdeseoul.com\/ko\/author\/jean-nico\/","title":"Le langage du vide par l'artiste cor\u00e9en Lee Ufan - Cahier de Seoul","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"VIWYoiwVbZ\"><a href=\"https:\/\/cahierdeseoul.com\/ko\/lee-ufan\/\">\uad00\uacc4\uc758 \ubbf8\ud559 &#8211; \uc774\uc6b0\ud658<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/cahierdeseoul.com\/ko\/lee-ufan\/embed\/#?secret=VIWYoiwVbZ\" width=\"600\" height=\"338\" title=\"&#8220;\uad00\uacc4\uc758 \ubbf8\ud559 &#8211; \uc774\uc6b0\ud658&#8221; &#8212; \uae4c\uc774\uc5d0 \ub4dc \uc11c\uc6b8\" data-secret=\"VIWYoiwVbZ\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/cahierdeseoul.com\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/cdn.cahierdeseoul.com\/2013\/02\/Lee-Ufan_Relatum-Residence.jpg","thumbnail_width":700,"thumbnail_height":557,"description":"N\u00e9 en 1936 en Cor\u00e9e du Sud, Lee Hufan est l'un des artistes cor\u00e9ens contemporains les plus influents sur la sc\u00e8ne internationale. Si formellement, ses \u0153uvres ont des r\u00e9sonances asiatiques, elles r\u00e9pondent en revanche \u00e0 des pr\u00e9occupations universelles."}