{"seo":[{"tag":"title","attributes":null,"content":{"value":"Li-An Hong - Assemblygrid"}},{"tag":"meta","attributes":{"name":"description","content":{"value":"Assemblygrid, run by Multidisciplinary Designer, Li-An Hong, frames graphic media as acts of creation and question, assembling multiple layers within shifting grids of context, meaning, and practice."}},"content":null},{"tag":"meta","attributes":{"name":"date","content":"2025-07-27"},"content":null},{"tag":"meta","attributes":{"property":"og:title","content":{"value":"ART AND REALITY"}},"content":null},{"tag":"meta","attributes":{"property":"og:description","content":{"value":"Assemblygrid frames graphic media as acts of creation and question, assembling multiple layers within shifting grids of context, meaning, and practice. 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We for example say: they sat there and they were fine. Nothing is as easy as identifying concrete situations via persons, mental states and the things of daily life in space and time. At the same time it is absolutely impossible to describe a concrete situation in an exhaustive way. This thing that a situation can be described in a vast number of ways is not an accidental property of situations, but on the contrary it is what characterizes situations. A situation that can be described in only one way is not a situation. When we try to define a situation based on one single description we prevent ourselves from experiencing it.</p> <p><strong>There is no reason to believe that a request to art that it should continue to find new forms is relevant. The historical consideration that such a request will have to be founded on, requires an impossible comparison of situations. History is concerned with descriptions from specific points of view and is not reality. In the attempt to compare situations, one reduces situations to something that can be fully understood. This is not in compliance with our knowledge of situations. If one attempts to define what art is, one only sees one’s own description of it, and this description can never be exhaustive</strong>.</p>"},"id":"b539126d-2fab-496b-9720-21ab65e77e31","isHidden":false,"type":"text"}],"id":"ab0676de-9768-4e82-a268-c603e2977283","width":"1/2"},{"blocks":[{"content":{"text":"<p>📝 <strong>내용 발췌<br></strong><br>우리는 항상 구체적인 상황에 대해 말하고, 그것을 당연하게 받아들인다. 예를 한번 들어보자. “그들이 저기 앉아 있어, 그들은 괜찮아.” 일상의 시공간에 있는 사람들과 그들의 상태, 사물을 통해 구체적인 상황을 규명하는 것처럼 쉬운 일은 없다. 동시에 하나의 상황을 완벽하게 묘사하는 것은 절대적으로 불가능하다. 똑같은 상황을 엄청나게 다양한 방식으로 묘사할 수 있다는 점은 상황이 지닌 우연한 속성이 아니라 반대로 상황을 특징짓는 요소다. 한 가지 방법으로 설명되는 상황은 상황이 아니다. 단 하나의 설명에 기초해서 상황을 정의하려 들면 우리는 그 상황을 경험하기 힘들다.</p><p>미술이 계속해서 새로운 조형을 찾아야 한다는 요구가 타당하다는 근거는 없다. 그러한 요구가 밑바탕을 이루는 역사적 고찰은 상황 비교를 불가능하게 만든다. 역사는 특정한 관점을 가진 설명과 관계가 있지 현실이 아니다. 여러 상황을 비교함으로써 우리는 하나의 상황을 좀 더 잘 이해할 수 있다. 이는 우리가 가진 상황에 대한 지식에 근거한 것이 아니다. 미술이 무엇인지 정의하려는 사람은, 오직 그 자신만의 설명을 얻을 수 있을 뿐이다. 그리고 그 설명은 결코 완전하지 않을 것이다. (···)</p><p><br></p><p>© N55</p>"},"id":"eefb4be9-f626-43f5-93db-1d3bf7d476a5","isHidden":false,"type":"textKo"}],"id":"a412d17f-ef4d-4062-a93c-e2e58f91a9e8","width":"1/2"}],"id":"d3a88f94-51bf-424c-9cb0-f01c4f5204c0"}]},"id":"62b87355-98c8-484c-94fd-54eb1805b9b0","isHidden":false,"type":"contentLayout"}],"related":[]}