Wu Chi Tsung Solo Exhibition at Art Basel in Hong Kong 2018
Booth｜3D22 Galerie du Monde
Private View (by invitation only)｜March 27 – 28
Vernissage｜March 28, 2018, 5pm to 9pm
Public Days｜ March 29, 1pm to 9pm; March 30, 1pm to 8pm; March 31, 11am to 6pm
Venue｜Convention & Exhibition Centre, 1 Harbour Road, Wan Chai, Hong Kong
The solo project at Art Basel Hong Kong 2018 (Booth 3D22) by the Taiwanese conceptual artist Wu Chi-Tsung, whose works are based on the tradition of shan shui, the expressive brush and ink landscape painting technique which dates back to the 10th and 11th centuries.
The experimental project is site-specific and includes a large-scale projection titled Wire V, a Still Life video and his signature Cyano-Collage works. The wire series originated in 2003, and is based on the structure of the Magic Lantern slide projection work, through a mechanical control to repeatedly adjust the focal length to transform a regular piece of wire mesh into a moving image of a dynamic Chinese landscape (shan shui); to explore how images change the way we see and imagine the outside world. Every single piece of this series of work provides different angles into this proposition.
In Wire V, an episcope (Opaque Projector) is used as the imaging principle. The strong light illuminates the mesh wire, and is directed through a large camera lens focusing the image, which is then projected as an exquisite image. With the rapid development of digital technology, the requirement for image resolution continues to increase, from photography, video equipment to display devices. Format from full HD, 2K, 4K or even 8K in the future, exponentially increases every few years. In addition to the promotion of the commercial market, I am curious about the deeper desires that drive the endless pursuit of reproduction far beyond what the body can sense. Or we just change a way in which to pursue a space that is feasible, hopeful, visitable and livable.
Cyano-Collage Series is inspired by the texturing technique (cun-fa) which is often used in Chinese landscape (shan shui) painting. The method involves covering the rice paper in a photosensitive solution before continually crumbling it whilst it is exposed to direct sunlight, to create the effect of light and shadow on the paper.
Cyanotype and plain Xuan paper are added in multiple irregular layers to create the collage. The resulting experimental photography montages are re-interpretations of the concept of Chinese landscape painting; the artworks resembling mountain ranges and tumultuous blue seas.
The video work – Still Life 006 – Chrysanthemum shows the artist extending his examination of traditional Chinese landscape painting and moving images to describe the fluidity of state, intersections, and ambiguities.
Cyano-Collage 024, 2018, Cyanotype photography, Xuan paper, acrylic gel,180 x 360 cm
《氰山集之二十四》，2018，氰版、宣紙、壓克力膠，180 x 360 cm
吳季璁個展於巴塞爾藝術展
展位｜3D22 世界畫廊，香港
貴賓預展｜3月27日至3月28日
開幕之夜｜3月28日下午5 時至9 時
公眾開放日｜3月29日下午1 時至9 時，3月30日下午1 時至8 時，3月31日上午11 時至下午6 時
地點｜香港會議展覽中心，香港灣仔港灣道1號
台灣概念藝術家吳季璁在巴塞爾藝術展香港展會 (展位3D22) 以傳統中國山水畫為基礎的個人實驗項目。展覽作品為場地特定，當中包含一件特別製作的大移動影像裝置作品 — 《鐵絲網五》；以及一幀《小品》視頻和數張全新《氰山集系列》的氰版攝影拼貼作品 。
此系列攝影作品為傳統中國山水畫「皴法」技法的重新詮釋。運用氰版攝影作品的原理將塗佈感光藥劑的宣紙揉皺後曝曬於陽光下，記錄紙張在曝光後所產生的視覺效果。氰版攝影佐以作為留白的空白宣紙層層拼貼；這實驗性的作品視覺上仿若峻嶺深山和洶湧藍海，建構出宛如山水又似風景畫的攝影蒙太奇。
Wire V, 2018, Metal, glass, motor, Dimensions variable
《鐵絲網 五》，2018，金屬、玻璃、馬達，尺寸可變
鐵絲網系列開始於2003年，以基本的幻燈投影（Magic Lantern）為架構，透過機械控制的反覆調焦，將一片平凡的鐵絲網轉換為充滿山水意境的動態影像，借此探討影像如何改變了觀看，和想像外在世界的方式。系列中的每件作品，各自由不同的角度切入這個命題。鐵絲網五中，使用實物投影（Opaque Projector）的成像原理，將強光照射在鐵絲網上，透過大型相機的鏡頭聚焦成像，投射出鉅細靡遺的影像。隨著數位技術的快速發展，對於影像解析度（Image
resolution）的要求不斷提升，從攝影、錄影器材到顯示設備，格式由full HD、2K、4K、甚至到未來的8K，每隔幾年就以倍數成長，除了商業市場的推動，驅使人類不停追求再現(Repre-sentation)的極致，早已遠超過身體所能感知的真實。又或許我們只是換了個方式，追尋那片可行、可望、可遊、可居的一方天地。
錄像《小品》作品以探討傳統中國山水繪畫與流動影像之間的關係，其試圖描述其中流變不定、交錯與曖昧的狀態。
