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exhibition poster

Solo exhibition Exposé opening on Mar 25 at Galerie du Monde
個展《Exposé 現》將於3月25日開幕

Expose exhibition poster

Opening  Mar 24, 6 ~ 8 p.m., 2021
Public Days  Mar 25 ~ Jun 13
Zoom Talk  Mar 31, 8 p.m. HKT
Venue  Galerie du Monde, 108 Ruttonjee Centre, 11 Duddell Street, Central, Hong Kong

HONG KONG – Galerie du Monde is pleased to present a solo exhibition by Wu Chi-Tsung: Exposé, curated by Hong Kong based Ying Kwok. Wu’s work explores light and time, and ways to recreate traditional art forms and aesthetics without losing the spirit. In Exposé, curator Kwok leads us on a journey to discover the correlation between Wu’s Cyano-Collage series and these concepts.

Born in Taipei in 1981, Wu received his BFA in 2004 from the Taipei National University of the Arts, where his training from an early age in the practices of Chinese calligraphy, ink painting, watercolor and drawing were furthered. After decades of creating experimental ink paintings, Wu turned to photography, video and installations to apply his aesthetics in classical landscapes.

Wu created his first Cyano-Collage in 2015, a further development of the earlier Wrinkled Texture series which he started in 2012. Both series explore the process of “recording light” on Xuan paper (Chinese rice paper). From Wrinkled Texture to Cyano-Collage, Wu showed he could somehow manipulate the unpredictable, creating beautiful illustrations of the relationship between man and nature.

Wu began the Wrinkled Texture series with the intention to reinterpret the traditional Texturing method (Cun Fa) of Chinese landscape painting. Instead of using ink and brush, Wu utilizes a classical photographic technique – Cyanotype, to treat his Textures. Wu first soaks the Xuan paper with a photosensitive solution, and then exposes them to sunlight for 30 minutes, while at the same time crumbling and shaping the paper into various forms and wrinkles. This exposure process is random and uncontrollable as the light intensity and the sun’s angle is different every day, at every hour.

cyano-collage 094
Cyano-Collage 094 will be exhibited at Exposé
《氰山集之九十四》將於《Exposé 現》中展出

The paper is then flattened and washed in a water tank in the studio for an hour to fixate the exposed textures. This is the most intriguing part of the entire process, as it is the moment when Wu sees the outcome – the different textures and possibilities. The treated paper becomes a record of time, light, and human gestures that is marked with folds and different shades of blue.

One out of dozens of treated Xuan paper is selected by the artist. At the beginning, Wu was focused on creating a dialogue with traditional Chinese landscapes. Thus, in that period, Wu selected images that remind him of classical landscape paintings by Chinese masters. Gradually, Wu developed other references – real life landscapes, nature, or abstract paintings. It could be anything. As Wu’s practice evolves, his imagination of this series of works transforms.

Rather than limiting himself to a single sheet of Xuan paper and uncontrollable compositions, Wu discovered a new way to create his imaginary scenery on a bigger scale through experimental collages. Each Cyano-Collage is composed of many pieces of Xuan paper, individually pasted onto the canvas by Wu, and then sealing each layer with acrylic gel before adding a new one. Sometimes, Wu adds plain white Xuan paper to create depth or to erase part of an image, leaving large areas of blank space in order for the subject to leap from the painting – this is one of the most important techniques in traditional Chinese painting, termed “Liu Bai”. Wu then finishes the painting with a UV-protection varnish for long-term preservation.

Xuan paper, also known as Chinese rice paper, is a very unique medium. Compared to drawing paper or watercolor paper, Xuan paper is much thinner, more absorbent and versatile. Hence, the artist could make lots of textures through repeated crumbling. Over the past decade, Wu has studied and experimented with several dozen types of rice paper, from different origins, with varied thickness, textures, and paper making process. Wu has saved all these testing papers in his studio, and he revisits them from time to time to “read” them again and find new inspirations. A selection of these raw materials will be presented to the public for the first time in Exposé.

Exposé, the second solo exhibition of Wu Chi-Tsung at Galerie du Monde, unveils the complicated and unpredictable process behind his Cyano-Collage through an immersive viewing experience. Whether it is a painting, an installation or a video, there is always a transparent aspect in Wu’s work. It is this honesty that is so inviting, allowing for such powerful bodies of work to be fully experienced by the audience. Wu’s practice also inspires us to carry on traditions and recreate new readings of classical techniques and aesthetics. Ancient or contemporary, they shall continue to cross-pollinate and together grow into a new realm.

For our friends overseas, an online talk between Wu Chi-Tsung and the curator Ying Kwok will be delivered on Mar 31 at 8 p.m. HKT. We look forward to meeting you at the exhibition or on Zoom!

Zoom ID: 252 505 2929
Passcode: GDM0331

開幕  2021年3月24日晚6~8時
展覽日期  3月25日~6月13日
線上對談  3月31日晚8時
地址  香港中環都爹利街 11 號律敦治中心 108 室 世界畫廊(Galerie du Monde)

香港 - 世界畫廊(Galerie du Monde)將舉行台灣藝術家吳季璁於香港的第二場個展「現」。策展人郭瑛將引領觀眾揭開《氰山集》背後既繁複又偶然的創作過程,探索吳季璁與時間和光線之相搏鬥、磨合與交融的靜態作品。對吳季璁而言,光是他創作中的催化劑,而時間則是他的暗房。他以「時光」為手段,探索東西方傳統技法和媒材的可能性,以當代的視角延續中國水墨的美學精神,創造出連接不同文化、過去和現在的獨特藝術語言。

1981 年生於台北,吳季璁從小便兼具傳統書畫與素描水彩的藝術養成,於 2004 年畢業於國立臺北藝術大學。骨子裏受東方傳統美學影響深刻,多年來堅持實驗水墨藝術,大學時期開始探索攝影、錄像及機械光影裝置等新媒介,去微觀宏偉的山水詩意。

氰山集》於 2015 年面世,此系列作品源於吳季璁於 2012 年開創的《皴法習作》,發想自水墨畫中的「皴法」概念。皴法是傳統中國文人繪畫中的核心技法,以書法的筆墨精神,對山石紋理概括描繪,畫家藉此投射個人內心的山水景物,寄情其中。吳季璁以宣紙為媒介,運用古老的氰版攝影沖印技術藍曬法替代筆墨。



wrinkled texture 097
Wrinkled Texture Series 097 will be exhibited at Exposé
《皴法習作之九十七》將於《Exposé 現》中展出

經過三年對宣紙和藍曬法的研究,吳季璁於 2015 年創作出第一件《氰山集》作品,擺脫了畫面大小的局限和佈局的偶然性,將曝曬過後的紙張在畫布上拼貼成叢山萬嶺景象,進一步探究傳統繪畫的美學。宣紙質感柔薄,可讓吳季璁隨心貼附在畫布或木板上,用刷子刷平,再塗上五、六層壓克力膠進行固定。每次加上新的一層紙,吳季璁都會加進白紙,以中國傳統繪畫中的「留白」技法來調整構圖。最後,吳季璁會在畫面塗上防紫外線的保護漆。




Zoom ID: 252 505 2929
密碼: GDM0331


Wu Chi-Tsung made a contribution to the Asian Cultural Council (ACC)

Cyano-Collage 082
Cyano-Collage 082, 《氰山集之八十二》,2020

We are proud to share that Wu Chi-Tsung has made a contribution to the Asian Cultural Council (ACC). By donating the proceeds of Cyano-Collage 082 in collaboration with the Sean Kelly Gallery, he wishes to express his gratitude to the long-term generous support of ACC.

The Asian Cultural Council has supported cultural exchange programs for practicing artists, scholars, and arts professionals since 1963. In 2013, Wu Chi-Tsung was granted a six-month ACC Fellowship to travel from Taipei to research contemporary art practices in New York. During his fellowship, Chi-Tsung deepened his awareness of diverse cultural and artistic practices and has further developed his multi-cultural and timeless art language ever since.

About Asian Cultural Council

The Asian Cultural Council advances international dialogue, understanding, and respect through cultural exchange activities in Asia and the United States to create a more harmonious and peaceful world. This mission is accomplished through fellowships and other programs that support individual artists, scholars, and arts professionals.

To date, ACC has supported over 6,000 exchanges across 26 countries and regions, and 16 artistic disciplines. As a grantmaking and grantseeking organization, ACC raises funds from individual, foundation, and corporate donors. ACC also convenes arts leaders, fostering dialogue around the importance of cultural exchange in developing understanding and respect across international and cultural borders.

ACC grantees in New York
Wu Chi-Tsung with fellow grantees in New York in 2013

自1963年起,亞洲文化協會(Asia Art Council,後簡稱ACC)持續資助亞洲藝術家、學者與從業者的各項文化交流活動。2013年,吳季璁獲得了來自ACC的駐地支持,在紐約進行了為期六個月的駐村活動。紐約多元的文化氛圍豐富了他對於藝術的理解,也啟發了他此後的創作,超越區域文化和時代性的限制。為了支持這個深具啟發性的國際交流計畫,吳季璁近日與尚凱利畫廊合作,向ACC捐贈了《氰山集之八十二》的銷售收入,期待能夠藉此鼓勵與支援年輕藝術家的藝術創作與國際發展。




2018 ABHK

Cyano-Collage 024 Acquired by the Asian Art Museum

ABHK 2018
Cyano-Collage 024 at Art Basel Hong Kong in 2018

We are honored to share that Wu Chi-Tsung’s Cyano-Collage 024 was acquired by the Asian Art Museum of San Francisco (AAM), one of the world’s finest collections of Asian art located in the U.S.

Cyano-Collage 024 was the featured artwork for Wu Chi-Tsung’s solo exhibition, presented by Galerie du Monde, at Art Basel Hong Kong 2018, where it made its debut. In 2019, when he was awarded the winner of the inaugural Liu Kuo-Sung Ink Art Award, this work was the piece selected for exhibition.

cyano-collage 024
Cyano-Collage 024 © Asian Art Museum.
《氰山集之二十四》 © 舊金山亞洲藝術博物館

Scaled 180 x 360 cm, the Cyano-Collage 024 was the artist’s first attempt on such a considerable dimension on a single panel. It took him several months to conduct experiments from selecting papers that involve interesting details to connecting them into a poetic scenery. Besides, it was the first time that he challenged a dual-color composition, which contributed to a deepened depth of field. 

Ink Asia 2019
Cyano-Collage 024 was exhibited at the Liu Kuo-Sung Ink Award, 2019




‘Studio Encounter’ with the Asian Art Museum of San Fransisco

On acquiring the Cyano-Collage 024, the Asian Art Museum organized an online event that allows art-lovers to learn more about the production process of the work, as well as the artist behind it.  

In conversation with Senior Associate Curator and Head of Contemporary Art Abby Chen, Wu Chi-Tsung presented a virtual tour of his Taipei studio through this video, a brief introduction of his life as an international artist who has studios in Taipei, Berlin and Saigon, and a thorough demonstration of the process and behind-the-scene stories of the Cyano-Collage Series. 

Studio team in Taipei after the online event


edge of light

REPORTED BY DFUN Magazine: Poems about shadow

Poems about shadow | Interview with artist Wu Chi-Tsung

Recently, Wu Chi-Tsung was interview by the DFUN magazine, a magazine featuring design, architecture, fashion and art based in Taiwan. The report features Wu Chi-Tsung’s unique aesthetic in his works featuring light and shadow, and how the artist has been using them to transform the exhibition space into a poetic world. The report was published on the 2020 Spring issue of the magazine.

The report introduces Wu Chi-Tsung’s exploration of working on various media as an international artist traveling among his studios in Taipei, Berlin and Saigon. Next, Wu Chi-Tsung shares his experience in the installation Edge of Light that he cooperated with Chen Shu-Chiang.  Scaled 30 meters long and 10 meters wide, it took great effort to have the work installed in an abandoned train garage. By doing this, the artists have created an immersive experience for the audience allowing them to fully appreciate the magic of light and shadows. In the end, speaking of the relationship of light and shadow, Wu Chi-Tsung states that ‘light is the fundamental fact for us to perceive the world, and shadow metaphorizes or visualizes the substantiality of materials’.  

堆疊轉換 一首影的空間詩|藝術家 吳季璁

TEXT=Zoe Kang PHOTO=吳季璁工作室








多元媒材 創作不設限




edge of light
極光邊境,2014,80mL X 30mW X 15mH




wire I





Time and Light in Wu Chi-Tsung’s Art

in the studio

Recently, Wu Chi-Tsung was invited by Sean Kelly Gallery to shoot a short video named In the StudioIn this abstract yet frank video, Wu Chi-Tsung presents a poetic dance with one of his favorite materials – light. Employing long-exposures, he is visualising the battles and joys in search of inspiration as he follows the guidance of a beam of light in his once pitch-dark studio.

Let there be light. For Wu Chi-Tsung, light is the catalyst in his art, and time devoted in his darkroom allows beauty to gently appear. British video artist David Hall coined the term ‘time-based art’ in 1972, which refers to the art forms that require a certain amount of time to be fully revealed. While the concept was devised with traditional art forms such as paintings and sculptures in mind, and also emphasized the duration of time and the scale in space, Wu Chi-Tsung tends to interpret it in a reversed way. He deliberately uses time as a tool to blur the boundary between new media art and traditional art and to redefine moving and still images. 

long time exposed landscape
Long Time Exposed Landscape, 2004

The necessity of long exposure is shared in most of Wu Chi-Tsung’s still works, such as the Cyano-Collage Series, the Wrinkled Texture Series, and the Long Time Exposed LandscapeTherefore, these works all contain a considerable scale of time and momentum. They have become a living fossil in which a complete time axis is fused together.

In Chinese, the phrase that represents a long period of time is Shiguang (時光), which is a combination of the words for Time (時) and Light (光). The considerable time that Wu Chi-Tsung spends battling with, adapting to, and coping with time and light is a key feature of his works. He tends to focus on simple techniques and daily objects, still he devotes himself to research time and light and applying his learnings to the original material and turning it into something completely different from, and even opposite to, commonplace perceptions. 

cyano-collage series
Wu Chi-Tsung tend to transfer daily objects into poetic sceneries of Eastern aesthetics 

As one of the furthest-developed works so far, the Cyano-Collage Series demands a large amount of ‘exposed paper’ for paper-reading and collage. As hours of sunlight reacts with the cyanotype chemistry on the Xuan paper, the ordinary wrinkles on the paper transcend their physical features and gain a similar spiritual quality as in traditional ink painting. After this, the artist observes the textures and folds of every paper, to ‘read’ and contemplate them, and pick the ones that evoke and inspire the artist the most. For this precious ‘decisive moment’, which is almost one in a hundred, processing and storing paper have become a daily routine. 

For his installation and video works that are more qualified to be called ‘time-based art’, time seems to be wasted or irrelevant. It moves forward, yet sometimes cycles; it goes by, yet sometimes stalls. As a reversed interpretation of time involving the artist’s understanding of Asian philosophies, these works have contributed to the complicity of the artist’s exploration of temporality. For instance, the Still Life Series, the Landscape in the Mist Series, and the Dust share a similar sense of stillness, in effect an almost nerdy gaze. Although these works last up to ten minutes, the visual message conveyed by the film tends to be relatively monolithic, as if they are a still frame stretched to fit a time axis. Nevertheless, it is exactly the seemingly meaningless gaze and the ostensibly wasted time that reveals the artist’s obsessed fascination and adamant aestheticism towards the object before the camera.  Give it time.

The Dust at Light Interdiction, Kunstfest Weimar 2019 in Germany

近日,吳季璁受尚凱利畫廊之邀,拍攝了短片《在工作室(In the Studio)》。這段抽象而坦誠的影像堪稱吳季璁與光共同呈現的雙人舞,他通過長時間曝光的技法將自己在創作中找尋靈感的過程具象化為獨自在漆黑的工作室中跟隨一線微光的指引摸索前進。
要有光。對於吳季璁而言,光是他創作中重要的催化劑,而時間則是他的暗房,令美徐徐浮現。1972年,英國錄像藝術家大衛˙霍爾(David Hall)提出「時基藝術」的概念,指需要經由時間才得以完整呈現的藝術形式,本義是與傳統的繪畫、雕塑等媒材相對照,強調作品在時間與空間維度的延展性。而在吳季璁的作品中,時間卻成為他主動混淆新媒體藝術與傳統藝術、動態與靜態的手段。

baseboard for the cyano-collage
 Cyanotype papers will be removed from the baseboard if the result is not optimal



crystal city
 Wu Chi-Tsung is installing the Crystal City Series on exhibition site




Wu Chi-Tsung presents a short video as was invited by Sean Kelly Gallery

Wu Chi-Tsung shares his daily musings about working and staying motivated during this difficult time from his studio in Taipei, Taiwan as he participates in the #inthestudio program launched by @seankellyny. 

In this abstract yet frank video, Wu Chi-Tsung presents a poetic duet dance with one of his favorite material, the light. Together they’ve challenged the boundary between moving and static images. Once again, Chi-Tsung explores how joyful and imaginative the relationship between an artist and his studio could be.






Recently, Wu Chi-Tsung was interviewed by Artco on ‘how artists are dealing with the pandemic’. He shares that the studio is taking this opportunity to optimize the administrative and production management, as well as start reserving materials and equipment in advance in case there will be a further lockdown in Taiwan. Also, Wu Chi-Tsung is grateful that his studio has been in a healthy financial status thanks to the help and suggestions of their accountant, which ensured the normal operation studio during the special time.

Besides, Wu Chi-Tsung also stressed the importance of health to an artist. He has been working out in his studio during the closure of public gyms.





在交易趨緩甚或停滯,藝術家複合收入減少(比如授課、演講等),英國藝術家馬修.伯羅斯(Matthew Burrows)在Instagram發起了自救計畫,邀請藝術家展售單件售價在英鎊200元以內的作品,標誌計劃標籤#artistsupportpledge(藝術家支持誓言),並承諾成功售出1,000英鎊作品後,會花200英鎊購買其它藝術家的作品。伯羅斯的想法是希望藝術家以互助的方式,同心協力共度難關。並認為作品要夠便宜,才能「以慷慨創造慷慨」。整個活動也採用自主、開放性的參與,並在契約精神下約束藝術家實踐「誓言」。受伯羅斯啟發,台灣藝術家王建揚則在臉書平台開啟台灣版,以「藝起加油」為題響應。活動在短時間內聚集了大量的作品與人潮,堪為台灣藝術市場少見的現象。然而或許也正因為中心化的操作,讓質疑聲浪也隨之排山倒海而來。無論如何,「疫情之下藝術家如何自處?」,成為藝術產業關注的話題。為此,我們特別採訪了擁有正式工作室,近期在國際與亞洲穩定成長的藝術家吳季璁與席時斌,邀請他們與我們分享各自工作室在疫情下的因應之道。




體質好,衝擊小 藝術家工作室就是一個中小企業













文/ 朱貽安


wu chi-tsung live stream

Insider: A Virtual Visit to Wu Chi-Tsung’s Taipei Studio

wu chi-tsung x taipeidangdai

On May 4th, Wu Chi-Tsung was invited by Taipei Dangdai and held a virtual tour that allows audiences to have a close look at his Taipei studio.

The live stream program is part of the ‘Taipei Connections’, a digital platform launched by Taipei Dangdai in partnership with Ocula aiming to nurture ongoing connections between the Taiwanese arts community and galleries at this time of limited travel and in-person meetings. Bringing together a diverse mix of galleries from Taipei Dangdai’s latest edition, the inaugural Taipei Connections will showcase a series of richly contextualized artworks for the public to explore.

During the 55-minutes-long live stream, Wu Chi-Tsung and Taipei Dangdai Co-Directer Robin Peckham showed people around his studio and talked about Wu Chi-Tsung’s internationally-minded prospects of the studio. 



本次直播是台北當代與線上藝術平台Ocula合作呈現的新數位計劃「Taipei Connections」的一部分。這一線上平台不僅為畫廊提供機會與區域內乃至全球藏家進行互動,更呼應台北當代構建開放性平台的使命以突破傳統分享藝術及創意的藝博會模式。

台北當代聯合總監岳鴻飛(Robin Peckham)表示:「我們與 Ocula 合作開展的線上項目希望能為畫廊在台北藝術周之外的時間也能繼續提供平台,為其加深聯結和重新聯結台灣的收藏家群體。儘管親身會面所帶來的效果無可替代,但我們想藉由這個時刻再次思考如何作為橋樑去聯結畫廊和藏家,共度時艱。」

saigon studio

Wu Chi-Tsung Opens a New Studio in Saigon, Vietnam

saigon studio

Recently, Wu Chi-Tsung has set up a new studio in collaboration with Vietnamese artist Cam Xanh in Saigon, Vietnam as a significant step of his internationally-minded exploration.  Speaking of his third studio after Taipei and Berlin, Wu Chi-Tsung says, ‘I’m curious about the early stage of an art world, such as in Vietnam, everything happens and develops rapidly. I am grateful to witness and be part of this great historical moment as a member of this intimate and energetic community.’

Chi-Tsung met Cam Xanh in Korea in 2016 on the Asia Young 36 exhibition and was later invited by her for an artist residency in MoT+++ which she co-founded. During the residency, the space was presented as superimposition and coincidence of the two sites – Wu Chi-Tsung’s studio and a public art space – that opens to the public and enable the viewers to see the working progress. This year, inspired by this experience, Wu Chi-Tsung’s Taipei Studio managed a residency program for Italian artist Saverio Tonoli and conducted their collaborated event.

Lately, Saverio Toloni is now resides at A. Farm Saigon, an international artist-in-residency space established by Cam Xanh and run by MoT+++ and San Art teams.

still life series

Shooting scene of the Still Life Series in 2019

Besides, Wu Chi-Tsung relates to the context of postcolonial criticism and self-reflection towards its cultural identity in Vietnamese art. Last year, Wu Chi-Tsung shot new Still Life Series in Vietnam inspired by local culture and nature. Among them, the Still Life 012 — Buttercup tree was collected by the Nguyen Art Foundation.

Wu Chi-Tsung’s Wire V is now on view in the group exhibition Password 0~1 at the studio. Due to the restrictions during the pandemic, please contact for visiting details and to make appointments. Moreover, please visit the online +1 trash to see more MoT+++ collections.

cyano-collage 50

The Cyano-collage 50 created during Wu Chi-Tsung’s residency is now collected by Post Vidai
吳季璁於駐村期間創作的《氰山集之五十》已於Post Vidai典藏

近日,吳季璁與越南藝術家Cam Xanh合作的新工作室落腳越南西貢,繼台北與柏林之後,進一步拓展了其藝術世界的國際版圖。吳季璁表示,「我一直很感興趣藝術世界究竟如何發展成型,而越南正處於這樣快速成長的階段,藝術社群緊密而且充滿活力,很高興有機會參與其中,見證歷史。」

吳季璁與Cam Xanh於2016年共同參加韓國Asia Young 36展覽時相識。2018年,在Cam Xanh的邀請下,吳季璁在其參與創辦的MoT+++空間中進行了為期三個月的駐村,並同時向公眾開放展示。這種將工作環境與展覽空間的並置的做法挑戰了「白盒子」的傳統語境,令觀眾能夠近身了解藝術家本人及其工作過程,並加強了藝術家與觀眾之間的交流。受到這次難忘經歷的啟發,今年,吳季璁在台北工作室邀請意大利藝術家薩維里奧・托諾利進行駐地創作,並共同合作呈現展覽《時易地》。其後,薩維里奧前往越南A. Farm繼續其亞洲駐村計畫。A. Farm亦是Cam Xanh主持的藝術空間,並由MoT+++與San Art團隊經營。

mot collective

Wu Chi-Tsung and Cam Xanh with MoT+++ team at Wu Chi-Tsung studio in Taipei
吳季璁、Cam Xanh與其他友人於台北工作室

此外,越南藝術中的後殖民批判與關於文化主體的思考令吳季璁深有共鳴。去年,他受當地文化與自然的啟發,在此拍攝了《小品系列》的新作,其中,《小品之十二 彎子木》於越南獨立藝術收藏機構Nguyen Foundation典藏。

吳季璁作品《鐵絲網五》現於越南工作室群展《Password 0~1》中展出。由於疫情發展持續變化,參觀請聯絡 以獲取相關資訊並進行預約,亦可至+1 Trash瀏覽MoT+++的更多作品。


《小品》系列作品於越南Nguyen Art Foundation典藏

Wu Chi-Tsung’s video installation works Still Life 007 – Daffodil and Still Life 012 – Buttercup Tree were recently collected by the Nguyen Art Foundation.

Established in 2018, the Nguyen Art Foundation was born from a desire to better serve the artistic community of Vietnam. It was founded by Quynh Nguyen, under the advisory of Cam Xanh (pseudonym of Thanh Tran Ha), artist and founder of MoT+++. Since its conception, the foundation has worked to build an alternative infrastructure for the arts in Vietnam, and construct the base for what it hopes will form Vietnam’s first museum of contemporary art. The foundation aims to expand the possibilities for contemporary art in Vietnam by facilitating global exchange that enriches not only individual practices, but engages the overall growth of the Vietnamese art scene.

The Still Life 012 – Buttercup Tree was shot during Wu Chi-Tsung’s residency at MoT+++ in 2019, and was inspired by the local culture and nature of Vietnam.

still life series

吳季璁錄影裝置作品《小品之七 水仙》《小品之十二 彎子木》日前被越南Nguyen Art Foundation典藏。

Nguyen Art Foundation成立於2018年,由MoT +++藝術家兼創始人Cam Xanh(Thanh Tran Ha的藝名)協助創立。自成立以來,基金會一直致力提供越南當代藝術創作的替代空間,並希望未來在此基礎上建立越南第一座當代藝術博物館。

本次被典藏的兩件作品中,《小品之十二 彎子木》是吳季璁2019年在MoT+++駐村期間完成,記錄了藝術家對於越南自然文化的觀察與啟發。


Wu Chi-Tsung x Saverio Tonoli: We both found our inspirations from the other side of the world

Wu Chi-Tsung x Saverio Tonoli

We both found our inspirations from the other side of the world

Installation view of “Beyond the Now, Away from Here” in Wu Chi-Tsung Studio

T= Saverio Tonoli  W = Wu Chi-Tsung

How did you know each other?

T: We met in an opening studio event, 2017 in Künstlerhaus Bethanien, Berlin, Germany. Walking through the studios, Chi-Tsung’s work caught my eye immediately as I was looking for someone who also uses Xuan paper like I do. Paper became our main topic for the rest of the night. The rest came spontaneously: we kept in touch, visited each other’s studio and did a project in Berlin together. We already had the idea of this residency program since 2018, and finally managed to execute it now. 

W: From the very beginning, we were talking about Xuan paper. Every time I visit Saverio, I always bring a different kind of Xuan paper for him to test the material, and eventually I came up with the idea to invite him to Taiwan so that he could have a period of time to research more about Xuan paper. 

I learned that the title of this exhibition ‘Beyond the Now, Away from Here’ comes up from your discussion. How would you two interpret it?

T:  Both of us revisit traditional techniques in our art practice. Other than works on paper, I developed a variation of the Fresco – mural painting, making it more simple to paint and install and at the same time to enhance its freedom of movement. This gave us the input to to transform the studio space through our artworks and question the “here and now”, working on time and space.

W: We hope to present a detached experience to the audiences that merge the culture of Europe and Asia, and art practices of classic and contemporary. Our idea is to combine all the things to have a new dialogue.

(To Chi-Tsung) Is this the first time you open your studio to the public for an exhibition?

W: We would like to take the opportunity of the Taipei Dangdai Art Fair that brings international audiences and professionals to Taiwan. This year, we want to do something new in our studio and host a party here in order to directly meet people. Moreover, I hope that we could show the possibilities of what artist studios could do and how exhibitions could be to the Taiwanese art world. At the moment, most artwork you see in Taiwan are completed and displayed in white cubes and visiting artist studios is always considered to be private. However, I think that art is about the whole thing and can’t be concluded by the final “art piece” only. We want to open our studio to let everyone see the art practice.  This time, we will divide the studio into different functions on different floors during the exhibition, and make this space like an alternative space with abundant content. It would give people a special experience of the art-making.

(To Chi-Tsung)  How do you consider the role and possibility of an artist studio in the art world?

W: To host an artist residency program as an artist studio ourselves this time, I am inspired by my residency experience in MoT+++, Vietnam, the director of which herself is also an artist. At that time, we turned the exhibition space into a studio-like environment, and the exhibition was more like an open studio. It was a very interesting concept and I received many positive feedbacks. 

The position of artist studios has changed a lot in a few decades. Nowadays you see more and more artist studios getting bigger with multi-functions. It is not only a space for simply producing art, but a center to form the networks in the art world. Compared with institutions, the artist studio could gain more independence and flexibility in communications and executions. Besides, we are proud that we are financially independent so as to make things happen. Hopefully our experience could inspire other people and contribute to the diversity of the Taiwanese art world.

 (To Saverio) We saw on your Instagram that you’re working on new works for this exhibition. Are they inspired by your experience during the residency in Taiwan? If so, what are they?

T: Normally I enjoy working alone and consider the status of isolation essential for me. Finding materials and new providers, joining a talkative unknown group of artists, having to limit your working space and adhere to inevitable social conventions makes it challenging to recreate the proper working conditions. But this one is more of a private collaboration residency: I get a lot of support from the studio and plenty of isolation! Besides, Taiwan is beautiful free country with amazing landscapes and fruits.

Parallel my ongoing development on abstraction in painting, my work brought me here to study ink tradition and research on paper. With the expertise of FENKO Catalysis Chamber ( – one of the most important material lab in Taiwan producing paper – I can push to extreme ways some treatments on paper, with gravity and folds. I am looking forward to the exhibition to share my journey with international audiences.

(To Saverio) How was your cooperation with FENKO?

T: FENKO expands the use of paper in many different fields, one of which is the open collaboration with artists, and they research endlessly new materials and possibilities. FENKO’s expertise has been very precious to me, from consulting wide range of paper materials, packaging to paper preservation. Together we’ve found a perfectly suitable paper for one of my main works in the show, Self-absorbed on the rocks, painted on the cliffs of the Yilan coast of Taiwan. In this work, the large roll of paper is made wet and folded into the structure of the cliff, then ink-washed to extract its structure, volume and essence. At the last stage in the studio the paper is washed and flatten again. It is not hard to imagine that this specific work needs a very strong and flexible paper, due to the extreme treatment it undergoes on sharp rocks and having to be folded, washed and dried several times. The absorbing qualities of the paper is also very important. The paper has been designed for this purpose. My collaboration with FENKO will continue for three other pieces of the series, one of which will be performed in the following weeks on the south Vietnamese coast.

Saverio with Paper & Conservation Consultancy Szuhan Wang and director Lino Lee from FENKO Catalysis Chamber

Clearly both of you are experts on media and materials, and you both have interests in natural phenomena and daily objects. However, you reach art through the opposite route: Chi-Tsung learned painting first and get in touch with photography later in college; whereas Saverio grew up with photography and later experiment with painting and other media. How do you think about each other’s art? What would you say about the similarities and differences between your art?

T: Our attitude towards art is similar, nothing strictly political, social or personal but “beyond” and “away”. Everything in our art is about matter and perception. As we work with similar materials, we often discuss certain techniques and difficulties we encounter. For example, we both mount Xuan paper on canvas which differs from the tradition, so we always discuss how to mount and coat.

W: I think that the most interesting and fundamental part of both of us is that we are both painters, that is to say, our mentalities are both based on paintings. And we are both interested in water-based things. I use western techniques to express eastern sceneries, and Saverio is into eastern materials.  We both found our inspiration from the other side of the world. I think this kind of connection is beautiful.

Nevertheless, the direction of how we approach art is different. I don’t do ‘painting painting’. My priority in art is media art, but I use painting as a mentality to meditate on everything while Saverio deals with painting itself.

T:  Yes. My starting point was to work with my dad in the darkroom in our garage, where he showed me how the image is revealed. From then I started to substitute light with ink, with Italian materials, eastern materials etc. I always see the possibilities of painting in photography. When I work digitally on images with photoshop, I regard it as an alternative way of painting. )

I suppose it’s going to be the first exhibition you attend in 2020. Do you have any new year resolution on art, or to say, what would you like to explore more in the following year?

T: In this year, Inspired by my experience here I’m would like to open a second studio in Taipei, I’m working on it. After joining another residency in Saigon by A.Farm I will come back to Berlin in June and begin to understand what I have experienced in Asia during this months. Exploration will go on as usual.

W: It has been 20 years since I entered university in 1999. I started the studio three years ago and we have made amazing achievements. I have been focused on my art outside Taiwan and would love to be considered as an international artist rather than a Taiwanese artist. I wish this experience of working internationally with my studio could be a model to share with the art world in Taiwan in the near future. Moreover, I look forward to launch more collaboration programs and to make use of the resources we have in Taipei, Berlin and Saigon. We have much to share about our network and experience in these three cities.

Interviewed and translated by Wang Tianyi
Planning and Proofread by Julian Chu




薩=薩維里奧・托諾利, 吳=吳季璁










吳:這次想到以藝術家工作室舉辦駐村項目是啟發於我在越南MoT +++的駐村經驗,MoT+++的總監本人也是一位藝術家,當時我們嘗試將展覽空間變成了類似工作室的環境,呈現出的展覽更像是一個開放工作室。我認為這是很有趣的概念,並且收到了很多積極的反饋。




也可以說是我的紙張作品將我帶來台灣。在這裡,我像海綿一樣學習和吸收關於傳統水墨的知識並潛心研究宣紙材料。在台灣最頂尖的紙張材質研究機構-FENKO鳳嬌催化室 (後文簡稱「鳳嬌」)的鼎力相助下,我找尋到了更有效的方法處理紙材,並且能夠更好地控制墨水在重力下的運動,我很期待在展覽中將我的探索分享給國際觀眾。


薩:鳳嬌在許多不同的領域開拓了紙張的用途,他們其中的一個嘗試便是與藝術家的合作,研究新的材料和可能性。本次,鳳嬌身為紙材顧問,為我在選紙、包裝和紙張保存方面提供了非常多寶貴的建議。我在鳳嬌的協助下,為這次展覽最主要的作品之一《Self-absorbed on the rocks》找到了理想的紙材,這幅作品是我將宣紙鋪佈在宜蘭海岸的峭壁上進行創作的。在岩壁上,我將大捲宣紙浸濕,將之按照岩壁的紋理折疊,再用墨水染色令岩壁的紋理、質感與量體在紙面顯現。最後,回到工作室後,宣紙被水洗並壓平。可想而知,這樣的處理工序對宣紙的強韌性與靈活性都有極高的要求,這樣才能受得了尖銳岩壁、多次折疊、浸濕與乾燥等極端技法。紙張的吸水性也非常重要,而這次使用的紙則完美滿足了上述要求。我還會在將來的三件作品中繼續與鳳嬌進行合作,其中一件我將在未來幾周內在越南南部海岸完成創作。

《Self-absorbed on the rocks》創作過程,使用鳳嬌的薄頁麻紙(ABA Lean Natural)







薩: 這次的駐村經歷讓我想在台灣成立我的第二個工作室,我現在已經開始在為之做準備了。我會去越南胡志明市參與由A Farm主持的另外一個駐村項目,此後我會在6月回到柏林,花一段時間來總結一下我在亞洲的收穫。我的探索也會如昔繼續下去。



Group exhibition 3E14 in Galerie du Monde, Hong Kong

Cyano-Collage 077 is on display in Galerie du Monde, Hong Kong

Date Mar 5 – Apr 18, 2020
Artists Fong Chung-Ray, Michael Müller, Wesley Tongson, Juan Uslé, Wang Gongyi, Wu Chi-Tsung, Stella Zhang
Art Basel Online Viewing Room: Mar 18 – 25, 2020,click here to view 
Venue 108 Ruttonjee Centre, 11 Duddell Street, Central, Hong Kong

The exhibition showcases a diverse group of seven abstract artists, in exploration of the artistic dialogue between the East and the West in the postwar era and the growing acuteness of cross-cultural exchange. Covering multiple generations from the 1960s to the present, Galerie du Monde presents the exchange between Euro-American abstraction and East Asian art and philosophy, featuring the pioneer ink artist from Taiwan’s Fifth Moon Group – Fong Chung-Ray, lyrical abstract painters – Juan Uslé from Spain and Wang Gongyi from China; conceptual artists – Michael Müller from Germany and Stella Zhang from China; and young Taiwanese multimedia artist – Wu Chi-Tsung.

This time, Chi-Tsung’s most recent exploration of the Cyano-Collage Series, the Cyano-Collage 77, will be debuted, in which he challenged himself again to render the composition in round. Embracing the aesthetics of both traditional Chinese still life painting and the Tondo (circular art) that peaked in 15th Century Renaissance Italy, it adventurously broadened the possibilities of the series with its deft interpretation of the East-West nexus.

Besides, the Cyano-Collage 77  represented by Galerie du Monde is also on view at Art Basel Hong Kong 2020 Online Viewing Room till Mar 25.

日期  2020年3月5日至4月18日
參展藝術家 馮鐘睿、邁克爾・穆勒、唐家偉、胡安・烏斯雷、王公懿、吳季璁、張爽
巴塞爾藝術展網上展廳: 2020年3月18日至25日,點擊進入 
地點  香港中環都爹利街11號律敦治中心108號

展覽將呈現七位抽象藝術家的作品,探索東西方戰後藝術的交流、融合與發展。展出藝術家風格各異,活躍時期從二十世紀六十年代至今不等,其中包括台灣五月畫會先鋒水墨藝術家馮鐘睿,兩位抒情抽象派畫家——西班牙藝術家胡安・烏斯雷與中國藝術家王公懿; 兩位概念藝術家——來自德國的邁克爾・穆勒和來自中國的張爽; 以及台灣年輕的新媒體藝術家吳季璁等。




Wu Chi-Tsung participates in the Taipei Dangdai Art Fair 2020

Booth of Sean Kelly Gallery in Taipei Dangdai,

Booth of Galerie du Monde in Taipei Dangdai,

VIP Preview: Jan 16, 2 pm – 5 pm
Public Days: Jan 17 – 19
Venue: Taipei Nangang Exhibition Center, Hall 1 (4 Floor)
Sean Kelly Gallery
|Booth D05
Galerie du Monde
|Booth A04

Wu Chi-Tsung’s work will be presented in Taipei Dangdai Art Fair 2020 by Sean Kelly Gallery and Galerie du Monde. During this time, Sean Kelly Gallery will present a debut of a Still Life Series and the Cyano-Collage Series, and Galerie du Monde will show the latest work of the Wrinkled Texture Series and the Cyano-Collage Series.

貴賓預展:1.16 下午2點至5點
公眾開放: 1.17 - 1.19



beyond the now, away from here

Wu Chi-Tsung studio Presents an Exhibition ‘Beyond the Now, Away from Here’ for resident artist Saverio Tonoli

beyond the now, away from here

Work of Saverio Tonoli in Taipei. Using the hemp paper of Fenko Catalysis Chamber, photo credit: Sylvia Lee and Saverio Tonoli

Opening Party: Jan 17, 8:30 pm – midnight
Public Open: Jan 17 – Jan 19
Venue: No. 34, Ln. 223, Sec. 3, Chongqing N. Rd., Datong Dist, Taipei City 103 (Wu Chi-Tsung Studio)
Paper & Conservation Consultancy: Fenko Catalysis Chamber

Wu Chi-Tsung Studio is delighted to present “Beyond the Now, Away from Here”, a collaboration between our Artist-in-Residence Saverio Tonoli and Wu Chi-Tsung. In the exhibition, Saverio will be showing his new artworks created during the three-month residency. The title pays tribute to the shared interest of the two artists that merges the aesthetics of the East and the West and reinterprets traditional and contemporary art forms.

“What if art came into being differently…?” The exhibition allows the audiences to rethink the nature of materials such as Xuan paper, ink, fresco and cyanotype, to consider its origin, and to discover the possibilities of fusing styles and cultures.

Differ from typical white-cube exhibition spaces, the exhibition takes place at Wu Chi-Tsung studio where both artists work. Sketches, materials and artworks are scattered around the studio from the ground floor to the rooftop providing a vertical journey that shows the artists’ experiment and working process to the public.

The exhibition marks the first artist residency program hosted by an artist studio in Taiwan. Wu Chi-Tsung introduces that ‘Taiwan is an ideal entrance to east Asia for international artists and audiences because it combines multiple cultural influences of the region while being easily accessed. Moreover, as an artist studio, we tend to possess higher flexibility in hosting another artist. I hope that it could open up more possibilities and contribute to the diversity of the art world in Taiwan’.

During his residency, Saverio has been working on his poetic imagery between painting and sculptures, testing local Xuan papers, with the expertise of Fenko Catalysis Chamber, by generating comprehensive solutions to the relationship between Tonoli’s needs and exclusive preservation paper materials for storing protection. Along with the creation of special plasters for his fresco paintings. Through understanding customer needs and apply this insight across their works to identify and implement the new ideas and strategies necessary to succeed.

 ‘In Taiwan, I’m struck by the landscape and of course by the ink and paper knowledge, I learn and absorb like a sponge. I am finding more extreme ways to treat paper and plaster, and to regulate ink with gravity. I am looking forward to the exhibition to share my journey with international audiences’, says Saverio.

Saverio Tonoli (b. 1984, Italy) crosses different techniques in his painting practice such as ink brushwork, fresco techniques and processes on different papers. He grew up in the darkroom where he started observing the behaviors of liquids and chemicals on images, which he then translated over the years into painting.

Wu Chi-Tsung (b. 1981, Taiwan) combines traditions and contemporary art forms from the East and the West. His work transforms daily objects into poetic images, and spans across different media, including photography, video, installation art, painting and set design.

Exhibition Planning:Julian Chu
Copywriting:Wang Tianyi
English Proofreading:Fredrik Nornemark
Exhibition Site Assistant:Hao-Yun Dong

薩維里奧・托諾利在台創作作品,使用鳳嬌催化室的麻紙,圖 / Sylvia Lee 與Saverio Tonoli

開幕酒會: 1月17日晚8時30分至午夜
台北市大同區重慶北路三段223巷34號 吳季璁工作室
紙材 & 保存顧問:
FENKO 鳳嬌催化室

吳季璁工作室榮幸邀請到義大利藝術家薩維里奧.托諾利(Saverio Tonoli)來到台北工作室駐村,並與吳季璁合作發表《易時易地》。展覽中,薩維里奧將呈現其駐村三個月間創作的作品。展覽標題展現了兩位藝術家融合東西方美學、重新詮釋傳統與當代藝術形式的共同興趣。




日前,薩維里奧在 FENKO鳳嬌催化室 的紙料專業諮詢下,尋找、測試當地宣紙,同時使用台產水泥作為創作濕壁畫所需的特殊石膏,開始了創作形式介於繪畫與雕塑之間的詩意圖像。FENKO 針對薩維里奧的需求,提出以中性無酸紙料的高規格客製方案,並在工作中適時給予技術層面的新想法與策略。他表示:「 我著迷於台灣動人的風景,在這裡,我像一塊海綿一樣學習與吸收著關於紙墨的知識,並得以探索出處理宣紙與石膏材料,和控制墨在重力下流動的更好的方法。我很期待藉由這次展覽將我的體會與發現分享給國際觀眾。」

薩維里奧.托諾利(Saverio Tonoli ,1984年生於義大利)的創作涉獵廣泛,從濕壁畫到實驗水墨,挑戰諸多材質與技法的可能性,且自幼跟隨父親學習攝影,爾後將豐富的影像和暗房經驗轉譯到繪畫實踐中,展現出獨特而豐富多元的面貌。


英文校對:Fredrik Nornemark


Critique on Galarie Magazine: 9 Must-See Artworks in Art Basel’s New Meridians Sector in Miami Beach

9 Must-See Artworks in Art Basel’s New Meridians Sector in Miami Beach

Dedicated to monumental, museum-worthy installations, videos, and paintings, the inaugural Meridians section is not to be missed


Cyano-Collage 064, 300 x 600 cm, presented in Art Basel Miami Fair

Art fairs need to continuously stay fresh, even Art Basel in Miami Beach, which has a reputation for being the art world’s favorite party. Looking to add a bit of zest to its exhibition program, this year the fair is inaugurating its new Meridians sector to present large-scale works and performances in the refurbished Miami Beach Convention Center’s 60,000 square-foot Grand Ballroom.

“From what I’ve observed in the past, the curatorial and museum crowd has gotten tired of coming to Miami for only booth presentations, but by bringing more of a curatorial edge to it, I’m hearing that curators are more excited to attend this year,” Ben Strauss-Malcolm, a director at Pace, which has two artists—Adam Pendleton and Fred Wilson—in the show, tells Galerie.

Presenting 34 large-scale sculptures, paintings, installations, performances, and film and video projections by an international group of established and emerging artists, the projects were chosen by a selection committee and have been organized by the show’s curator, Magalí Arriola, the director of Mexico City’s Museo Tamayo.

With a focus on artists and works from the Americas—although its somewhat broader in this initial year because not as many galleries applied—the show addresses issue of race, gender and immigration, which are topics that are floating around the greater art world.
“Many of the works are content-loaded, which is an exciting part of it,” Arriola shared by phone from Miami, where she was already working on the installation. “I’m happy with the space and layout and the individual projects. I believe these bigger works give viewers a chance to grasp what’s behind the artists’ proposals. There are overarching themes that echo between the varied works, which makes the whole section quite compelling.”

Chi-Tsung Wu’s Cyano-Collage 064
Sean Kelly

To create this sublime blue mountainous landscape, artist Chi-Tsung Wu employs age-old methods in the most innovative of ways, combining a 19th-century photographic printing process known as cyanotype together with the tradition of ancient Chinese landscape painting. To begin, Wu first coats chemically treated crumpled sheets of thin Xuan (rice) paper with an emulsion that turns the paper a deep blue after being exposed to light, before flattening them and collaging the hundreds of pieces onto linen canvas. With no predetermined design in mind, the artist constructs the imaginative scene, which simulates traditional Chinese mountain water (shan sui) paintings, as he goes—becoming a witness to the making of his work. Having a kind of tie-dye effect on the rice paper allows him to create the jagged rocks and snowy peaks and valleys that lend a modulated look to the layered landscape.

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氰山集之六十四,300 x 600 cm,於邁阿密巴塞爾「藝匯經線」展位



-Paul Laster評論吳季璁作品


wu chi-tsung in his studio


Photo Credit: Yu Tzu-Chin

Sean Kelly is delighted to announce that the gallery now represents Wu Chi-Tsung.

Wu Chi-Tsung’s innovative work features a broad range of media including photography, video, installation and painting, in which he combines traditional and contemporary forms and methodologies to explore perceptions of the physical and natural worlds. Trained from an early age in the practices of Chinese calligraphy, Chinese ink painting, watercolor and drawing, Wu Chi-Tsung worked for many years in a traditional idiom. Following a period spent creating experimental ink paintings, he turned to video, installation and photography, finding in these new media compelling conceptual stratagems that spurred new and dynamic approaches to making images. These have included films that conceptually translate traditional cut-branch flower paintings into time-based moving images and his recent Cyano-Collage Series, in which he connects Eastern and Western culture and art to integrate traditional aesthetics with startling contemporary language. On joining the gallery Wu Chi-Tsung said, “I’m pleased to be joining Sean Kelly, which has a legendary history and program, featuring amazing artists from all over the world.

Sean Kelly states, “We are delighted that Chi-Tsung is joining the gallery. We included him in a group exhibition this summer and were profoundly impressed by his conceptual and artistic process, in which he combines contemporary techniques and traditional Chinese methods to create a unique amalgamation of different cultures, the past and the present.”

Wu Chi-Tsung currently lives and works in Taipei, Taiwan and Berlin, Germany.

He was the recipient of the Liu Kuo Sung Ink Art Award, Hong Kong and Taiwan (2019). In addition, he was awarded the WRO Media Art Biennal (2013) and Taipei Arts Award (2003). He was short-listed for the Prudential Eye Awards, 2015; the Artes Mundi, 2006. His work has been included in international exhibitions at institutions such as the Mori Art Museum, Japan; National Museum Cardiff, United Kingdom; the Long Beach Museum of Art, Los Angeles; the Casino Luxembourg – Forum d’art Contemporain, Luxembourg; the Museo Del Palacio De Bellas Artes, Mexico and the Central Academy of Fine Arts (CAFA) Art Museum, Beijing, China; Shanghai Art Museum, China; Seoul Museum of Art, South Korea; Minsheng 21st Century Museum, Shanghai, China; the Museum of Contemporary Art Yinchuan, China; the Hiroshima City Museum of Contemporary Art, Japan; the Ullens Center for Contemporary Art (UCCA), Beijing, China; the Taipei Fine Arts Museum, Taiwan; amongst others. His work is included in renowned collections such as Xie Zilong Photography Museum (XPM), the Post Vidai Collection, M+ Hong Kong, and the Borusan Contemporary Art Collection.




吳季璁,目前居住與創作於台北及柏林。2019年獲港台劉國松水墨藝術獎、2013年波蘭媒體藝術雙年展藝評與藝術雜誌編輯獎(WRO)、2003年榮獲台北美術獎首獎;並入圍2015年英國保誠當代藝術獎(Prudential Eye Awards)、2006年英國世界藝術獎(Artes Mundi)。

作品曾在許多國際展覽機構展出:日本東京森美術館、英國卡爾地夫國家藝廊、美國洛杉磯長灘美術館、盧森堡卡西諾當代藝術中心、墨西哥藝術宮、中國北京中央美術學院美術館、中國上海美術館、韓國首爾美術館、中國民生現代美術館、中國銀川當代美術館、日本廣島市現代美術館、中國北京尤倫斯當代藝術中心、台灣台北市立美術館。他的作品也由許多知名機構收藏如 : 中國長沙謝子龍影像藝術館、越南Post Vidai Collection、香港M+博物館、土耳其 Borusan Contemporary Art Collection等。

Upcoming: Wu Chi-Tsung in Art Basel Miami Beach

Cyano-Collage 064, 300 x 600 cm, will be presented in Miami

Meridians Opening (by invitation only)

Tuesday, December 3, 2019, 4pm to 7pm

VIP Preview (by invitation only)

Wednesday, December 4, 2019, 11am to 8pm

Thursday, December 5, 2019, 11am to 3pm

Public Days

Thursday, December 5, 2019, 3pm to 8pm

Friday, December 6, 2019, 12 noon to 8pm

Saturday, December 7, 2019, 12 noon to 8pm

Sunday, December 8, 2019, 12 noon to 6pm


Miami Beach Convention Center, 1901 Convention Center Drive Miami Beach, FL 33139

Wu Chi-Tsung will be participating in the Art Basel Miami Beach represented by Sean Kelly New York. As the first Taiwanese artist that is shown in this art fair, Wu Chi-Tsung will be presenting his new work of the Cyano-Collage Series at the Meridians section, a new section that focuses on sculptures, paintings and video installations of large scales. As is introduced by curator Magalí Arriola, works of this section will provide reinterpretations towards race, gender, and regions. 

Magalí Arriola, a curator and critic based in Mexico City, has been named director of the Museo Tamayo in the Mexican capital. According to the Mexican newspaper La Razón, Arriola will take up the role on September 17. The publication also reported that one of Arriola’s priorities will be increasing the international reach of the museum.

Arriola was chief curator at the Museo Tamayo from 2009 to 2011, and during that time she organized exhibitions of work by artists such as Roman Ondák, Claire Fontaine, Adriá Julia, and Julio Morales. After her tenure there, she worked as curator at the Museo Jumex in Mexico City, which opened in 2013 and has since become one of the city’s most important spaces for contemporary art. For the Museo Jumex, she curated a show focused on James Lee Byars.

Between 1997 and 2000, Arriola worked as chief curator at the Museo Carrillo Gil in México City and, in 2006, she was visiting curator at the Wattis Institute for Contemporary Art in San Francisco. Some of her curatorial credits include the 2008 Panama Biennial, the group show “Prophets of Deceit” (2006) at the Wattis Institute for Contemporary Art, and “What once passed for a future, or The landscapes of the living dead” (2005) at Art2102 in Los Angeles.

Arriola will curate a new section called “Meridians” at the 2019 edition of Art Basel Miami Beach. The presentation will spotlight large-scale works of various mediums, including sculpture, painting, and installation. She has contributed to publications such as PoliésterArtNexus, ParachuteExitSpikeAfterall, and Manifesta Journal.


2019年12月3日(星期二) 下午4時至晚上7時










邁阿密沙灘會議中心,1901 Convention Center Drive Miami Beach, FL 33139

季璁將由尚凱利藝廊代理,參加2019年巴塞爾藝術展邁阿密海灘展會。吳季璁將成為台灣首位參加該展會的藝術家,其《氰山集》系列新作將於「藝匯經線」展區呈現。「藝匯經線」是本次新增設的展覽板塊,由墨西哥城Museo Tamayo總監Magalí Arriola擔任策展。據策展人介紹,本區塊將由大規模雕塑、繪畫及錄影裝置主導,部分作品重新探討與種族、性別及地域等議題相關的文化敘事。

Installation View 展覽現場

Art Basel Miami Beach

Cyano-Collage 068

Cyano-Collage 068 Collected by Xie Zilong Photography Museum

Cyano-Collage 068, 2019, 150 x 300

Exhibited in Photofair Shanghai in last September, Wu Chi-Tsung’s Cyano-Collage 068 was collected by Xie Zilong Photography Museum. Located in Changsha, the museum is prestigious for its symbolic architecture and professional interpretation of photography art.  

Xie Zilong Photography Museum (XPM), located at Zone D of Yanghu Wetland Park in Changsha City, was founded by Mr. Xie Zilong, photographer, Chairman of Hunan Photographers Association and President of LBX Pharmacy Chain Co. Ltd., with an investment of 150 million yuan. As the largest non-profit photography museum in China, XPM was officially opened to the public for free since September 16th, 2017.

Designed by the famous architect Mr. Wei Chunyu, Dean of the School of Architecture of Hunan University and his team, XPM has a floor area of 10,600 square meters and was made by a one-off cast in fair bare concrete—it’s a return to the essence of architecture and art and a rejection and subversion of the flashy architectural language prevailing today, allowing the audience to feel the art of photography through the building. Of the four floors, the first one is the Art and Cultural Space with Zhinong Bookstore, Zhinong Café, a Japanese restaurant, a multifunctional hall and a water-viewing deck inside; the second and third floors are professional exhibition halls of 4,000 square meters with display walls as long as 1,000 meters, the tallest of the walls is 10m and the longest 40m and with professional German Erco display lighting; the fourth floor is a full set of a top-class Swedish Profoto high-end photo studio and a gallery.

As a professional and high-end world-class museum of photography, Xie Zilong Photography Museum integrates collection, exhibition, academic research and exchange and is dedicated to building a platform for the art of photography in China and to promoting the development of Chinese photography art.





Still Life Tsubaki

Two of ‘Still Life’ works join the Borusan Contemporary Art Collection
《小品》系列作品於土耳其Borusan Contemporary Art Collection典藏

Wu Chi-Tsung’s video installation works Still Life 011 – Tsubaki and Still Life 012 – Buttercup Tree were recently collected by  Borusan Contemporary Art Collection, the first collection in Turkey which is a member of IACCCA (International Association of Corporate Collections of Contemporary Art). The collection, which was established in the 90s, was initially focused on Modern and Contemporary Turkish Art. Yet with the inclusion of international contemporary artists such as Donald Judd, Sol LeWitt and Jim Dine in the 2000s, it underwent a change and eventually shifted its focus towards New Media Arts with the inauguration of Borusan Contemporary as a public museum.
Photo courtesy of Borusan Contemporary, Istanbul

吳季璁錄影裝置作品《小品之十一 茶花》《小品之十二 彎子木》日前被Borusan Contemporary Art Collection收藏。Borusan Contemporary Art Collection是土耳其首家加入IACCCA協會(國際當代藝術收藏集團協會)的當代藝術收藏機構,於20世紀90年代成立,初以收藏土耳其現當代藝術為中心,進入21世紀後,機構正式以公共博物館形式開放,收藏也轉向為關注國際藝術家、尤其是活躍於新媒體藝術領域的藝術家。

Wu Chi-Tsung received the ‘Liu Kuo Sung Ink Art Award 2019’

Liu Kuo Song and Wu Chi-Tsung, credit: Sylvia Lee

Wu Chi-Tsung approaches ink art with experimental techniques of new media art while consistently paying tribute to the traditions, which not only deepens the aesthetics of ink art but broadens it by his unique contemporary style. Therefore, his work has won the favor of the majority of the jury and became the winner of the first “Liu Kuo Sung Ink Art Award” in 2019.

The Ink Society and the Liu Kuo Sung Archives are pleased to present the inaugural Liu Kuo Sung Ink Art Award. The Award recognizes outstanding achievement in the creation of contemporary ink art in the Greater China region.

We are most grateful for the Observers and Jurists. For more information, see:


Shang Hui   Raymond Tang   Wang Huangsheng   Wu Hongliang   Philip Wu

Members of the Jury:

Liu Kuo Sung   Lesley Ma   Pi Daojian   David Pong Chun Yee   Jason Wang

liu kuo sung award







尚輝   鄧民亮   王璜生   吳洪亮   吳超然


劉國松   馬唯中   皮道坚   龐俊怡   王嘉驥


『吳季璁畢業於國立台北藝術大學。他在2003年的時候,就以《鐵絲網系列》獲得台北獎。在這件作品之中,他以簡單的機械裝置推動一小片置於光學鏡頭前的鐵絲網,然後透過燈光的投影在牆面上呈現出一個有如山水意象的畫面─從模糊到清晰,然後反覆這個過程。 從大學時代開始,吳季璁對於中國山水畫或東方意象(images)始終保持高度的關懷與興趣。雖然,他選擇以油畫組畢業,但是近十幾年來的作品雖然不以正式的水墨作品從事創作,但水墨的內在精神與幽微美感,始終是他的核心關懷之一。

2003年的《鐵絲網系列》是在實質上放棄了「筆」也捨掉了「墨」,但最終獲得一個投影在牆面上的(不斷變動中的)山水影像。雖然吳季璁的機械裝置非常低科技而簡單,但《鐵絲網系列》所及的創作理念卻極為複雜:(1)在邏輯上,這件作品會把劉國松當年所主張的「革中鋒的命」推展到「革筆墨的命」,甚至完全捨棄「筆墨」(2)不斷變動的焦距所造成的山水意象投影,也連帶促使觀者會去思考西方從15世紀之後發明透視法,以及19世紀發明攝影術對於繪畫所造成的深遠影響。 約從2012年開始,吳季璁開始利用藍曬法(blue prints)來創作他的《皴法習作》與《氰山集系列》。在這兩個系列中,他先把宣紙揉出皺紋,再塗抹上感光劑然後拿到戶外利用陽光自然曝曬;感光劑的多寡以及曝曬時間的長短就會在宣紙上產生深淺不一的藍白相間的山水。較早期的《皴法習作》呈現的藍白相間、帶有紋理的畫面;《氰山集系列》則開始利用拼貼與後製的方式,增添畫面更為複雜的肌里與細膩的局部。 吳季璁的重要性並不在於他的紙上作品看似劉國松在1960年代的嘗試。他的思考脈絡是:當「筆墨論辨」似乎走到了一個歷史瓶頸時,如何在當代視覺文化的脈絡裡,以新的手法以和觀看方式來討論東方美學裡的幽微。在新媒體與影像盛行的時代裡,吳季璁的《氰山集系列》,從西方攝影史的角度而言,是使用一種最“傳統”的顯影方式來製作山水意象:斑駁的紋理、無法精準掌握的曝光效果、後製表貼的宣紙,都賦予了吳季璁作品一個新的向度。可以說,對照於傳統所強調的用筆與用墨,吳季璁的《皴法習作》與《氰山集系列》在這個時代,展現了另一種當代水墨經驗的探索。 』*


Cyano-Collage 061 氰山集之六十一_205x205_2019

interview by Photofair Shanghai: Applying Traditional Practices to Contemporary Photography

IN FOCUS: Wu Chi-Tsung | Applying Traditional Practices to Contemporary Photography


photo credit: Yu Tzu-Chin


Taiwanese ‘on-the-radar’ artist Wu Chi-Tsung speaks to PHOTOFAIRS ahead of the Shanghai fair this month, where he will be exhibiting his fascinating works with Sean Kelly Gallery (New York & Taipei).

Interestingly, Chi-Tsung clarifies during the interview that he does not identify as a ‘photographer’, instead, he merges and unifies his extensive knowledge of multiple mediums to create dynamic, tactile-looking, and memorable artworks. The dilemma, the artist states, of distinctly categorizing art forms (such as painting, photography and contemporary dance), results in a ‘trapped’ mindset, thus limiting the potential for artists to develop and challenge themselves. PHOTOFAIRS, as a world-class art fair, aim to promote artists such as Wu Chi-Tsung, who are pushing the boundaries of photography and posing the question of how should photography be defined.

With an impressive portfolio including set-design, ink painting and video works, Chi-Tsung proudly represents what it means to be a contemporary artist in the 21st Century. We speak to the artist about breaking down barriers between mediums, the importance of preserving traditional methods and an exclusive step-by-step feature on how he creates the renowned ‘Cyano-Collage’ series…


“Sometimes it worries me that we have abandoned too many valued experiences and methods in traditional art as we transform too resolutely.”



PHOTOFAIRS: Your works display an exciting range of artistic mediums, such as painting, set design and photography. What is your thought process when deciding which medium to use for a project? What comes first, the idea and theme behind a project or the desire to use a specific medium?


WU CHI-TSUNG: Either way could be possible. Generally speaking, whenever I conceive a new project in any form, the language of painting is always my archetype. Every artist has his/her mentality, and painting is mine. For instance, the idea of ‘randomness’ from the eastern painting tradition (which partly is due to the nature of ink paints) is deeply rooted in me when I create my video installations and photography, like the Cyano-Collage series. I also imagine my art world via the spirit of paintings.


Wu Chi-Tsung photography work, Cyano-Collage 061, 2019, 205 x 205 cm


Part of PHOTOFAIRS’ objective is to explore the dynamic nature of photography as a medium, which includes presenting video works, installations and performance art to our audiences. One focus of the 2019 Fair is performance art and photography. With a career that involved set/stage design in collaboration with various institutions and performances, such as ‘Off the Map’ (2013) and ‘How Long is Now?’ (2017), how important do you think it is to combine performance art with other mediums such as photography, design or installation?


My experience in set design was mainly for contemporary dance. As dance itself might be abstract to many people, I consider it my duty to guide people to step into the world of the dance by visualizing certain elements. To me, what was the most difficult element of my job was to synchronize all the various elements on the stage. Every art form has its own time and space structure, and my duty is to organize everything to ensure they balance. For example, it is particularly difficult to apply videos to theatre, since the nature of the video is in the past, yet the performance is in the present. My experience in dealing with set design is similar to working with video installation; both require careful consideration of the relationship between the image and the space, and thus are more present than merely a single channel video.


Wu chi tsung 吳季璁

Wu Chi-Tsung set design, Off the Map, 2013


Your artistic journey began with painting, where you gained a Bachelor of Fine Arts in Oil Painting from Taipei National University of the Arts in 2004. What lessons did you learn from studying painting that you can transfer to your photography?


It is an old tune if I talk about my understanding of painting. However, if I transfer it to another medium such as photography, new meanings are created, which is what I aim for when I work across different mediums.  I find it odd that people have set categories of mediums due to functional concerns, which eventually become a mindset that has trapped the way we think. I always try to seek the universal relevance of things and create a dialogue to connect them. I would not consider myself to be specialized in photography. I use photography as a tool to contemplate and express my thoughts. In my photography works, a hint of how time flows from the exposure to the manual collage is visible. The work is not static but a record of movements. On the other hand, my video installations are rather static that has few scenarios or changes. 



Can you please tell us more about the ‘Cyanotype’ photographic technique, and how you used this technique in your impressive ‘Cyano-Collage’ series, which you will be presenting at PHOTOFAIRS | Shanghai 2019. Did you face any challenges working with this medium? Please also inform us on the significance of using this technique to commemorate Taiwanese Artist and Art Critic Mr. Ni Tsai-Chin.


My process follows the format below:

1. Cover the Xuan paper with the photosensitive solution, continually reshaping and crumpling the paper by hand to create the wrinkled effect during the exposure.

2. Leave the wrinkled paper exposed to sunlight for about thirty minutes to an hour and washing the paper to let the image fixed

3. ‘Read’ the papers to choose what could be used from the collage. Normally I choose only a few papers from dozens. I put one Xuan paper on the canvas, using a brush to flatten it. Next, I apply acrylic gel five or six times to seal the structure of the Collage. Every time a new layer of paper is added. I use blank papers to adjust the composition — to bring out the landscape, to create the depth, and to erase part of the image to leave empty space for imagination.

4. Finally, I apply the UV protective varnish to protect the cyanotype from sunlight.


The whole process is a bit similar to working on ‘layers’ in Photoshop, but no computers nor cameras are involved. The Cyano-Collage Series is based on the combination of what I have previously experimented in the Wrinkled Texture Series, experimental photography, and the aesthetics of traditional eastern painting.

The first challenge I met is that the nature of the Xuan paper is very different from the photographic paper that is normally used for cyanotype photography. I gradually learned, from my experience with Xuan paper, the complexity and variability of the material. The paper western painting adopts, for example the watercolor paper, has a coating so that the pigments would remain on the surface no matter how thick they are. However, in the raw Xuan paper (without alum) that is applied in ink painting, the pigments are absorbed. The extent that the ink seeps through the xuan paper can be controlled, creating greater possibilities.

Working closely and consistently with these traditional methods and materials like Xuan paper makes me aware of their limitations in the modern era, but also urges me to think about a way to inherit it by transforming it into contemporary practice. When my works were exhibited in the west, people were very intrigued by Xuan paper and thought that it resembles fabric.

I was deeply influenced by my work as an assistant for professional artist Ni Tsai-Chin, who was an experimental ink painter, conceptual artist, art historian and critic. His value and interpretation of art altered how I used to think about our tradition, and that is the reason why I paid tribute to him in my work.


Wu Chi-Tsung installation work, Wire V, 2018


Your contemporary artworks often integrate traditional methods (such as Shan Shui to depict natural landscapes) into the process and overall aesthetic. How important do you think it is to maintain these traditional artistic techniques in photography today? Do you often notice other artists combining old methods with new in their artworks?


Many contemporary artists haven’t had the training of painting which makes it harder for them to comprehend the history of art from a creator’s point of view. Sometimes it worries me that we have abandoned too many valued experiences and methods in traditional art as we transform too resolutely.

People who only work in the contemporary art world would struggle to really understand what contemporary art is, and same for individuals who only focus on traditional forms. Personally, I appreciate Liu Jianhua and Yu Peng’s art, for they break the limitation of the traditions, whilst working closely with them. For me, working in the contemporary art world with traditional methods gifted me the ability to understand what is shared and what is irreplaceable.



As well as the ‘Cyano-Collage’ series, Sean Kelly Gallery has also incorporated the series ‘Landscape in the Mist’ (2012) into their current group exhibition titled ‘Abstract by Nature’. When did you start experimenting with video?  Why did you choose to use video for this project?


I started working with video in 2001 whilst at university. After I was trained in traditional painting for more than ten years before college, I started to explore different mediums from ink painting to video. For about a year I have been taking my video camera everywhere. I film everything to capture contemporary daily experiences. I have been trying to create a dialogue in the language of new media art between video works and the training in painting that I have received. My ‘Landscape in the Mist’ video originates from the ‘Still Life Series’, both of which are my earliest attempt to combine my experiences in video and traditional painting. The ‘Landscape in the Mist’ series was inspired by the impressive landscape paintings of Camille Corot, creating a poetic atmosphere with traditional eastern painting.


Wu Chi-Tsung video work, Still Life 007 – Daffodil, 2018, 00:14:41


What are you most looking forward to at PHOTOFAIRS | Shanghai? As an artist that does not work solely in photography, why do you think it is important for your work to be shown at our Fair in September?


Usually, I am invited to present my works at an exhibition which is one of three categories: contemporary art (new media art), photography, or traditional ink art. I am very much looking forward to learning how my work will be seen and discussed under the narrative of photography as well as in the context of mainland China.



聚焦:吳季璁 | 在當代攝影中實踐傳統技法







“有時候我會擔心我們因為發展太快、太急而放棄了太多傳統藝術中 寶貴的經驗與方法。”








吳季璁:我做舞台設計的經驗主要來自於與當代舞蹈領域的合作。舞蹈本身對大部分人太抽象,我認為我的角色正是通過把某些東西視覺化,引導大家進入舞蹈想談的世界 。我面對的很大的挑戰是如何同步、聚焦不同的舞台元素。每一種藝術形式都有其內在的時間與空間結構,而我的工作正是要保證它們之間互相平衡,把它們同步聚焦到當下。比如說,在劇場中運用影像元素是很睏難的,因為影像的本質是屬於過去式的,而舞台演出則在當下。我認為做舞台設計與做影像裝置有相似之處,它們都需要對影像與空間進行審慎安排。









  1. 將宣紙上塗佈感光塗料,用手將紙張不斷揉皺,以製造出曝光後的皴法效果。
  2. 將紙放在陽光下曝光約30分鐘至一小時,然後沖洗紙張,令影像固定。
  3. 「讀紙」,挑選適合作品使用的紙張,一般幾十張中只能選出一張。接著,我會將宣紙一層層固定在木板上,用刷子刷平。再塗上五、六層亞克力膠進行固定。每次加上新的一層紙,我都會加進一些白紙以保證留白、調整構圖。
  4. 使用UV防護油,防止氰版攝影在陽光中變色。










吳季璁:現在很多當代藝術家可能沒有繪畫訓練經驗,他就很難從創作的角度去理解美術史,其角度和學者沒有太大差別。有時候我會擔心我們因為發展太快、太急而放棄了太多傳統藝術中 寶貴的經驗與方法。只活動在當代世界創作的藝術家不會理解當代藝術是什麽,對於只活動在傳統藝術領域的藝術家亦然。只有在其間遊走,才能讓我意識到其中改變的東西是什麽,而我更感興趣的地方是,其不變的東西是什麽。 我個人比較欣賞于彭與劉建華的作品,他們能夠從非常傳統的角度出發,又跨越時代性的限制。


博覽會:除了「氰山集系列」外,在Sean Kelly畫廊當前的展覽中也展出了你的「煙林圖系列」,你是什麼時候開始嘗試影像媒介的?你為何選擇使用影像來呈現「煙林圖系列」系列?










More Information

Photofair Shanghai, Sep 19 – 22, Shanghai Exhibition Center, China

New works of the Cyano-collage Series will be presented  in Photofair Shanghai 2019.


Photofair Shanghai 2019 | Sean Kelly Gallery | D24

Public Open | Sep 21, 12 – 7pm, Sep 22, 11am – 6pm

Collector Preview | Sep 19, 2 -7pm; Sep 21, 11am -12pm*

VIP Preview | Sep 20 12 – 6pm*

VIP Night | Sep 20, 6 – 9pm*

Collector Hour | Sep 21,11 – 12pm*

* By invitation only



Artists |Alec Soth, Julian Charrière, Mariko Mori, Marina Abramović, Jose Dávila, Wu Chi-Tsung


Artist Talk | Sep 21 5pm, participants: Ying Kwok (independent curator), Lindsay Taylor (Curator, University of Salford Art Collection), Sarah Fisher (director, Open Eye Liverpool), Lu Yang (artist), and Wu Chi-Tsung (artist)


Venue | Shanghai Exhibition Centre, 1000 Yan’an Road, Shanghai, China



For our inaugural appearance at Photo Shanghai, Sean Kelly is pleased to present a carefully curated booth drawn from our internationally acclaimed roster of artists, each of whom works with photography in non-traditional ways. Our presentation includes works by Marina Abramović, who is represented by a stunning self-portrait depicting the artist’s face covered in gold leaf; Julian Charrière, whose images of nuclear testing sites have been exposed to radioactive soil gathered from the locations where his images were taken; Jose Dávila, who appropriates images of famous artworks from other sources, which he then physically alters by cutting out and removing the focal point of the image; Mariko Mori, who creates computer generated photo paintings based on drawings she made standing in front of the ocean on Okinawa Island; Alec Soth, whose captivating multi-layered photograph of Monika is in fact a double exposed image; and Wu Chi-Tsung, whose process includes manipulating light sensitive cyanotype paper to create images of jagged mountain peaks that refer to currents in both traditional Chinese art and western art history.


Please also visit the Spotlight section of the fair which features Marina Abramović’s legendary series, ‘The Lovers’, being exhibited for the first time in mainland China.


For ticket











影像上海藝術博覽會 2019 | 尚凱利畫廊|D24

公眾開放| 2019年9月20日 – 22日

藏家特展| 9月19日 2 – 7 pm,9月21日11am – 12pm*

貴賓特展| 9月20日 12 – 6 pm*

貴賓之夜|9月20日 6 – 9 pm*

* 僅限邀請



參展藝術家|艾力克・索斯(Alec Soth)、何塞・達維拉(Jose Dávila)、朱利安・夏利耶(Julian Charrière)、森萬里子(Mariko Mori)、瑪莉娜·阿布拉莫維奇(Marina Abramović)、吳季璁


藝術家對談|9/21 5pm,與談人:Lindsay Taylor(索爾福德大學策展人)、Sarah Fisher(利物浦Open Eye Liverpool畫廊總監)、郭瑛(獨立策展人)、陸揚(藝術家)、吳季璁(藝術家)





Sean Kelly 畫廊為上海影像藝術博覽會的首次亮相帶來了精心策劃的展位,展出來自畫廊旗下國際知名藝術家們非傳統方式的攝影作品。








Open Studios, Sep 6 , Lange Nacht der Bilder 2019, Berlin


OPEN STUDIOS, Lange Nacht der Bilder 2019

Dates | Sep 6, 6pm till midnight
Venue | room 203, building X, Studios ID, Genslerstrasse 13-13a 13055 Berlin


Wu Chi-Tsung will be joining the Lange Nacht der Bilder 2019 to host an Open Studio event at room 203, building X of Studios ID, Berlin on Sep 6. During the event, the working progress of a new “Cyano-Collage” work will be presented and the artist will share those behind-the-scene stories.



berlin studio

photo credit: Sylvia Lee


圖像長夜 2019-開放工作室

日期 | 2019年 9/6 6pm – 12am
地點 | room 203, building X, Studios ID, Genslerstrasse 13-13a 13055,柏林,德國


9月6日,吳季璁將參加《圖像長夜2019Lange Nacht der Bilder 2019)》,於柏林Studios ID進行開放工作室活動。屆時,藝術家將會呈現《氰山集系列》新作現場製作過程,並與到訪嘉賓分享作品背後的故事。

Kunstfest Weimar 2019, Sep 5-7, E-Werk, Germany

photo credit: Sylvia Lee


LIGHT INTERDICTION, Kunstfest Weimar 2019

Dates | Sep 5-7, 2019

Curator | Chun-Chi Wang

Preview | Sep 5, 6 P.M.

Artist talk | Sep 7, 13:30 P.M.

Venue |E-Werk,AM KIRSCHBERG 4, 99423, Weimar, Germany


In cooperation with the Idolon studio headed by the Taiwanese curator Chun-chi WANG, the Kunstfest Weimar presents four installations that highlight the innovative power and relevance of Taiwan’s current art and performance scene. The first piece «E-Werk Weimar No. 1» by the artist TAO Ya-Lun confronts the viewer with an unsettling 3D borderline experience. His works often feature diverse forms which can range from video, sound and kinetic installations to light shows and shadow play. Most of his pieces are based on virtual reality and adapted to the specific venue where they are presented. Fujui WANG’s sound installation «Hollow Noise» is comprised of several directional loud speakers which produce carefully focused ultrasonic waves. His method creates the impression of a sonic wind blowing from various directions. The result is an absolutely new and surprising acoustic experience. On the stage of the E-Werk, WU Chi-Tsung presents the European premiere of his light installation «DUST». By means of optical tricks, the artist reflects normal ambient dust through the light of a projector, thereby making it visible to the naked eye. The «air» suddenly gains a structure of its own. The performance in this production is the work of the Taipeh-Paris resident artist, performer and musician Liping TING. «Poésie d’action» is how she describes her multidisciplinary approach. She will enliven the installation environment in the two halls of the E-Werk with a three-hour-long performance.


On September 7th, the artist will be delivering an artist talk on ‘The crossover between visual art and performance art in Taiwan’ with Thomas Bruns, manager of the KNM Berlin, and Liping Ting, Taiwan-born artist on performance art, and with curator Chun-Chi Wang as moderator.


For tickets and more visiting information, please click here



photo credit: Sylvia Lee



日期 | 201995-7

策展人 | 王俊琪

預展 | 95日晚6

藝術家對談 | 971330

地點 |E-Werk,AM KIRSCHBERG 4, 99423,威瑪,德國


威瑪藝術節與歐亞藝術網絡組織(Idolon studio)合作,聚焦台灣裝置與舞台藝術,呈現展覽《光之禁區》。其中,吳季璁裝置作品《灰塵》將在E-Werk的舞台上呈現。作品運用巧妙的影像效果,用投影機鏡頭的光源照射灰塵,令平日無法察覺之物變得顯而易見,使觀者透過影像媒體,重新發現和觀注生活週遭的外在世界,這將是該作品在歐洲的首次亮相。

9月7日,藝術家將與柏林新音樂室內樂團(KNM Berlin)經理Thomas Bruns以及表演藝術家丁麗萍以「台灣近況:視覺與表演藝術的跨界合作」為題進行對談,對談將由策展人王俊琪主持。




On Site Installation 現場照