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Cyano_Collage_130_s

Cyano-Collage Series on Bronze Marks Wu Chi-Tsung’s Debut in Art Basel Basel
吳季璁將帶著全新黃銅製《氰山集》首次參加巴塞爾藝術展

Cyano-Collage 130
Cyano-Collage 130,《氰山集之一百三十》,2022,60 x  60 cm 


Sean Kelly Gallery Hall 2.1, Booth P2

VIP Preview Jun 14-15, 2022

Public Days  Jun 16 – 19, 2022

Venue  Messe Basel, Messeplatz 10, 4058 Basel, Switzerland


This June, the first Cyano-Collage Series created on a bronze panel will be exhibited at Sean Kelly Gallery’s booth which marks Wu Chi-Tsung’s debut in Art Basel in Basel. As the development of the series, the artist has experimentally worked with aluminum panels in 2021 and bronze panels this year as a substitute for wooden baseboards to achieve better durability of the works. The metal quality of the baseboard creates a distinct reflection that leaks through the Cyano-Collage landscape and broadens the potential of the series. 





尚凱利畫廊2.1大廳, P2展位

貴賓預展 2022年6月14日至15日

公眾展期  2022年6月16日至19日

會址  瑞士巴塞爾展覽中心


本月,吳季璁將帶著全新黃銅底版創作的《氰山集》,首次登場瑞士巴塞爾藝術博覽會,展覽將由尚凱利畫廊呈現。自2016年《氰山集》系列發表以來,吳季璁不斷嘗試媒材上的創新,去年他將傳統油畫木板的底版換成鋁製板材,令作品能夠更為經久保存,今年亦實驗於黃銅底版上創作,金屬材料特有的質地,於打磨過後的反光從氰版山水背後的天空透出,為作品帶來了縱深感與更為豐富的意境。



 
Cyano_Collage_145

Quadriptych Cyano-Collage Series in Art Basel Hong Kong
《氰山集》系列新作於巴塞爾藝術展香港展會

 Cyano-Collage 145
 Cyano-Collage 145, 《氰山集之一百四十五》, 2022, 225 x 90cm x 4pcs

Galerie du Monde|Booth 1C11

VIP Preview May 25-27, 2022 

Public Days May 28-29, 2022  

Venue  Convention & Exhibition Centre, Hong Kong



In late May, new work from the Cyano-Collage Series in a quadriptych composition will be presented at Galerie du Monde’s booth in Art Basel in Hong Kong.  




 Cyano-Collage 145
 Cyano-Collage 145, 《氰山集之一百四十五》, 2022, 225 x 90cm x 4pcs




世界畫廊|1C11展位

貴賓預展 2022年5月25日至27日

公眾展期  2022年5月28日至29日

會址  香港國際會議展覽中心



5月下旬,《氰山集》系列新作將由世界畫廊代表亮相巴塞爾藝術展香港展會世界畫廊展位,作品將延續吳季璁自去年以來對鋁製底版的嘗試,並採用四聯屏構圖。




Installation View 展覽現場


installation view
Photography: Sebastiano Pellion di Persano
Courtesy: Sean Kelly, New York
installation view
Photography: Sebastiano Pellion di Persano
Courtesy: Sean Kelly, New York


 
Wrinkled_Texture_118

New Works of Cyano-Collage Series and Wrinkled Texture Series at Taipei Dangdai
《氰山集》系列與《皴法習作》系列新作於台北當代藝術博覽會

Wrinkled Texture 118
Wrinkled Texture 118, 《皴法習作118》  , 2021, 213.5 x 92 cm


Galerie du Monde|Booth A08

VIP Preview May 19, 2022

Public Days  May 20 – 22, 2022

Venue  Taipei World Trade Center  Hall 1
 


New works of Wu Chi-Tsung’s will be showcased in Taipei Dangdai Art Fair represented by Galerie du Monde. This will be the premiere of the Cyano-Collage Series on aluminum in Taiwan. Speaking of the Wrinkled Texture Series and Cyano-Collage Series that both replace the traditional ink and brush used in Chinese Shan Shui painting with experimental photography, Chi-Tsung once shared that “I started to do Cyanotypes simply because I am not satisfied with digital photography nowadays’, and the process of making the two series ‘really similar to how ink painters do Chinese landscapes: they are constructing a world they want to project themselves inside.”





Cyano-Collage 141
Cyano-Collage 141,《氰山集之一百四十一 》, 2022, 225 x 90 cm


世界畫廊|A08展位

貴賓預展 2022年5月19日

公眾展期  2022年5月20日至22日

會址  台北世貿一館

世界畫廊將攜吳季璁新作亮相台北當代藝術博覽會,本次將為鋁製底版《氰山集》系列首次於台灣展出。《氰山集》系列與《皴法習作》系列均使用實驗攝影手段置換傳統山水繪畫中的筆墨,吳季璁曾介紹「開始創作的原因是不滿於當代數位攝影」,並表示「作品如同傳統水墨一樣建立起一個可觀、可居、可遊的世界。」



 


 

Cyano-Collage-051

Cyano-Collage 051 will be Presented at Nguyen Art Foundation in Vietnam
《氰山集之五十一》將於越南Nguyen藝術基金會展出

Cyano-Collage 051
Cyano-Collage 051,《氰山集之五十一》,2018,90 x  300 cm


Illuminated Curiosities


Opening Reception 18:30, Thursday 05 May 2022 at EMASI Nam Long
Public Days May to December 2022
Opening Hours 10:00 ~16:00, Monday, Wednesday and Friday, by appointment only
Venue EMASI Nam Long and EMASI Van Phuc, Ho Chi Minh City, Vietnam



Cyano-Collage 051 will be exhibited in the group exhibition Illuminated Curiosities. Presented by Nguyen Art Foundation (NAF) and Lan Tinh Foundation and featuring 46 artworks from within and outside NAF’s Collection, the exhibition aims to highlight the unique intersection between art and science, especially in today’s world where artistic experimentation and production continue to be ever more diverse, research-driven, and interdisciplinary.


Established in 2018, the Nguyen Art Foundation has worked to build an alternative infrastructure for the arts in Vietnam. It was founded by Quynh Nguyen, under the advisory of Cam Xanh and focuses on artists connected in any way to Vietnam. 


Chi-Tsung met Cam Xanh in Korea in 2016 at the Asia Young 36 exhibition and was later invited by her for an artist residency at MoT+++ which she co-founded. In May 2020, Chi-Tsung and Cam Xanh co-established a studio in Ho Chi Minh City. Except for the Cyano-Collage 051, Still Life 007 – Daffodil and Still Life 012 – Buttercup Treewere also acquired by the foundation. 


The opening reception of the group exhibition will take place on May 5 at EMASI Nam Long where Wu Chi-Tsung’s work will be exhibited. Please RSVP via this link


For general visiting, please make a  reservation prior to your visit via info@nguyenartfoundation.com.






Still Life 007 – Daffodil
Still Life 007 – Daffodil, 《小品之七 水仙》,2018, 14 min 41 sec
Acquired by the Nguyen Art Foundation 


Illuminated Curiosities


開幕酒會 2022年5月5日18時30分,於EMASI Nam Long
展期  2022年5月至12月
開館時間 每週一、週三、週五10時至16時,預約制
地點  越南胡志明市EMASI Nam Long 與 EMASI Van Phuc


這個5月,《氰山集之五十一》將在群展《Illuminated Curiosities》中展出。該展覽由Nguyen 藝術基金會 (NAF) 與 Lan Tinh基金會主辦,展覽主體為包括吳季璁作品在內的Nguyen 藝術基金會藏品,旨在呈現在藝術創作與實踐走向多樣化、研究導向與跨學科的時代背景下,藝術與科學產生的獨特交集與碰撞。


Nguyen 藝術基金會成立於2018年,由Quynh Nguyen創立、Cam Xanh擔任顧問。基金會致力收藏以各種形式與越南有關聯的當代藝術作品,為越南的藝術生態貢獻了獨特的視角與多元的活力。


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,吳季璁受邀在Cam Xanh參與創辦的MoT+++空間中進行了為期三個月的駐村。2020年5月,二人在胡志明市共同成立了一個工作室。除《氰山集之五十一》外,《小品之七 水仙》與《小品之十二 彎子木》也由NAF基金會所典藏。


展覽開幕酒會將於5月5日在EMASI Nam Long舉行,吳季璁的作品也將在此展出,請通過此鏈接預約出席。展期內一般參觀,敬請通過info@nguyenartfoundation.com 進行預約。



 
Still Life

Santa Barbara Independent Features: Visual Artists Bring a Gentle Rewiring to Santa Barbara
《Santa Barbara Independent》展評:視覺藝術家們為聖塔芭芭拉帶來思維挑戰

still life series
 Still Life 014 — Yellow Mai Flower, 《小品之十四 黃梅》,2020, 6 min 55 sec
Acquired by Santa Barbara Museum of Art

Still Life 012 – Buttercup Tree and Still Life 014 – Yellow Mai Flower, both acquired by Santa Barbara Museum of Art, are now on view in the group exhibition Mediated Nature of the museum till December. In an exhibition review in Santa Barbara Independent, it is stated that  the works have “challenged our media consumption habits at a different level.” 


“Chi-Tsung enacts a faux-pas in an entertainment landscape where plants are mere mute extras meant to signify exoticism. His shots linger on a stationary plant for more than six minutes. In his work, the medium of video is camouflaged as painting. Although celebrating the mundane can be an oversubscribed concept, the elaborate care in Chi-Tsung’s work — the crispness of the colors, the subtle mist-like atmosphere enveloping the plants — bends time. The viewer wonders, ‘Have I been watching this flower for six minutes or 20’?


When the medium changes, so does the message. Chi-Tsung’s “Still Life 012 — Buttercup Tree” carves new depths within our experience of mundanity. A shivering leaf becomes a noteworthy event, and mist traveling slowly along a plant’s wet roots becomes an erotic experience.”






Still Life
Still Life 012 – Buttercup Tree,《小品之十二彎子木》, 00;06;58, 2019


吳季璁的兩件錄像作品《小品之十二 彎子木》和《小品之十四 黃梅》被美國聖塔巴巴拉美術館收藏,並將於美術館群展《媒介化的自然》中展出至十二月。當地媒體《Santa Barbara Independent》對該展覽的展評稱《小品》系列影像作品從不同角度挑戰了人們的媒介使用習慣。


「他戲謔般地設置出了一個人工造景,身處其中的植物不過是無聲渲染著東方情懷的臨時演員,鏡頭就這樣在靜止的植物上停留了六分鐘有餘。在這間作品中,影像媒介被偽裝成了繪畫。雖然作品也許並未刻意落腳於對於平凡的讚美,但是其中卻充滿著精緻的細節,那清晰的色彩、籠罩著植物的氤氳煙霧均模糊了時間的概念。令觀眾不僅疑惑,『我看了這朵花多長時間了?是6分鐘還是20分鐘?』


當媒介改變時,其傳遞的信息也隨之改變。季璁的《小品之十二 彎子木》為我們的日常經驗帶來新的感知可能:一片顫抖的樹葉成為令人注目的焦點,而沿著植物的濕潤根部慢慢遊移的水霧則為畫面增添了調情意味的氛圍。」



Written by 文/ Halim Madi


 
Cyano-Collage-078

Financial Times Features: Something in the Water — the Rise of Aquatic Art
《金融時報》報道:水中物——當藝術聚焦於「水」

Cyano-Collage-078
 Cyano-Collage 078, 《氰山集之七十八》,85 x 200cm, 2020
Acquired by the UBS Art Collection 

In a recent article featuring the rise of water-themed art in the Financial Times, Wu Chi-Tsung’s Cyano-Collage Series was introduced in detail as a supporting argument for the potential cultural and philosophical depth of Art of this theme. 


It was stated that Wu Chi-Tsung didn’t originally intend his cyanotypes to be about water. He began the works with mountains in mind, but soon saw that his photographic blue spaces resembled tumultuous waves. As the series grew he began to explore ways the works could be interpreted as traditional Shanshui paintings, ocean views and natural landscapes. 


Chi-Tsung shares that “I was thinking I could try the possibilities of combining earlier techniques and materials, and hoping I could work with Xuan paper.” Regarding the production process that is direct and analogue, “I’m basically like a farmer,” he laughs, “it’s physical. I crumble the paper, I feel the paper. When the humidity is different it affects the paper. If it’s drier, it’s harder. If it’s more humid, it’s softer. There are lots of coincidences that I cannot control. That’s the best part.” 

The writer continued to state that the results are abstract but appear like seascapes. “I cannot say if [the work] is concrete or abstract,” Wu adds. “Chinese landscapes never really represent specific mountains. An artist draws their own interpretation of the scene.” Chi-Tsung’s works are growing ever larger: his recent show at Sean Kelly in New York included a triptych of pieces reaching up to 9m high. The works also reflect the artist’s love of rock climbing in Taipei – “facing a giant wall every day and a sea wave just behind me”. Similarly, his aim is to immerse the viewer in the space.






在《金融時報》近期一篇關於聚焦於「水」的當代藝術的報道中,《氰山集》系列被詳盡介紹以表現該主題作品在文化廣度與哲學深度上的潛力。


報道中介紹道,《氰山集》系列的最初靈感來源於山景而非水景,但藝術家很快就意識到作品的藍色畫面亦形似波濤洶湧的海浪。隨著系列的發展,他挖掘出其多樣解讀的可能性:它們既可以是一幅山水畫、海景也可能是其他自然風景。


吳季璁分享道,「我想嘗試結合早期的技術與材料,並希望能夠使用宣紙來創作」。而談及其直接而手動的創作過程——而談及他在戶外,與化學藥劑與紫外線共同創作的過程——「我就像一個農民」,他笑著說。他創造性地在宣紙塗佈感光藥劑,將其揉皺後曝光兩小時,再將每張相紙在水中清洗,清洗時長取決於他期望達到的效果,最長可達一小時。「這是個物理性的過程。在揉皺紙張時,我能夠感知到它們的狀態。紙張在不同的濕度下會呈現不同質感,在乾燥氣候中會偏硬、空氣潮濕時則柔軟。(製作過程)充滿了偶然與巧合,是我無從控制的,而這正是最有趣的部分」。


作者評論稱這些作品是抽象的,但看起來又仿若海景。「我不願斷言(作品)是具體的還是抽象的」,季璁補充說,「傳統山水畫從來不描繪具體的山,(它們只是)藝術家對於風景的個人性的欣賞與解讀」。季璁在不斷挑戰作品的尺幅,在他最近於紐約尚凱利畫廊舉辦的個展中,最大的一幅寬達9米。對他而言,創作這件作品的體驗與他熱愛的攀岩是相通的,都是「每天面對一堵巨墻,身後就是海浪」。他希望觀眾在欣賞作品時也能夠擁有同樣的沉浸體驗。



Written by/ 文 Francesca Gavin



 
still life series

Still Life 014-Yellow Mai Flower Acquired by UBS Art Collection and Exhibited in New York
《小品之十四 黃梅》加入UBS瑞銀藝術收藏並於紐約展出

still life series
Still Life 014 – Yellow Mai flower, 《小品之十四 黃梅》,2020, 6 min 55 sec


Reimagining: New Perspectives
Date
    January 27 – May 30, 2022
Venue 1285 Avenue of the Americas, New York



We are delighted to share that Wu Chi-Tsung’s  Still Life 014 – Yellow Mai Flower  was recently acquired by the UBS Art Collection and is featured in the latest exhibition Reimagining: New Perspectives in the UBS Art Gallery in New York. 

Located in UBS’s Midtown New York Headquarters, the UBS Art Gallery was initially established in 1985 and has been closed to the public since 2009. This exhibition marks the reopening of the gallery and provides an opportunity for the public to once again discover in person works from one of most important corporate collections of contemporary art in the world.

The exhibition united new acquisitions of the UBS Art Collection. With over 30,000 artworks by some of the most influential artists of our time, the collection aims to collect the most relevant art made today that both challenges and connects people. In 2020, Cyano-Collage 078 was also acquired by the Collection. 






Cyano-Collage 078
Cyano-Collage 078,《氰山集之七十八》,85 x 200cm, 2020


《重塑:新觀點》
日期    2022年1月27日~5月30日
地址    紐約美洲大道1285號


小品之十四 黃梅》近日加入UBS瑞銀藝術收藏,並在位於紐約的瑞銀藝術畫廊的最新展覽《重塑:新觀點》中展出。 

瑞銀藝術收藏為國際上最重要的當代藝術企業收藏之一,旨在收集最具時代性、富有挑戰精神又能連接世界的作品,現擁有超過3萬件來自最具影響力的當代藝術家的作品。2020年,《氰山集之七十八》也被該機構典藏。

瑞銀藝術畫廊位於瑞銀集團位於紐約中城總部大廈,成立於1985年,自2009年以來畫廊暫停向公眾開放。本次展覽是畫廊時隔十餘年再次開放的首個展覽,集中展示了瑞銀藝術收藏近期典藏的作品。



 
cyano_collage_128_s

Works of Cyano-Collage Series and Wrinkled Texture Series will Participate in Frieze Los Angeles
《氰山集》與《皴法習作》系列作品將參展洛杉磯弗里茲藝術博覽會

Cyano-Collage 128
Cyano-Collage 128,《氰山集之一百二十八》,2022,90 x  120 cm


Sean Kelly Gallery | Stand A8
Preview  February 17, 2022
Public Days  February 18-20, 2022
Venue  9900 Wilshire Boulevard,Beverly Hills, CA 90210



Represented by Sean Kelly Gallery, Wu Chi-Tsung’s new works from the Wrinkled Texture Series and the Cyano-Collage Series will be exhibited at Frieze Los Angeles. Last October, upon Chi-Tsung’s first participation in Frieze London, the fair interviewed him in his Taipei studio and produced a documentary video in collaboration with Sean Kelly Gallery. Titled “Wu Chi-Tsung Reinvents Tradition”, the official website of the Frieze featured this video with an article that introduces how he re-evaluates the tradition and his abiding concern with process, perception and vision.



About Frieze 

Frieze Art Fair is an international contemporary art fair in London, New York, and Los Angeles.Frieze London takes place every October in London’s Regent’s Park. In the US, the fair has been running on New York’s Randall’s Island since 2012, with its inaugural Los Angeles edition taking place February 2019.[2][3] The fair was launched by Amanda Sharp and Matthew Slotover, the founders of frieze magazine, and is led by Victoria Siddall, global director of Frieze Fairs. Frieze Art Fair features more than 170 contemporary art galleries, and the fair also includes specially commissioned artists’ projects, a talks programme and an artist-led education schedule.






Cyano-Collage 127
Cyano-Collage 127,《氰山集之一百二十七》,2022,90 x  210 cm



Sean Kelly Gallery | A8展位

公眾開放  2022年2月18~20日
地址  美國加州洛杉磯比佛利山市威爾榭大道9900號,90210


本週,尚凱利畫廊將帶著吳季璁的《皴法習作》與《氰山集》系列新作參加位洛杉磯弗里茲藝術博覽會。在去年10月吳季璁首次亮相倫敦弗里茲藝術博覽會之際,藝博會曾在尚凱利畫廊的協製下前往他在台北的工作室進行採訪與拍攝,製作了名為的《吳季璁:重新定義傳統》影片,並在官方網站中發表專文,介紹吳季璁重審傳統、尊重材料的創作哲學。



關於弗里茲藝術博覽會

弗里茲藝術博覽會是在倫敦、紐約和洛杉磯舉辦的國際當代藝術博覽會,紐約弗里茲博覽會自2012年起在紐約的蘭德爾島舉辦。博覽會由Frieze雜誌的創始人Amanda Sharp和Matthew Slotover發起,並由Frieze Fairs的全球總監Victoria Siddall領導。 弗里茲藝術博覽會擁有170多家當代藝術畫廊,該博覽會還包括特別委託的藝術家項目、會談項目和藝術家主導的教育日程。



Installation View 展覽現場


installation view
Photography: Sebastiano Pellion di Persano
Courtesy: Sean Kelly, New York
installation view
Photography: Sebastiano Pellion di Persano
Courtesy: Sean Kelly, New York


 
installation view

New York Solo Exhibition jing-atmospheres listed as Editors’ Picks by Artnet
紐約個展《境》被Artnet列為編輯精選藝術活動

Installation View
Installation View

Wu Chi-Tsung’s solo exhibition jing-atmospheres was listed in the Editor’s Pick by Artnet News. Each week, the website search for the most exciting and thought-provoking shows, screenings, and events, both digitally and in-person in the New York area. Here are editor Sarah Cascone’s introduction to the exhibition:


In his first show at Sean Kelly, Wu Chi-Tsung presents his “Cyano-Collage” series, which reinterprets he traditional ink and brush landscapes of Chinese shan shui paintings—which translates to “mountain-water-pictures”—through the lens of experimental photography. The artist crumples up cyanotype paper that has a photosensitive coating, exposes it to sunlight, and mounts it on aluminum to create collaged images that recall mountainous landscapes.




Artnet於11月2日發表的「本週最佳展覽」推薦版塊中,個展《境》亦被評價為最「激動人心、引人深思」的展覽。網站編輯Sarah Cascone的推薦詞如下:


「在吳季璁於尚凱利畫廊的首秀中,他展示了其《氰山集》系列作品,這一系列通過實驗影像重新詮釋了中國傳統繪畫中使用水墨演繹的山水意象。藝術家將塗佈藥劑的氰版宣紙揉皺、在陽光下曝曬、並將之拼貼至鋁板上,形成令人聯想至山水的圖像。」



 
exhibition view

Ocula Magazine: Wu Chi-Tsung’s Xuan paper collages open up many visual possibilities
Ocula展評:吳季璁之「境」

Cyano-Collage 119
Wu Chi-Tsung, Cyano-Collage 119 (2021). Cyanotype photography, Xuan paper, acrylic gel, acrylic, mounted on aluminium board in two parts. Each panel: 225 x 91.4 cm; approx. overall: 225 x 180 cm. Courtesy the artist and Sean Kelly.


For his first solo exhibition in the United States at Sean Kelly in New York (jing-atmospheres, 5 November–18 December 2021), Taiwanese artist Wu Chi-Tsung reimagines traditional Chinese landscape painting through film, installation, and photography.


Within this stunning, formally innovative body of works, his ‘Cyano-Collage’ series (2021) utilises Xuan paper treated with photosensitive coating and hung outside to expose them to sunlight. After developing the papers under liquid, the artist combines and mounts them on aluminium.


Exhibition view
Exhibition view: Wu Chi-Tsung, jing-atmospheres, Sean Kelly, New York (5 November–18 December 2021). Courtesy Sean Kelly, New York. Photo: Jason Wyche, New York.

Each work in the series contains multiple pieces of Xuan paper, seamlessly collaged into unified compositions with no discernable boundaries. Cyano-Collage 120, for example, resembles a monumental painting of the ocean with thunderous, cerulean waves. These five ‘Cyano-Collage’ works range in size, though the largest ones span entire walls. (The artist built a vast studio to produce this series.) To complete their surfaces, Chi-Tsung applies white acrylic as a mist, which lends a sense of depth to the landscapes. Sometimes this spectral white acrylic resembles an intense energy surge. The beauty of these cyanotype collages is that they are both hyper-realistic and indeterminable, resisting any fixed reading.


‘They could be anything, because they are not representing any real landscape’, the artist has explained. ‘This is the spirit of a Chinese landscape.’


The ‘Cyano-Collage’ works are based on Chinese shan shui paintings, which literally translates to ‘mountain-water-pictures’. And like shan shui, which do not follow Western linear perspective, the ‘Cyano-Collage’ works encourage mobile viewing, inviting the eye to move around the work and construct the image in the process.


Exhibition view: Wu Chi-Tsung, jing-atmospheres, Sean Kelly, New York (5 November–18 December 2021). Courtesy Sean Kelly, New York. Photo: Jason Wyche, New York.

Formally trained in Chinese calligraphy and ink art, Chi-Tsung explores the essence of Chinese landscape painting and what it might offer the viewer. In 2012, he turned to photography to do this. Unsatisfied with the medium’s contemporary formats, Chi-Tsung turned to cyanotype—a method that has been used since the mid-1800s.Various artists, most notably Robert Rauschenberg early in his career, have experimented with the cyanotype process. Drawn to its use of light rather than the dark room, the sun is as important a material to Chi-Tsung as Xuan paper.


Developing the images by exposing them to sunlight, cyanotype offers Chi-Tsung a time- and chance-based process, with the paper’s crumpled surface encouraging different tonalities.


‘The best works,’ the artist has noted, ‘always come from some kind of coincidence . . . Most artists have a strong ego. We try to control our work. But the more you try to control it, the more likely you lose the possibility. Let the work grow in the way it should.’


Exhibition view
Exhibition view: Wu Chi-Tsung, jing-atmospheres, Sean Kelly, New York (5 November–18 December 2021). Courtesy Sean Kelly, New York. Photo: Jason Wyche, New York.

While invigorating the Chinese landscape tradition, cyanotypes also offer an exercise in ego depletion, with Chu-Tsing relinquishing control to put faith in the material instead.


The artist’s deference to the life and agency of materials is also evident in the installation Dust (2006), situated in the lower level of the gallery. A camera is positioned at one end of the darkened room with its lens focused on the light of a projector installed at the opposite end.


The camera feeds a live video signal to the projector, which projects this recording of the circulation of dust particles in the room onto the wall behind the camera. As viewers move through the space, they disrupt and speed up the flickering and glimmering of the enlarged dust particles projected on the wall.The result is unexpectedly spiritual: an effervescent projection of colourful, shimmering dots that swirl and move energetically in an otherworldly ambiance.Particles of dust are transformed into an entire cosmos. The material here is not only the technological support of the camera and projector, but also dust itself—something so banal and ubiquitous­ that Chi-Tsung animates with life and verve of its own.


Chi-Tsung refers to the Buddhist term zi xing (自性), which translates to ‘self-being’, or one’s own nature. ‘If I could just lower my ego,’ he says, ‘and let the material show what it is, at the same time I could get real freedom through that. In this way I am helping the material to find its own being.’


The brilliance of Chi-Tsung’s works lies in the fact that he elevates materials—dust, Xuan paper, and sunlight—beyond human meanings and uses, with an unerring sense that the material is as in control of the final outcome as the artist himself.


By Emily Chun






Exhibition view
Exhibition view: Wu Chi-Tsung, jing-atmospheres, Sean Kelly, New York (5 November–18 December 2021). Courtesy Sean Kelly, New York. Photo: Jason Wyche, New York.


正在尚·凱利畫廊舉辦的「境」(展期:2021 年 11 月 5 日至 12 月 18 日),是臺灣藝術家吳季璁在美國的首次個展。他將中國傳統山水畫的概念轉譯為電影、裝置和攝影的當代語言,產生了形式創新的驚艷作品。新作「氰山集」系列(均作於 2021 年)由八個叠代作品組成。


例如,《氰山集之一百二十》(2021)乍一看是一幅巨大的海景畫,上面有雷鳴般的青色波浪,但仔細一看卻是宣紙上的氰版拼貼。為了製作這些作品,吳季璁把經過感光塗劑處理的宣紙揉皺,然後把它們掛在外面暴曬。在液體下對這些紙進行顯影後,藝術家將多張紙組合在一起並裱在鋁板上。


該系列的每件作品都包含幾十張宣紙,他花了一年多時間集齊這些宣紙,看起來拼貼得天衣無縫,聚合成完全統一、看不出邊界的構圖。八件氰版拼貼作品大小不一,最大的作品占據了一整面墻。(為了創作這一系列作品,藝術家搭建了一個有高天花板和開放空間的新工作室。)


Cyano-Collage 120
Wu Chi-Tsung in front of Cyano-Collage 120
Courtesy Sean Kelly, New York. Photo: Jason Wyche, New York.

這些作品頗富紋理的表面開啟了自然現象的諸多可能:如前所述,這些作品與劇烈的海浪或漩渦最為相似,但從另一角度看,它們也令人想起冰山或地質巖。在對這些作品進行最後潤色時,吳季璁塗抹了一層如同霧氣的白色丙烯,使表面生動起來,風景有了深度感。


有時,這縹緲的白色丙烯也像是閃電或某種強烈的能量,湧動在山地景觀中。這些氰版拼貼作品的美妙之處在於,它們是超寫實的,但卻不是任何特定物的寫實,它們不會泄露自己描繪的內容。像所有好的藝術一樣,它們顛覆了任何先入為主的知識或人們一開始認定它是什麽(對我來說是海浪)的信心。正如吳季璁所說:「它們可以是任何東西,因為它們不代表任何真實的風景。這就是中國山水的精神。」


「氰山集」以山水畫為基礎。如同山水一樣,這些作品不遵循西方的線性透視系統和固定的視線,而是創造崇高的、令人沈浸其中的構圖,引得視線在作品周圍移動,並在移動過程中構建出圖像,因為它們不屈從於單一的透視滅點。吳季璁從小接受書法、水墨和素描的正式訓練,他更感興趣的是山水畫的精神和本質,以及它能為觀者提供怎樣的空間體驗,而非嚴格遵守某些執行方式。


Exhibition view
Exhibition view: Wu Chi-Tsung, jing-atmospheres, Sean Kelly, New York (5 November–18 December 2021). Courtesy Sean Kelly, New York. Photo: Jason Wyche, New York.

吳季璁 2012年開始製作氰版作品,因為不滿於目前大多數的攝影模式,他轉向了早期的攝影技術,特別是自 19 世紀中期以來一直在使用的氰版攝影。氰版因其高度實驗性的特質,曾被眾多藝術家所用,尤為矚目的是羅伯特·勞森伯格(Robert Rauschenberg)1950 年代在其藝術生涯早期的創作。


吳季璁被氰版在陽光下的作用所吸引,意識到這違背了他對攝影的期望,因為傳統攝影總是在暗室或黑箱中進行。對他來說,太陽和宣紙本身一樣是一種重要的媒介。藝術家指出:「最好的作品總是來自某種巧合……大多數藝術家都有強烈的自我意識。我們試圖控製自己的作品,但越是試圖控製它,就越會失去可能性。要讓作品以它該有的方式成長。」


dust
Dust,灰塵,2006

使用氰版工作不僅是吳季璁用創新技術為山水傳統註入活力的一種方式。也是對自我的一種鍛煉,一個放棄藝術控製的機會,信任材料的自我生長,「以它該有的方式」。藝術家對材料生命和作用的尊重同樣體現在位於畫廊下層的裝置作品《灰塵》(2006)中。


昏暗的房間裏,一端放置著攝像機,鏡頭對準了另一端的投影儀光源。攝像機將實時視頻信號傳送給投影儀,投影儀將房間裏灰塵顆粒的遊走投射到攝像機後面的墻上。觀眾在空間中移動時,他們擾亂並加速了投射在墻上、被放大的灰塵顆粒的閃爍和亮光。


如果這在技術上聽起來很深奧,那麽其結果卻有著驚人的靈性:五光十色的閃爍小點在異世界的氛圍中活力四射地旋轉和移動,塵粒化為整個宇宙。這裏的材料不僅僅是攝像機和投影儀的技術支持,還有灰塵本身——它是如此平庸和無處不在的東西,而吳季璁用灰塵的生命和活力令作品生動起來。


其實,材料和藝術家本人一樣控製著最終結果。


文/ Emily Chun
譯/ 鐘山雨



 

Fireze London

Frieze: Wu Chi-Tsung Reinvents Tradition
Frieze專文《吳季璁重新定義傳統》

Produced by Frieze Studios in collaboration with Sean Kelly New York
Frieze Studio製作、尚凱利畫廊協製影片


‘I started to do Cyanotypes simply because I am not satisfied with photography nowadays’ explains artist Wu Chi-Tsung in this video, filmed in his studio in Taipei, Taiwan. A technique drawn from the early era of photography, Wu executes his Cyanotypes by applying chemicals to Xuan paper, which is crumpled by hand and exposed to sunlight on the roof of his studio; the artist then arranges the glacial forms that emerge onto aluminium mounts. The resultant ‘Cyano-Collages’ recalling the landscapes of the traditional shan shuior ‘mountain water’ tradition. 


‘It’s really similar to how ink painters do Chinese landscapes,’ says Chi-Tsung, ‘they are building up, creating the worlds they want to project themselves inside.’ Trained in the traditional idioms of calligraphy and brush and ink Chi-Tsung’s commitment to innovative use of new and historic media and technology has seen him engage photography, projection, installation and moving image in works such as Dust (2006) and Wire VI (2021). Despite this diversity, his practice is united by an abiding, almost spiritual concern with process, perception and vision. ‘I’m helping material to find its own being ’ Chi-Tsung explains, ‘at the same time I open up myself’.



‘Wu Chi-Tsung: jing atmospheres’ is on view at Sean Kelly, New York from 5 November to 18 December 2021.






Cyano-Collage Series
Cyano-Collage Series at Frieze London 《氰山集》系列於倫敦弗里茲藝術博覽會
Photography: Sebastiano Pellion di Persano Courtesy: Sean Kelly, New York


在吳季璁首次亮相倫敦弗里茲藝術博覽會之際,藝博會在尚凱利畫廊的協製下前往他在台北的工作室進行採訪與拍攝,製作了名為的《吳季璁:重新定義傳統》影片,並在官方網站中發表專文,介紹吳季璁重審傳統、尊重材料的創作哲學。


文中,吳季璁分享道,「《氰山集》的誕生來自於我對於當下的攝影的不滿足」,並介紹「其內核與水墨畫很像。我們都是建立起一個令自己能夠適意棲居世界。」



 
still life series

Still Life Series showcased in the group exhibition INK Dreams at Los Angeles County Museum of Art
《小品系列》參展洛杉磯郡藝術博物館群展《Ink Dreams》

Still Life 012
Still Life 012 – Buttercup Tree,小品之十二 彎子木,00;06;58,2019


Still Life 012 – Buttercup Tree was recently donated to Los Angeles County Museum of Art by Ink Foundation and was showcased in the group exhibition INK Dreams of the museum. 


The exhibition featured works from the ink collection of French collectors and philanthropists Gerard Cognie and Dora Cognie, who have lived in Switzerland for nearly 20 years.  In the name of the Ink Foundation, the couple have generously donated nearly 400 works to LACMA, a vast collection of ink-related artworks that will shift the direction of the research on contemporary Chinese art at the museum. 


The Ink Foundation’s research is not limited to Chinese art, but focuses on the spirit of ink painting, and includes international contemporary artworks into it. Artists in this collection includes Chinese artists Bing Yi, Gu Wenda, Li Huasheng, Lin Tianmiao, Liu Dan, Liu Guosong, Xu Bing, and Zheng Chongbin, as well as Japanese, Korean, and international artists such as Park Seo-Bo, Lee U-fan, and Hiroshi Sugimoto, Osamu Suzuki, Kitamura Junko, Idris Khan, Shirazeh Houshiary, Ophelie Asch, Irma Blank, and many others. The works in the collection range from calligraphy to ink paintings, sculpture, prints, and installation works, and Wu Chi-Tsung’s Still Life Series is the only video installation in the collection.


LACMA is the largest art museum in the western United States, with seven galleries and a collection of more than 135,000 objects covering modern and contemporary art, ancient art, American art, Asian art, European art, and more. The Museum is committed to drawing inspiration from the region’s rich cultural heritage and diverse populations, and to sharing a diverse and global-minded art history.






小品之十二 彎子木》則是由來自瑞士的Ink  Foundation捐獻給洛杉磯郡藝術博物館(LACMA),並於群展《INK Dreams》中展出。


《INK Dreams》展覽呈現居於瑞士的法國收藏家與慈善家Gerard Cognie 和Dora Cognie近20年來的水墨藏品。The Cognies以Ink Foundation為名,慷慨捐贈了近400件作品給予LACMA,這批大量的水墨藏品將會改變美術館的當代中國藝術研究方向。Ink Foundation的關注不局限於中國,而是以水墨精神為主,將國際當代的藝術品都納入典藏範疇,收藏藝術家作品包括華人藝術家冰逸、古文達、李華生、林天苗、劉丹、劉國松、徐冰、鄭重賓,日韓與國際藝術家包括朴栖甫(Park Seo-Bo)、李禹煥、杉本博司、鈴木藏、Kitamura Junko、Idris Khan、Shirazeh Houshiary、Ophelie Asch、Irma Blank等。典藏作品自書法到紙本水墨、雕塑、版畫、裝置作品皆有涉獵,而吳季璁的《小品》是唯一一件錄像藏品。


洛杉磯郡藝術博物館是美國西部最大的藝術博物館,共有7座展館,收藏逾13.5萬件藏品,涵蓋現當代藝術、古代藝術、美洲藝術、亞洲藝術、歐洲藝術等。美術館致力於從該地區豐富的文化遺產和多樣化的人口中汲取靈感、分享多元而全球化的藝術史。



 
Still Life

Two Still Life Series ACQUIRED BY Santa Barbara Museum of Art
美國聖塔巴巴拉美術館典藏兩件《小品系列》作品

Still life 012
Still Life 012 – Buttercup Tree,《小品之十二彎子木》, 00;06;58, 2019

Two of Wu Chi-Tsung’s video works, Still Life 012 – Buttercup Tree and Still Life 014 – Yellow Mai Flower, were acquired by Santa Barbara Museum of Art. The works are now exhibited in the group exhibition Mediated Nature.


Located in California, the Santa Barbara Museum of Art (SBMA) was established in 1941, and its building was formerly a post office in the downtown. As a small to medium-sized local museum, the collection of the Santa Barbara Museum of Fine Arts is exquisite and delicate, with a high span of works collected across ancient and modern Europe and Asia, including early Greek and Roman artifacts, Asian art and antiquities from China, Japan and Korea, 19th and 20th century European and American paintings, and international contemporary art.


For each collection focus, more than one curator in the museum is responsible for its exhibition and acquisitions plans. It is worth mentioning that the Museum’s Photography and New Media Art is an independent department, currently led by curator Charlie Wylie, and the acquisition of the Still Life Series was carried out by this department. The Museum also has a strong connection to the local community. Many art lovers enthusiastically volunteer to be docents during their leisure time. In addition to private donations as a source of funding, the museum also relies on generous donations from the public, making the museum a place where memories and histories are shared with local residents.


The exhibition will run through Dec 1, 2022. 






吳季璁的兩件錄像作品《小品之十二 彎子木》和《小品之十四 黃梅》被美國聖塔巴巴拉美術館收藏,並於美術館群展《媒介化的自然》中展出。


位於加州的聖塔巴巴拉美術館(SBMA)成立於1941年,其建築物前身為市中心的郵局,後來透過私人捐助等預算不斷擴建館舍,近期才完成耗時七年的裝修改建。 身為中小型的地方博物館,聖塔芭芭拉美術館的藏品精緻細膩,作品收藏跨度極高,橫跨古今歐亞,囊括早期希臘和羅馬文物、亞洲中日韓三地藝術和古物、19和20世紀的歐美繪畫,國際當代藝術,每個收藏重點皆由一位以上館內策展人負責作品展出與購藏的規劃。值得一提的是館內「攝影與新媒體藝術」是獨立出來的部門,目前由策展人Charlie Wylie主導,《小品系列》作品正是由這一部門購藏。


美術館與地方社群的連結極深,許多藝文愛好者會在閒暇之餘熱心參與館內導覽活動。另外,除了以私人捐贈作為經費來源,館內眾多藏品也仰賴民間捐獻,使美術館成為與在地居民共譜記憶的場域。


展覽將持續至2022年12月1日。



 
portrait

Artnet: Chinese Landscape Painting With Video, Light, and a Big Dose of Chance
Artnet專訪: 由影像、光與隨機性組成的水墨畫

Wu Chi-Tsung Is Drawing Global Notice for Revamping Chinese Landscape Painting With Video, Light, and a Big Dose of Chance


The Taiwanese artist hopes his journey to the international stage might be an inspiration for other young artists from Asia.



Wu Chi-Tsung and his Cyano-Collage series.
Wu Chi-Tsung and his Cyano-Collage series. Photo by Jason Wyche. Courtesy of the artist and Sean Kelly Gallery.


When the artist Wu Chi-Tsung decided to take a leap of faith and seek representation outside his native Taiwan five years ago, he might have only hoped that it was the start of a global adventure. His travels have since taken him to Hong Kong, Berlin and now the U.S., where the 40-year-old has his first solo show this week at Sean Kelly Gallery in New York. Wu sees the exhibition as a major breakthrough not only for his own career but also, possibly, for other Asian artists of his generation.


“I really hope this journey, one that has been full of trial and error in finding a way out, can inspire more young artists to go out to find opportunities, to see this big world,” Wu told Artnet News, speaking on a video call from the New York gallery where he was putting the final touches on his exhibition “Wu Chi-Tsung: jing-atmospheres, opening on November 4.


The embrace of the unknown not only forms the basis of Wu’s philosophy towards his life, but his artistic practice as well. From the production process to the final outcome, his work is often full of surprises, even to the artist himself.


 installation shot
An installation shot of “Wu Chi-Tsung: jing-atmospheres”. Photo: Jason Wyche. Courtesy of the artist and Sean Kelly

Take his well-known Cyano-Collage series, for example. They might look like traditional Chinese ink landscape paintings from afar, but on closer inspection, the works are an amazing illusion created using cyanotypes on Xuan paper, which is treated with a photosensitive coating and then exposed in the sunlight. The paper is crumpled, forming wrinkles and cracks. Each piece is an experiment, and when they are all put together, they form a collaged image that might resemble a mountain, or sometimes glaciers, or stormy seas.


“Most artists have a strong ego. We try to control our work,” Wu said. “But the more you try to control it, the more likely you lose the possibility. Sometimes, we should just let it go. Let the work grow in the way it should.”


Confronting challenges and changes


Wu has studios in Taipei and Berlin, and he also sometimes works in Vietnam. But his jet-setting practice was interrupted by the COVID-19 pandemic. Unable to travel abroad, Wu turned to explore his native Taiwan instead, readopting his teenage passion of rock climbing on some of the wildest cliffs that can be found on the island. The challenges to his physical and mental strength that come from dangling over the edge of a precipice also helped reset his views on professional and personal growth.


“I’ve known myself better. It has been a preparation for my life this year,” the artist said.


Drawing Study 001 – Seascapes Longdong
Wu Chi-Tsung, Drawing Study 001 – Seascapes Longdong. Courtesy of the artist.

And it has indeed been a busy year for Wu. Before this month’s show with Sean Kelly, the artist had already staged two solo exhibitions, one with Galerie du Monde in Hong Kong in March, and the other with Tao Art Space in Taipei in May. But while the two Asian shows highlighted the distinctive elements of Wu’s work that are already familiar to local audiences, the New York show takes a completely different approach. “It is a very clear survey of my practice,” Wu said.


The show at Sean Kelly Gallery also acts as a formal introduction of his work to a U.S. audience. A great deal of the artist’s time over the past few months has been spent on discussing the curatorial approach behind the presentation, Wu said, and the result is a streamlined narrative of his career.


At the start of the exhibition is a work from the Wire series, which Wu began developing in 2003. The moving image installation uses a set up similar to a magic lantern (an early type of projector), with a strong light shining through a piece of crumpled wire mesh, while a motor constantly shifts the focus of the projected image on the wall, creating an enigmatic impression of mountains.


The show also includes video works, such as Wu’s Still Life series, which feature hazy close-ups of flowers and plants, as well as Drawing Study 001 – Seascape Longdong, created this year and showing a breathtaking view of Taiwan’s coast.


The centerpieces of the show are the large-scale Cyano-Collage works—one measuring 9 meters by 3 meters and the other a massive circle with a diameter of 3.6 meter. Wu said he had to set up a new studio just to create the monumental works.


Concluding the exhibition is Dust, in which particles floating in the air are projected on the gallery wall. The circular motion of glittering dust “looks like a universe from an Eastern cultural perspective,” Wu said, adding: “I’m happy about the whole show.”


Installation shot
Installation shot of “Wu Chi-Tsung: jing-atmospheres”. Photo: Jason Wyche. Courtesy of Sean Kelly.

The Journey from Taiwan to an International Stage


Born in 1981, Wu studied oil painting at the Taipei National University of the Arts. He had a few solo shows in Taiwan during the early stages of his career, but the island of around 24 million people was not big enough to contain his ambition.


Wu took up artist residencies in New York, as a grantee of the Asian Cultural Council in 2013, and in Berlin, at the Künstlerhaus Bethanien in 2017. Galerie du Monde, one of Hong Kong’s oldest galleries, helped introduce the artist to a more international art crowd, not just through gallery shows but at Art Basel Hong Kong in 2018, with a solo booth that sold out on the fair’s opening day. And Wu’s reinterpretation of traditional Chinese landscape painting won him the coveted Liu Kuo Sung Ink Art Award in Hong Kong.


Today, Wu is among a small group of East Asian artists who are appearing on a world stage thanks to the attention of Western galleries. The accomplishment is even rarer for an artist of his age, and coming from Taiwan. While many leading Western galleries have set up shop in Asia, only a handful of them have brought relatively young Asian artists back to the dealers’ home turf in Europe or the U.S.


Simon Lee Gallery, for example, has shown the Hong Kong-based artist Chris Huen (born 1991) in London in 2020. Cao Fei (born 1978), from mainland China, is now having a solo show with Sprüth Magers in Los Angeles. White Cube has presented the Berlin- and Beijing-based He Xiangyu (born 1986) in London. And Eli Klein Gallery in New York staged a group show of paintings from Taiwan by artists from different generations, including Chou Tai-Chun, Chih-Hung Liu, Hai-Hsin Huang and Hu Chau-Tsung—all born in the 1980s—alongside the work of Modern masters such as Hsiao Chin and Ho Kan.



Wu Chi-Tsung, Dust (2021). Photo: Sylvia Lee. Courtesy of the artist.

Sean Kelly, who opened a project space in Taipei in the beginning of 2019,  saw adding Wu to his star-studded roster of artists as “a big responsibility and a big opportunity,” he told Artnet News. “I was just immediately really impressed with him. I was very drawn to the fact that he had a rigorous formal training in Chinese ink landscape painting. But at the same time, clearly, his intelligence and natural inquisitiveness has led him from the traditional form of depiction to a very postmodern position of questioning his formal training, [and] the formal presentation of the work.”


Kelly has included Wu’s work in previous group shows and brought it to art fairs, most recently Frieze London, where three of Wu’s works sold on the opening day. “Frankly, he was the star of the show,” the dealer said. “If we’d had 10 of his works, we would’ve sold them all.”


Kelly also believes that the artist has what it takes to weather the art world’s shifting tastes. “Wu Chi-tsung has a very distinctive language, one that is rooted in traditions but also feels very international and contemporary,” the dealer noted.


And Wu is certainly ready to embark on the next chapter of his career. His work is already included in some institutions in the U.S., such as the Santa Barbara Museum of Art and the Asian Art Museum of San Francisco. He is now spending around two months in America, traveling between the East and West coast shows.


“I don’t feel that I’m bringing my work around to show people, but rather, my art takes me around and shows me the world,” Wu said, adding: “It’s a privilege to be an artist. Our lives are unexpected, full of possibilities. We never know what will happen.”



Written by/ Vivienne Chow




近日,吳季璁接受Artnet專訪,分享目前於Sean Kelly Gallery進行的紐約個展《境》的細節與創作心得。

其中,吳季璁分享道,「我十分希望這場充滿試錯與探索的旅程能夠啟發更多的年輕藝術家去放眼海外、尋找機會。」文章則進一步指出,「擁抱未知、探索世界」不僅是吳季璁生活哲學的基礎,也是其藝術實踐的重要關鍵詞。從作品的製作到最終的成果,其作品無處不充滿著偶然,帶給觀眾甚至藝術家本人以無限驚喜。

Artnet於11月2日發表的「本週最佳展覽」推薦版塊中,個展《境》亦被評價為最「激動人心、引人深思」的展覽。



 
cyano-collage production

Wu Chi-Tsung’s Solo Exhibition Jing-atmospheres at Sean Kelly New York
美國首次個展《境》於尚凱利畫廊


Cyano-Collage production


jing-atmospheres

Dates
November 5 – December 18, 2021
Opening Reception Thursday, November 4, 6-8pm



Sean Kelly is delighted to present jing-atmospheres, Wu Chi-Tsung’s first solo exhibition in the gallery and indeed the United States. Chi-Tsung’s innovative body of work encompasses 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. This exhibition features new Cyano-Collages, videos, and an immersive film installation. There will be an opening reception on Thursday, November 4 from 6-8pm, the artist will be present at the gallery.


Wu Chi-Tsung was trained from an early age in the traditions of Chinese calligraphy, Chinese ink painting, watercolor, and drawing, and worked in these time-honored idioms for many years. While those practices still inform his process, Chi-Tsung’s current work seeks to understand how media and technology are manipulated to represent our relationship to the world. In the main gallery, there are new iterations of his Cyano-Collage series, in which he connects Eastern and Western culture and art to integrate traditional aesthetics within a striking contemporary language. His Cyano-Collages replace the traditional ink and brush used in Chinese shan shui paintings –literally, “mountain-water-pictures”—with experimental photography to reinvigorate the traditional landscape language. To create these stunning images, Chi-Tsung prepares hundreds of cyanotype photographic papers—Xuan paper treated with a photosensitive coating—that are crumpled, exposed to sunlight, and then mounted onto aluminum, creating a spectrum of tonalities. The results are collaged images that resemble the mountainous landscapes often found in Chinese shan shui paintings, but which are produced using completely a contemporary process.


Utilizing video, installation, and photography, Wu Chi-Tsung discovered in these new media compelling conceptual stratagems that spurred new and dynamic approaches to image making. Featured in the main gallery are two new films from Wu Chi-Tsung’s Still Life series, that conceptually translate motifs of traditional cut-branch flower painting into time-based moving images. Describing these works, Chi-Tsung stated that they are inspired, “by a cherished memory of painting; however, the mourning over this lost memory might not be limited to painting only. Some nameless emotions and memories unconsciously and slowly dissipate until, to our surprise, they are far away and cloaked by a white mist, their appearances obscured.”


In the front gallery, is a work from Wu Chi-Tsung’s Wire series, begun in 2003. Applying a structure similar to a magic lantern – an early type of image projector that used a light source, pictures printed on transparent plates, and one or more lenses – Chi-Tsung’s Wire VI, uses an automated mechanical control to repeatedly adjust the focal length of a camera trained on a single piece of wire mesh. A strong light illuminates the mesh and is directed through a large camera lens that projects a continually evolving image onto the wall. The result is a moving image that suggests an exquisite Chinese landscape. With this work, Wu Chi-Tsung explores how images change the way we see and imagine the outside world. 


In the lower gallery, Chi-Tsung’s 2006 installation, Dust, investigates the artist’s deep concern with our relationship to images. A camera, positioned at one end of the darkened gallery, has its lens focused on the light of a projector installed at the opposite end of the room. The camera is focused on the center of the room and sends a live video signal to the projector. Thus, a recording of the reflection of the circulation of dust particles moving about the room are projected on the wall, wavering and glimmering. As viewers progress through the space, disrupting the flow of air, the images of flickering dust change constantly and instantaneously. The emerging and hidden images in Chi-Tsung’s work suggests a new relationship between artist and media, image and viewer.



Born in 1981 in Taipei, 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, the WRO Media Art Biennial, 2013 and the Taipei Arts Award, 2003. He was short-listed for the Prudential Eye Awards, 2015 and the Artes Mundi, 2006. His work has been included in international exhibitions at institutions such as the Mori Art Museum, Japan; the 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; the Central Academy of Fine Arts (CAFA) Art Museum, Beijing, China; Shanghai Art Museum, China; the Seoul Museum of Art, South Korea; the 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 and the Taipei Fine Arts Museum, Taiwan amongst others. His work is included in renowned collections such as the Arario Museum, Seoul, South Korea; the Borusan contemporary, Istanbul, Turkey; the M+ Museum, Hong Kong, China; the Santa Barbara Museum of Art, Santa Barbara, California; the Spencer Museum of Art, Lawrence, Kansas; the The University of Salford Art Collection, Salford, United Kingdom; the Ullens Center for Contemporary Art, Beijing, China; the White Rabbit Gallery, Chippendale, Australia; the Yu Hsiu Museum of Art, Nantou, Taiwan and the Post Vidai Collection, Ho Chi Minh City, Vietnam.





Production process of Cyano-Collage 120, 2021, 300 x 900cm

Being listed as one of the ‘most exciting and thought-provoking’ show in New York area by the Artnet, Wu Chi-Tsung’s solo exhibition jing-atmospheres will be closing tomorrow. 


Wu considers the New York show a very clear survey of his practice. The show features works that span his whole artist career, as early as the Wire VI which has been developed since he was a college student, as well as the installation work Dust, and as recent as the two huge Cyano-Collage Series that were conducted at the new Tamsui studio, and three video works.


Before the exhibition’s opening, Wu Chi-Tsung was interviewed by author Vivienne Chow at Artnet. Her article, titled Wu Chi-Tsung Is Drawing Global Notice for Revamping Chinese Landscape Painting With Video, Light, and a Big Dose of Chance reviewed Wu Chi-Tsung’s international journey after he realized that Taiwan is not big enough to contain his ambition. 


The article states that Wu is now “among a small group of East Asian artists who are appearing on a world stage thanks to the attention of Western galleries. The accomplishment is even rarer for an artist of his age, and coming from Taiwan. While many leading Western galleries have set up shop in Asia, only a handful of them have brought relatively young Asian artists back to the dealers’ home turf in Europe or the U.S.”


Wire VI ,2021
Wire VI ,2021

Wu Chi-Tsung has received art training from both Eastern and Western sources, which is a common upbringing in Taiwan.“We actually grew up bilingual, and it is unlikely that a Western artist would have practiced calligraphy and ink painting since childhood, but Asian artists are generally trained in Western art, and this is obviously our best characteristic and competitive advantage”, said the artist to Vogue Taiwan in an interview prior to the show. In addition, he has taken up artist residencies in several countries. In addition to the two studios in Taiwan, he has set up studios in Saigon and Berlin. The intensity of his experience in both Eastern and Western cultures, as well as the breadth of his vision has contributed to the fascinating diversity and openness in his works, from materials, aesthetic to concept. Whether to audiences from different cultures or professionals in the fields of new media, ink painting, or photography, his work always strikes them as a mixture of familiarity and surprise. By introspecting and outlooking, Wu Chi-Tsung has formed an unique artistic language that is rich and liberated, and free from language and cultural barriers. 


Wu shared that, “I really hope this journey, one that has been full of trial and error in finding a way out, can inspire more young artists to go out to find opportunities, to see this big world.”






Produced by Frieze Studios, in collaboration with Sean Kelly, New York 



《境》

日期 2021年11月5日-12月18日
開幕酒會 11月4日(週四),下午6-8點



尚凱利畫廊榮幸呈現吳季璁在畫廊的首次個展《境》,這也是他在美國的首秀。吳季璁的充滿新意的創作橫跨多種媒材,包括攝影、錄像、裝置和繪畫,在這些作品中,他結合傳統與現代的形式和方法來詮釋他對現實和自然世界的思考。本次展覽將展出《氰山集》系列新作及藝術家代表性的裝置與錄像作品。開幕酒會將於11月4日星期四下午6-8點舉辦,屆時藝術家將蒞臨現場。


吳季璁從小接受中國傳統書畫與水彩、素描的訓練,這些來自東西方的傳統技法奠定了他的創作基調與思維方式,同時,他在創作中關注人與媒體、技術與之間相互操縱與控制的關係。展覽的主展廳將陳列《氰山集》系列新作,這一系列結合了東西方的美學與技法,將傳統融入了其充滿想象的當代語言中。藝術家使用「氰版山水」取代了傳統繪畫中的筆墨,以實驗攝影的形式重新詮釋了傳統的山水世界。他準備了數百張經過感光藥劑處理的宣紙,將之揉皺後暴曬於陽光下,通過控制曝光的強度與時長,宣紙得以顯現出不同色調,隨後,再將氰版相紙拼貼至鋁板上,藉此,他用完全現當代的工藝呈現出了與傳統山水如出一轍的詩意畫面。


吳季璁亦靈活利用影像、裝置和攝影等新媒體媒材,以傳達他對於「影像」的持續思考與探索。本次,《小品之十四 黃梅》也將在主展廳中呈現。據藝術家介紹,這一系列作品將傳統繪畫中的折枝花鳥畫轉化為時基影像,其靈感來自於「對繪畫的緬懷;但緬懷追悼的,或許不僅止於繪畫。某些無以名狀的情感和記憶,不知不覺中慢慢的消逝,等到你忽然驚覺,它們早已遠去,淹沒在一片白霧中,面目模糊難以辨識。」


在前廳展示的是開始於2003年的《鐵絲網》系列作品。這一系列采用了類似於幻燈(早期的圖像投影儀,由光源、印在透明板上的圖片與鏡頭組成)的結構:一片鐵絲網被強光照亮,相機鏡頭對準鐵絲網,一個自動機械裝置反復控制著相機的焦距,從而產生不斷變化的圖像並投射到墻上,而其呈現的畫面卻富有山水意境。藉此,吳季璁探索了影像如何改變我們看待和想象外部世界的方式。


在下層展廳展出的裝置作品《灰塵》(2006年)繼續著藝術家對於觀者與影像的關係的探索。黑暗展廳的一端是一台相機,其鏡頭對準安裝在房間另一端的投影儀的光源,並向投影儀發送實時信號。因而,房間內移動的灰塵顆粒被記錄並投射到幕布上,它們搖擺不定,閃閃發光。當觀眾在空間中前進,擾亂了空氣的流動,閃爍的灰塵的影像便會隨之不斷變化。這些若隱若現的影像傳達了藝術家對於媒體、影像和觀眾之間的關係的思辨。



吳季璁1981年生於臺北,目前在臺灣臺北和德國柏林生活和工作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年獲台北美術獎首獎。他曾入圍英國世界藝術獎(Artes Mundi,2006)、英國保誠當代藝術獎(Prudential Eye Awards,2015)。他的作品曾於日本森美術館、英國卡迪夫國家博物館、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、中國上海民生21世紀博物館、中國銀川當代藝術館、日本廣島市現代藝術館、中國北京尤倫斯當代藝術中心(UCCA)和臺灣臺北市立美術館等國內外藝術機構展出。他的作品被多家著名博物館收藏,如韓國首爾阿拉里奧美術館、土耳其伊斯坦堡的Borusan Contemporary Art Collection、香港的M+博物館、美國加州聖巴巴拉藝術博物館、斯賓塞藝術博物館、英國索爾福德大學藝術館,英國索爾福德市、中國尤倫斯當代藝術中心、澳大利亞白兔美術館、台灣南投毓秀美術館、越南Post Vidai Collection等。






Cyano-Collage 121
Wu Chi-Tsung in front of Cyano-Collage 121 吳季璁與《氰山集之一百二十一》
Photography: Jason Wyche, New York, Courtesy: Sean Kelly, New York

個展《境》,被Artnet News列為紐約地區「最激動人心與令人深思」的展覽之一。


對於吳季璁而言,尚凱利策劃的展覽是對其創作的完整梳理,展出作品跨越了他的整個藝術生涯——早至他從學生時代便開始創作的《鐵絲網》系列、裝置作品《灰塵》、近至他在淡水新工作室完成的兩件巨幅《氰山集》系列,與三件錄像作品。


展覽開幕前,吳季璁在畫廊接受了Artnet作者Vivienne Chow的專訪。文章標題點出吳季璁「以其由光、影和隨機性組成的水墨創作贏得了全球注目」,並回顧了藝術家在「不滿足於台灣的發展空間」後進行的國際化探索。


Artnet文章介紹,吳季璁是 「極少數受到西方畫廊關注並活躍於世界舞台上的東亞藝術家之一。對於這個年紀且來自台灣的藝術家而言,這個成就更屬罕見。目前,雖然許多頂尖西方畫廊已經進軍亞洲,但是只有少數畫廊會將較為年輕的亞洲藝術家帶到歐美的主戰場辦展」。


Dust,灰塵,2006

吳季璁從小接受東西方兩種脈絡的藝術訓練,他在此前接受《Vogue台灣》採訪時曾表示,「我們其實是學雙語長大,西方的藝術家不大可能從小練書法,畫水墨,但亞洲藝術家的養成普遍也受西方藝術的訓練,這顯然是最好的特色跟競爭優勢。」


除此之外,他曾於歐美多國駐村、並在越南西貢與柏林均成立工作室,對於東西文化的理解,加上其視野的廣度,令他的作品從材料、美學風格至哲學內在始終具有迷人的多元性與開放性。無論對於來自不同文化的觀眾,還是新媒體、水墨或影像,及當代藝術等各領域的專業人士,都可以在不同的理解脈絡下,投射他們各自對作品的想像。吳季璁透過東西方文化底蘊所創造出豐富自由、不受語言與文化所限制的藝術表現,帶領他穩健踏實地走向國際舞台。


吳季璁分享道,「希望這段探索國際藝術世界的冒險旅程,可以激勵更多年輕藝術家們往外發展,在廣闊的天地中闖蕩。」





Read More 延伸閱讀

Artnet: Chinese Landscape Painting with Video, Light, and a Bid Dose of Chance ARTNET專訪:由影像、光與隨機性組成的水墨畫

New York Solo Exhibition jing-atmospheres List as Editors’ Picks by Artnet 
紐約個展《境》被ARTNET列為編輯精選藝術活動

Ocula: Wu Chi-Tsung’s Xuan Paper Collages Open Up Many Visual Possibilities 
OCULA展評:吳季璁之「境」

Interview with Artist Wu Chi-Tsung: Art is never a Blank Sheet of Paper  
Vogue台灣專訪藝術家吳季璁,藝術從來不是白紙一張的事

Wu Chi-Tsung’s Solo Exhibition jing-atmospheres at Sean Kelly New York 
美國首次個展《境》於尚凱利畫廊

Exhibition Film Produced by Frieze Studios in Collaboration with Sean Kelly New York
Frieze Studio製作、尚凱利畫廊協製《境》展覽影片





Installation view 展覽現場



Installation view
Installation view
Installation view
Installation view
Photography 攝影/ Jason Wyche, New York, Courtesy 致謝/ Sean Kelly, New York



 
Wu Chi-Tsung portrait

Interview with artist Wu Chi-Tsung: Art is never a blank sheet of paper by Vogue Taiwan
Vogue台灣專訪藝術家吳季璁,藝術從來不是白紙一張的事

Wu Chi-Tsung in Tamsui studio
Photo: Hedy Chan Credit: Vogue Taiwan 

Bustling back and forth over cities across the world, Wu Chi-Tsung dexterously shuttled through the art world,  as if it was a natural practice.  This day we came to Wu Chi-Tsung’s new studio in Tamsui, Taipei. Apart from here, he also has studios in Yuanshan in Taipei, Berlin, and  Ho Chi Minh City. These studios scattered around the world are not only for practical needs but also for Wu Chi-Tsung’s strategy of observing the world. 



A studio space that can accommodate museum level presentation 


“This is the most well-equipped space I have ever had. It’s like working in an art museum.” Wu Chi-Tsung sat in a corner of his new studio, and the sunlight fell through the large glass windows and landed on his shoulders.


This new studio is located in the residential area of Danhai New Town. Facing a wide, neat street, it locates on the first floor with high ceilings. Here, Wu Chi-Tsung drives a scissor lift,  ascending and descending in the spacious space, busy making two huge  “Cyano-Collage Series” to be exhibited at Sean Kelly Gallery in  New York. This will be his first solo exhibition in New York– his new studio coming out of a need for this work. 


The main exhibition hall of Sean Kelly Gallery in New York is the size of a  basketball court. Two large works are required, which are difficult to be accommodated in his old Yuanshan studio. “In Yuanshan, when you want to see the complete composition of  the work, you have to open the iron rolling door on the first floor and retreat  across the road.” One of the new “Cyano-Collage Series” scales three meters by nine meters in size. “It is unlikely that I would create works larger than this anymore. We have already challenged the limits of the new space by creating it” While standing in front of the large “Cyano-Collage Series” work, people would feel as if they are in a real mountain, and would almost lose control to dive in. 


A studio is different from an art gallery. It is a place where the artist lowers his head and sweats to work. However, Wu Chi-Tsung planned his new studio according to the specifications of an exhibition hall, aligning the working environment with the exhibition conditions. Therefore, “Before I arrive in New York, I can already accurately foresee what the work looks like on-site.” He said that the most difficult aspect of space planning is to master good scale and proportions. For example, some exhibition spaces have very high ceilings, but the proportion between the work and the space as well as between viewers and the space may be weird. Having spacious space and high ceilings do not necessarily bring enjoyable visiting experiences. 


During his creating process, Wu Chi-Tsung skillfully uses scaffolding and scissor lifts to move across the work, like playing with a toy.  “Compared to see the completed work at the exhibition site, where everything is neatly presented, sometimes the creative process is more interesting.” Wu says, looking up at the “Cyano-Collage Series”, the upper part of which has not yet been completed. Xuan papers are selected to be mounted on the aluminum plate, blowing under the fanlike ocean waves. ” Normally audiences won’t have the chance to see this kind of scene of the Cyano-Collage Series.  The nature of this work is actually a collage of randomnesses formed by wrinkled pieces of Xuan paper.” 


Wu Chi-Tsung said that interacting with materials and technology is what he finds the most interesting. With a large high-ceilinged studio and the help of scaffolding and scissor lifts, he is able to change the way of interacting with his works. “When people see what is behind-the-scene, they can understand how the work is created step by step and will have a completely different understanding to the work.” Chi-Tsung and his team have moved to the new studio for less than a month, and there is already a thin layer of paper scraps and glue on the ground underneath the work. “This is a habit of mine in the studio. Basically,  everyone is not allowed to clean up the ground.” 


Everything that happened in the studio left traces. When the artist picks his brush, the glue drips along the way and leaves marks. When piles of Xuan paper soaked in photosensitive solution generally turn into different shades of blue, they would dye the floor on the ground.” In contrast,  I will feel a  lot of pressure if the space is too neat and tidy, so I will have to be constantly aware of not to mess the space up,  and my  attention will be distracted.” In the artist’s studio, randomness can also be a precious inspiration. ‘



Physical and spiritual polished by trainings of rock-climbing 


production process
Wu Chi-Tsung exposes cyanotype-treated xuan paper on the rooftop of Yuanshan Studio 


“I also plan to install a climbing wall here.” Until now, Wu Chi-Tsung still always recalls the training time when he was in the rock climbing team back in high school. He shared with us the three-day round of intensive training routine at that time. Back then, he only wanted to be stronger and freer. Rock climbing is all about the present. Wu  Chi-Tsung said “Sometimes you will find yourself in a tricky stage seven or eight stories above the ground. You may fall at any time.  And this is time you have to think about nothing but to concentrate on every action at the moment.” Rock climbing and art creation are similar things, both require your spirituality and physicality to be present. When you challenge the limitations of your body, you may find the essence of your existence. “It’s a kind of freedom.” 


“Freedom” has always been a keyword to Wu Chi-Tsung: the freedom to exceed the limits of the body when exercising, the freedom to imagine when creating.  “However, freedom does not mean to do anything without rules, but something that I, the materials and tools in my hand conform to each other and develop  together in the most natural and comfortable state of each other.” 


Looking at the half-completed “Cyano-Collage Series” on one side of the studio and the wall with only aluminum panels on the other side, Wu introduces, “These two huge works are like marathons. They are very tiring and require strong organizational skills and concentration, but I enjoy this unprecedented  challenge a lot.” After this, he jumped on the scissor lift again, taking the time to finish the ‘clouds’ on the aluminum plate. 



Awakening the Study on Materials of Traditional Media


Wu Chi-Tsung has received art training from both Eastern and Western sources, which is a common upbringing in Taiwan. “We actually grew up bilingual, and it is unlikely that a Western artist would have practiced calligraphy and ink painting since childhood, but Asian artists are generally trained in Western art, and this is obviously our best characteristic and competitive advantage.” This has prompted him to reexamine the classic as well as learn from the West, to explore personal, regional, and contemporary particularities, and to try to mend the gap between East and West, tradition and modernity.


Wu Chi-Tsung believes that it will be a hard act to follow what has been achieved by the ancient people, so he has taken a different path by replacing ink and brush with other media and using experimental photography to continue the landscape tradition. He said, “After all, the ancients could not be possible to climb onto the rock wall and observe them as I do. “



For the “Cyano-Collage” series, Wu Chi-Tsung conducted research on Xuan paper, learning about the material.  


Cyano-Collage series
In the creation of the “Cyano-Collage” series, it is necessary to apply a layer of acrylic gel for the collage of xuan paper  (Photo: Hedy Chan Credit: Vogue Taiwan)


In 2018, he established a studio in a residential building with a rooftop in Yuanshan. The daily  routine of this studio was almost revolving around “paper” and the four floors of the building each has their own function:the rooftop for exposing cyanotype-treated xuan paper, the fourth floor for “washing” the paper and other machinery works, the third floor for the creation and presentation of the works, and the paper scraps and traces of glue on the floor of the second floor have reached the thickness of snow…“In order to find the most suitable type of xuan paper for the cyanotype process, we have experimented on dozens of types of them. By countless research and experiments, we get to understand the material better”. This is also what he differs from painters and calligraphers from the past.  To Wu, xuan paper is the paper with the most complicated and sensitive quality among all. With different manufacturing methods, they are capable to carry out broad color variations of ink that are extremely delicate. 



The cultivation of the two cultures of the East and the West gave Wu Chi-Tsung a broader mind and vision, and his works that combined Western contemporary media and the spirit of Eastern aesthetics translated the world they were not familiar with to Western audiences. “Through my work, xuan paper is able to be noticed by more people. For example, when I was exhibiting in Europe when the audience learned about the production process of the “Cyano-Collage Series”, they were all amazed by the outstanding resilience of the xuan paper after being crumpled, flattened, soaked, and dried. If in this way, more artists from other countries will also start to become interested in this material and begin to use it in their creations, can this traditional eastern media breathe a new life in the contemporary art world? “If 20% of the artists working with paper in Europe adapt xuan paper, the  whole industry will be resurrected.” 


Wu Chi-Tsung believes that the overall consideration and management of art from the stage of the production of materials is a practical matter. “I spend so much time researching materials, of course, I hope that it will continue to be produced.  People tend to think that art is something remote and abstract. In fact, it IS such a practical thing. Interacting with materials and technology is part of the creation.”


Wire II
“Wire II”, metal, glass, acrylic, 2003 ZENARI 


Be natural, be harmonic


Behind the huge Cyano-Collage landscape, the research and application of materials also embody Eastern philosophies and fundamentally establish the aesthetic tone and value orientation of the works.  “Western paper was developed for a high degree of control, while Eastern paper  has a high degree of variability in aesthetic values.” This is the so-called  “naturally.” When creating, Wu Chi-Tsung thought about how to make the material develop. For example, rice paper is thin and tough. When crumpled, its characteristics can be expressed naturally. But if you make origami, expect it to  have a specific shape, “I will do it very painfully, and the paper will probably be  very uncomfortable.” The idea of control arises, and the characteristics of paper cannot be unfolded, so the more you create, the more limited it becomes. 


It is necessary to minimize control and allow the integration of materials and technologies to occur naturally. Only then can the underlying “own being” unfold. He showed us the pottery he made in his spare time during the Covid-19 pandemic. He said that while making pottery,  you also need to learn to interact with the clay, not attempting to control them. “Every material  has its own character, just like people, we can only follow it to dig out its unique texture, or the unique chemical reaction between me  and the material.” 



International studio across Europe and Asia 


Speaking of his life as an international artist, Wu Chi-Tsung introduces, “If it weren’t for the Covid-19, I would be spending maybe only one-third of the  year in Taiwan, and other times I would be living, creating, finding inspiration, or conducting research on materials and technology in my studios around the world.”  


The two huge “Cyano-Collage Series” on the wall of the Tamsui studio will be sent to the United States immediately after completion. While being asked why not consider establishing a studio in New York? Wu Chi-Tsung replied, “New York is too charming for anyone to dislike. But it may not be suitable as a base for  artists to create.” In 2013, Wu Chi-Tsung was granted by the Asian Cultural Council  (ACC) for a half-year residency program. It is when he realized that the high cost of goods and intense competition made it a difficult place to live and work in as a young artist. “It’s not a place where people can calm down and be focused.” 


“I like Vietnam very much. Compared with New York, it is a jungle where everything is in a very initial and chaotic state.” It is an art world that is growing and forming its shape, and the experience here is unprecedented. “For example”, Wu Chi-Tsung said,  “if you hold an open studio in Saigon, half of the Saigon art circle will show up, and the art ecology here is a close community. ” Berlin is an intermediate value for Wu  Chi-Tsung. The historical background and economic structure of the city have brought artists from all over the world into the city, forming another spectacle full of life. “Berlin has changed a lot. My studio is the place where the secret police  gathered in the old East Germany.” The history of political prisoners and the political atmosphere of the East German era are still there, but at the same time, it is an inclusive city “Why there can there be so many interesting things happening in Berlin? The relatively low price is absolutely the key.” Because the space cost is low, you can try as much as you want without the pressure to succeed. 



2018 at Bali Studio
2018 at Bali Studio, now relocated 


Free artistic spirit 


He added that as an artist, he is very lucky. He travels around the world and communicates with different people. Through traveling and working in various cities, he accumulates the experience of interacting with different people. He sees that people have very different imaginations towards what it means to work with art.  


“Most people consider that artists are people who make works, which is incorrect. The creation of works is only part of the work. What we do is ‘the whole thing about  art’.” Wu Chi-Tsung said. “Including academic research, art market operation,  international relations, and even thinking about the production of materials. The international studio layout allows him to integrate information and resources most efficiently, and to re-recognize himself from the perspective of others so that he can really know himself and understand his uniqueness compared to others.  “When I was in Taiwan, I didn’t think there were any problems; after I left Taiwan, I  could see its characteristics and limitations.” 


He chose to transcend limitations. He is exploring to make use of his studios in Berlin, Ho Chi Minh City,  Yuanshan, and Tamsui. In each of them, an aspect of Wu Chi-Tsung’s personality dwells. Shuttling between the past and now, east and west, his personality and creativity never stop growing. 



 cyanotype-treated xuan paper
The cyanotype-treated xuan paper  in the sun, the color is gradually  developing under the light due to the impact of photosensitive solutions

The settings of these studios seem to be rational and full of logic, but they actually more of a natural result of Chi-Tsung’s career development to fit his need than a deliberate arrangement. . And the fundamental reason that drives him to bravely cross the border may be just the kind of spirit he has experienced in many years of rock climbing training, that is, beyond the limits, the spirit of freedom.


Editor Nicole Lee
Text by Jing







production process
Photo: Hedy Chan Credit: Vogue Taiwan 


在隔著海陸的城市間忙碌來回,吳季璁靈巧地穿梭藝術世界,仿若修行般的自然而然。這天我們來到吳季璁位於淡水的新工作室,除了此處,他在台北圓山、德國柏林和越南胡志明市,都還有工作空間,這些散落世界各處的工作室,不僅只為了創作需要,更是吳季璁觀看世界的策略。



美術館規格的創作空間


「這是我用過最高級的空間,簡直是在美術館裡面做東西一樣。」吳季璁坐在淡水新工作室的一角,陽光穿過大片玻璃,落在他肩上。


這個新的工作室座落在淡海新市鎮住宅區,街道寬闊,一樓挑高氣派。吳季璁駕駛著高空作業車,在偌大的方正空間中上升下降,忙著製作即將前往紐約 Sean Kelly Gallery展覽的巨幅《氰山集》系列新作。這將是他首次在紐約的個人展覽,而這個新工作室基本上也是為此誕生。


紐約 Sean Kelly Gallery的主展場有籃球場這麼大,需要兩件大型作品,原有的圓山工作室空間受限。「在圓山,要看作品完整構圖時,得把一樓的鐵捲門打開退到馬路對街,才能看到整體。」新工作室挑高五米七,主牆寬度十米,牆面上一幅創作中的《氰山集》,尺寸是三米乘九米。「應該很少會有比這個尺幅更大的作品了,已經用到這個空間的極限。」巨幅的《氰山集》像一座巨山真的矗立於眼前,稍一走神就想往作品裡面奔去。


工作室和美術館不同,那裡是藝術家低頭流汗工作的場所,但吳季璁以展場的規格規劃工作室,把工作環境與展覽條件拉齊。還沒到紐約,就能準確掌握作品在現場的模樣。他說空間規劃最困難的是掌握好的尺度和比例,像很多展覽空間,高度過高,反而觀看的距離感未必合適,大的確有很多好處,但不見得大就是好。



配合拍攝,吳季璁靈活地攀上鷹架,展示高空作業車上升下降,像在玩玩具。「比起展覽現場看到完成的作品,所有東西收得工工整整,有時候創作的過程反而更有趣。」抬頭看《氰山集》天際線的那一道還沒有完成,已經挑好的紙浮貼在鋁板上,冷氣吹拂它們像海浪飄動。「一般觀眾大概不太會有機會看到這樣的畫面氰山集其實是在一堆隨機偶然的皺褶碎片中,慢慢交織而成。」


吳季璁說和材料、技術互動是最有趣的,有了大工作室,高空作業車和鷹架,改變了他和作品互動的可能性。「如果大家可以看到這樣的東西,你可以理解作品是怎麼一步一步創造出來,對它的想像會完全不一樣。工作室啟用不到一個月,在作品正下方的地面已有一層薄薄的紙屑和殘膠。「我工作的空間有個習慣,地面基本上不准大家清理。」



production process
Photo: Hedy Chan Credit: Vogue Taiwan 

所有發生在工作室的事情都留下痕跡。刷子舉起來,膠是沿路滴,不同的氰版相紙在地上累積不同的深淺的藍色,「回頭去看這些髒亂的痕跡,都是每一段時間工作的記憶,反過來說,如果工作空間非常乾淨整潔,我會覺得壓力很大,得時時擔心弄髒環境,注意力一直被分散。」在藝術家工作室,不修邊幅的隨意也是一種記載歷史的方式。



攀岩訓練中打磨的身心狀態


「我還打算在這裡弄一塊攀岩牆。」到現在,吳季璁還很懷念高中時作為攀岩選手的訓練,他分享當時三天一輪的訓練菜單,當時一心只想讓自己變強, 心無雜塵。攀岩是一件徹底當下的事,吳季璁說:「有時在一個離地面七、八層樓高的難關,去挑戰自己能力極限的動作,隨時可能墜落,只能心無旁騖專注在當下的每個動作。「攀岩和創作都是,你的精神性和身體性是一致的。超越你身體、物質各方面的侷限,那個東西是人存在的重點,那是一種自由。」


「自由」始終是一個關鍵詞:運動時超越身體極限的自由,創作時想像馳騁的自由。「然而自由並不意味著毫無章法地任意而為,而是我與手中的材料、工具一起相互順應、彼此在最自然舒展的狀態下共同發展出來的東西。」


望向工作室一面完成過半的《氰山集》和另一面還只有鋁板的牆面,「這兩件巨幅作品是超級馬拉松,非常累,需要極強的組織能力與專注力,可是我很喜歡這個前所未有的挑戰。」說完,他又跳上牆面,抓空檔刷起鋁板上的雲朵。



production process
Photo: Hedy Chan Credit: Vogue Taiwan 


喚醒傳統媒材的材料學研究


吳季璁從小在美術班,接受著東西方兩種脈絡的藝術訓練,這樣的養成在台灣是常見的。「我們其實是學雙語長大,西方的藝術家不大可能從小練書法,畫水墨,但亞洲藝術家的養成普遍也受西方藝術的訓練,這顯然是最好的特色跟競爭優勢。」這促使他觀望古人,也與西方相比較,挖掘個人的,地域的,和當代的特殊性,試圖在東方與西方,傳統與現代之中修補斷裂。


吳季璁認為,古人在書畫技法上達成的成就他永遠無法望其項背,才另闢蹊徑,以其他的媒材取代筆墨,用實驗攝影的方式去延續山水意境。談及優勢,他則笑說「古人可沒法像我這樣貼在岩壁上觀察」。


在《氰山集》系列中,吳季璁從材料學的角度對宣紙做足了研究。2018年,他在圓山找到一整棟透天民宅作為工作室,這間工作室的日常幾乎是圍繞著「紙張」展開的:四個樓層,每一樓都有各自的功能,頂樓曬紙、四樓有洗紙台和機械室,三樓收藏與創作,二樓地板上的紙屑跟殘膠已達積雪厚度⋯⋯「為了找尋合適氰版的紙張,我們嘗試過數十種宣紙,廣泛的研究,大量製作試片去實驗,瞭解其材質特性」,這也是傳統書畫家少見的研究方式。他認為宣紙是所有紙張中擁有最複雜工藝的紙類,為了表現不同的墨韻層次變化,它的抄法、材料都有講究,而宣紙呈現顏色的效果亦極為細膩、豐富、而敏感。


而東西方兩種文化的養成帶給了吳季璁更廣闊的思維與視野,而他結合西方當代媒材與東方美學精神的作品則向西方觀眾轉譯了他們所不熟識的世界。「通過我的作品,宣紙這種材料能有機會被更多人注意到。例如我在歐洲展覽時,當觀眾了解到《氰山集》的製作過程,都驚歎著宣紙在揉皺、攤平、浸泡、晾曬之中顯現出的驚人韌性。如果通過這種方式,更多其他國家的藝術家也開始對於這種材料產生興趣,並且開始在創作中使用,是否能令這種充滿特色與可能性的傳統媒材在當代煥發新的生機?「假如整個歐洲有兩成紙上創作者用宣紙,這整個產業就復活了。」


吳季璁認為,對藝術進行長遠到材料的生產的全盤思考與關注是一件再實際不過之事。「我花這麼多時間研究材料,當然希望它持續生產。大家都把藝術想得太遙遠、抽象,其實就是這麼實際的東西,創作是在跟材料、技術互動。」



順勢而為的自然而然


在巨幅氰版山水背後,吳季璁對於材料的研究與運用也無處不體現著東方哲思,在根本性上奠定了作品的美學基調與價值取向。「西方的紙張是為了高度控制發展出來的,東方的紙,裡頭的美學價值觀有高度的隨機性。」也就是所謂的「自然而然」。創作時,吳季璁想的是如何讓材料發展。例如宣紙薄且有韌性,揉皺它,它的特質能自然抒發出來。但去如果摺紙,期待它有特定的造型,「我會做得很痛苦,紙大概也會很不自在。」控制的念頭產生,紙的特性無法被舒展開,如此越創作反而越侷限。

「要把控制減到最低,讓材料、技術的整合自然發生,那個時候,才能讓潛在的真實自性舒展開來。」他展示疫情期間閒暇做的陶藝,他說做陶也是一種和土的互動,而不是駕馭。「每個材料都有它的性格,跟每個人一樣,只能順勢而為,去挖掘它特有的質地,或者說我和材料間特有的化學反應」。



橫跨歐亞的國際工作室


「若不是疫情,一年中可能只有三分之一的時間待在台灣,其他時間則會在各地的工作室中生活、創作、尋找靈感,或進行材料與技術的研究。」話鋒一轉,吳季璁聊到他在世界各地的創作場域。


淡水工作室牆面上那兩幅巨大《氰山集》,完成後就要立刻飛往美國,被問到為何不考慮在紐約也設立工作室?吳季璁回答:「紐約是一個太有魅力的城市了,沒有人會不喜歡它。但未必適合作為一個藝術家創作的base。」2013年吳季璁到Asian Cultural Council (ACC)駐村半年,發現其發展階段並不合適紐約這個城市,高物價成本,機會和競爭抗衡抵銷,對起步的藝術家來說難以消化。「它不是一個可以讓人安靜、專注的地方。」


「我很喜歡越南,和紐約比起來它就是一個叢林,在叢林一切東西都是很初始、混亂的狀態。」它是正在成形的藝術世界,這裡的體驗是前所未有的。吳季璁舉例,在西貢舉辦一個open studio,半個西貢藝術圈都來了,這裡的藝術生態是一個緊密的社群。柏林對吳季璁來說則是一個中間值,城市的歷史背景和經濟結構,使世界各地的藝術家傾城湧入,構成另一種充滿生命力的奇觀。「柏林的變化很大,我的工作室是舊東德聚集秘密警察的地方。」關政治犯的歷史以及東德時期的政治氛圍都還殘留,卻同時無奇不有。「為什麼柏林可以有這麼多有趣的東西,便宜——絕對是關鍵。」因為空間成本低,可盡情嘗試,沒有非成功不可的壓力。



自由舒展的藝術精神


dust
“Dust”, video camera, projector, tripod, 2006, taken by the artist at the Kunstfest Weimar 2019 in Germany 


他補充,作為藝術家是很幸運的,雲遊四海和不同人交流,透過旅行與在各城市工作,累積與不同人交手的經驗,他看見每個人對「藝術這一整件事」都懷抱著不同的想像落差。


「大部分的人都搞錯了,他們對藝術家的想像就是『做作品的人』。作品創作只是我工作的一部分,我們做的是『藝術這一整件事』。」吳季璁說道。包含學術世界、藝術市場運作、國際關係、甚至是創作材料生產的思考,而國際化的工作室佈局令他能夠最高效地整合信息與資源,以他者角度重新認識自己,才能真的知道自己與對方的差異。「我在台灣時,不會認為它有什麼問題;而在離開台灣後,才能看到它的特質及限制」。


文/ Jing
編輯/ Nicole Lee



 
drawing-studies-001

Drawing Study Series and Cyano-Collage Series in Frieze London
《寫生習作》與《氰山集》參展倫敦弗里茲藝術博覽會

Drawing study series



Stand D15, Sean Kelly New York
VIP Preview days October 13-14, 2021
Public days October 15-17, 2021 
Venue The Regent’s Park, London, UK


Sharing sceneries of mountains and oceans that were either captured in Taiwan or from his imagination to yet another continent,  Works of Wu Chi-Tsung’s will be showcased at Frieze London 2021. They will be presented along with creations of other young artists of Sean Kelly Gallery. The visually dynamic group of works will mark the gallery’s inaugural participation in the show. 

It is noteworthy that the Drawing Study Series will be presented overseas for the first time. The Drawing Study 001 – Seascape LongDong captures actual real-time sceneries, the reprocessed videos show visual variations to create a perceptive confusion suspended between moving and static images. Although they originate from reality, what the artist offers are sceneries that can never happen in the phenomenal world. Meanwhile, three aluminum boarded Cyano-Collage Series will be presented.



About Frieze London

Frieze London is one of the world’s most influential contemporary art fairs, focusing only on contemporary art and living artists, and takes place each October in The Regent’s Park, in the heart of London.

Frieze London was founded in 2003. The fair is one of the world’s key contemporary art fairs, focusing only on contemporary art. The 2021 edition of the fair showcases over 160 of the most notable galleries from around the world.






Cyano-Collage


Stand D15, Sean Kelly New York
VIP預覽 2021年10月13~14日
公眾開放 2021年10月15~17日
地址 倫敦攝政公園內



吳季璁作品即將在本週開幕的倫敦弗里茲藝術博覽會的尚凱利畫廊展位中展出,將來自台灣與他腦海中的山景與海景分享給另一個大陸的觀眾。此次,由吳季璁與其他幾位優秀的年輕藝術家的作品所組成的精心策劃、視覺生動而豐富的展覽將是畫廊於該博覽會的首秀。

值得一提的是,本次將是吳季璁2021年新作《寫生習作》系列在海外的首次亮相。出展的《寫生習作001-龍洞海景》拍攝於台灣北部的龍洞,真實的現實景象通過技術處理而出現了視覺上的變異,製造出介於動態與靜態之間的感知迷惑。儘管本於現實,作品提供的卻是現象界不可能真實發生的圖景。同時,三幅鋁底板《氰山集》新作將在博覽會中展出。



關於倫敦弗里茲藝術博覽會

倫敦弗里茲藝術博覽是世界頂尖當代藝術博覽會之一。會與大多數其他博覽會不同,弗裏茲倫敦和大師展的舉辦地「攝政公園」位於主辦城市的中心地帶,這也構成了倫敦充滿活力的文化結構和國際藝術景觀的一部分。

弗里茲藝術博覽會是少有的幾個聚焦當代藝術和在世知名藝術家的藝博會之一,展現了當今一些最令人耳目一新的藝術家,從新興藝術家到現象級藝術家都有,展會由獨立策展人組成的團隊為特色展區提供建議。





Installation Views 展覽現場



Installation view of Frieze London
Photography: Sebastiano Pellion di Persano
Courtesy: Sean Kelly, New York

Installation view of Frieze London
Photography: Sebastiano Pellion di Persano
Courtesy: Sean Kelly, New York


Installation view of Frieze London
Photography: Sebastiano Pellion di Persano
Courtesy: Sean Kelly, New York



 
Cyano-Collage-114

Aluminum Paneled Cyano-Collage 114’s Participation in The Armory Art Show in New York
氰山集系列鋁底板作品《氰山集之一百一十四》將參展紐約The Armory Art Show

cyano-colllage 114


Sean Kelly Gallery | Booth 120

Preview  September 9, 10am-8pm

Public Days  September 10-12

Venue  Javits Center, 429 11th Ave, New York, NY 10001, United States


Represented by Sean Kelly Gallery, Wu Chi-Tsung’s new work Cyano-Collage 114 will be participating in the Armory Art Show in New York. It marks the first time the artist attends the renowned fair. The Cyano-Collage 114 is created on an aluminum panel, which is a main exploration of the Series in 2021. 


About the fair


The Armory Show is New York City’s premier art fair and a leading cultural destination for discovering and collecting the world’s most important 20th- and 21st-century art. The Armory Show features presentations by leading international galleries, innovative artist commissions, and dynamic public programs. Since its founding in 1994, The Armory Show has served as a nexus for the art world, inspiring dialogue, discovery, and patronage in the visual arts.






Sean Kelly Gallery | 120 展位

預覽 2021年9月9日

公眾開放 2021年9月10~12日

地址 美國紐約 11大道429號,賈維茨會議中心(Javits Center)


本月,尚凱利畫廊將帶著吳季璁的的新作《氰山集之一百一十四》參加位於美國紐約的The Armory Art Show ,亦是藝術家首次參與這個藝術博覽會。這件作品延續了吳季璁2021年在《氰山集》系列中使用鋁製底板的探索方向。



關於The Armory Art Show


The Armory Art Show是紐約市首屈一指的藝術博覽會,是發掘與收藏世界上最重要的20世紀和21世紀藝術品的極佳舞台,展示著國際領先的畫廊、充滿創新精神的藝術家與特色的公共項目。自1994年成立以來,The Armory Art Show一直是藝術界的一個紐帶,激發了視覺藝術的對話、發現和讚助。



 
installation view of the exhibiton

[Exhibition Review by Living and Design] Beyond the Physical Form
[Living and Design 住宅美學專稿] 超脫物形的藝術旅程

installation view of the exhibiton


Recently, Wu Chi-Tsung’s new solo exhibition “Seeing Through Light” at Tao Art Space was reported by Living and Design Magazine.


The article introduces, ‘In this exhibition, Wu Chi-Tsung retraces his initial interests and continues his exploration of visual expressions, and once again develops a different video shooting technique.


For Wu Chi-tsung, it is not necessary to pay too much attention to the individual works themselves. What is more crucial is to develop a unique Weltanschauung and to establish the form, language, thinking and perspective of viewing art in the process of developing the works. The value of the artwork as a “thing” is not high, but as a starting point to lead into a certain spiritual journey, in which the artist gives the object to verify the existence of the journey, giving it an “intangible” value.






前言:

  在海外發展多年的現代藝術家-吳季璁,除了香港世界畫廊正在進行中的個展-《現》外,回到故鄉台北,由策展人王嘉驥老師在Tao Art Space策劃今年另一個展「照見」,少時在傳統學院派的藝術薰陶浸淫多年的吳季璁,自大學開始才進入當代藝術的領域,發展如影片、攝影、光影裝置等新媒體的創作方法,新舊衝突下的斷裂與拉扯中,成就自身的藝術方向,而場地為去年成立的Tao Art Space,因一張委託的《氰山集》系列作品,經介紹認識業主及收藏家Vicky,而開啟了這次展覽的緣分。



installation view of the exhibiton


修行即為創作  作品驗證藝術旅程


   西方藝術受到東方思想衝擊較大的時期,為佛學禪宗大師-鈴木大拙到美國與歐洲講學開始,影響並啟蒙許多現當代藝術家的創作方向,而日本當時擁有最完整的禪宗傳播系統,教義上相比藏傳佛教更類似哲學探討。


   對吳季璁來說,不需要給予個別作品本身過多的關注,如何發展發展作品的過程中,建立其世界觀及形式、語言、思考以及觀看藝術的角度更為關鍵,如只專注在單一作品本身,容易錯失背後更大的思維起點。藝術品做為「物」的本身的價值並不高,而是做為一個出發點導引進入某段精神上的旅程,其中,藝術家賦予物品驗證旅程的存在,使之擁有「無形」的價值。談到外界對於藝術家認知的謬誤,以為作品是創作者自我傲氣與任性下的產物,然而在真實的藝術創作中,需要先放下自我,順勢作品發展。吳季璁在藝術的修行過程,時常面對佛家思想中如何放下「我執」的命題,相信某些材質會因宿命而出現在生活中,過於控制作品容易畫地自限,然自我的執念越輕,而創作的可能性會帶領你到意想不到的境地,以上透過佛家與禪宗談到許多,與創作相關的思維模式。


 重現傳統攝影技術  擷取「無常」中的真實


   本次展覽《照見》也特別呈現了幾件吳季璁早期作品, 2004年的《自畫像》詮釋人是不斷變動的一種生物,如佛家談到的「無常」,也是時間流中的一部分碎片,利用攝影技法捕捉流逝的「剎那」,在暗室中面對鏡頭,使用手電筒描繪臉部,長曝後呈現不完全的面部狀態,並透過幻燈片與暗房沖洗,反映影像的可能性與有別於傳統自畫像命題的樣貌。當年度正是傳統底片攝影逐漸式微,數位影像抬頭興起的階段,藝術家以作品自身作為一份傳統攝影的紀念,呈現衝突且看似失真的真實紀錄。

   實驗攝影的技術發展到2012年,吳季璁感於數位攝影的便利性與單一性,嘗試回到技術本質的探討,在《皴法習作》與其後的《氰山集》系列,運用與攝影術幾乎同時發明的氰版藥劑和無相機攝影方法,在揉皺傳統中國書畫的宣紙後,塗上感光藥劑置放在陽光下進行自然曝曬,充分水洗即顯影出藍色的影像,自然如同岩石山景般的層次,意像呈現傳統水墨千山連綿的壯闊之景。


超脫時間的完美狀態  放下「我執」重新導引


  許久未在台北發表作品的吳季璁,經介紹了收藏家及展場業主,Vicky 和父親都熱愛收藏,父親偏愛以佛像和宋元瓷器為主的古美術及台灣現代藝術,而 Vikcy 則是以國內外當代藝術為主。Tao Art 獨有的兩代收藏經歷,揉雜古今正好與吳季璁的創作路線不謀而和,成就了這次吳季璁和 Tao Art 胡不堂佛像收藏的合作。

  「照見」在佛典中言意為「指向開悟成佛的透徹與超脫」,佛學中的修行,與藝術創作有極為相似的精神軌跡,雖然其過程有所不同,卻有相同的內化反應,與自我掙扎下的拆解體驗。本次展覽中,吳季璁重新回溯最初的創作思維,延續從自畫像時期開始的影像探索,再次發展出有別以往的影像處理技巧,在新作《寫生習作》拍攝初期,原本想以破碎的形式呈現捕捉胡不堂所藏佛像「剎那」下的真實,當他注視著這經歷千年的佛像,反思面對自己或人皆是變動不定的命數,而佛像卻擁有超脫其中的完美狀態,使他放下了當初設定的詮釋方法,透過光影重新測試、觀察引導,內化佛學與藝術的相互印證,重新理解「照見」的命題。



Written by 文/ Erin Song



 
poster

“Seeing Through Light: Wu Chi-Tsung Solo Exhibition” Introducing New Work and Technique
台北個展《照見》呈現數位影像嶄新可能

exhibition poster

Public Dates  Jul 13 – Oct 2, 2021, Tue – Sat, 11 am – 7 pm
Venue  Tao Art Space, 8f, No.79-1, Zhouzi St., Neihu Dist., Taipei city


 On Jul 13, “Seeing Through Light: Wu Chi-Tsung Solo Exhibition” opens at Tao Art Space in Taipei. Curated by renowned curator Chia Chi Jason Wang, the exhibition marks the premiere of a series of experimental video works, the Drawing Study Series. Applying a special video-filming technique, Wu Chi-Tsung offers an alternative way of looking at reality through the work.


Tao Art Space is jointly founded by art collector Vicky Chen and her father.  Parallel to their collection and presentation of contemporary art, Tao Art Space has also established a remarkable collection of antiques under the name “Hu Bu Tang.” Both believing that Art could transcend time, Wu Chi-Tsung and Tao Art started this collaboration. The artist presents a special feature of ancient Buddhist sculptures from Tao Art’s Hu Bu Tang Collection as part of the Drawing Studies Series,bringinga modern “exposure” to the antiques. Alongside, early works such as Rain and Self-Portrait will be exhibited to ‘pan across’ Wu Chi-Tsung’s artistic journey with video and photography. 


Due to the COVID-19 pandemic, Tao Art Space is limiting the number of people in the Gallery at any one time and is open by appointment only. Meanwhile, the Gallery has introduced a number of measures to keep the visitors and staff safe. Please click the button below to RSVP and enjoy your visit.





Seeing Through Light: Wu Chi-Tsung Solo Exhibition

Curated by Chia Chi Jason Wang

Once during nightfall, sculptor Auguste Rodin (1840-1917) held a lamp and led art critic Paul Gsell (1870-1947) to see an ancient Greek statue of Venus in the dark. With the dim lamplight, the sculptor turned the movable platform that held the statue, and made the critic look closely at the torso of Venus, illuminating the complex and intricate projections and depressions. This way, Rodin helped Gsell to discover the beauty of flesh represented by artists in the Classical period.[1]


During his youth, Wu Chi-Tsung was still exploring creative possibilities, and had also seen himself through light. In the dark, he replaced paintbrush with a flashlight, and pointed it at his face to capture his own portrait, while also setting the camera on long exposure (B mode) to allow the trail of light to simultaneously develop on the film. The printed and enlarged images became his earliest “Self-Portrait” series (2004). Based on this, “seeing through light” is not just a metaphor of Wu Chi-Tsung’s personal enlightenment and self-discovery, but also his unique creative means.


Rain
Rain 雨景, 13:00, 2002

Before the “Self-Portrait” series, he tried to capture the scenery outside his home window using high shutter speed (1/8000 second) for “Rain” (2002). In the video, the constantly skipping raindrops are a sharp comparison to the seemingly stationary landscape of the Tamsui River far away, especially the Guandu Bridge that spans over the river, as well as the roads and surrounding woods. Between those things moving at a high speed and remaining stationary are the endless traffic on the bridge and the road. Through camera and video camera, Wu Chi-Tsung repeatedly reverses and topples human’s daily vision, as well as their perceptive experience of reality. Consciously, Wu Chi-Tsung manipulates the “moment” in time by stretching and slowing it down or rapidly accelerating and speeding it up, through which he offers an alternative way of looking at reality.


“Seeing through light” is a common term in Buddhist scriptures, referring to the thorough understanding and transcendence of enlightenment. In May 2021, Wu Chi-Tsung holds a solo exhibition at TAO ART Space. In response to the gallery’s collection of classical sculptures, Wu has specially selected five Buddhist statues from different dynasties that have unique aesthetics and spiritual significances, including: “Gilded and Colored Limestone Head of Buddha” from Eastern Wei to Northern Qi (6th century), “Limestone Head of Buddha” and “Limestone Standing Bodhisattva” from Northern Qi (6th century), “Limestone Head of Bodhisattva” from Sui (6th-7th century), and “Wooden Standing Venerable Ānanda” from Song (10th-13th century), as the source images to develop a series of videos. The title, “Seeing Through Light,” not only reflects the curator‘s observation on Wu Chi-Tsung’s art from the past to present, but also echoes these Buddhist statue-themed new works featured in this exhibition.


 Drawing Study - Limestone Head of Buddha
 Drawing Study – Limestone Head of Buddha(screenshot)  寫生習作 - 北齊 灰石佛首像(截圖)
           

Like a brush made of light, the artist points a flashlight at the Buddhist statues and sketches; a video camera is fixed on the side to record the movements of the light beam in the space, as well as the end results of the manifestation of the Buddhist statues through the trail of light. The recorded videos, in the post-production process, are retouched using a digital program developed by the artist. Targeting each frame (30 frames/1 second), Wu Chi-Tsung sets for each layer a brightness parameter, so that it increases as the layers pile up. This way, the videos processed through the computer algorithm not only preserve the original temporal linearity, but also intensify with the piling up of layers to create a stunning visual effect, as if physical thickness were added to time.


Back in 2003, Wu Chi-Tsung was already experimenting with video creations of the same principle. The difference is that, back then, digital computing was still in the cradle, and he could only possess and access limited post-production tools, and make use of inexpensive equipment he had around to layer the pictures a frame at a time, completing “The Self-Portrait of 71 Frames.” Today, nearly 20 years later, with more advanced digital equipment and programs to assist his shooting and computing, the artist carries on and expands this concept that he was unable to thoroughly realize early on, achieving further development.


Early on, Wu Chi-Tsung completed many works simply titled “Self-Portrait” through exploring and experimenting on his own. From knowing self to observing reality, image tools were the core media he used to probe into the authenticity of phenomena. Contemplating on the nature of video and viewing, he often started from the rhetoric of suspicion and rhetorical question to establish the problematic. Paradox within suspense was almost an indispensable aesthetic quality of his video works.


self-portrait
Self-portrait No.4, 自畫像No.4, 2004

Continuing the existing style and video thinking, Wu Chi-Tsung’s seeing the Buddhist statues through light is obviously an exploration of artistic creation, which is concretely different than the Buddhist notion of enlightenment and seeing through reality and illusion. Despite this, the images of the Buddhist statues have been converted by him to gradually become illuminated in the dark, from partially to entirely, allowing audience to really witness the beauty of “seeing through light.” Wu Chi-Tsung conjures the embodied spiritual power of the statues to manifest its mysterious nature, while also turning the viewing experience into an enriched journey of discovery.


Wu Chi-Tsung continued to apply the same video post-production technique to the selected coasts and cities he shot, creating the “Drawing Study” series (2021). Regardless of the oceanic scenery at Longdong in northern Taiwan, or the urban landscapes of Taipei City, which are all actual real-time sceneries, the reprocessed videos show visual variations to create a perceptive confusion suspended between to be or not to be. Whether it is natural landscapes or urban crowds, they are all consistently changing to begin with; however, through the artist’s unique digital manipulation, they instantly consolidate into solid scenic spectacles, leaving everyone in awe. Although they originate from reality, what the artist offers are sceneries that can never happen in the phenomenal world. The artificial fabulation of Wu Chi-Tsung exists in-between reality and fiction, expanding for the works room of philosophical and aesthetic dialectics, and allowing viewers to ruminate on the notion of noumenon ( or thing-in-itself) and truth.


Matching the new videos created by Wu Chi-Tsung using the archived Buddhist statues of TAO ART Space as the source images with the spatial utilization, “Seeing Through Light: Wu Chi-Tsung Solo Exhibition” arranges for the original Buddhist statues seen in the videos to also be exhibited, hoping to trigger intriguing dialogues for the unexpected encounter of ancient and contemporary arts. Also, at the entrance of the first gallery, a special display of hand-puppet and hand-puppetry stage is specially organized—these are also unique items in the collection of TAO ART Space. The stages and puppets exude distinctive qualities of human drama, and the special display aims to welcome the guests of the exhibition, and usher them into the exhibition space.


As mentioned above, “Seeing Through Light: Wu Chi-Tsung Solo Exhibition” gathers works of the artist starting from his younger days of self-exploration, including “Self-Portrait,” “The Self-Portrait of 71 Frames,” and “Rain,” which are highly experimental, to all new works created in 2021, which include serval videos and photographic outputs using Buddhist statues as the theme, as well as two videos entitled the “Drawing Study” series that depict the oceanic scenery of Longdong and urban sceneries of Taipei. Comparing his earlier and new works not only helps audience to understand his latest works through learning about his past, but also allows audience to see Wu Chi-Tsung’s creative path and aesthetic preferences over the past 20 years.


[1] Auguste Rodin, Art: Conversations with Paul Gsell, trans. Jacques de Caso & Patricia B. Sanders (Berkeley and Los Angles: University of California Press, 1984), pp. 22-26.






Drawing Study 001 – Seascape LongDong 寫生習作 001 – 龍洞海景

日期 2021年7月13日 – 10月2日, 週二至週六11am – 7 pm
地址 Tao Art Space,台北市內湖區洲子街79-1號8樓


由策展人王嘉驥策劃的吳季璁個展《照見》,今日起於台北Tao Art Space開展。展覽將首次呈現藝術家使用新的拍攝技術完成的實驗影像《寫生習作》,展現其另類觀照現實之道。


TAO ART 由 Vicky Chen(陳薇捷)和父親共同創立,除了致力於當代藝術的收藏與展覽外,亦還建立了名為「胡不堂」的古物收藏,因其收藏路徑與吳季璁的創作方向不謀而合,本次,吳季璁特別與胡步堂合作,在《寫生習作》系列中,呈現了胡不堂收藏的佛像藏品,以現代之眼為古物賦予了全新的詮釋空間與觀看可能。此外,《雨景》、《自畫像》等早期影像作品也將展出,從而「全景」呈現出藝術家十餘年來對於實驗影像的思考與探索歷程。


受疫情影響,展覽將採取時段預約制,並嚴格遵守相關防疫規範,請通過下方鏈接進行預約後安心來館。





以下為策展人王嘉驥為本次展覽撰寫的介紹文章,文中將回顧吳季璁的影像創作生涯,並細緻介紹了本次《寫生系列》中所探索的數位影像技法。


照見:吳季璁個展

Seeing Through Light: Wu Chi-Tsung Solo Exhibition

策展人/王嘉驥


雕塑家羅丹(Auguste Rodin, 1840-1917)曾經趁著黃昏入夜的時間,持燈引導藝評家葛賽爾(Paul Gsell, 1870-1947),在黑暗之中欣賞古希臘的維納斯雕像。透過幽微燈光的映照,雕塑家同步推移承載雕像的轉盤,讓藝評家的目光緊盯愛神像的軀體,照見細膩有致的凹凸變化。藉此,羅丹讓葛賽爾發現了古典時代藝術家再現的肉體之美。[1]


年少時期的吳季璁,仍在摸索創作的可能,亦曾借光自照。在黑暗中,他以手電筒替代畫筆,對著自己的臉部捕捉肖像,並將相機設定為長時間曝光(B快門),讓光跡同步顯影在底片上。沖印放大的影像,成為他最早期的《自畫像》(2004)系列。就此而論,「照見」不僅是吳季璁個人啟蒙與自我發現的隱喻,也是他用於創作的獨特手段。


在《自畫像》系列之前,他嘗試過以高速快門(1/8000秒)攝錄自家窗外所見的《雨景》(2002)。動態影像裡,跳動無歇的雨滴對照遠處看似凝止不動的淡水河地景,尤其是橫跨河面的關渡大橋,以及路面和週遭的樹林。介於高速運動和凝結靜止之間,則是橋上和路上川流不息的車潮。透過相機和攝影機,吳季璁一再地反轉並顛覆人類日常的視覺,以及對於現實的感知經驗。有意識地操作時間中的「剎那」,予以延遲放慢或激烈加速,吳季璁提供了另類的觀照現實之道。


「照見」也是佛典常見常用的語彙,指向開悟成佛的透徹與超脫。2021年5月,吳季璁在Tao Art Space發表個展,特別因應此一機構的經典雕刻收藏,選擇了五件別具美感與精神意涵的歷代佛像,包括:東魏至北齊(6世紀)的灰石貼金帶彩佛首像、北齊(6世紀)的灰石佛首像和菩薩立像、隋代(6-7世紀)灰石菩薩首像,以及宋代(10-13世紀)木雕阿難尊者立像等,作為文本,發展出一系列的錄像作品。借「照見」之名,除了反映策展人對於吳季璁過往以來的藝術觀察,也對應他此次以佛像為題的這些新作。


Drawing Study – Wood Standing Ananda, Song Dynasty 《寫生習作 - 宋 木雕阿難尊者立像》

手電筒猶如光筆,藝術家對著佛像寫生;攝影機固定在旁,紀錄光束在空間中的移動,以及佛像在光跡下顯影的結果。錄製完成的動態影像,在後製的過程中,經由藝術家研發的數位程式,重新加以處理。針對每個影格(1秒30格),吳季璁為畫面的圖層設定明暗度的參數,令其逐層疊加。如此,電腦運算過後的錄像畫面,除了維持原來的時間線性,卻因為影格圖層的累加而強化,塑造出一種令人驚異的視覺效果,彷彿時間增加了物理性的厚度。


相同原理的錄像創作,吳季璁早在2003年已有嘗試。差異在於,那時還是數位運算方興未艾之時,他能擁有和取得的後製工具極為有限,只能運用手邊拮据的設備,逐格疊加圖層,完成了初階的《71格的自畫像》。將近20年後的今天,有了更先進的數位設備和程式協助拍攝與運算,藝術家延續並擴充早期還無法徹底實踐的觀念,如今有了進一步的發展。


早期的吳季璁多半憑藉自我摸索與實驗,完成不少直接以「自畫像」命名的作品。從認識自我到觀察現實,影像工具是他觸探現象真實性的核心媒介。思考影像及觀看的本質,他經常從懷疑和反詰的修辭開始,建立問題意識。懸疑中的弔詭幾乎是他影像作品不可或缺的美學特質。


延續先前已有的風格與影像思考,吳季璁借光照見佛像,明顯是出於藝術創作的探索,與佛家參悟虛幻現實的依歸具體有別。雖然如此,經他轉化的佛像形影,在幽暗中逐漸轉明,從局部到全部,倒是讓觀眾如實目睹了「照見」之美。吳季璁召喚佛像內蘊的精神力,顯現其神祕性,也使觀賞變成一趟豐富的發現過程。


Drawing Study 002
Drawing Study 002 – Urbanscape Taipei《寫生習作 002 – 台北市景》

吳季璁繼續將相同的影像後製技術,運用於他選景拍攝的海岸和城市,成為《寫生習作》(2021)系列。不管是北臺灣的龍洞海景,或是都會區的臺北市景,雖然都是再真實不過的現實即景,重新處理過後的動態影像,出現了視覺上的變異,製造了懸宕在是與不是之間的感知迷惑。自然景觀也罷,城市人潮也罷,本來都是變動不居;然而,經過藝術家特殊的數位操控以後,卻在轉瞬間凝結為固態的風景奇觀,著實讓人嘖嘖稱奇。儘管本於現實,創作者提供的卻是現象界不可能真實發生的圖景。吳季璁的人為擬造,存乎現實與虛構之間,擴延了作品的哲學暨美學思辨空間,觀者得以反芻本體與真實。


搭配吳季璁以Tao Art Space所藏佛像為文本的影像新作,「照見:吳季璁個展」在空間的運用上,也安排影像中所見的各尊佛像原作一同展出,期盼增添古代與當代藝術不期而遇的對話趣味。同時,第一展廳的入口處,特別安排了掌中劇的舞臺及戲偶展出──也是Tao Art Space的特別收藏。戲臺與人偶帶著鮮明的人間戲劇特質,也藉此迎賓,引領觀眾進入展場空間。


如前所述,「照見:吳季璁個展」集結藝術家年少時期以自我探索為起點的作品,包含《自畫像》、《71格的自畫像》、《雨景》等,具有濃厚的實驗氣息。2021年的全新之作,包含多件以佛像為題的錄像和攝影輸出作品,以及兩件分別以龍洞海景和臺北市景為題的《寫生習作》錄像作品。藉由早期作品與新作的對照,除了提供溫故知新之感,也讓觀眾得以觀照吳季璁20年來的創作路徑與審美偏好。


[1] Auguste Rodin, Art: Conversations with Paul Gsell, trans. Jacques de Caso & Patricia B. Sanders (Berkeley and Los Angles: University of California Press, 1984), pp. 22-26. 亦參閱《羅丹藝術論》,羅丹口述,葛賽爾筆記(臺北:雄獅圖書股份有限公司,1992),頁45-51。



 
cyano-collage 095

[Exhibition Review by ArtAsiaParcific] BENEATH THE SURFACE: WU CHI-TSUNG
[ArtAsiaParcific展評]表面之下:吳季璁個展專稿

cyano-collage 095
Cyano-Collage 095,氰山集之九十五, 200x 200 cm x 3 pcs , 2021


At the entrance of Wu Chi-Tsung’s exhibition “Exposé” (2021), curated by Ying Kwok at Galerie du Monde, stood a six-part folding screen depicting blue mountain peaks. The work was made from cyanotype-treated Xuan paper (Chinese rice paper), a laborious process derived from early photography whereby Wu translates the markings of light and time into shades of blue.


The folding screen ushered visitors into the main exhibition space, where the eye-catching, three-part Cyano-Collage­­ 095 (2021) evoked a great mountain range across an entire wall. Its wrinkled texture mimics the contours of majestic slopes and valleys, while the contrast between its deep indigo shades and its misty white layers recall the subtle ink-control seen in Chinese shanshui painting. Wu is heavily inspired by traditional Chinese landscapes, although he eschews the traditional medium of ink in favor of cyanotype. Trained from a young age in Chinese calligraphy, ink painting, and watercolor, Wu turned to cyanotype as a way to simultaneously pay homage to and reinvigorate classical ink aesthetics. 



cyano-collage 094
Cyano-Collage 094, 氰山集之九十四, 225 × 540 cm,2021,


Wu started experimenting with cyanotype in his Wrinkled Texture (2012– ) series as a means of reinterpreting the cun fa (texturing method) of Chinese landscape painting. Wu’s creative process is a strenuous one. To start, he soaks Xuan paper in a photosensitive solution. Then, he crumples the paper and exposes it in the sun for 30 minutes. Strong sunlight results in dark indigo hues, while cloudier days bring lighter blues. The paper is subsequently washed and flattened in a water tank for an hour to set the final image; it is during this step that Wu first sees his work. After selecting a section he finds interesting, he crops and mounts it on a canvas or scroll. “My creative practice is filled with endless experimentations. Every step along the process, I am constantly exploring the possibilities within, and always failing too,” Wu said in an interview with Obscura magazine. Even with limited control over the final image, Wu still manages to capture the essence of shanshui painting through his strategic cropping and framing of the work. In Wrinkled Texture 107 (2021), for instance, the placement of darker blues at the bottom of the frame grounds the image against its overexposed counterparts, and creates an illusion suggestive of shanshui’s classic peaks.


In his Cyano-Collage (2015– )series, Wu harnesses the uncontrollable aspects of this process—the weather, light intensity, wrinkle patterns—by collaging multiple sheets of paper on a canvas and sealing them with several layers of matte acrylic gel. In Cyano-Collage 086 (2020), for example, he adds layers of white rice paper on top of dark blue pieces to create an illusion of mist wavering between valleys. Paper fibers can even be seen in some white layers, highlighting its soft, nebulous quality. Such fine details achieved through his delicate craftsmanship create an impressive dimensionality. Meanwhile, Cyano-Collage 096 (2021) overlays treated Xuan paper in a blue gradient onto an unexposed paper background, a nod to the traditional Chinese painting technique liu bai (leaving areas blank) that creates breathing room. 


“Exposé” demonstrated Wu’s ability to reconcile seemingly contradictory qualities. The depth and elevation created by the textures in his works belie the flatness and smoothness of their surface. The illusions of ink mountains are reconsidered on closer inspection. What was unintentional—colors and patterns dependent on natural forces—transforms into intention through Wu’s meticulous arrangements. Wu’s inventive practice reinterprets the traditions of Chinese art, and invokes hidden depths beneath the works’ surface.


Written by Judy Chiu, an editorial intern at ArtAsiaPacific.

Wu Chi-Tsung’s “Exposé” was on view at Galerie du Monde, Hong Kong, from March 24 to June 13, 2021.






近日,《ArtAsiaPacific》雜誌發表專稿介紹吳季璁於Galerie du Monde的個展《Exposé現》。ArtAsiaPacific雜誌成立於1993年,是世界領先的介紹亞洲、太平洋地區與中東地區當代藝術與文化的英語媒體。


文章介紹了展覽的構造、《皴法習作》與《氰山集》系列的發展簡介並對吳季璁的創作進行了簡要評述。其中,作者評價道:

「《Exposé現》展現了吳季璁將看似矛盾的元素進行調和統整的能力。他的作品中,紋理所創造的縱深與平面性相結合。稍加觀察,原本隨機、無意義的自然產生的顏色與圖案在藝術家的精心安排下具有了意義,變成了想象中的水墨風景躍然眼前。吳季璁創造性的實踐重新詮釋了中國的藝術傳統,令他的作品更具有厚度與豐富性。」



 
creation process

[Critique by Heyshow.com] On the Limitless Imagination in Wu Chi-Tsung’s Interdisciplinary Arts
[黑秀網專稿]不藉筆墨畫山水,巧以陽光曬山色:聊創作跨域的無限想像,吳季璁專訪

Wrinkled Texture Series 097
Wrinkled Texture Series 097, 皴法習作之九十七,90.4×46.3 cm, 2021


Recently, Wu Chi-Tsung’s intriguing application of Cyanotype photography was introduced by Heyshow.com, the biggest Taiwan designers’ website with updated designing news and articles. The article reviews the creation process of the Wrinkled Texture Series as well as the Cyano-Collage Series.


In the article, the writer Hsu Szuying introduces:

When we look at the Cyano-Collage Series, we can’t help but be brought into the time in the picture, as the author invites the viewer to feel a juxtaposition of the past and the future tenses. In “Another Way of Telling” by John Berger and Jean Mohr, it is mentioned that “Imagine if time is cut in photography, that the time of a photograph is a state of interlaced events, then it can be expressed in a frontal, circular way, and the diameter of the circle depends on the amount of information contained in the image.” In the Cyano-Collage Series, the viewer can feel a great deal of information, including the deconstruction of traditional landscape painting methods, the study of paper materials, and the repeated testing of visual effects. These contents enrich the work itself and expand the viewer’s thinking, which is the spirit of art and the most valuable part of being a creator.




不藉筆墨畫山水,巧以陽光曬山色:聊創作跨域的無限想像,吳季璁專訪


 Cyano-Collage 091
Cyano-Collage 091, 氰山集之九十一,200×85 cm,2021


在我們既定的印象中,「山水畫」應該是白紙黑墨的視覺舞動,在墨色的深淺間展現筆觸的豐富性。有一位藝術家結合攝影中的氰版攝影法(藍曬法),在「無筆無墨」的狀態下,創作了一系列令人動容的藍色山水《皴法習作》(Wrinkled Texture )與《氰山集》 (Cyano-Collage)。運用浸、揉、曬、拼的手法,畫中的山嵐與稜線,磅礴中卻不失雅韻,這是他長達十年的材質研究的成果,他是吳季璁,在跨域過程裡尋找無限可能的藝術實驗者。


吳季璁,1981年出生於台北,2004年畢業於國立台北藝術大學美術系,目前居住、創作於台北及柏林。致力於攝影、錄像、裝置、繪畫與舞台設計, 其創作媒體媒材多元,發想自日常生活中平凡的材料與現象,轉換出充滿詩意的想像空間。關注影像及觀看本質的探討,並融合東西方傳統與現當代藝術形式。 曾獲台北美術獎首獎(2003)、波蘭媒體藝術雙年展(WRO,2013)藝評與藝術雜誌編輯獎、劉國松水墨藝術大獎(2019),並入選英國世界藝術獎(Artes Mundi,2006)、英國保誠當代藝術獎(Prudential Eye Awards,2015)。



cyano-collage 095
Creation Process of Cyano-Collage 095, 吳季璁創作《氰山集之九十五》,吳季璁台北工作室,2021


《氰山集》水墨與攝影的交錯

走進吳季璁的工作室,有種莫名的震撼,為製作《氰山集》,吳季璁與工作團針對能容納長兩公尺的作品量身打造了烘乾箱、洗紙台,並擬出一套完整的工作流程,例如選用哪種紙、曝曬、水洗的時間。有趣的是,即使有一套“製圖標準”,他還是能保持創作一定的偶然性,例如在曝曬過程中揉紙的方式、陽光曝曬的時間,接著以撕與拼貼的方式,建構了既能呈現材質特殊性又保有視覺美感的山水圖。

藍曬法(Cyanotype又稱氰版攝影法)誕生於1842年,以檸檬酸鐵氨與鐵氰化鉀為感光原料,在陽光曝曬下,使之產生變化,並經過水洗顯影後呈現出藍色的視覺效果,未曝曬到的則無任何顯色,也有人稱之為無相機攝影法。



Q1.當初選擇用氰版藍曬結合水墨創作的靈感來自哪裡呢?

季璁:選擇氰版攝影源於對數位攝影的不滿足。使用數位相機或電腦修圖能便利的產生各式各樣的影像,但生成影像方式只剩一種,也就是說只有一種方法做攝影。於是我想回到攝影的本質去紀錄光線,讓材質與技術更開放,並結合不同紙張去實驗,於是使用了氰版的技法。至於水墨題材,則是因為從小學習傳統書畫,對山水有很強的連結。然而,由於當代生活經驗與日常生活使用的物品已經和以前不同,現在的觀眾已經很難直接理解什麼是「筆墨」,所以我思考的是如何將其轉換成這個時代大家較能接受的影像,來傳遞水墨的美學與精神。


studio member
吳季璁與團隊於台北工作室,成員每個人都各有所長,把關每一個細節 圖/吳季璁工作室

Q2.您是如何理解「山水畫」的呢?與其他畫類相比有何特殊之處?

季璁:比較東方傳統水墨與西方傳統風景繪畫,它們其實反映了東西方思考方式的差異,西方的繪畫追求「再現」,例如油畫便是追求高度控制的媒材,但東方繪畫始終來自個人想象的投射,雖然北宋時期的山水風格相對寫實,然其也並非再現特定的山,而是畫家飽覽群山後自行歸納、總結出此地山水紋理之特色,再發展出一個筆法來描繪,投射自己想像的世界,是觀察、歸納、理解、再創造的過程。再往後期發展,畫家則更多的是基於前人的創作去發展山水意象,離自然寫實就更遠了。

東方的繪畫材料也是順應著這個特質發展。無論是宣紙、墨還是毛筆,均開創出非常複雜的工藝高度,紙與墨是極為敏感的材質,筆墨與筆觸可以細膩地反映出人在創作時的精神狀態。《氰山集》與《皴法習作》系列中納入了高度的隨機性與對於自然的投射延伸出來的水墨系統,並用無相機攝影法呈現出來。


Q3. 除了現在的創作模式,您是否有計劃將藍曬做其他材質或主題的探索呢?

季璁:《氰山集》系列經過多年的發展,已經開展出許多不同面向,例如表現山、海等自然風景,或更為抽象的內容。利用氰版無相機攝影的隨機特性,畫面的可能性極為多元,我希望能夠順其結果探尋更多表現空間,尤其希望能夠深入研究使用宣紙成像這件事。宣紙種類繁多,每種宣紙的屬性大異其趣,氰版在其上可以有很多的色彩和變化,是很隨機又很有機的。例如,如果使用水彩紙成像,其色度很可能乍一看很鮮亮,卻缺乏變化與餘韻。然而,宣紙卻能顯現出非常細膩的階調,如同山水中的墨色墨韻,這種細膩度是其他紙張無法比擬的。



cyano-collage 061
Cyano-Collage 061, 氰山集之六十一,205×205 cm,2019


可惜的是,宣紙這種非常細膩精緻的傳統工藝,因使用者變少、時代變遷而遇到發展危機,工廠也漸漸減少了生產紙張,人們缺乏認識它、探索它的機會。所以我還是想做更多宣紙結合氰版的實驗去探索不同紙張,也希望可以啟發其他創作者注意到宣紙種種特性及其背後悠久的歷史與複雜的工藝傳統。也許可以通過這樣的努力,讓世界上更多人開始認識並使用宣紙,使這門古老而細膩的技術重振生機。

在當代藝術世界,很多人在討論與追尋能夠反映這個時代的作品,但我對於藝術的信仰卻有些保守。我在思考的是什麼可以超越時代、超越時間性,反覆思考從所謂的「傳統藝術」到「現當代藝術」之間,始終不變的是什麼。

如果說當代藝術的潮流在於對新技術與精神的捕捉,我卻熱衷於反向而行,專注於材料學、技術,以及與自身所在區域文化的歷史及美術史的對話,用一種看起來不那麼激進或是前衛的方式創作,也許這反而是我對於當代藝術的批判性貢獻。



氰山之美



production process
氰山集製作過程,圖/徐思穎


如果用攝影的角度去看《氰山集》,會發現一些很有趣的事,當我們看照片時,我們會不由自主的被帶入畫面中的時間,是作者邀請邀請觀者感受一段過去與未來的脈絡。在John Berger 與Jean Mohr所寫的《另一種影像敘事一個可能的攝影理論》曾提到:「假如攝影中的時間切割,想像照片的時間是種事件交錯的狀態,那麼就可以從正面、圓圈的方式來表達,而圓圈直徑大小則取決於影像中所蘊含的資訊量。」在《氰山集》的畫面中,觀者能感受到大量的訊息,包含了對傳統山水畫法上的解構、對紙性的材質研究以及對視覺效果的反覆測試。這些內容豐富了作品本身,同時也拓展了觀者的思考維度,這是藝術的精神,同時也是作為創作者最可貴的部分。



作者/徐思穎 圖/吳季璁工作室



 
cyano-collage 106

Cyano-Collage on Aluminum Panels will be Premiered at Art Basel Hong Kong
鋁製底板《氰山集》將於巴塞爾藝術展香港展會首次發表

cyano-collage 106
Cyano-Collage 106 氰山集之一百零六,2021

Date May 21 – 23

Venue Convention & Exhibition Centre, 1 Harbour Road, Wan Chai, Hong Kong



From May 21 to 23, First Cyano-Collage Series work applying aluminum panels will be premiered at Galerie du Monde’s booth in Art Basel Hong Kong. As a substitute to wooden baseboard, aluminum panels create a distinct reflection that leaks through the Cyano-Collage landscape. The revealed base board, a.k.a the blank-leaving(留白), embraces traditional aesthetics of Chinese painting and enhanced the sense of space hence created new possibilities of interpretations. 






日期 2021年5月21日 – 23日

地址:香港會議展覽中心,香港灣仔港灣道1號



本月21日至23日,首次應用鋁製底板創作的《氰山集》系列作品將於巴塞爾藝術展香港展會的世界畫廊展位首次發表。相較於之前使用的木製底板,鋁製底板獨特的金屬反光從氰版山水中透出,照應了傳統繪畫中「留白」的概念,為作品帶來了縱深感與更為豐富的意境。




Installation Views 展覽現場



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[Exhibition Review by OBSCURA] TIME, LIGHT AND EXPERIMENT
[OBSCURA展評] 時間、光與實驗

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現於世界畫廊(Galerie du Monde)展出的《現 Exposé》正是把吳季璁近年的實驗作品《氰山集》(Cyano-collage)向大眾呈現出來。2019年時,他在台北舉行的個人展覽《東橋西照Echo》也有展示《氰山集》系列,同樣是穿越詩意山水的概念,但展示方式卻是截然不同。《東橋西照Echo》把作品展示在一所有歷史感的殘舊大樓裡,部分畫作更是隨意地貼在石灰剝落的牆上或是放在檯的邊緣,任由它懸垂在地上。這次在方正、潔淨又優雅的畫廊裡展出,又是另一種體驗吳季璁作品的方式。「我們刻意地把一幅大型六聯屏作品放置於展場入口,令觀眾必須要繞過這作品才看到其他展品,如行山一樣,攀過一座山才看到其他的風景。我們希望觀眾能夠一層一層地發現和探索,如中國山水畫強調的『可行、可望、可游』;吳季聰塑造他作品中的風景時, 也是懷着這種精神。」展覽的策展人郭瑛說。她在佈展時意外地發現六聯屏的板子間透出了光束,若隱若現光線正是呼應著中式園林中的影壁,讓觀眾開門見山地看到仿若懸浮空中的作品,並擴闊了對空間的想像。


「無論我創作什麼媒材的作品,我的思考方式與投射的世界都是繪畫的、山水的。 只有在傳統與現代、東方與西方之間遊走,才能讓我更意識到其中改變的東西是什麽、共通的地方是什麼,而不變的又是什麼。」吳季璁說。從小喜歡繪畫的他,在大學時代開始嘗試各種媒材,但他始終鍾情於影像本身。今次展覽除了《氰山集》,也有較早期的《皴法習作》(Wrinkled Texture),這兩個系列都是源於吳季璁對數位攝影的不滿足。「數位攝影生成影像方式只有一種,也就是說當代彷彿只剩一種方法做攝影,於是我想回到攝影的本質去紀錄光線本身,讓材質與技術更開放,並結合不同紙張去實驗。因而回到更古典、時間性更強、更不可控的氰版。」他這次的實驗方式使用了古老的氰版攝影法,來創建紙上的紋理——把中國宣紙浸泡於塗布感光藥劑之中,透過直接曝曬於陽光下和過程中不斷調整重塑紙張的皺折,創造了美麗的質感與層次。陽光猛的時候,紙上會呈現深藍色,陰天時藍色會變得淺一點;深淺也會因曝曬的時間而有所不同。在反復的嘗試後,吳季璁挑選喜歡的部分,並放在捲軸上,成為《皴法習作》。《氰山集》則是在這基礎上加上拼貼及繪畫,把雲霧裡的群山峻嶺立體地呈現出來。這不但蘊含著中國傳統水墨畫裡的山水意境,還記錄了當下的時間、光影明暗和身體姿態的表達。


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中國的山水畫表現的是情景合一,那麼吳季璁創作時又寄喻著怎樣的情感呢?「《皴法習作》和《氰山集》系列通過將筆墨置換為攝影,探索的是「山水」的可能性,在試圖拓張山水的邊界與想像空間。我們對於創作的每個環節都進行過無數次實驗,這個實驗的過程可能不太是感性與抒情的,而是在辯證地探索。」吳季璁說《氰山集》系列在今年之前都是控制性很強的作品,他一直追求技術上的極致,例如為了處理畫面中的留白與雲霧,在技法上將宣紙的纖維搓到極薄。即使技術已近乎極致,但他卻感到似乎失去了追求的意義。「近期比較大的突破在於創作狀態更為放鬆,更接近『自然而然』。除了構圖時讓氰版相紙自然地發展,也同時讓我的某些內在的東西自然地抒發出來,這與古人繪畫山水的狀態很相似。在創作《氰山集》時,我漸漸地把自己的意識放在他處,例如收聽廣播節目,讓手無意識地動作,越是這樣越能進入到一種類似冥想的狀態。 」吳季璁說創作這兩個系列時,他思考和追求的都是「形似」,像回應某幅經典的山水畫;但現在則進入了不那麼表象的思考,從而展開更多的可能性。「能夠將自己全然投射進入到一個『可觀、可居、可游』的想像空間,反而更契合水墨的內在精神。」


遊歷在眾多的作品之間,眼睛不禁停留在捲軸的《皴法習作》之上,近看時是一張擁有漸變色彩、皺摺了的紙張,遠看時卻浮現出山水的景象。加上,以最經典的東方書畫形式去結合西方的氰版攝影技術,在現代的語境中延續了傳統的美學。打開卷軸時更會有一種如走到大自然裡或行山時所感受到的柳暗花明,是對那未知景色的興奮和期待,難怪吳季璁笑說他也是私心地偏愛捲軸的《皴法習作》呢。






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“My creative practice is filled with endless experimentations. Every step along the process, I am constantly exploring the possibilities within, and always failing too. As the saying goes, ‘Successes are coincidental, while failures are essential’,” Taiwanese artist Wu Chi-Tsung said with a laugh. Sometimes the act of creating resembles an experiment, with its incessant attempts and failures after more failures; one awaits a coincidence to create a “successful” work. Amid a sophisticated and fortuitous creative process, Wu’s recent works the Cyano-Collage series struggled against, adapted to and interspersed with time and light to realise one experiment after another.


Currently exhibiting at Galerie du Monde, Exposé is a public display of the experimental series Cyano-Collage Wu created in recent years. In 2019, his Taipei exhibition Echo also exhibited the Cyano-Collage series, following the same concept of going beyond shan shui (landscapes), but with a completely different curatorial approach. Echo showed the works in a dilapidated building that exudes heritage. Some of the works were attached arbitrarily on walls with lime peeling off it, or lying around the table edge in suspension. Exhibiting the works in a four-square, clean and elegant gallery this time presents another way to experience Wu’s works. “We deliberately placed a large 6-part work at the entrance of the exhibition space, so that visitors must make their way around this work to see other exhibits, much like hiking, where one must overcome one mountain to see other scenery. We hope that visitors may discover and explore layer through layer, as Chinese shan shui paintings often emphasised in the quality of being ‘passable, discernible, navigable’; Wu shaped the landscapes in his work in the same spirit,” said Ying Kwok, the curator of the exhibition. While setting up, Kwok chanced upon the light that seeps out of the spaces between the panels of the 6-part work. The obscure rays echo the ying bi (screen walls) in Chinese gardens, such that visitors are given an uninhibited view of the work that appears suspended, and imaginations about space expand.


Echo exhibition view

What Chinese shan shui painting presents is the union of sentiments and scenery. As such, what kinds of sentiments were bestowed by Wu when he was creating? “The Wrinkled Texture and Cyano-Collage series swapped the ink and brush for photography, and what they explore is the possibilities of ‘shan shui’. They attempt to expand the boundaries and space for the imagination of shan shui. We conducted countless experiments in every stage of the creation. This experimentation was perhaps not so much as sentimental or expressive, but more of an exploration grounded in reasoning.” Wu said that the Cyano-Collage series was still very much a controlled work before this year. He has been pursuing perfectionism in techniques, such as in the treatment of liu bai(leaving areas blank) and misty clouds in the composition, for which he rubbed the fibre in the Xuan paper to an extreme fineness. As his techniques neared perfection, however, he felt at loss somehow with the meaning of the pursuit. “The biggest breakthrough lately was when the state of my creative process grew more relaxed, and closer to ‘natural spontaneity’. That not only allowed the photographic paper to develop naturally when I worked on the composition, but also enabled certain things in me to be released naturally. This is similar to the state wherein ancient people painted shan shui. In creating Cyano-Collage, I gradually placed my consciousness elsewhere, such as in listening to radio programmes, as I let my hands move unconsciously. The more I do this the more I was able to enter into a sort of meditative state.” Wu also said that while creating the two series, his thoughts and pursuits were “figurative”, like a response to a certain shan shui painting classic; whereas now his thoughts have entered into less literal realms, opening up more possibilities, “To be able to project oneself entirely into a ‘discernible, habitable, passable’ imagined space is more in keeping with the spirit of ink art instead.”


Roaming around so many works, my gaze lingered on the Wrinkled Texture on the scroll inadvertently. Seen in close proximity, it was a gradient, creased paper; seen from afar, the shan shui landscapes came through. Not to mention using the most classic Eastern art forms to fuse with Western cyanotype photography technology is a continuation of traditional aesthetics within the modern vernacular. Rolling out the scrolls, there was even a sense of optimism as one feels when entering into nature or hiking, that is, the excitement and anticipation for the unknown. No wonder even Wu said laughingly that he held a personal preference for the Wrinkled Texture in scrolls.



Write by/ ELVA PANG

TRANSLATION / GABRIEL SO



 

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[Exhibition Review by *CUP] Art of chance and coincidence
[*CUP展評] 世界畫廊與吳季璁 ——偶然與巧合的藝術

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Rently, writer and artist Cyrus Lambrecht has published an exhibition review on *CUP on Wu Chi-Tsung’s solo exhibition EXPOSÉ at Galerie du Monde.  In this article, Lambrecht discusses on chances and coincidences in Wu Chi-Tsung’s art.

Curator Ying Kwok introduced during the press preview that the aim of the exhibition is to unveil the production process of Wu Chi-Tsung’s works that applies cyanotype photography. After being able to see the behind-the-scenes, Lambrecht quoted John Locke’s theory named Tabula Rasa to describe the exposure process. The term literally means ‘blank board’ as a comparison to human’s mind before experiences, which resembles blank Xuan paper, while the wrinkles and sunlight exposure resembles experiences in a person’s life. Hence, the whole process as well as what finally emerges and remains on paper, the landscape-like imagery, are interesting metaphors for life.



Photos credit to the writer




若世界上所發生的事情,都只是一種偶然與巧合,人們所堅持的一切,會否也只是一段徒勞無功的過程?我們可能因為無法控制一些事情的發生,而感受到一刻的脆弱和無力感 —— 但就是當中一份偶然發現的驚喜,讓我們堅持自己的信念和執著。台灣多媒體藝術家吳季璁,在世界畫廊(Galerie du Monde)以「」(Exposé)為主題,展出一系列採用了氰版攝影和宣紙的畫作。透過獨立策展人郭瑛重視空間劃分的策展風格,呈現出時光荏苒與物是人非之間的一刻旖旎景象。



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宣紙與氰版藍曬法

在「現」的展覽中,共有 8 件同樣運用了氰版攝影手法的作品。其中以「氰山集」為題的畫作,在處理上增添了壓克力膠塗層,讓宣紙固定在畫布上。氰版藍曬法是一種傳統的顯影技術,透過製作負片、曝光及水洗的過程,進而產生化學作用,在紙張上顯現圖像和紋理。由於現今大多的紙張會以化學藥劑進行漂白,影響顯影效果,因此吳季璁在紙張的挑選上,以被譽為「紙壽千年」的宣紙進行創作。「氰山集」和「皴法習作」的創作靈感,都取材自中國水墨畫中的「皴法」概念,一種傳統以水墨勾勒山巒與石塊嶙峋質感的畫法。吳季璁反覆將宣紙摺疊與揉捏,使其形成獨特的紋理,再透過陽光與藥劑的化學反應,在紙張的纖維裡,交織出一種大自然與山水的意境。


柳暗花明又一村

佇立在畫廊門口的「氰山集之九十四」,為吳季璁在 2021 年所創作的六聯屏作品,每一幅彷似懸在半空的畫作,都經過氰版藍曬的處理。根據策展人郭瑛在開幕當天對場地策劃的闡述,她希望是次展覽可以給予觀賞者一種「柳暗花明又一村」的感覺,配合著場地的設計,展現出畫作當中涵蘊的層次。在走進了畫廊以後才驀然察覺,郭瑛特意保留了「氰山集之九十四」背面的原始面貌,無遺地展現吳季璁最真實的創作過程。她這一個策展決定,是為著大眾可以看到吳季璁更多創作背後的實驗和經歷,所以她亦在畫廊的角落,放置了不同藍曬效果的宣紙和創作手稿,讓觀賞者從藝術家的角度,逐步見證一件作品的誕生。



installation views


人心如白板

在拼湊附有皺褶的宣紙的過程中,吳季璁會在每一層的宣紙之間,加上一層白紙來呈現「留白」的效果,然後再塗上 5 至 6 層壓克力膠和保護漆來固定畫面。英國經驗主義哲學家約翰.洛克(John Locke)在著作「人類理解論」中,曾提出「人心如白板」(Tabula Rasa)的理論:「一切觀念都是由感覺或反省而來的 —— 我們可以假定人心如白紙似的,沒有一切標記,沒有一切觀念,那麼它如何會又有了那些觀念呢?」洛克所論述的是人類一切的認知,本來就沒有一種先天的概念,一切都是從經驗而來。在吳季璁「氰山集之九十四」的創作過程中,會否亦在體現一種如「白板論」一般的哲學概念?宣紙能夠充沛地吸收顏料的特質,就如我們的心靈一樣盛載各種情緒。每一層象徵著經驗的壓克力膠,緩緩地組成我們的性格,就像皺褶的紋路,需要經過時間的沖洗才可以冉冉顯現。六聯屏在畫面上的推進,宛如人生每一個階段的發展,看似分離卻又巧合地連繫在一起。或許人生從來沒有遞增或遞減的過程,就如吳季璁的六聯屏一般。當一張畫布被填滿了,就塗上一層保護漆,把我們所得到的經驗和知識保存,然後再開展一段未知的創作。


偶然與巧合之間

在離開展覽之前,幾縷和煦的光線從「氰山集之九十四」的縫間折射到地上,巧合地形成了似是呼應著吳季璁作品裡,由皺褶所築建的大自然山景。每一次的偶然與巧合,都埋藏著一份等待我們去發掘的驚喜。台灣唱作歌手陳綺貞在歌曲「偶然與巧合」中曾經寫下這一段歌詞:「偶然與巧合之間,我們的選擇會不會,改變了世界,改變某一個人。」在偶然與巧合之間,到底我們可以得到甚麼?同時我們又可以付出甚麼?若我們精心策劃一場可知的快樂,就會失去了一份不可知的期待。吳季璁選擇了在藝術的空間裡,捕捉一種偶然與巧合的驚喜。在宣紙的皺褶之間,量度人與大自然之間的溫度。


文、圖/ 林靖風

參考資料 關文運(譯)(1959)。「人類理解論」(頁 68)(原作者:John Locke)。北京:商務印書館。(原作出版年:1689)