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Wu Chi-Tsung presents a short video as was invited by Sean Kelly Gallery
應尚凱利畫廊之邀,吳季璁呈現短片《在工作室》



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

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








受尚凱利畫廊發起的#inthestudio項目之邀,吳季璁通過影像與觀眾分享了他日常工作的靈感源泉,以及他在這段特殊時期在台北工作室的生活。

這段抽象而坦誠的影像堪稱吳季璁與光共同呈現的雙人舞,而光一直是他在創作中最喜愛的媒材之一。「他們」共同挑戰了動態影像與靜態圖像之間的界限。影片中,吳季璁將工作室稱為「所有故事的起源」,並分享了他在創作中從迷茫無措到不斷嘗試再至捕獲靈感的過程。藉此,吳季璁又一次思考了藝術家及其工作室之間建立愉悅、動態、相互激發的關係的可能性。



 
studio

Reported by Artco: HOW ARTISTS ARE DEALING WITH THE PANDEMIC
《今藝術》報道:藝術家的防疫策略

HOW ARTISTS ARE DEALING WITH THE PANDEMIC: INTERVIEWS WITH WU CHI-TSUNG AND HSI SHIH-PIN AT THEIR STUDIOS


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

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






藝術家的防疫策略——吳季璁與席時斌工作室專訪



studio

吳季璁工作室三樓工作現場除了全面戴口罩,同時保持社交距離。



全球化以來世界沒有任何一個時刻如同今日般隔絕。世界各國幾乎都處於封閉邊界的情況,商業貿易陷入停頓,各個企業在力圖生存的同時,也為了生命的存續而採取作業分流與居家工作的模式,全方位的影響令每個人都無法置身事外。視覺藝術產業面對的,除了全球各博覽會、拍賣會紛紛取消與延遲,美術館、基金會、畫廊等相關營利非營利場所的展覽也紛紛無限期延後。


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


空閒是種救贖——那些想做未做的


從2017年開始成立工作室以來,吳季璁經歷了不少波折。期間曾因廠商施工不良,導致工作室蒙受巨大損失,不得不輾轉搬遷,直到第三次才搬到今日位於大龍峒的空間。然而這幾年,吳季璁無論在美術館或博覽會的展覽都很持續固定安排,有時反而因為供不應求而呈現不斷在趕製作品的狀態。工作室的壓力一直是「如何解決眼前的緊急項目」。也因此,疫情的突然來臨,雖然導致上半年的展覽全部取消,下半年的展覽則還狀態未明,但對工作室而言,反而多了喘息的機會,得以好好整理過往一直沒時間處理的事務。想做還沒做的從硬體上的工作區域重整,將使用上不順手、空間利用不理想的地方重新設計,到軟體上的資料庫重整、備份與作品製作流程優化。從製作過程、作品記錄、展覽紀錄……各樣形式的所有檔案到底要如何存檔、歸檔?可以最有效的搜尋、提取?吳季璁與工作室夥伴花了一個多月重新架構、整理,對吳季璁而言,「這是超級重要的一步」,可以讓本來就運作還不錯的工作室進一步系統最佳化。而吳季璁工作室經理朱莉安也表示,疫情對工作室的影響就目前看來其實正面多過負面。除了讓工作室得以好好重新整頓規劃,過去幾年吳季璁其實都忙於眼前的展覽計畫,而沒有充裕的時間沉潛新的作品。「這對藝術家不大健康。」因此原就計畫在今年減少展覽計畫的工作室,反而獲得了一段完整的休息時間。


同樣獲得喘息的,還有本來預計在六月份推出個展的席時斌。「其實畫廊本來很緊張我的進度,我自己也很緊張,但現在就是無限推延。」約莫兩年辦一次個展,席時斌一直有很穩定的市場支持。因此對席時斌而言,每次辦展對自己或對畫廊而言都很重要。如果此刻辦展風險太大,那麼稍微停頓一下,專心於創作,反而是比較理想的狀態。由於作品特性,席時斌的展覽一旦進入製作期就是金錢快速燃燒的時間,「所以現在我會把思考時間拉長,主要放在紙上、模型作業」。多餘的時間就用來研究新項目,比如立體書的結構等,探索如何將其與作品結合,開啟下一個可能的創作階段。



體質好,衝擊小 藝術家工作室就是一個中小企業



疫情衝擊下,人們第一個想到的便是金流的衝擊,這也是文化部紓困方案緊急在第一季便推出的原因。不過吳季璁與席時斌工作室對此卻都顯得較不擔憂,甚至目前最主要的創作工作,都還是消化去年的訂購與委託製作。另一方面,念過兩年應用數學的席時斌其實一直很喜歡會計的工作,也很習慣以整體社會的狀態來思考藝術與經濟系統的連動,因此工作室的財務、金流也一直控制得宜。「我最大的損失衝擊反而是我的投資。」對席時斌而言,藝術產業、藝術家本來就不是每個月擁有固定收入的族群,他們的收入從來就是複合型以及來自作品販售。然而,作品沒被交易並不影響其作為資產的存在,因此若真要論「損失」,其實來自無法提列虧損,業績下滑、沒賺到的部分。


因為習慣用企業的角度思考工作室的營運,面對疫情衝擊,席時斌的態度也傾向以商業運作的模式來因應。比如延後作品實際製作的時間,減少金流壓力,一如部分餐廳、店家的預防性歇業;工作室原計畫補充的人力則先遇缺不補,以減少開支,維持固定成本在自己與全職助理2個人力與工作室租金等基本開銷。將藝術家放在「生產者」的角色,席時斌認為:「藝術產業真正受影響最大的可能不是藝術家,而是裝裱、沖洗、運輸等周邊產業。」當然他也認為,如果疫情繼續,六、七月開始藝術家們應該要注意違約率與違約金的問題,風險大的案子也應盡量保守以對。


相較於席時斌個人對會計觀念的嫻熟,吳季璁工作室則有賴盡責的工作室經理與合作的會計人員。吳季璁說工作室很幸運地在成立之初就被教導正確的金流觀念,並從其獲得許多經營管理的建議,「事實上,最早發現我們問題的常常是他。」比如工作室曾經花費過多金錢在材料實驗,但如果前期的研究與樣品足夠就能避免不必要的浪費。年度會計會議便是逐項檢視哪裡提升、降低,獲利比例的差異等,同時確保工作室擁有足夠的儲備金。朱莉安也表示,會計帶給大家最大的觀念是:不會因為今天製作的是單一件的藝術品而改變原則,它的架構依舊是企業的經營與運作,也因此遇到危機時不會那麼快產生影響。吳季璁更認為:「我們常常把創作者放到太高的位置,以為藝術行政只是做雜務,這是不對的。營運管理最核心的部分與知識跟藝術創作完全不一樣,這是創作人很需要的部分,但也是他們最大的盲點。可是藝術圈卻常常不重視,甚至搞錯重點。」因此吳季璁也希望能以自己的經驗建立一個足以分享給其他藝術工作者的模式,減少不必要的冤枉路。


財務槓桿低、預備金充足、維持組織在一個足夠靈活但不過度龐大的規模,成為吳季璁與席時斌工作室在疫情衝擊下穩定的基礎。一如一場瘟疫讓我們看見各國行政系統的弱點,或許疫情也只是讓我們可以清晰檢視藝術家各自藝術體質、經濟體質的引爆點而已。



配合政府防疫對策,吳季璁工作室準備了充足的防疫物品。



死亡才是藝術家事業最大的風險



雖然身邊好友常取笑之所以愛運動的吳季璁是因為「怕死」,但藝術家的生命確實才是藝術家生涯志業中最有價值的資產。


面對此次疫情,席時斌不斷在觀察、思考企業對「風險控管」一事的想法與作為,不禁表示:我們常常計算很多風險,但我們都忽略了藝術家有一個其它企業沒有的特點,就是一旦藝術家死亡、無法再製作新作品,就只有「剩餘價值」。因此藝術家其實是個高風險職業,而最大的風險就在藝術家本身,所以避險要素其實是:避險自己。尤其成熟的藝術家大部分都在35、40歲以上,若同時考量罹病的死亡機率等,真的「不要出來辦個展覽就過世了」。也因此,席時斌認為毋須過度在意展覽被取消,某方面而言,主動取消都可以說是一種風險控制。也因為思考到藝術家消亡所衍生出的後續財產處理等問題,席時斌表示近期已約好律師,想把遺囑的訂定、物權的後續使用等,趁機理解清楚,不要造成繼承者的負擔,或自己還要擔心他們是否會被騙等。


因為脊椎曾經受過傷,吳季璁一直保有運動的習慣,不管是慢跑、重訓、體操等,疫情影響下,因為避免再進出人群密集的健身房,也在工作室兼住家的空間裡安裝了單槓,讓自己維持運動的狀態。除了非必要的會議跟聚會都取消,進出工作室的人員也都盡量單純化並予以管制,防疫措施完全依據勞動部、衛福部公布的中小企業防疫準則施行,彈性上班時段、每日清潔消毒環境……,並著手規劃一旦疫情惡化,如何分裝各自的工作,採行遠端工作的模式。


隨著可以回去柏林的時間變少,吳季璁也將位於柏林的公寓退租,僅留下工作室,並將節省下來的費用拿來聘雇另一位兼職的助理。「口罩國家隊給了我很大的啟發。」因為過往工作室常常耗費許多時間處理大型博覽會期間龐大的工作量與挑戰,但這些廠商卻能迅速投入這麼多人力與資源應對危機,中衛的「七三法則」令吳季璁重新反省工作室的運作,並希望藉由每週工作三天、拉高單位時薪,來提高彼此工作的效率與品質,同時提升應對突發狀況的儲備彈性。


對於未來,很久沒在台灣待那麼久的時間,吳季璁開始有一些對作品的新想法,預計接下來將逐步著手嘗試。席時斌也認為經濟上自己並不擔心,未來還是會把能量保留在個展與中、大型的製作上。也因為過去的節奏太快速,「我是否在精神面、深度上可以做更多的探索?」因此想把投資放在開發自己與新作品上。


思考自己的定位,審慎評估各自的優勢與劣勢。時間,或許才是成熟藝術家對自己最好的紓困。



文/ 朱貽安

載於《典藏.今藝術&投資》雜誌2020年5月刊



 
wu chi-tsung live stream

Insider: A Virtual Visit to Wu Chi-Tsung’s Taipei Studio
第一現場:在線參訪吳季璁台北工作室

wu chi-tsung x taipeidangdai


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

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

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






直播回顧


5月4日,吳季璁受台北當代的邀請,通過直播帶領觀眾在線參訪台北工作室。

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

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



 
saigon studio

Wu Chi-Tsung Opens a New Studio in Saigon, Vietnam
吳季璁新工作室於越南西貢成立

saigon studio


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

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

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



still life series

Shooting scene of the Still Life Series in 2019
《小品系列》2019年拍攝現場



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

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






cyano-collage 50

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



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

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



mot collective

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



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

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



 

TWO OF WORKS OF THE ‘STILL LIFE SERIES’ WERE COLLECTED BY THE Nguyen Art Foundation
《小品》系列作品於越南Nguyen Art Foundation典藏



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

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

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







still life series


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

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

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



 

Wu Chi-Tsung x Saverio Tonoli: We both found our inspirations from the other side of the world
吳季璁與薩維里奧・托諾利:我們都從世界的另一邊汲取靈感

Wu Chi-Tsung x Saverio Tonoli

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



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



T= Saverio Tonoli  W = Wu Chi-Tsung



How did you know each other?


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


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



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


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


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



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


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



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


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

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



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


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

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



(To Saverio) How was your cooperation with FENKO?


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


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



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


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


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

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


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



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


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


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



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







吳季璁與薩維里奧・托諾利

我們都從世界的另一邊汲取靈感



《易時易地》於吳季璁工作室



薩=薩維里奧・托諾利, 吳=吳季璁



你們是如何認識對方的?


薩:我們在2007年德國貝塔寧藝術村的開放工作室活動中相識。當我走進活動場地時,季璁的作品一下子就從遠方牢牢吸引了我,因為我一直在找和我使用相同材料(宣紙)的人。那天我們的話題一直圍繞宣紙打轉。在這之後我們自然而然保持聯繫,相互拜訪對方的工作室、並且在柏林一起做了展覽項目。其實自2018年,我們就有了在季璁的台北工作室舉辦駐村項目的想法,但今年才得以實現。


吳:對,我們從一開始就一直在聊宣紙。每次我拜訪薩維里奧的時候,我都會給他帶上不同的宣紙讓他測試,並逐漸有了要邀請他來台灣的想法,這樣他就能有一段完整的時間研究材料。



聽說本次展覽的標題《易時易地》是你們共同討論的結果。你們如何詮釋這個標題呢?


薩:我和季璁都會去研究傳統媒材,並將他們運用在當代藝術實踐之中。除了使用宣紙創作之外,我也致力於探索濕壁畫的材料可能性,令其更為易於繪製與展示,同時增加其自由的流動感。這些(宣紙、溼壁畫)在藝術史中使用已久的材料是我們的靈感來源,也帶領我們置換工作室時空,反思何謂「此時此地」。


吳:我們希望融合歐洲與亞洲文化、古代與當代技法,為觀眾創造一個超然於此時此地的體驗。利用不同元素,開啟一個新的對話。



這是季璁第一次將工作室開放為面向公眾的展覽嗎?


吳:這次駐村項目正值台北當代藝術博覽會期間,許多國內外藝術界同仁與藏家、觀眾都會來台灣,我們藉此機會在工作室舉辦展覽和開幕Party,更直接地與大家交流,同時討論藝術家工作室與展覽的可能性,把我們的經驗和台灣的藝術圈分享。因為目前在台灣,絕大多數藝術作品均是以完成的狀態展覽在白盒子空間中,而參訪藝術家工作室則被視作是非常私人的行為。但是我卻認為藝術應是「一整件事」,不能只看到最終的作品,舉辦開放工作室展覽的目的也是為了讓每個人看到藝術創作的過程。我們將工作室空間分為不同功能,每一層都有不同的展示,讓工作室成為類似替代空間的場所,除了有豐富的內容外,也會給觀眾特殊的藝術體驗。



你如何看待藝術家工作室在藝術生態中的角色與可能性呢?


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

近幾十年來,藝術家工作室的角色發生了很大變化。如今,越來越多的藝術家工作室規模擴大,涉足的領域也更加多元。工作室不僅是一個單純用於生產藝術品的場地,而更是人際關係網的中心。與機構相比,藝術家工作室在交流和執行方面擁有更高的獨立性和靈活性。此外,我很開心我們的工作室能夠財務獨立,這是一切可能性的基礎。我希望我們的經驗可以啟發其他人,並為台灣藝術界的豐富性做出貢獻。



我們在薩維里奧的Instagram上看到你正在為新展覽創作新作品。這些作品是否與你此次在台灣駐村的經歷有關呢?


薩:一般來說我很享受獨自工作的狀態,獨處對我來說是極為重要的。在駐村過程中無論是尋找新的材料與供應商、結識新的藝術家朋友、適應有限的工作空間,以及適應地方文化都可能對藝術家的工作構成很大的挑戰。但是本次駐村經歷則更像一個私人的合作項目:吳季璁工作室為我提供了大量的支持,並且也令我能夠自由地獨自創作。此外,台灣是一个美麗而自由的國度,我沉迷於台灣的風景與紙墨文化。

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



你是怎麼與鳳嬌合作的呢?


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


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



二位顯然都是媒體與媒材的專家,而且你們都鐘情於自然現象與日常物件。不過,你們接觸藝術的方式卻是相反的:季璁從小學習繪畫,後來在大學才接觸攝影,而薩維里奧卻從小接觸攝影,晚些才學習繪畫與其他媒材創作。你們怎麼評價彼此的藝術?你們認為你們之間的相同點與區別在哪裡?


薩:我們對待藝術的態度是相似的,我們的作品都沒有政治色彩,無關社會議題、個人經歷、環境或感覺,是「超越時間與地點而存在的」。另外,我們的作品使用相似的材料,我們經常會交流彼此的技術和遇到的困難。比如我們都用非傳統的方式將宣紙裝裱在畫布上,所以我們的話題常常圍繞在技術問題上。


吳:我認為我們最有趣的基礎共同點在於我們內在都是畫家,換句話說,我們都是以繪畫的方式和角度在思考。而且我們都對水的材料感興趣。我會使用西方的技法表現東方的意境,而薩維里奧也很熱衷於探索東方材料和文化,他甚至有在練習功夫。我們都從世界的另一邊汲取靈感,我認為這是非常美妙的連結。

然而,我們接觸藝術的方式是不同的。我主要做新媒體藝術,不用筆墨畫畫,但卻用繪畫的思維方式去思考所有的其他不同媒材。而薩維里奧則是專注處理繪畫本身。


薩:是的,我最早接觸藝術是和我父親一起在我家車庫的暗房中,在那裡,他向我展示了攝影的原理。從那時開始,我嘗試用墨水、義大利或東方的材料去模仿與替代光。當我用Photoshop處理圖片時,我認為我也只是在用數位的方式繪畫。



這想必是二位在2020年參加的第一個展覽。你們有什麼新年願望嗎?


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


吳:現在距我1999年入大學已經20年了。三年前,我建立了工作室,至今我們已經有了些精彩的收穫和成績,在此期間我一直努力活躍於國際舞台,我期許自己被視為一位國際藝術家,而非僅是台灣藝術家。並希望未來能將我與工作室的國際化工作經歷能夠分享給台灣的藝術世界,啟發他人。另外,我也期待能夠進行更多的合作項目,妥善利用我們在台灣、柏林和越南的資源——在這三地我們都有太多能夠分享的事情與經驗了。



採訪、翻譯:王天藝
企劃、校對:朱莉安



Group exhibition 3E14 in Galerie du Monde, Hong Kong
世界畫廊群展《3E14》於香港開幕

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


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


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

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

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






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

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

此次,吳季璁新作《氰山集之七十七》將首次展出。圓形構圖挑戰了藝術家已有的創作語言,進而將東方美學與15世紀意大利文藝復興時期盛行一時的「Tondo」(圓形畫)相結合,為《氰山集系列》在消弭時代限制、融合東西美學上的探索拓展了新的可能性。

同時,《氰山集之七十七》由世界畫廊代理,於巴塞爾藝術展網上展廳展出,為各地觀眾提供身臨其境的觀看體驗,線上展覽從即日起開放至3月25日。




 

Wu Chi-Tsung participates in the Taipei Dangdai Art Fair 2020
吳季璁參展台北當代藝術博覽會

Booth of Sean Kelly Gallery in Taipei Dangdai,

Booth of Galerie du Monde in Taipei Dangdai,



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



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



貴賓預展:1.16 下午2點至5點
公眾開放: 1.17 - 1.19
地點:台北南港展覽館,一館4樓
尚凱利藝廊|D05展位
世界畫廊|A04展位

 


台北當代藝術博覽會期間,吳季璁作品將由尚凱利藝廊與世界畫廊代理展出。尚凱利畫廊將呈現《小品系列》新作與《氰山集系列》,而世界畫廊將攜吳季璁《皴法習作系列》新作與《氰山集系列》亮相。



 
beyond the now, away from here

Wu Chi-Tsung studio Presents an Exhibition ‘Beyond the Now, Away from Here’ for resident artist Saverio Tonoli
薩維里奧・托諾利與吳季璁合作展覽《易時易地》

beyond the now, away from here

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



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



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

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

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

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

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

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



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

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


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





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



開幕酒會: 1月17日晚8時30分至午夜
公眾開放: 
1月17日至1月19日
地點:
台北市大同區重慶北路三段223巷34號 吳季璁工作室
紙材 & 保存顧問:
FENKO 鳳嬌催化室



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

「如果藝術有不一樣的開端……?」本次計劃探索早期東西方藝術的材質與技法起源,如宣紙、水墨及濕壁畫等,並嘗試重新融合材料,重新詮釋影像與當代藝術的形式,尋找超越時代和地域的可能性。

不同於標準「白盒子」式的展覽空間,本次展覽將於吳季璁工作室舉辦,展示空間自工作室一樓至五樓頂,展品從薩維里奧完整的作品到兩位共同發展中的實驗,邀請觀眾遊走在藝術家們的日常工作空間,感受其創作的過程。

本次計畫在台開創了由藝術家工作室主持駐村並發表駐村展覽的先例。吳季璁說道:「對於國際藝術家與觀眾而言,台灣是他們了解東亞的理想入口,因為它集合了東亞多種文化的影響,並且交通位置方便。作為藝術家工作室,我們在接待藝術家駐村項目中擁有更高的靈活度。我希望這次駐村能夠為台灣藝術世界開啟更多可能性、令其更為多元豐富」。

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



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

吳季璁(1981年生於台灣)將東西方的藝術傳統與當代藝術形式相融合,其作品往往將日常的物品和現象轉化為詩意的影像空間,創作橫跨多種媒介,包括攝影、錄影、裝置、繪畫與舞台設計等。


展覽企劃:朱莉安
文字編輯:王天藝
英文校對:Fredrik Nornemark
展場助理:董皓雲



 
cyano-collage

Critique on Galarie Magazine: 9 Must-See Artworks in Art Basel’s New Meridians Sector in Miami Beach
《畫廊》雜誌評論:巴塞爾邁阿密展會「藝匯經線」展區9件不容錯過的藝術佳作

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

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

by PAUL LASTER NOVEMBER 29, 2019


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



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

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

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

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



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


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

To view the full article, please click here






cyano-collage

氰山集之六十四,300 x 600 cm,於邁阿密巴塞爾「藝匯經線」展位


巴塞爾邁阿密展會「藝匯經線」展區9件不容錯過的藝術佳作



為了創造這氣魄壯麗的靛藍山水,藝術家吳季璁用最創新大膽的方式去詮釋了一種古老的技法,將源於19世紀的攝影技術『氰版』與傳統中國山水繪畫相結合……他不會預先去設定構圖,而是在創作過程中跟隨紙張與曝光效果而自然構建出如同傳統山水般極富想象力的場景。宣紙上所留下的類似於扎染效果的印痕被他演繹成為叢山峻嶺與冰川雪谷,令畫面完整而富有層次。

-Paul Laster評論吳季璁作品


閱讀更多,請點擊此處


wu chi-tsung in his studio

WU CHI-TSUNG NOW REPRESENTED BY SEAN KELLY
吳季璁加入尚凱利藝廊

Photo Credit: Yu Tzu-Chin



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


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


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



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


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






尚凱利藝廊宣布正式代理藝術家吳季璁。



吳季璁創新的作品涵括攝影、錄像、裝置、繪畫等多樣媒材,其創作融合東西方傳統與現當代藝術形式與方法,探索物質和自然世界的感知。他從小接受書畫、水彩及素描的學院訓練,形塑其多年來在作品中東方及傳統風格的呈現。在進行一段時間的實驗性水墨之後,他轉向錄像、裝置和攝影,受新媒體藝術的啟發,開展了新穎且動態的影像製作方法。其中包括將傳統的折枝花卉繪畫轉化成呈現時間流動感的動態影像,到近期連接東西方文化語境的《氰山集》系列,將傳統美學以令人驚艷的當代語言與概念呈現。吳季璁表示:「尚凱利是個充滿傳奇色彩的藝廊,代理許多世界各地傑出的藝術家,很榮幸參與其中。」


藝廊創辦人尚凱利先生說:「我們很高興季璁加入藝廊。季璁的作品在今年夏天藝廊的群展中展出,我們對於他的藝術表現感到印象深刻。他的創作概念結合當代技術與傳統中式技巧,創造了連接不同文化、過去和現在的獨特藝術語言。」



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


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



Upcoming: Wu Chi-Tsung in Art Basel Miami Beach
吳季璁將參加邁阿密巴塞爾海灘藝術展

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



Meridians Opening (by invitation only)

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

VIP Preview (by invitation only)

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

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

Public Days

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

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

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

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

Venue

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



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


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

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

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

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






「藝匯經線」展區開幕(僅憑邀請)

2019年12月3日(星期二) 下午4時至晚上7時

貴賓預展(憑邀出席)

2019年12月4日(星期三)上午11時至晚上8時

2019年12月5日(星期四)上午11時至下午3時

公眾開放

2019年12月5日(星期四)下午3時至晚上8時

2019年12月6日(星期五)中午12時至晚上8時

2019年12月7日(星期六)中午12時至晚上8時

2019年12月8日(星期日)中午12時至下午6時

地點

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


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



Installation View 展覽現場


Art Basel Miami Beach

Cyano-Collage 068

Cyano-Collage 068 Collected by Xie Zilong Photography Museum
謝子龍影像藝術館典藏《氰山集之六十八》

Cyano-Collage 068, 2019, 150 x 300



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


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


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

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






吳季璁在上海影像藝術博覽會中展出的作品《氰山集之六十八》由位於中國長沙的謝子龍影像藝術館典藏,藝術館以其獨特的建築與對於攝影藝術的專業呈現而獨具聲望。


謝子龍影像藝術中心由中國攝影家協會理事、湖南省攝影家協會主席、老百姓大藥房董事長謝子龍全額出資1.5億元創辦,由湖南大學建築學院院長魏春雨團隊設計建造,建築面積約1萬平方米,2017年開始營運,為目前國內最具規模和收藏實力的民營非營利性影像藝術中心。

「當人們談起巴黎、紐約、倫敦時,總會聯想起羅浮宮博物館、大都會藝術博物館和大英博物館,這些博物館收藏著人類發展史上可堪稱頌的文化藝術結晶,它們的魅力和影響力吸引了全世界的目光,我也非常希望未來當人們談起長沙、甚至是中國的時候,謝子龍影像藝術中心成為一個『必去』的地標性建築和博物館級的影像藝術中心。」謝子龍在開幕新聞發布會上宣布,該館以弘揚影像藝術、提升城市文化品位為宗旨,不以商業盈利為目的,將成為國內最大的影像藝術公益藝術館。

「『還影像藝術一個殿堂級的藝術館』——這是我成立這個影像藝術中心的初衷和願景,也是我們期望達到的最高目標。」謝子龍說,「到目前為止,中國還沒有一個真正意義上的攝影藝術博物館。希望『謝子龍影像藝術中心』能夠成為研究影像藝術的資料庫,成為中國影像藝術的發聲平台,舉辦最有價值的影像藝術賽事,為促進影像藝術增添一份力量。」


Still Life Tsubaki

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

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



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

Wu Chi-Tsung received the ‘Liu Kuo Sung Ink Art Award 2019’
吳季璁獲頒首屆「劉國松水墨藝術大獎」

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



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


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


We are most grateful for the Observers and Jurists. For more information, see: http://www.inksociety.org/award/



Observers:

Shang Hui   Raymond Tang   Wang Huangsheng   Wu Hongliang   Philip Wu

Members of the Jury:

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






liu kuo sung award

劉國松水墨獎展場



首屆「劉國松水墨藝術獎」得主吳季璁,1981年出生於台北;1990年代末至2000年代初,他在台北藝術大學就學期間,正是水墨創作在台灣藝壇瀕臨式微的時期。吳季璁雖然更多地遊走在西畫和新媒體藝術的範疇,對於水墨藝術及其創作卻也多有觀察與參與。將傳統水墨藝術及其美感轉化為各種具有當代特色的表現,而不拘泥於筆墨作為媒介的思考,這是吳季璁創作的一大特色。透過影像的媒介與成像技術,吳季璁以光、影為操作對象,持續與水墨繪畫進行一種別具個人特色的另類對話。2012年之前,他開始將傳統氫版攝影的藍曬技法與宣紙作結合,發展成《皴法習作》系列,並以掛軸的形製裝裱。塗了感光藥劑的宣紙,在光的曝曬下用手將紙張不斷揉皺,以製造出曝光後的皴法效果,揉皺的氰版紙張記錄了當下光影明暗,水洗顯影後呈現赭黃到湛藍的色調,其紋理宛如山巒絕壁。此系列發展至2016年,藝術家使用層疊拼貼的技法,將相紙裱貼於畫布上,畫面尺幅延伸擴大,成為《氰山集》系列。雖然宣紙上的氰色顯影狀極抽象,吳季璁最終完成的畫面,風格上卻給人自然風景——尤其是中國山水繪畫——的聯想。此次參加決賽的作品即出自此系列。


吳季璁從新媒體藝術的技法實驗出發,多年以來持續與水墨藝術傳統對話,非儘深化其美感,亦拓寬其美學,展現了獨特的當代風貌。因此獲得多數決審委員們的青睞,成為2019年首屆「劉國松水墨藝術獎」得主。


香港水墨協會與劉國松文獻庫很榮幸能夠主持此次劉國松水墨藝術獎的開幕儀式。此獎將會表彰大中華地區內現代水墨藝術中的傑出成就。



我們十分感謝提名觀察員與評審委員。詳情請瀏覽:http://www.inksociety.org/award/



觀察員:

尚輝   鄧民亮   王璜生   吳洪亮   吳超然

評審委員:

劉國松   馬唯中   皮道坚   龐俊怡   王嘉驥



吳季璁提名人、藝術史學者吳超然撰寫提名理由如下:


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

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


*文字由吳超然老師授權刊載

Cyano-Collage 061 氰山集之六十一_205x205_2019

interview by Photofair Shanghai: Applying Traditional Practices to Contemporary Photography
影像上海藝術博覽會專訪《在當代攝影中實踐傳統技法》

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

 

photo credit: Yu Tzu-Chin

 

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

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

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

Wu chi tsung 吳季璁

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

 

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

 

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

 

 

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

 

My process follows the format below:

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

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

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

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

 

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

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

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

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

 

Wu Chi-Tsung installation work, Wire V, 2018

 

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

 

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

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

 

 

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

 

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

 

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

 

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

 

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

 


 

聚焦:吳季璁 | 在當代攝影中實踐傳統技法

台灣最受關注的藝術家吳季璁在2019影像藝術博覽會前接受了博覽會的採訪,他的幾件精彩作品將在尚凱利畫廊(紐約,台北)的代理下亮相博覽會。

 

有趣的是,季璁在採訪中強調自己並不是一個「攝影師」,而是將他對於各種媒介的經驗相互融合與統一,以創造出生動可感、令人印象深刻的作品。藝術家認為,對於各種藝術門類(如繪畫、攝影與當代舞蹈等)會限制住人的思維,因而制約了藝術家去挑戰與超越自我的可能性。影像藝術博覽會作為世界一流的藝術博覽會一貫致力於推廣像吳季璁這樣去挑戰攝影的邊界、質疑攝影的定義的藝術家。

 

吳季璁是21世紀當代藝術家風貌的最好代表:他履歷豐富,創作門類橫跨舞台設計、傳統繪畫與影像等。我們與他探討了藝術媒介之間界限的打破、保護與發展傳統技法的重要性、還有藝術家知名的「氰山集系列」的詳細創作過程等……

 

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

 

 

影像藝術博覽會(後簡稱「博覽會」:你的作品涉及繪畫、舞台設計與攝影等不同種類的媒材,你完成一個項目時,如何決定使用何種媒材?你的作品一般是起源於一個想法,還是源於對於嘗試運用一種媒材的渴望?

 

吳季璁:都有可能,每個不一樣,整體來講我在想象不同媒材創作的時候,我思考的原型是源自繪畫。每個藝術家可能都有其思想方法(Mentality),而我的就是繪畫。像東方繪畫傳統中的隨機性(受水性材料的性質影響)對我做錄像裝置或氰山集等攝影影響很深。我會用繪畫的精神去思考我的藝術世界。

 

博覽會:PHOTOFAIRS的宗旨之一是發掘攝影作為媒介的充滿活力的本質,2019年PHOTOFAIRS的重點關注即為舞台藝術與攝影。你有過與不同機構與表演者合作進行舞台設計的經驗,你怎樣看待舞台藝術與諸如攝影、設計或裝置等其他媒介的合作?

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

 

博覽會:你2004年畢業於台北藝術大學油畫係畢業,可以說你的藝術道路是繪畫開始的,繪畫對你現在的攝影藝術有什麼影響?

 

吳季璁:我對於繪畫的思考和理解放在繪畫去談便是老生常談,但將之轉化到不同的領域,比如攝影中去,則會產生不同的意味與價值,這便是我轉換媒體形式的目的。我認為一個很奇怪的事情就是我們為藝術定下了不同分類,一開始是為了功能性之便,但是逐漸的我們所有思考方式都被這個框架限定住了。相較於關註各種媒材之間的差異、我更感興趣其共同性。這有點像談當代藝術的時代性的時候,我感興趣的是超越時間、不改變的東西。我不認為我自己專注於攝影,而是在藉助攝影來思考與表達。我的攝影作品中有多很時間的流動性在裏面,從曝光到拼貼,它不是單純靜態的東西,而是記錄著運動。而另一方面,我的錄像其實則是非常靜態的。

 

博覽會:可以請你為我們介紹一下氰版攝影法,以及你如何利用這一方法創作氰山集系列的嗎?使用這一方式創作,你有遇到什麼挑戰嗎?另外,請向我們介紹你如何利用這一方法向倪再沁先生致敬?

 

吳季璁:我的創作過程簡述如下:

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

 

整個過程有點像Photoshop中的圖層的概念,只是其中並沒有電腦或相機的參與。「氰山集系列」是基於「皴法習作」系列發展而來的,其技法與美學均基於創作「皴法習作」的經驗。

 

創作「氰山集系列」時我遇到的第一個挑戰是宣紙的材料屬性。宣紙的變化性和覆雜度遠大於一般氰版攝影使用的相紙。對於材料的研究是最開始的挑戰,我也逐漸發現宣紙是格外特殊而精彩的材料。比如西方的紙張,像水彩紙,表面有塗層,無論多厚重的顏料都只會停留在表層。東方沒有放礬的生紙,雖然很薄,但顏料吸收在裏頭。墨進入紙張的層次各不不同,筆筆分明,時間性的變化可以記錄在上頭,創造出更多的可能性。

使用傳統方法與材質進行創作讓我更了解這些逐漸消失的東西,看到它們時代性的局限。我也希望能夠通過轉換材質的方法可以讓這些東西延續下去。當我的作品在西方展出時,大家都對宣紙的材質很好奇,覺得像布料,我也希望這能夠啟發其他文化和區域的藝術家去使用它,在跨文化的語境中去開發它的可能性。

我的創作受倪再沁老師影響很大。他是一位實驗水墨畫家、實驗藝術家、藝術史學者與評論人。他的很多觀念完全扭轉了我對於自身傳統的理解,這也是為什麼我通過作品來向他致敬。

 

博覽會:你的當代藝術作品經常與傳統水墨技法與美學相結合,你認為在當代攝影中保留傳統技法的重要性何在?你會經常注意到其他藝術家是如何結合傳統方法與當代藝術的嗎?

 

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

 

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

 

吳季璁:2001年左右,我還在大學的時候便開始嘗試影像。在進大學前我已經接受藝術教育超過十年了,大部分都是用學院傳統訓練來學繪畫。因此上大學後我開始嘗試其他媒介,先是實驗水墨,後來變開始嘗試影像。有一年的時間我每天帶著攝影機亂拍。我從一開始就試著在用錄像與我接受的繪畫傳統訓練去對話。「煙林圖系列」起源於「小品系列」,這兩組作品都是我將影像媒介與傳統美學相結合的早期嘗試。「煙林圖系列」是受到柯羅的畫作啟發,他的風景畫中那種詩意的氛圍讓我看到了美的共通性。

 

 

博覽會:在PHOTOFAIR上海中你最期待什麼?作為一個不只從事攝影的藝術家,為什麼你認為你的作品參加PHOTOFAIR是重要的?

 

吳季璁:我的作品經常受邀參加三個領域的展覽:當代藝術(新媒體藝術)、水墨與攝影。我喜歡遊走在不同領域,也非常期待看到我的作品放在攝影的脈絡下以及在大陸的語境中如何被欣賞與討論。

 


 

More Information

Photofair Shanghai, Sep 19 – 22, Shanghai Exhibition Center, China
影像上海藝術博覽會,9/19-22,上海展覽中心,中國

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

 

Photofair Shanghai 2019 | Sean Kelly Gallery | D24

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

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

VIP Preview | Sep 20 12 – 6pm*

VIP Night | Sep 20, 6 – 9pm*

Collector Hour | Sep 21,11 – 12pm*

* By invitation only

 

 

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

 

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

 

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

 

 

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

 

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

 

For ticket

 

 

 


 

 

 

 

吳季璁《氰山集》系列新作將在2019影像上海藝術博覽會展出

 

 

影像上海藝術博覽會 2019 | 尚凱利畫廊|D24

公眾開放| 2019年9月20日 – 22日

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

貴賓特展| 9月20日 12 – 6 pm*

貴賓之夜|9月20日 6 – 9 pm*

* 僅限邀請

 

 

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

 

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

 

地點|上海展覽中心,上海市中心静安区延安中路1000号,中國

 

 

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

 

瑪莉那・阿布拉莫維奇將帶來一件美麗的藝術家肖像代表作,細膩展現其由金箔覆蓋的臉龐。朱利安・夏利耶關於核子試驗場的作品,使用採集自其拍攝地點的放射性土壤進行曝光。何塞・達維拉挪用著名藝術品的影像,透過物理性的剪切手法去除影像中的視覺重點。森萬里子以電腦運算製作的摄影绘画作品,源自于她在冲绳時看著海灘所绘制的無數画作。艾力克・索斯充滿魅力的多層次照片《莫妮卡》實際上是雙重曝光的影像。吳季璁結合皴法習作的氰版直接攝影,將塗布感光藥劑的宣紙揉皺後曝曬於陽光下,記錄紙張當下的光影明暗,以實驗攝影的手法重新詮釋東方文化中的山水意像。

 

在展會的『焦點』板塊,特別呈獻瑪莉那・阿布拉莫維奇的傳奇作《情人》,為該系列作品在中國的首次展出,歡迎前往參觀。

 

 

購票請按

Open Studios, Sep 6 , Lange Nacht der Bilder 2019, Berlin
開放工作室,9/6,圖像長夜,柏林

 

OPEN STUDIOS, Lange Nacht der Bilder 2019

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

 

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

 


 

berlin studio

photo credit: Sylvia Lee

 

圖像長夜 2019-開放工作室

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

 

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

Kunstfest Weimar 2019, Sep 5-7, E-Werk, Germany
威瑪藝術節,9/5-7,E-Werk,德國

photo credit: Sylvia Lee

 

LIGHT INTERDICTION, Kunstfest Weimar 2019

Dates | Sep 5-7, 2019

Curator | Chun-Chi Wang

Preview | Sep 5, 6 P.M.

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

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

 

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

 

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

 

For tickets and more visiting information, please click here

 


 

photo credit: Sylvia Lee

 

2019威瑪藝術節,《光之禁區》

日期 | 201995-7

策展人 | 王俊琪

預展 | 95日晚6

藝術家對談 | 971330

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

 

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

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

購票及更多信息,請點擊這裡

 


 

On Site Installation 現場照

 

lingering in nature

Lingering in Nature, Aug 31 – Oct 12, Giessen New Art Association, Germany
吳季璁個展《Lingering in Nature》,8/31-10/12,基森Giessen New Art Association,德國

lingering in nature

New works of the Cyano-collage Series will be premiered  in ‘Lingering in Nature’

 

Lingering in Nature, Giessen New Art Association, Germany

DatesAug 31 – Oct 12, 2019 (Opens every Saturday 2-5 P.M.)

Curator | Andreas Walther

Opening Reception | Aug 31, 6 P.M.

Artist talkSep 1, 2 P.M.

VenueLicherstr, Nahrungsberg Ecke, 35394 Gießen, Germany

 

The work of Wu Chi-tsung (* 1981 in Taipei, lives and works in Taipei and Berlin) is multi-faceted. Early on taught in ink painting and calligraphy, then in his twenties in dealing with oil painting, media art and architecture, he still works today in various media. Although brush and paint are no longer found in his studio, he nevertheless feels most at home as a painter and retains the traditional arts as a strong reference for his work. Starting from there and working in video, installation, cyanography and other media, Wu creates subtle signs that cross the ages and build a bridge to the contemporary. For his exhibition in Gießen he will combine a selection of existing works with a photographic edition.

 


 

cyano-collage

 

氰山集系列》新作將於吳季璁個展《Lingering in Nature》展出

 

Lingering in Nature,基森新藝術協會,德國

日期 | 2019年8月31日至10月12日(每週六下午2至5時開放)

策展人 | 華安瑞

開幕酒會 | 8月31日晚6時

藝術家對談 | 9月1日下午2時

地點 | Licherstr, Nahrungsberg Ecke, 35394 基森市,德國

 

吳季璁(1981年生於台北,現工作、生活於台北與柏林)有著豐富的經歷與廣泛的探索。他從小接受傳統書畫訓練,在二十代轉向油畫、新媒體藝術與建築,至今仍橫跨不同媒材進行創作。儘管如今他的工作室中早已經難覓畫筆與顏料的蹤跡,他卻時刻以畫家的視角去思考藝術、從他生長其間的傳統藝術中汲取養分,並通過影像、裝置、氰版攝影等媒介將之轉化與表達。藉此,吳季璁創造了一座連結傳統與當代的橋樑,令其作品具有超越時間的美感與深意。本次展覽將展出吳季璁的系列攝影與影像作品。

 


 

Installation View 展覽現場

 

lingering in nature

 

photo credit: Sylvia Lee 

Abstract By Nature, Jun 28 – Aug 2, Sean Kelly New York, USA
自然抽象,6/28-8/2,尚凱利畫廊,紐約

‘Landscape in the Mist 001′ will be showcased in ‘Abstract by Nature’

 

Abstract by Nature, Sean Kelly, New York

Dates|Jun 28 – Aug 2, 2019

Opening Reception | Jun 27, 6 – 8 p.m.

Artists|Callum Innes, Markus Karstieß, Hyun-Sook Song, Su Xiaobai, Wu Chi-Tsung

Venue|475 TENTH AVENUE, NEW YORK NY 10018

 

Wu Chi-Tsung will be joining the group exhibition Abstract by Nature in Sean Kelly New York. Opening on Jun 28, the group exhibition will be featuring major works by an international group of artists, each of whom engages both traditional and non-traditional methods to produce meditative works that have a distinctly timeless quality. Wu Chi-Tsung’s Landscape in the Mist 001, Still Life 009 – Maple, Still Life 011 – Tsubaki and Cyano-Collage Series 061 and 062 will be featured, all of whom shares the claim of the exhibition, that is to reflect, evoke or transform elements of the natural world into pure poetic forms.

The exhibition will be on view till Aug 2, with an opening reception in the presence of the artist on Thursday, Jun 27.

 


 

《氰山集》系列新作將於紐約尚凱利畫廊展出

 

自然抽象

尚凱利畫廊,美國紐約

日期|2019年6月28日 – 8月2日

開幕酒會 | 6月27日 晚 6 – 8時

藝術家|Callum Innes, Markus Karstieß, Hyun-Sook Song, 蘇笑柏、吳季璁

地點|美國紐約第十大道475號, 10018

 

吳季璁將參與由紐約Sean Kelly畫廊群展《自然抽象》(Abstract by Nature)。展覽將呈現多名國際藝術家的多種媒介的當代藝術作品,一同展出還有來自中國唐宋時代、日本平安時代、室町時代的古董瓷器,旨在呈現一場傳統美學與當代實踐之間的互文對話,探討藝術的超時空屬性。展覽將展出吳季璁作品《煙林圖之一》、《小品之九 楓》、《小品之十一 茶花》 與《氰山集系列》,這些作品以不同形式映照並致敬自然,為自然的詩意抽象。

展覽開幕酒會將於6月27日(週四)舉行晚6點舉行,藝術家本人亦將出席。

 


 

Installation View 展覽現場

 

 

 

 

 

yu peng

Artist Talk on ’A Wanderer between Heaven and Earth: Yu Peng and his LIfe Work’, Jun 15, Taipei Fine Arts Museum
藝術家座談:「于彭-行者.天上.人間,筆墨精神的柳暗花明」,6/15,台北市立美術館

 

Wu Chi-Tsung will be delivering an artist talk with Wu Chao-Jen (吳超然), guest curator of the current exhibition ‘A Wanderer between Heaven and Earth: Yu Peng (于彭) and His Life Work’ this Saturday. The artist and the curator will talk about the ‘formalism’ of brush and ink (筆墨) in Yu Peng’s work, his transformation from the western hard-pen sketches to eastern brush and ink (軟筆) and the reinterpretation of brush and ink in the contemporary context, etc.

 

Art Promenade on ‘A Wanderer between Heaven and Earth: Yu Peng and His Life Work’

Jun 15 15:00 – 17:00, Taipei Fine Arts Museum

Artist/commentator: Wu Chi-Tsung, Wu Chao-Jen

Location: Gallery 206, second floor, Taipei Fine Arts Museum

 


 

展覽漫遊57:于彭-行者.天上人間

06/15(六) 15: 00-17: 00   吳季璁 l 藝術家 吳超然 l 于彭回顧展策展人

集合地點: 于彭個展二樓206展場

關鍵密語 → 筆墨精神的柳暗花明

 

于彭回顧展正如火如荼在北美館展開,六月已是展出的最後一個月,許多觀眾近兩個月數度往返于彭展覽場,也持續聆聽幾位專家學者們從各個角度觀看與解讀于彭的創作。于彭被認為對水墨畫八、九O年代以來的現當代水墨創新具有突破性貢獻,觀眾不禁好奇,筆法與墨法嚴謹的水墨傳統如何被于彭突破? 在這一場獨特的對談裡,藝術家吳季璁與于彭回顧展的策展人吳超然老師將針對于彭創作的幾項議題進行一場別開生面的對談,包括:于彭的筆墨從哪裡來?如何在他的畢生創作裡實踐?西方的素描(硬筆)如何轉化成為筆墨(軟筆)?以及,「筆墨」在當代的意義等。

 


 

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,並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)。

吳超然,「行者‧天上‧人間─于彭回顧展」策展人。2002年獲美國堪薩斯大學藝術史博士,曾任國立台北藝術大學美術系兼任講師(1998-2001),靜宜大學人文科專任助理教授(2002-2003)。2003年至今擔任東海大學美術系助理教授。曾策畫的展項:「水墨 x 複數─新世代水墨展」(高雄小畫廊,2017),「記憶的交織與重疊─後解嚴台灣水墨」 (國立台灣美術館,2017),「筆墨的當代性」(東海大學藝術中心,2009)等。學術專長:中國近現代藝術史,藝術史學方法論與中國書畫史。

wu chi tsung crystal city 003

Crystal City 003 in M+ Collection, Hong Kong
《水晶城市003》於香港M+博物館典藏

wu chi tsung crystal city 003

 

Wu Chi-Tsung work Crystal City 003 was donated to M+ Hong Kong by Hong Kong collector Hallam Chow. The artist uses clear, rectangular plastic packaging of different sizes to construct a miniature city and illuminated it with moving light. The resulting cityscape of light and shadows is both a romantic mirage and a pile of industrial waste, making the installation a sharp commentary on contemporary life, which meets the focus of M+ collection.

 

 

《水晶城市003》由香港收藏家仇浩然捐贈給香港M+博物館。《水晶城市》系列利用不同大小的透明矩形塑膠包裝,構建出一座微型城市,並以遊移流動的光線來照亮作品,由此形成虛擬的城市景觀,作品對於當代生活的象徵性投射與M+收藏的關注重點不謀而合。

 

 

 

Cyano-Collage 50 in Post Vidai Collection, Vietnam
《氰山集之五十》於Post Vidai典藏,越南

 

Wu Chi-Tsung’s Cyano-Collage 50 has recently joined the Post Vidai Collection, the largest private collection of contemporary art in Vietnam. Cyano-Collage 50, created during the artist’s residency at MoT+++ space in Ho Chi Minh city, could be regarded as a reflection and confirmation of Post Vidai’s long-lasting pursuit to unsettle the definition of ‘Vietnamese-ness’.

 

近日,吳季璁在越南MoT +++空間駐地期間創作的作品《氰山集之五十》被越南最大的私人當代藝術收藏機構Post Vidai收藏。該基金會長期以來致力於重新討論、思考「何為越南」的身份標籤,而跨國合作下的《氰山集之五十》也為這一命題增添了新的註腳。

 

Photo London, May 16-19, Somerset House
Photo London攝影藝術博覽會,5/16-19,倫敦

photo london installation view

Wu Chi-Tsung new work “Still Life 012 – Buttercup Tree” ,Cyano-Collage Series and Wrinkled Texture Series will be showcased in Photo London 2019.

 

Photo London|UP Gallery|D12

Preview|5/15

Public Opening|5/16-19

Venue|Somerset House|Strand, London WC2R 1LA, England

Artists|Wu Chi-Tsung, Chen Rong-Hui

 

 

We are pleased to share with you that several photography and video works of Wu Chi-Tsung will be joining the upcoming Photo London represented by the UP Gallery.  Now in its fifth edition, Photo London has established itself as one of the major leading lens-based art fairs in the world.

This time, Wu Chi-Tsung will be cooperate with the UP Gallery, one of the rare galleries in Taiwan that is solely dedicated to exhibiting photography and moving image works, presenting his Cyano-Collage Series, Still Life Series and Wrinkled Texture Series. Developed from the Wrinkled Texture Series, the Cyano-Collage Series has become one of the most representative series of the artist. An innovative language of photography is developed within the artwork that combines the cyanotype technique, the collage method, as well as the wrinkled texture technique from traditional landscape painting and the aesthetics thereof. Wu Chi-Tsung’s long-lasting exploration in art could be reflected here, that he seeks the way to accommodate both the spiritual and nostalgic landscapes and the scientific and mechanical recording media, and further let them question, reinforce, and develop each other. The Still Life Series place more weight on the universality of traditional beauty, as well as how it is eternally unpredictable and uncertain. Upon the melancholy grounding color, what is recorded is exactly the artist’s mixture feeling of fascination and helplessness towards the beauty.

We look forward to welcoming you at Booth D12 at Photo London. We will also keep you updated via Wu Chi-Tsung’s Instagram accounts and public website.

 


 

Buttercup Tree Grid for Website

吳季璁《氰山集》系列、《皴法習作》系列與新作《小品之十二-彎子木》將於今年Photo London攝影藝術博覽會展出。

 

Photo London|絕版影像館|D12

貴賓預展|5/15

公眾展期|5/16-19

展覽地點|倫敦薩默塞特府(Somerset House)Strand, London WC2R 1LA, England

參展藝術家|吳季璁、陳榮輝

 

吳季璁的多件影像作品將參加今年五月的Photo London攝影藝術博覽會,與國際觀眾分享藝術家對於影像媒介的思考與對於影像美學的探索。今年是Photo London攝影藝術博覽會創辦的第五年,它已成為世界上最值得關注的主要專注於攝影媒材的藝術博覽會之一。

本次吳季璁很榮幸與台灣專注攝影與影像作品的藝廊絕版影像館合作,於D12展位呈現其《皴法習作系列》、《氰山集系列》與《小品系列》等作品。其中,《氰山集系列》發展自《皴法習作》,是吳季璁持續發展的系列作品之一,藝術家將藍曬與拼貼等現代技術與藝術手段創造性地嫁接至傳統東方山水意象和皴法美學之中。這組作品反映了吳季璁長期以來的思考與關注方向,即精神性的傳統文人風景如何與科學化、機械性的記錄媒材共存、相互解讀與拓展。《小品系列》則在此基礎上格外側重傳達傳統美之不可控與不可期,甚或消逝。藝術家在憂鬱底色之上試圖記錄的正是這種陶醉著迷卻又無可奈何的交雜感觸。

我們誠邀您光臨這場盛會,也歡迎您關注持續關注吳季璁的社交媒體與絕版影像館的Artsy頁面獲取相關信息。

 


 

Installation View 展覽現場