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Art Basel in Hong Kong, Mar 29-31, Convention & Exhibition Center
香港巴塞爾藝博會,3/29-31,香港會議展覽中心

Presented by Galerie du Monde, Wu Chi-Tsung’s new Cyano-Collage Series and Still Life 009 – Maple, Still Life 010 – Lotus will showcase at Art Basel in Hong Kong 2019.

 

Galerie Du Monde|3E18
Dates|March 29 – 31, 2019
Private View|March 27, 2pm to 8pm March 28, 1pm to 5pm
Vernissage|March 28, 5pm to 9pm
Venue|Convention & Exhibition Center, 1 Harbor Rd., Wan Chai, Hong Kong

 

Two major movements of Postwar Asia will be the cornerstone of Galerie du Monde’s presentation.The Fifth Moon Group and the One Art Group both sought to re-contextualize the millennia-old tradition of Chinese ink painting at different times in different places -1950s Taiwan for the former, 1970s Hong Kong for the latter. By infusing the medium with Modernist influences, both groups gave it an innovative impulse that remains influential to this day. Powerful pieces by key protagonists, such as Liu Kuo-Sung and Fong Chung-Ray, along with the late Kwok Hon-Sum, will be on view. Additionally, the gallery’s booth will include enigmatic blueprints and video works by the young Taiwanese artist Wu Chi-Tsung, expanding the gallery’s reflection into the contemporary realm.

 


 

吳季璁《小品之九-楓》《小品之十-荷》《氰山集》系列新作將於2019香港巴塞爾藝博會,世界畫廊展位展出。

 

世界畫廊|3E18
展覽日期|03/29-31, 2019
貴賓預展|03/27, 2 – 8pm 03/28 1 – 5pm
開幕典禮|03/28 5 – 9pm
展覽地點|香港會議展覽中心,灣仔港灣道1號,香港

 

戰後亞洲的兩大運動將成為Galerie du Monde本次展覽的重點。五月畫會和一畫會在1950年代台灣與1970年代香港皆試圖為中國水墨畫重新定位千年古老的傳統,兩個團體都給了它一種創新的突破,將書畫媒材注入現代主義的元素,至今仍然具有影響力。展覽將展出劉國松、馮鐘睿和已故的郭漢深等作品,此外,台灣年輕藝術家吳季璁的藍曬和視頻作品,將展覽主題反映到當代藝術的領域繼續探討。

 

LIGHTSCAPES: RE-ENVISIONING THE SHANSHUIHUA, Feb7 – Nov10, CHINESE AMERICAN MUSEUM, LA, USA
光之景:山水畫的當代想象,2/7-11/10,洛杉磯華美博物館,美國

Wu Chi-Tsung’s works Wire V, Crystal City 007, and Cyano-collage 047 will be showcased at the Lightscapes: Re-envisioning the Shanshuihua at the Chinese American Museum, Los Angeles, USA

 

Duration: Feb.7 – Nov.10, 2019
Venue: Chinese American Museum, Los Angeles, USA
Participated artists: Wu Chi-Tsung and Nice Dong

 

Lightscapes: Re-envisioning the Shanshuihua 光之景: 山水畫的當代想像 presents works from Nick Dong and Wu Chi-Tsung, two Taiwan-born contemporary artists. Re-imagining the philosophies of Chinese landscape paintings, the exhibition brings forward new media works and immersive light-based installations that are not often explored within this genre.

This time, Wu Chi-Tsung ‘s representative works Wire V, Crystal City 007 and Cyano-collage Series are exhibited, in which light has featured foundamentally and prominently exploring the posibilities of light in the physical world while revealing the surrealistc Shanshui landscape in our contemporary experience. Corresponding to the historical building located in the original China town of the museum, the art works would guide viewers to wander through the juxaposition of abstraction and solidness, as well as traditions and the modern world. The exhibition will be on view till November 11, 2019.

This exhibition is presented by the Chinese American Museum in partnership with the Ministry of Culture, Republic of China (Taiwan) and the Taiwan Academy in Los Angeles. Major support for this exhibition is provided by the Friends of the Chinese American Museum, and El Pueblo de Los Angeles Historical Monument.

 

About Chinese American Museum

The Chinese American Museum (CAM) is the first museum in Southern California dedicated to the Chinese American experience and history in this region. Symbolically housed in the oldest and last surviving structure of Los Angeles’ original Chinatown, the 7,200 square foot Chinese American Museum (CAM) embodies a cultural and physical link to the past, as well as a promising point of entry for the city’s multicultural future. CAM is dedicated to researching, preserving, and sharing the experiences and contributions of Chinese Americans in the United States through quality exhibitions, programs, events, publications, and workshops. In addition to its role in the community as an active-learning institution, CAM is also proud to serve as a visual symbol of new and emerging traditions.

 


 

吳季璁的作品《鐵絲網五》《水晶城市007》《氰山集之四十七》於美國洛杉磯華美博物館「光之景:山水畫的當代想象」展覽中展出

 

展期:2019年2月7日-11月10日
地點:華美博物館,美國洛杉磯
參展藝術家:吳季璁、董承濂

 

「光之景:山水畫的當代想象」近日於美國舊金山華美博物館開幕。展覽通過吳季璁與董承濂兩位台灣藝術家的沈浸式光影裝置作品,展現了新媒體藝術的兼容性,並探討了中國山水畫的精神所在。其中,吳季璁所展出的《氰山集》、《鐵絲網五》與《水晶城市007》三件作品均以光為基礎元素揭露出當代生活中超日常的山水景觀,從截然不同的角度探索著光在物理世界的施展空間,與坐落於洛杉磯中國城的華美博物館的歷史建築相呼應,令觀者在抽象與具象、傳統與現代之間游移悠遊。展覽將持續至2019年11月10日。

本次展覽由華美博物館主辦,台灣文化部與洛杉磯台灣書院共同協辦,並受到華美博物館的合作夥伴El Pueblo de Los Angeles團隊的鼎力支持。

 

關於華美博物館

華美博物館(CAM)是南加州地區第一個專注於美國華人經驗與歷史的博物館,坐落於洛杉磯中國城舊址中最古老的歷史建築中,面積達7200平方英呎。華美博物館通過高質量的展覽、活動、出版與工作坊等形式介紹美國華人的歷史與貢獻,不僅呈現出人們與歷史在文化與物理層面的連結,同時亦引領城市文化走向更為多元的未來。在博物館的社會公眾教育平台的職責外,華美博物館還樂於成為呈現新興文化傳統的標誌性空間。

Wu Chi-Tsung’s solo exhibition ‘ECHO’, Dec 18-20, MAK7 Studio, Taipei
吳季璁個展《東橋西照 ECHO》,1/18-20,MAK7 Studio,台北

 

Wu Chi-Tsung’s solo exhibition ‘ECHO’

A reflection of rational inquiry and perceptual poetry

 

DateJan 18, 2019 (Fri) – Jan 20, 2019 (Sun)

Opening hoursJan 18 17:00-19:00Jan 19 & 20 17:00-22:00

LocationMAK7 Studio, 2F., No.133, Sec. 3, Nangang Rd., Nangang Dist., Taipei

 

As a collage of sheet iron, concrete, and colorful posters brimming with unique and strong Taiwanese character, a glimpse of the exhibition site itself located in a film studio hidden in an industrial district inhabited by a driving school would have started the visitor’s journey of an unusual cultural experience. Taiwanese artist Wu Chi-Tsung’s solo exhibition ‘ECHO’ curated by Wu Chi-Tsung Studio and Galerie du Monde, a Hong Kong-based gallery of contemporary art, will be open to public from January 18th to 20th 2019 in parallel with Taipei Dangdai. The exhibition is a reflection of oriental aesthetics in the shape of contemporary art, presenting a new horizon in the spectrum of worldwide art practice.

The philosophy of Wu Chi-Tsung’s work is a fusion of conceptual approach of experimental contemporary art language and visual language from the cultivation of classical eastern aesthetics. The ‘ECHO’ refers to the mirroring culture between the East and the West. Hence, the eastern tradition and their pursuit of the intangibility is contrasted with the contemporary language and the depiction of the solid world of the West throughout the exhibition.

‘Trained by both eastern and western traditional art academia yet focusing on contemporary media and conceptual art, I always reflect on the difference between eastern and western culture, as well as the contradiction between traditional art and contemporary art. It is a shame to witness the decay of traditional cultures and aesthetics that are exclusive to eastern cultures,’ says Wu Chi-Tsung, ‘as a result, I fuse and accommodate new and old, the West and the East in my recent works. The multicultural environment in Taiwan has nourished me. Living in an era that pursuits the zeitgeist, I’d rather be fascinated by those that are timeless. It is the light, the base of visual sense, that illuminates the tangible world as well as the invisible spiritual field and unveils the hidden commonness that is shared by every object from an essential perspective.’

 

Immaterial landscape yet realistic atmosphere

Upon the visitors’ first step at the exhibition site, they would soon be impressed by the atmosphere of the faint-lighted room composed of environmental music and the sound of axles. Following the guide of the shimmering light, what comes to people is a phantom city like a set of crystal sculpture which is a continuation of the artist’s renowned Crystal City Series. This time, the exhibition presents the artist’s new work on this series, the Crystal City 008, which is inspired by Hong Kong’s city landscape and its pace of life. Numerous transparent plastic boxes constitute the geometrical, rational and ordered skyscrapers shadowed by a vertically moving light source. Corresponding to the Crystal City 008, an on site production is created using plastic sheet as stretching and undulating mountains, and is set with several branches. A mechanical construction with HID light on its forepart moving forwards and backwards is running on a track that passes through the ‘mountains’, casted from where the shadows of the ‘mountains’ and the branches entwine. The ordinary materials used in this art work remind viewers of the realistic world; however, it leads people to a further imaginary scene. The shadow is casted on thin veils built upon industrial steel frames. How romantic and vulnerable, yet enormous and fathomless it is when the shadow of the crystal city moves slowly on the veils, and the boundary between the reality and illusions is blurred when the shadow is overlapped with that of the visitors as they walk through the ‘city’.

 

Blending the tradition and the contemporariness

Another on-site production in the exhibition is the Wrinkled Texture Series that characteristically reinterprets the texturing methods (Cun-Fa) of traditional Chinese landscape painting (Shan Shui) by photography to render the mountains and rocks in a subjective way. Pluralism and liberal spirit are rooted in Wu Chi-Tsung’s art. This time, the mountains and cliffs are portrayed on a huge screen that is composed with few aged door sheets with different styles, and set in an open ‘bedroom’ setting. The artist utilizes and modernizes the classic photographic technique – Cyanotype. Paper was covered in the photosensitive solution and then continually reshaped and refolded while being exposed to sunlight. After the paper was washed, the image would be fixed, revealing the likeness of mountain precipices and cliffs. It applies Photogram technique to record the random variations of the folded paper during the exposure aiming to blend traditional Chinese landscape (Shan Shui) with experimental photography, conceptual art, and performance, and hence to eradicate the border between traditional and contemporary art.

 

Unveiling the exceptional aesthetic in ordinary objects

After stepping out of the bedroom setting, visitors would be guided by a plants lining pathway to a wilder space of ruins. Bringing a scene of magnificence, the 488cm x 244cm Cyano-collage is by far the largest piece of the Cyano-collage Series. Based on the technique of the Wrinkled Texture Series, the Cyano-collage Series cut and regroup dozens of cyanotype photographic papers before mounting them on a canvas. Layers of rice paper constitute a purposeful preservation of unpainted space on the canvas that echoes the crucial concept Liu Bai in classical Chinese paintings. Moreover, with the bodily participation of the artist, the landscape is constructed to be appreciated both statically and on the move. Thus, the viewers are led by the art work from a concrete and solid reality embodied by the random mountain-shaped wrinkles on the photographic paper to a microscopic and imaginary world where the shadows representing traditional Chinese landscape (Shan Shui) appear. Which mountain is the ‘real’ one between them? Carrying the idea of utilizing ordinary objects to create an exceptional visual experience, the Wire V stands at a corner of the ruin site. Based on the structure of the Magic Lantern slide projection work, the Wire Series use a mechanical control to repeatedly adjust the focal length to transform a regular piece of wire mesh into a moving image of a dynamic Chinese landscape (Shan Shui). This Dialectical alteration of the wire has composed a different layer and possibility to the traditional Chinese landscape as a new visual language under the digital age. The Cyano-collage and the Wire V both embody Wu Chi-Tsung’s recent focus, that is to salute to and reflect on eastern traditional aesthetics and literati spirits by machinery and photography mediums.

Kelvin Yang, director of Galerie du Monde, says ‘What is delivered throughout this exhibition is not simply nostalgia but also a personal manifesto from Taiwan to the world. To dig out the characteristic DNA in Wu Chi-Tsung’s art has been our premiere pursuit of this exhibition from the very beginning which can be seen from our unconventional exhibition site selection. Wu Chi-Tsung never limits himself in his talent on traditional subjects. His liberal spirit and his light-and-shadow philosophy make his works combine both sense and sensibility.’

 

 


 

Artist Talk|inter : enter – International Networking of Art in an Asian Context

Date|2019 Jan 20 (Sun) 17:30-19:00

Commentator|Phenix Luk (Writer, former editorial director of The Art Newspaper China, co-founder of Beijing International Short Film Festival)

RSVP info@wuchitsung.com

*Lectures in Chinese

 

OrganizersGALERIE DU MONDE, Wu Chi-Tsung Studio

Co-organizers THE STUDIO

Special Sponsors|HOMPRO

Event Sponsors|Draft Land, Weightstone Vineyard Estate & Winery, IL MERCATO, The Naked Grouse, WAGA STORE

Media PartnerPrestige

Publicity Supporttap+

Multimedia SupportFOCAL

 


 

 

吳季璁個展《東橋西照 ECHO》
照見感性的詩意與理性的辯證

 

展覽期間|2019118()-120()

開放時間|118日 17:00-19:00119-20 17:00-22:00

展覽位址|台北市南港區南港路三段1332 MAK7 Studio

 

鐵皮、水泥、繽紛招牌拼貼出一種獨特而濃郁的台灣味。走進隱身於南港工業區及駕訓班中的實景攝影棚前,觀展者自場域所接收到的視覺訊息便已踏上了一場不尋常的、充滿期待的感官與文化之旅。台灣藝術家吳季璁個展《東橋西照 ECHO》,這個在台北當代展期間備受各界矚目的會外展,由立基香港並長期專注經營現當代藝術的世界畫廊 GALERIE DU MONDE偕吳季璁工作室聯合策畫,於2019年1月18日至20日正式對公眾開放,展覽核心以當代藝術映照東方美學,在縱貫古今、橫越東西的創作實踐中,展現當代藝術嶄新的開闊視野。

吳季璁的創作哲學揉合了感性的詩意與理性的辯證;其感性來自東方古典美學的涵養,理性則為當代藝術語言的實驗。《東橋西照 ECHO》將東與西分別代表的傳統/當代、虛/實,貫穿於展場空間的作品思維,主題中的「照」字,更是凝結個展精萃的關鍵能量。吳季璁表示:「成長在東西方傳統的學院藝術訓練,我的創作卻是影像及觀念性的當代藝術,經常感受到東西文化間的差異,傳統與當代藝術間的斷裂拉扯,尤其東方獨特的傳統文化與美學的逐漸消逝,更令人遺憾惋惜。於是近年來的創作,我試圖去融合東西新舊之間的鴻溝,兼容並蓄,而台灣多元文化匯聚的獨特環境,是我源源不絕的養份來源。身處在一個追求時代性的當代藝術世界,我反而對亙古不變的事物深感興趣。『光』作為視覺的基礎,照亮我們所見,也映照出不可見的精神世界,讓我從本質的層面上去思考問題,觀照一切事物底層的共通性。」

 

「虛」景「實」境

暗室微光,是踏入展場空間予人的第一印象。機械輪軸聲與空間音樂協奏,觀者順著明暗游移的光線指引,映入眼簾的是一座宛如水晶雕塑的幻影之城。延續吳季璁馳名國際的「水晶城市」系列,本次個展特別帶來新作「水晶城市008」,由無以計數的透明塑膠盒構築出一個虛擬的「城市」。以香港的快速節奏為靈感,堆疊出幾何、理性、有序的都市高樓,上下移動的光源倒映出都市叢林生活的剪影。而對應「水晶城市008」的現地延伸,是藝術家利用塑膠布呈現出綿延不絕的山嶺,並與樹枝倒影交錯,其中央鋪設了一條軌道,讓前端裝有HID燈的機械結構前後運行。作品利用尋常可見的工業材料,此即實,卻幻化出充滿想像的意境,此即虛。利用工地鐵架搭設了多面薄紗作為屏幕承接投影,薄紗之上緩慢運行的影像既浪漫脆弱,又龐大而不可測,觀者穿梭此間,身影亦與薄紗中的山巒疊合,實者虛之,模糊了虛實界線與焦距,也為個展訴求的精神破題。

 

拼接「傳統」與「當代」

展場中另一個現地製作作品為與屏風相結合的「皴法習作」。此作特色係將傳統山水畫中運用筆墨對山石紋理進行主觀性描述的皴法,以攝影的手法重新詮釋。在吳季璁的藝術創作中,蘊含了多元並置而自由開放的精神。多片拼接自不同時期與風格的門片組合而成一座巨大屏風,在敞開的現代臥室場景中巍然佇立,皴法屏風載承著山巒絕壁、奇峰巉岩,其古典山石的意境背後,是吳季璁為古老的氰版攝影法(Cyanotype)所賦予的當代視角;塗佈於宣紙上的感光材料在陽光下經歷長時間曝曬,過程中不斷調整重塑紙張的皺褶,而後水洗定影,使得成像後的豐富紋理宛若山石絕壁。以無相機攝影(Photogram)的手法,紀錄曝光過程中隨機而生的皺褶變化,意圖將傳統繪畫的山水意象與實驗攝影、觀念、行為融為一體,在新舊鎔鑄中突破當代與傳統間的藩籬。

 

撥見平凡之物的不凡意境

走出臥室場景,由一條植物林道引導觀者繼續趨前探索。斑駁脫漆的壁面與冬日冷風使得實景攝影棚中最後一個空間野味十足。座落於廢墟般場景上的「氰山集之十一」,氣勢磅礡,尺幅達488X244公分,為目前該系列中單件最大的尺幅。氰山集在皴法習作的基礎上,將數十幅氰版相紙以拼貼的手法重組裱貼於畫布上,再透過層層相疊的宣紙處理留白的空間層次,經由藝術家的身體介入,建構出可觀可遊的山水空間。相紙上的隨機皺褶是實,顯影於紙張上的影像是虛,「氰山集」系列在虛實相接的界線上,引領觀者透過藝術家的微觀與想像,思考於筆墨之外經由相紙的皺褶所彰顯的山水意境,「見山而非山,孰為山?」而延續運用平凡之物創造不凡意境的理念,展區一隅架設了幻燈投影,透過機械反覆調焦,將一片平凡的鐵絲網轉換為充滿山水意境的動態影像作品「鐵絲網五」。此作品以平凡的工業產物鐵絲網,作為辯證的主體,透過類比技術追求影像的極致真實感,使得山水不再只是意境高古悠遠的山水,而是富有時代感的嶄新視覺,與現代人的科技生活經驗產生共鳴。「氰山集」系列與「鐵絲網五」同時體現了吳季璁近年來的創作重心,即利用機械與影像媒介向東方傳統美學與文人精神致敬、延續與反思。

GALERIE DU MONDE總監楊永金表示:「《東橋西照 ECHO》所反映的不僅是對傳統文化消逝的關懷,更是吳季璁由台灣對世界發聲的宣言。在台北當代這個匯聚國際藝術世界對話的新場域中,如何從打破常規的展場選址思考開始,挖掘出吳季璁特有的DNA,是本次個展策畫中最為核心的題旨。吳季璁不囿於傳統素材的創作才華,從隨機中釋放自由的寫意,以及兼容感性與理性的思維脈絡,在每一件作品中照映出吳季璁獨有的光影哲學。」

 

 


 

藝術家座談|inter : enter – 從立足亞洲的當代突圍國際藝術生態

時間|2019年1月20日(日) 17:30-19:00 (17:00入場)

與談人|陸曉凡 (寫作人,曾任《藝術新聞/中文版》(The Art Newspaper China)編輯部主任、北京國際短片聯展聯合創始人)

敬請來信預約 info@wuchitsung.com

 

主辦單位|GALERIE DU MONDE、吳季璁工作室

協辦單位|THE STUDIO

特別贊助|鴻柏建設、Draft Land

行銷合作夥伴|Prestige

宣傳協力|tap+

多媒體協力|FOCAL

WU CHI-TSUNG INTERVIEWED BY Mickey Huang, Taiwan
吳季璁接受黃子佼主持「創藝多瑙河」節目採訪

 

Wu Chi-Tsung was interviewed by Mickey Huang on Taiwanese TV station BLTV. In the interview, he reviewed on his latest solo exhibition ‘ECHO’ held in Taipei, and discussed about his observasions on the international art world and art market.

Watch the full video

*Interviewed in Chinese

 


 

吳季璁受邀接受知名主持人黃子佼於人間衛視的「創意多瑙河」節目專訪。訪談中,吳季璁回顧了他一月在台北舉辦的個展「東橋西照」,並講述了他對於國際藝術市場與藝術創作趨勢的觀察。

點擊連結觀賞完整訪談

Taipei Dangdai Art Fair, Jan 17-20, Taipei Nangang Exhibition Center
台北當代藝術博覽會,1/17-20,南港展覽館

Presented by Galerie du Monde, Wu Chi-Tsung’s new Cyano-Collage and Still Life works showcase at Taipei Dangdai Art Fair.

 

Galerie du Monde at Taipei Dangdai Art Fair|Booth C03

VIP Preview|Jan 17 2-5 pm

Vernissage|Jan 17 5-9 pm

VIP Only Access|Jan 18-20, 11-12 am

Public Days|Jan 18, 12-8 pm; Jan 19, 12-7 pm; Jan 20 12-5 pm

Venue|Taipei Nangang Exhibition Center, Hall one, 4F, Jingmao 2nd Rd., Nangang Dist., Taipei City, Taiwan

Artists|Fong Chung-Ray, Kwok Hon Sum, Wu Chi-Tsung and Crystal Liu

 

Galerie du Monde will feature four contemporary ink artists, Fong Chung-Ray and Kwok Hon Sum, representing the early period in the development of contemporary ink painting based on traditional cultural tenets and standards; Wu Chi-Tsung and Crystal Liu, representing the current innovation of ink related contemporary paintings who stretch boundaries of ink art playing with new media and unusual materials. Exhibiting the work of these four important artists at Taipei Dangdai will provide the audience with an in depth experience in the growth and evolution of the movement of contemporary ink painting from the 1970s to the present.

 


 

吳季璁《氰山集》《小品》系列新作參展台北當代藝術博覽會

 

世界畫廊|C03展位

VIP 預展| 1/17 2-5 pm

開幕|1/17 5-9 pm

VIP開放|1/18-20, 11-12 am

公眾開放|1/18, 12-8 pm; 1/19, 12-7 pm; 1/20 12-5 pm

地點|南港展覽館一棟四樓, 台北市南港區經貿二路1號

藝術家|馮鍾睿、郭漢深、吳季璁、Crystal Liu

 

世界畫廊將於首屆台北當代藝術博覽會呈現四位當代水墨藝術家,為觀衆展示由七十年代至今當代水墨運動的成長和演變歷程。馮鍾睿和郭漢深,以傳統文化和素養為基礎,代表了當代水墨藝術的早期發展;而吳季璁和Crystal Liu則代表了當代繪畫的創新,突破水墨藝術與新媒體和非傳統媒介結合的界限,擴大了當代水墨語法的可能性。

 

 

Artist-in-Residency, Oct 22 – Dec 15, MoT+++, Ho Chi Minh City
藝術家駐村計畫,10/22-12/15,MoT+++,胡志明市

 

Artist-in-Residency in MoT+++, Ho Chi Minh City

Date: Oct 22 – Dec 15, 2018

Exhibition: Dec 15, 2018 – Feb 2, 2019

Artist talk: Mountains and Rivers of the…  Conversation between Bang Nhat Linh and Wu Chi-Tsung, Dec 14, 6:00 – 9:00 pm

Venue: MoT+++, 1057 Đường Bình Quới, Phường 28, Bình Thạnh, Hồ Chí Minh, Vietnam

 

From October to December 2018 the MoT+++ space will be converted into the working studio of visual artist Wu Chi-Tsung. During his residency, Wu Chi-Tsung will develop new works in his experimental photography series of Cyano-Collages. The public will have the opportunity to see Wu Chi-Tsung’s work in progress on select dates during this period.

Conventional cyanotype photography uses objects placed on paper to create a negative or imprint of the object in white against a cyan-blue background. The paper, having previously been covered with a solution, is exposed to an ultraviolet light source, such as sunlight, causing a chemical reaction that results in the distinctive blue colour, and leaves unexposed paper white. Wu Chi-Tsung uses the cyanotype method to create large abstract photographic works that echo the mountainous landscapes of traditional Chinese Shan Shui ink and brush paintings.

Following a two-month residency at MoT+++, Wu Chi-Tsung’s studio will be opened to the public and placed in conversation with the installation work ‘Summer Grasses’ by Bang Nhat Linh. visitors are welcome to MoT+++ to see the interactions between works from the two artists. originating from Hanoi and Taipei respectively, Bang Nhat Linh and Wu Chi-Tsung’s artworks sensitively respond to centuries of geopolitical tensions in the region, as well as the personal histories of each of the artists.

 


 

MoT+++ 藝術家駐村計畫

駐村時間:10/22 – 12/15, 2018

展期: 12/15, 2018 – 2/2, 2019

藝術家座談: Mountains and Rivers of the… 與Bang Nhat Linh的對話,12/14  6-9 pm

地點:MoT+++, 1057 Đường Bình Quới, Phường 28, Bình Thạnh,胡志明市,越南

 

從2018年10月到12月,MoT+++將被改造成藝術家吳季璁的工作室。在駐村期間,吳季璁將持續開發實驗攝影《氰山集》系列,工作室也會不定期開放大眾參觀。

傳統的氰版攝影使用放置在紙上的物體來創造白藍顏色的影像的負片。藝術家採用氰版技法製作大型抽象攝影作品,將噴灑過藥劑的氰版紙張暴露於陽光下,引發化學反應,產生獨特的藍色,而未曝光的部分則留下紙張本來的白色,藉此呈現中國傳統山水墨筆法與壯闊景觀。

駐村結束後,吳季璁將會開放使用的工作室作為展覽,與越南藝術家Bang Nhat Linh的作品《Summer Grasses》進行對話。吳季璁與Bang Nhat Linh的作品分別來自台北和河內,展覽除了呈現藝術家的個人歷史,更是敏鋭地回應了兩地幾個世紀的地緣政治局勢。

naturalunnatural, Nov 8 – 11, Tank Shanghai, China
界 BEYOND PERCEPTION,11/8-11,上海西岸油罐藝術中心,中國

Wu Chi-Tsung work “Still Life 006 – Chrysanthemum” will be displayed on Tank Shanghai.

 

Duration: 2018 November 8-11
Venue: Tank Shanghai, No.2555 Longteng Ave.
Participated artists: Wu Chi-tsung, Zeitguised, Eponine Momenceau, Tomás Saraceno, Frederik Heyman
Curator: Davide Quadrio

 

Arthub teamed up with NOWNESS to present a new group show called “naturalunnatural” as part of “experiments” opening on 8th November in Tank Art Project Space Shanghai.

“界” refers to boundaries as well as interfaces. They are the dual-universe that are opposites and close ties at the same time. It is an experimentation of moving images that transcends boundaries and goes beyond perception between the dynamic sound and image, between the undefined time and space. Unlimited to a single-sided engagement, exploring the intertwined relationship between different media and forms.

In this exhibition, Ryoji Ikeda, a leading figure in Japanese electronic music and visual arts, will be exhibiting at Tank No.1 of the TANK SHANGHAI. Tank No. 2 will be hosted by Laure Prouvost, an artist who will represent France at the Venice Biennale in 2019. A group exhibition of “ Naturalunnatural – How will be remembered in the future?”, curated by Davide Quadrio of Arthub, will also be presented. In addition, in the Tank No. 3, artist Lu Sisi will perform a special piece for the opening party. The event is not only the first public exhibition of TANK SHANGHAI, but is also a special project of the Shanghai Biennale 2019.

 

Naturalunnatural
How will we be remembered in the future?

text/Davide Quadrio

 

For this exhibition, I have been invited by NOWNESS to explore the fragile interstice between nature, sustainability, beauty, and artificiality. The title of the show natural-unnatural refers to a way that the scientific progress has brought nature into a far complex realm of ambiguity which the artworks selected here present responding to this call: What are we doing? How do we interact with Nature and how ecosystems are built and protected? How is natural beauty compromised or enhanced by the artificial?

The artists invited to this group show which illustrates the incredible new space at Tank Shanghai Project Space. This show is a journey that invites to reflect about beauty as an uncontroversial quality of the human and moves the visitor into a realm of sensuality and inevitability. This show is a journey to the discovery of the fragility of this world of natural beauty contaminated and changed into a world of plasticity and deformations, where the humanity in its comprehensive technical development, challenges Nature and transforms it into risky territory for the future of our children. This process and all its risks though are per se beautiful and in this sense dangerous, disturbing and potentially explosive.

The exhibition is not about accusing or criticizing, instead it is an ode to the attention of beauty from recycle the present and attempt to shape the future. These images, whether based on fact or fiction, tell us how people want to remember and be remembered. They expose the desire to overcome time, space and a physical presence. The feelings of the body, the joy of the senses bring us into a world of wonder in a ludic way.

The exhibition opens by Wu Chi-Tsung, born in 1981 in Taipei, who devotes significant attention to the methods used in producing and interpreting images. In Still Life 006 – Chrysanthemum (小品之六菊), 2017, Wu is inspired by a cherished memory of the act of painting, the overwhelming beauty is here somehow shadowed by a sense of loss and guilt, almost like creating images of such beauty, is a betrayal of art and its subversive nature. This overwhelming beauty, practically a frozen image, performs the duty to open the show and to create the tone of the entire show to come.

The second room occupied by Zeitguised. The collective founded in Berlin in 2001 by Jamie Raap and Henrik Mauler, Zeitguised is a studio of art and digital design, specializing in the production of visual projects (both commercial and independent) of an algorithmic nature. The piece “Flotsam & Jetsam: Monobloc,” 2016, treats the ubiquitous plastic chair as a contemporary design classic in a continuous tension with character. The tree trunk, the only natural element in a world of plastic, presented here as the plastic chairs suffocate a mere corpse. The enormous hovering cloud of iconic chairs that behave like flotsam and jetsam in breaking waves is an image of poetry in the form of an algorithmic Perpetuum mobile.

The second animation presented is called “Birds”, 2016, and it mirrors ironically the content of the previous artwork with abstractions of birds on a tree branch, which are changed into shapes and textures coming from their own experiential world being them of natural or artefacts nature: so the body of birds is changed into an housebird, egg, leaves, bones etc. The beauty and fluidity of the unnatural human construction (chair) and the birds (unnaturally processed by the artists’ manipulation) are here ironically depicted as parasites, beautiful ones, and in the case of chairs iconic ones, but still a dangerous relic of the risk of the insubstantiality of human manipulation.

Frederik Heyman, born 1984, whose work is a balancing act incorporating multiple media. In this work, by using cutting-edge 3D scanning technology, Heyman virtually ’embalmed’ icons Isabelle Huppert, Kim Peers and Michèle Lamy in the latest episode of NOWNESS’s hit series Define Beauty. This work appears on the tv screen opposite to Zeitguised and brings the question as well as the subtitle of the exhibition: how do you want to be remembered forever?

In response to the question, Heyman created a digital memorial: a way to project ourselves into the distant future and be remembered by generations to come––exactly as we want to be. Using photogrammetry (3D scans), Heyman created frozen moments in time that emerges digital ‘wakes’ which will continue beyond our mortal existence surrounded by fantastic nature, flowers, trees, water, etc. life made of a plastic view is so unnatural and yet so painfully attractive.

The third room occupies by Éponine Momenceau, born in 1985, who patiently draws the outlines of a poetic and contemplative work, fruitfully heading towards a contemporary art that mixes dark rooms and exhibition spaces. The work Now is an Infinite Time, 2016 , is cyclic and hypnotic movement produced by the appearance of insects flying in a ray of light in the Amazon rainforest.

The movement thereby recalls the visions that one can have under the effect of ayahuasca, a hallucinogenic plant with healing properties according to the beliefs of Amerindian tribes of Amazonia. Bach’s Adagio of the Concerto accompanies this movement for two harpsichords and orchestra in C minor BWV 1060, of which study related to hypnotic mechanism has found to be music with healing and structuring properties based on impulse and tonal harmony. The artificial effect almost abstract of this artwork pairs the works by Zeitguised and Wu Chi-Tsung, bringing the subject of this show into a sphere of metaphysic innuendos, where life, death, love, trees, animals, viewer are only a small dot in the infinite time of the cosmos existence.

Tomás Saraceno, born in Argentina in 1973, lives and works in Berlin, concludes the exhibition bringing the theme of the show onto a cosmic level. The foreign world presented in the video The Politics of Solar Rhythm-Cosmic Levitation, 2018, explores and mimic cosmic celestial movements, almost showing the formation of a galactic planet, however the simulation brings this macro view into a micro world of dust and levitation of space dust suspended by sound waves. Thus the last room of this journey brings the viewer into a world of silence and of tiny/mega proportions, unnatural yet so natural leaves the viewer at the shore of the universal creation: disturbing and full of fear, humanity is brought back to the mysterious place of the beginning of everything, to a place where humanity is silenced by the extraordinary act of creation.

 

ABOUT NOWNESS

NOWNESS is a leading global creative video platform, presenting the best new wave short films in design, fashion, music, food, architecture, travel, etc. A go-to source of inspiration and influence, and a movement for creative excellence in storytelling. We celebrate the extraordinary of every day.

NOWNESS is the three-time Webby award-winning culture channel launched in 2010 in a collaboration between Dazed Media and LVMH. In 2017, leading independent Chinese media company Modern Media invested in NOWNESS to launch NOWNESS China and partnered with Dazed Media to create the global progressive publishing company Modern Dazed. The current team includes Creative Director and Dazed founder Jefferson Hack, Editorial Director Bunny Kinney and China Creative Director Shaway Yeh.

 

ABOUT TANK SHANGHAI

TANK SHANGHAI, founded by renowned contemporary art collector Qiao Zhibing, is a multifunctional cultural hub that combines exhibition venue with parkland, plaza, bookstore, education center and restaurant. The construction acreage is 10,00 sqm, and the whole project space spans over 60,000sqm.TANK SHANGHAI will be opened to the public in 2019. TANK SHANGHAI aims to foster connections among the public, contemporary art, urban life and nature. It is an upcoming center for public cultural activities and art at the West Bund.

 


吳季璁《小品之六 菊》將於上海西岸油罐藝術中心展出

 

展期:2018年11月8日-11日
地点:上海油罐艺术中心,龙腾大道2555号
参展艺术家:吴季璁、Zeitguised, Tomás Saraceno, Eponine Momenceau, Frederik Heyman.
策展人:乐大豆(Davide Quadrio)

 

NOWNESS 携手上海西岸油罐艺术中心举行 NOWNESS EXPERIMENTS首个展览项目:“界”BEYOND PERCEPTION。

界,即是界限,也是界面。是互为对立却又紧密相连的两个世界。在声音与影像之间,在自然与感官之间,不局限于单一的感知,进行一场突破自我边界的实验。

在本次展览中,日本电子音乐创作方面领军人物和视觉艺术家池田亮司(Ryoji Ikeda)展览将在西岸油罐艺术中心1号罐展出;2号罐则迎来即将代表法国参加2019年威尼斯双年展的艺术家劳瑞·普罗沃斯特(Laure Prouvost)。由 Arthub 策展人乐大豆策划的“大自然小自然”(Naturalunnatural)群展也将同场呈现。此外,在3号罐,艺术家吕思斯将为开幕派对呈现特别演出。本次活动不仅是上海油罐艺术中心首次面向公众开放,同时也作为上海双年展2019的特别项目之一。

 

《大自然小自然》
在未来,我们该如何被铭记?

文/乐大豆

 

此次展览我受 NOWNESS 之邀,借展览的形式来探索存在于自然、持续性、美与矫饰之间的脆弱裂隙。展览标题中的大自然-小自然指的是科学进程已经将自然带领到了一个异常复杂的矛盾世界,展览中的作品也想要回应这样的问题:我们在做什么?我们如何与自然互动?生态系统是如何被构建及被保护的?自然美是如何与人造方式相妥协或者被人造方式所提升的?

群展邀请到的艺术家们在上海油罐空间惊艳的新场域内展开了与之相呼应的阐释。这场展览也是一次反映美作为毫无争议的人类品质的旅程,把观者带入到了感性与必然性的世界之中。同时它也是一次探索世界上自然美的脆弱性的旅程,因自然美已经被污染损坏,变成了被随意塑造与捏造的存在,而人类在全面科技发展的大潮之下不断挑战自然,留给未来和后人的是一块危险的领地。这样的过程及其冒险行为虽然本身也是美的,但在这个层面上,却也是危险、恐怖及灾难性的。

但从另一个角度来说,此展览并不是要谴责或者批判,相反,它是一次利用回收当下并塑造未来的形式向美致敬。其中的图像,无论是基于事实的抑或是虚构的,向人们诉说着人们是如何记住与被记住的。他们展示了人们想要征服时间、空间和客观存在的欲望。身体的感觉、感官的愉悦以轻松的方式带我们进入到了惊奇世界之中。

展览以吴季璁的作品开篇,他于1981年生于台北,作品关注在创作及解读图像时所使用的手段。在《小品之六-菊》(2017)之中,吴季璁的灵感来自于对绘画的缅怀,它令人震惊的美感在这里不知怎的被一种失落感与负罪感遮蔽,好像创造这样一种美的事物是一次对艺术与其颠覆性的背叛。这种令人震惊的美感,在现实中以凝固的图像呈现,承担着开启展览的责任,为整个展览奠定了基调。

第二个房间带来的是 Zeitguised 的作品。该团体于2001年成立于柏林,组员包括Jamie Raap 与Henrik Mauler. 该团体是创作艺术及数字设计的工作室,主要创作以计算机算法生成的视觉项目(包括商业和独立项目)。作品《漂浮废料&海洋垃圾:单模块》(2016)把日常所见的塑料椅作为当代设计的经典。视频中的树干,作为这个塑料世界中的唯一自然物,反衬出这些塑料椅子仿佛缺乏生命力的浮尸。一大团像云朵一样扭动的经典椅子的聚合体,仿佛是漂浮废料与海洋垃圾在海浪中扭动;是永恒动态算法形态的诗歌。

他们的第二部作品是《鸟》(2016),与前一部作品的内容形成具有讽刺意味的互相映射,以抽象形态停于树枝上的鸟幻化成来自其自身经验世界的不同形态与材质,或自然或人造的自然:鸟的身体转变为家鸟、蛋、树叶、骨头等。人类的非自然构建物(椅子)所具有的美与流动性在这里与鸟(被艺术家以非自然方式操作)形成了一对讽刺的寄生物、美的事物,以及此情此境椅子所代表的标志性事物,但它们仍然是人类不可持续性冒险行为中显露出的危险遗迹。

Frederik Heyman, 生于1984年,作品总在融合多种媒体的媒介中找到了平衡。在这部作品中,他使用了前沿的3D 扫描技术,在 Nowness 最新的系列《美的定义》中对 Isabelle Huppert, Kim Peers 和 Michèle Lamy 使用了虚拟防腐。这件作品展现在 Zeitguised 作品的对面,紧扣展览的副标题:你想以怎样的方式被永远铭记?

对于这个问题,Heyman 的答案是制造一个数码纪念物:这是将我们投射进遥远的未来,被后人铭记的方式——一切皆如我们所愿。利用前沿的三维扫描技术,他创造了凝固的瞬间,显现出来的是数码式“守灵”,会在我们的肉身死去后继续存在,并被奇幻的自然、鲜花、树木、水等包围。由塑料所构成的生命形式看起来如此地不自然,但是却又痛苦地吸引着我们。

第三个房间展出的是 Éponine Momenceau 的作品,她生于1985年,精心地勾勒出她诗意而又深沉的艺术作品,使得她能够在当代艺术、暗房以及展览空间内产出颇为丰富的作品。她的作品《此刻时间无限》(2016)是一部循环而又催眠的作品,展现的是昆虫群在亚马逊雨林中的光线里飞行运动。

这种运动引起了一种视幻觉,这是一种通常人们在南美卡皮木的作用下才会有的一种现象,这种致幻植物在亚马逊的印第安部落中被认为有治疗效果。视频配合的是巴赫的《大键琴协奏曲(为两台大键琴而作)BWV 1060 慢板》,研究发现这部曲子的催眠效果因为其节奏及和谐调性与疗愈及构造属性相关。这种人造效果从作品中抽离出来,与一旁房间Zeitguised 和吴季璁的作品共鸣,把展览的主题带入了形而上的暗讽维度,在这里,生、死、爱、树木、动物、观者只是宇宙存在的无限时间中的一颗尘埃。

巴赫的音乐普遍具有这样的效果,而这部慢板则特别具有“致敬爱”的特性。

Tomás Saraceno, 于1973年生于阿根廷,目前工作生活在柏林。他此次带来的作品作为展览的尾声,把主题带到了宇宙的高度。在作品《太阳节奏的政治:宇宙悬浮》(The Politics of Solar Rhythms-Cosmic Levitation, 2018)之中,我们看到了陌生的世界,探索并模仿了宇宙天体的运动,仿佛看到了星系的形成,然而,这样的模拟效果却把宏观的视角引入到了围观的尘埃世界,空间的尘埃在声波的作用下悬浮。至此,最后的房间把观者带到了旅途的终点,静谧的微小/巨大比例的世界之中,小自然且又大自然,把观者留在了宇宙创世的海岸上:不安且充满恐惧,人性被带回到万物创世之初的神秘空间之中,被创造出的非凡景象惊艳到沉默。(译/卜生)

 

关于 NOWNESS

NOWNESS是一家全球领先的创意生活短片平台,注重发掘叙事中的独特创意,拥抱日常点滴中的新奇与不凡。内容涉猎设计、时尚、人文、音乐、美食、建筑、旅行及诸多领域,以独特的审美情趣和呈现方式,为你提供极富新意的顶尖原创,激发日常生活中的灵感与思考。NOWNESS 由 Dazed Media 和路威酩轩(LVMH)联合创立于2010年。曾三次获得 Webby Awards 文化类奖项。2017年,中国领先的独立传媒公司现代传播集团以多数控股收购了NOWNESS,并与 Dazed Media 合资打造了一家全球性的出版公司 Modern Dazed。目前的团队成员包括:创意总监兼Dazed创始人 Jefferson Hack,编辑总监 Bunny Kinney 以及中国创意总监叶晓薇。

 

关于上海油罐艺术中心

上海油罐艺术中心由当代艺术收藏家乔志兵创办,是集合各式各样的展览空间、公园绿地、广场、书店、教育中心和餐厅等功能于一体的艺术中心。项目建筑面积1万平方米,整体占地面积6万平方米。预计于2019年对外开放。上海油罐艺术中心为公众提供亲近与感受当代艺术、感受艺术与自然、艺术与城市的平台,将成为新的公共文化活动及艺术核心区域。

Poetic Utterance, Oct 6 – Nov 30, InArt Space, Tainan
詩意的製造,10/6-11/30,加力畫廊,台南

Invited by curator Lih-Huei Lai, Wu Chi-Tsung work Still Life 006 – Chrysanthemum, Wrinkled Texture 55, and Crystal City 007 will be showcased in Poetic Utterance at InArt Space, Tainan, Taiwan.

 

Poetic Utterance

Date:2018/10/6 (Sat.)- 11/30 (Fri.)
Tea Party:2018/10/6 (Sat.) 15:00
Curator:Lih-Huei Lai
Venue:InArt Sapce, No.315, You’ai St., West Central Dist., Tainan City 700, Taiwan

 


 

受邀自策展人賴麗惠,吳季璁作品《小品之六-菊》《皴法習作55》《水晶城市007》參與台南加力畫廊「詩意的製造」展覽。

 

詩意的製造

參展藝術家:袁廣鳴、徐瑞憲、林俊廷、吳季璁、姚仲涵
展覽時間:2018年10月6日-11月30日 (10月6日開幕茶會)
策展人:賴麗惠
地點:加力畫廊,台南市中西區友愛街315號,台灣

 

德國19世紀古典浪漫派詩人荷爾德林(Hölderlin)在《在柔媚的湛藍中》的詩句:「……人充滿勞積, 然而仍詩意地棲居在這片大地上……」。棲居意旨人類的存在狀態,而詩意則是詩人以一種藝術形式對現實或想像的描述與感受的表達。袁廣鳴的錄像作品〈棲居如詩〉Dwelling之命名即擷取自此詩句,詩人以語言文字的形式製造詩意,而藝術家隨著時代科技的演變以各種媒材形式創造所欲表達的內在與詩性。〈棲居如詩〉畫面裡客廳在沉靜的水中,物件細微而緩慢的漂浮,突如其來的快速爆炸讓所有家具物件破碎,在水裡緩慢地翻覆上揚,看似已走向毀滅卻又突如其來快速回復到原來的靜置狀態,毀滅與再生的輪迴,無論如何藝術家都要朝著詩意的方向追尋。

詩人作家以語言文字創造出人類日常疲憊循環生存狀態下賴以喘息的片斷詩意時光,在〈作家的船〉Writer’s Vessel中,象徵古典文學的羽毛筆透過馬達的帶動在腳踏車輪上緩慢移動書寫著,徐瑞憲在冷硬的金屬機械的媒材上賦與輕柔軟性的羽毛,生命也在不斷循環的狀態下書寫出一種古典詩意與對自由的嚮往。而這似與〈棲居如詩〉呼應著,試圖尋找一種詩意自由的生活狀態,然而卻陷在不斷的循環或圓周中,看似安靜卻隱藏著憂鬱與孤獨的情緒。

遠觀如東方傳統水墨畫的〈皴法習作〉Wrinkled Texture是吳季璁以現代西方攝影氰版顯影技術,在刻意揉皺的宣紙上製造中國傳統繪畫皴法的效果,呈現出中國水墨意境及山水風景之氣勢。吳季璁的作品不論是錄像〈小品系列〉、裝置作品〈水晶城市〉或〈皴法系列〉等等都在思考東西方美學哲思及媒材運用及並融的可能性,遊走在光影、明暗、虛實之間的詩意呈現。
對於東方傳統繪畫意境的鍾情,卻又嘗試以不同於古典繪畫形式的媒材探索,也在林俊廷的作品上明顯可見,其〈造象〉Word to World仍維持其一貫風格,螢幕上呈現的是中國傳統山水風景動畫,結合現代流行的QR Code掃描,輸入的中文字在畫面上即產生對應的圖像,與作品產生互動,扣緊當代科技媒體運用的潮流。

眼所見,耳所聞,在人腦中自然形成一種想像或意境,是立即性的抽象性感受,姚仲涵在〈EN〉(環境)中探索聲音與視覺之間的關係,將聲音視覺化,或反之視覺聲音化,畫面有如空間中的懸浮物、水滴或黑夜星空或抽象不明,與電腦合成音樂產生一種節奏性的旋律。姚仲涵作品中的重要元素日光燈與聲響,是其不斷摸索在環境中創造一種抽離現實性的的電子虛幻空間。
「詩意」可能是一種自然的呈現,或是一種創造,「詩意的製造」 忽略當代藝術或現存環境的沉重課題諸如環境、政治、宗教、種族或性別等等,回歸到藝術的純粹原始性,在混亂不安的生存狀態中,試圖製造一個詩意的精神存在,理性與感性的融合,藉以呼應法國17世紀天才數學家、物理學家、哲學家與散文家帕斯卡(Pascal)在《思想錄》中說道:「……人應該詩意地活在這片土地上,這是人類的追求理想,詩意是一種偉大的發現……」。

Flowers of Immense Charm – A Masterpiece Exhibition by Four Major Museums, 2018 Oct 6 – 2019 Feb 10, National Museum of Fine Art, Taichung
花之禮讚—四大美術館聯合大展,2018/10/6-2019/2/10,國立台灣美術館,台中

Still Life 005 Cherry, Wu Chi-Tsung

Wu Chi Tsung video work Still Life 005 – Cherry will be showcased in Flowers of Immense Charm – A Masterpiece Exhibition by Four Major Museums at National Museum of Fine Art, Taichung

 

Flowers of Immense Charm – A Masterpiece Exhibition by Four Major Museums
Date: 2018 Oct 6 – 2019 Feb 10
Participant Museums: National Palace Museum, Tokyo Fuji Art Museum, CHIMEI Museum, National Taiwan Museum of Fine Arts
Curator: Hsiao Chong-Ray
Venue: National Museum of Fine Art, 2, sec. 1, Wu Chuan W. Rd., Taichung 403 Taiwan

 

Under the auspices of the Ministry of Culture and Taichung City Government, Flowers of Immense Charm – A Masterpiece Exhibition by Four Major Museums is co-organized by the National Palace Museum, Tokyo Fuji Art Museum, CHIMEI Museum, and National Taiwan Museum of Fine Arts, and is expressly organized during the same time as the Taichung World Flora Exposition. This is a cultural event with Prof. Hsiao Chong-Ray serving as the exhibition’s chief curator; curators from the four museums also execute integrations and analyses. They have chosen the widely loved “flowers” as the theme of the exhibition, exploring different meanings and characteristics embodied by flowers that are depicted in artworks from different cultures. This is an exhibition that is suitable for people of all ages, and is also one that holds profound academic value.

A range of artworks of diverse styles is presented under the vivid and vibrant overarching floral theme, with the metaphors and profound meanings of flowers conveyed by the artworks examined. With a medley of artistic styles presented, different nationalities, cultures, and philosophical realizations about nature and life are also recounted, forming an epitome of human history and values encompassing different cultures and across different eras, which is profoundly etched with the prolifically rich image of flowers.

On view in the exhibition are select artworks from three major museums from northern, central, and southern Taiwan and also the Tokyo Fuji Art Museum. The transnational exchange and inter-museum collaboration are aimed at showcasing four different cultural contexts, worldviews, and value systems that have originated from Taiwan, China, Japan, and the West.

Based on the notable features of the four museums’ collections, this collaborative exhibition is categorized into the following: The National Palace Museum will be showing a selection of ceramics, objects, calligraphies, paintings, poems, and Chinese painting manuals; Western sculptures, oil paintings, and furniture from the 17th century and onwards will be presented by the CHIMEI Museum; the Tokyo Fuji Art Museum has selected a collection of screens, calligraphies and paintings from the Edo period; and the National Taiwan Museum of Fine Arts will present a range of artworks including oil, gouache, and watercolor paintings created during the New Art Movement in Taiwan’s Japanese colonial period to contemporary multimedia creations, which include digital images and installations.

The artworks on view in this exhibition demonstrate a wide range of genre and temporal dimension, showcasing artworks of different expressions, including objects, paintings, sculptures, spatial installations, new media art, and more. The artworks span across a millennium, extending from the 11th century to the year 2017.

In addition to the select artworks from the four museums’ collections, artworks by 20 Taiwanese contemporary artists are also presented in the exhibition, with the objective of highlighting Taiwan’s diverse cultural and art features. Moreover, in the midst of Asia’s symbiotic cultural development aligned with the rest of the world, a cultural perspective that defines Taiwan’s subjectivity and how art is interpreted is also constructed.

The chief curator Prof. Hsiao Chong-Ray believes that: on the whole, the different museum collections also highlight the ethnic characteristics of different cultures: from the collections of Chinese royalty, the works exhibited by the National Palace Museum reveal the artistry of skilled craftsmanship and reflect the scientific understanding and human restraint in governance for the welfare of the people. In contrast, the commercialism of Japan since the Edo Period reveals the sense of resignation toward life’s limitations among Japan’s upper classes as well as provides a glimpse into the rich and self-sufficient lives of the ordinary people; especially in the numerous folded screens with the change of seasons as its theme, and using the “pair” or “composite” technique in form, to reveal the deep-seated aesthetic consciousness and character of the Japanese people. Meanwhile, Western classicism, specifically the artistic character since the rococo period, combines the mythological imagination of Greek culture, not only in an eternal tug of war between the finite and the infinite, but also reflecting the life attitudes of optimism, pragmatism and practical of the people in the Western world.

As for the role of the National Taiwan Museum of Fine Arts, it is the abundant expression of the interweaving, stimulating diversity of cultures, with the elegance and subtlety of the heavy color painting from Japan, the depth and agility of Chinese brush and ink renderings, as well as the bold attempt and soaring imagination of Western culture.

Our hope is for the artworks and activities arranged for the exhibition to encourage the general public to actively take part in cultural events. Besides appreciating the union of art and lifestyle aesthetics, through the various symbolisms expressed through flowers, we hope that the audience could also enjoy a sense of elevated spirituality and to gain more epiphanies about life through art appreciation.

 


 

吳季璁影像作品《小品之五 櫻》,於花之禮讚—四大美術館聯合大展,國立台灣美術館展出。

 

花之禮讚—四大美術館聯合大展
時間:2018/10/6-2019/2/10
參與博物館:國立故宮博物院、東京富士美術館、奇美博物館與國立臺灣美術館
策展人:蕭瓊瑞
地點:國立台灣美術館,台灣臺中市西區五權西路一段2號

 

「花之禮讚—四大美術館聯合大展」由文化部及臺中市政府指導,國立故宮博物院、東京富士美術館、奇美博物館與國立臺灣美術館共同合作主辦,特別規劃於臺中花博期間展出。本展透過總策展人蕭瓊瑞教授的擘劃,以及四館策展人的統整、詮釋,選擇大眾喜愛的「花卉」為主題,探討不同文化中有關「花卉」在藝術創作中的意象與特質,是一場老少咸宜,同時又具有深度學術論述基礎的展覽。

本展以「花卉」作為繽紛鮮明的主題定位,藉由作品多樣風貌的呈現,縱觀「花」在藝術創作中傳遞的隱喻與深意,展現多樣的藝術風采,亦闡述不同民族、文化對於自然與生命的哲思體悟。而「花」亦以它萬般富饒的形象,深刻地刻畫不同文化與時代下,人類歷史與價值的縮影。

本次展覽,精選臺灣北、中、南三地重要博物館/美術館,以及日本東京富士美術館典藏精品,透過跨國交流與館際之間的合作,企圖展現臺灣、華夏、日本與西洋四種不同文化脈絡的世界觀與價值觀。基於四館各自的收藏特色,本次的聯合展出,也界定四館的展品方向分別為:故宮以中國宋代以後的陶瓷、器物、書畫及詩箋畫譜為主;奇美以西洋17世紀以後的雕塑、油畫、家具為主;富士美術館展出江戶時代以後的屏風、書畫;國美館則以日治時期的新美術運動作品(油畫、膠彩、水彩)至當代多媒材的創作(含數位影像、裝置)為內容。

此次展出作品類型及時間向度十分多元:包含器物、繪畫、雕塑、空間裝置、新媒體藝術等不同藝術形式表顯手法,年代則從11世紀一直到2017年,橫跨約1000年的跨距。除四館典藏精品外,本展並特別邀請20組臺灣當代藝術家作品,以突顯臺灣文化與藝術的多元風貌,同時在亞洲與全球文化的共榮發展中,建構主體定位與藝術詮釋觀點的文化視野。

總策展人蕭瓊瑞教授認為:總體而言,不同的館藏也凸顯了不同文化的族群特性:來自中國皇家的收藏,故宮的展品顯示了巧工巧匠的技藝,也反映了深具經世濟民的科學理知與人性節制。相對地,日本江戶時代以來的商業氣息,既可看見日本上層社會在華美中慨嘆生命有限的無奈,也可窺見庶民浮世生活的豐美與自足;尤其許多屏風,是以季節遞嬗為主題,形式上採「雙幅」或「組合」的手法,呈顯日本人深層的審美意識與特徵。而西洋古典,尤其從洛可可以降的藝術特質,結合了希臘文化的神話想像,無不是在有限與無限間的永恆拉扯,也映現了西方人與天爭的樂觀積極性格和務實、實用的生命態度。至於國美館的部份,則是多元文化交織、激盪下的豐美表現,有來自日本重彩畫的典雅、含蓄,有中國水墨暈章的深沈、靈動,也有西方文化的飛揚想像與大膽嘗試。

期盼藉由本展所提供的藝術精品及相關活動規劃,能鼓勵一般大眾對文化活動的積極參與,除體會藝術與生活美學的結合之外,也能透過「花卉」的各種寓意提升心靈感受,從藝術欣賞之中獲得更多對於生命的體驗。

Language of Flowers, Oct 6 – Apr 28 2019, Asia University Museum of Modern Art, Taichung
花語花博,10/6-2019 4/28,亞洲⼤大學現代美術館,台中

Still Life 006 – Chrysanthemum and Still Life 002 – Orchid will be showcased in Language of Flowers at Asia University Museum of Modern Art at Taichung, Taiwan.

 

Language of Flowers

Date: Oct 6 – Apr 28 2019

Venue: Asia University Museum of Modern Art, Taichung

Artist: Yayoi Kusama, Zao Wou-Ki, Yuan Jai, Chunya Zhou, Walasse Ting, Lee Ming Wei, Claude Monet, Zhang Daqian, Sanyu, Wu Chi-Tsung and more

 

The Taichung World Floral Exposition begins on November 3rd, 2018 and ends on April 24th, 2019. Through the fragile beauty of flowers, the exposition aims to remind citizens of our innate connection to nature as well as the importance of environmental conservation. This event, certified by the International Association of Horticultural Producers (AIPH), is expected to bring many visitors to the Taichung area, in which our museum is also located at. The Asia University Museum of Modern Art lies in the heart of Taichung’s Wufeng District. In the west of Wufeng, the lands are plain and flat with fertile soil, perfect for agricultural grown; to its east are slopes suitable for growing fruit trees. Nick-named “Garden University”, Asia University is famous for its beautiful campus and landscape, where many flowers and trees bloom and flourish. Hence, the Asia University’s Museum of Modern Art would like to use its locality of agriculture to promote art in the theme of flowers relating to the Taichung World Floral Exposition. With the exhibition Language of Flowers, we aim to explore the fruitful links between art and nature through the different cultural and symbolic meanings that flowers represent.

 


 

《小品之六 菊》與《小品之二 蘭》將於台中亞洲⼤大學現代美術館群展「花語花博」展出。

 

 

花語花博

展期:10/6-2019 4/28

地點:亞洲⼤大學現代美術館,台中

藝術家:草間彌⽣︑趙無極、周春芽、蘇孟鴻、丁雄泉、李明維、張大謙、常玉、吳季璁等多位藝術家。

 

2018 台中世界花卉博覽會將於年底盛⼤開幕。這場獲得國際園藝⽣生產者協會(AIPH) 認證授權的盛會將從 2018 年 11 ⽉ 3 ⽇展⾄至 2019 年 4 ⽉月 24 ⽇。活動⽬的不但是喚起民眾對於環境保護議題的關懷重視,更是希望⼈們能透過花博重新探討、反思⾃⾝與⼤自然的連結。這場所有台灣人共襄盛舉的博覽會將吸引全台各地的民眾⾛訪,⽽同樣位於台中的亞洲⼤學現代美術館,希望共同慶祝並紀錄這場盛事。亞洲⼤學現代美術館位於台中市霧峰區,霧峰西側為烏溪之沖積平原,地形平坦且土壤肥沃,非常適宜進⾏農業;這裡種植豐富、多樣的花卉,是許多藝術家創作的靈感基地。亞洲⼤學另名為「花園大學」,校園四季都看得到樹與花。亞洲大學現代美術館希望能利用當地的資源來推廣美學教育,透過新展《花語花博》,帶領參觀者探索各種花朵的藝術意義及其代表性、了解各類花種在不同⽂化裡具有的象徵意義。《花語花博》的呈現重點將會是帶領民眾透過本⼟與國際藝術家的作品認識花博, 欣賞藝術設計的多元⼿法、瞭解東⽅與西⽅對花語的詮釋,創造出⼀個能讓全民藉由藝術觀賞花博的空間。

Focused Movement, Aug 18-Sep 29, Double Square Gallery, Taipei
專注的動作,8/18-9/19,双方藝廊,台北

Wu Chi-Tsung’s Wire V will be showcased in Focused Movement, a group show at Double square Gallery, Taipei, Taiwan

 

 

Focused Movement

Participating artists:Liam Morgan, Wu Chi-Tsung, Yu Shih-Fu, Shyu Ruey-Shiann, Chen Shu-Chiang, Hsiao Sheng-Chien, Sunil Gawde

Exhibition date:2018/08/18 – 9/29

Opening:2018/08/18 15:00

Exhibition venue:双方藝廊Double Square Gallery

Curator:Michael Wu

 

 

Double Square Gallery presents the group exhibition, Focused Movement, from August 18 to September 29. The exhibition, curated by Michael Wu, features seven artists from Taiwan and abroad, including Liam Morgan (Canada), Wu Chi-Tsung, Yu Shih-Fu, Shyu Ruey-Shiann, Chen Shu-Chiang, Hsiao Sheng-Chien and Sunil Gawde (India). The artworks on view all demonstrate the element of mechanized movement and use mechanical components, in various artistic forms, such as dynamic machinery, sound, and light installation; these mechanized artworks reveal how the artists respond to the reality in a society characterized by digital technology.

 

Since the 60s, artists have been using camera, computer graphics, and interactive sensory technology more and more frequently, employing computer programs that made it relatively easier to control and manipulate these media while sometimes incorporating various portable electronic devices into the display of artworks. These new possibilities opened up a fresh space for creation, exhibition and the presence of artworks. Today, the perception offered by the virtual world has blurred the distinction between the real and the virtual, and art has gravitated towards virtual/augmented reality. The presence of artworks seems to be cross the boundary between reality and virtuality more freely. When new media art has made tremendous progress in the virtual realm, Focused Movement, on the other hand, features artworks that aim to lead viewers back to the physical world. By demonstrating the “substantial” spirit with a more elevated level of poetic expression in a semi-analogous way, the exhibition unveils the unique place held by new media art in the physical world. The technologies for observation and documentation have been progressing every day. The so-called new media that the public was familiar with in the past included a wide range of industrial materials, readymade objects, and computer software, which have already become classic in contemporary art along with the progress of technological development and the change of time. Undeniably, however, the combination of movements created by these material objects and the concepts illustrated by the artists continues to work in a dedicated and sincere manner, capturing audiences’ attention. In the exhibition, the artworks that make use of industrial, daily and natural objects are based on the artists’ personal cultural background as well as their contemplation on society, politics, environment and the self. In their individual ways, they use the materials and the means of sculpture and mechanized installation to express themselves or create an inner landscape that imitates nature, transforming the materials and giving them new meanings.

 

Focused Movement is an aesthetic experiment originating from the collision between tradition and technology. It demonstrates how the seven artists have responded to the impacts from the rapid development of technological media; it also reflects the rich possibilities of expression that have unveiled by the physical world and have been overlooked in the pursuit of technological development today. As our definition of reality evolves, the exhibition is a collective statement of how artists re-evaluate the real world that they inhabit.

 


吳季璁作品《鐵絲網五》將於台北双方藝廊群展「專注的動作」展出。

 

 

專注的動作

展覽日期:2018/08/18 – 9/29

展覽地點:双方藝廊Double Square Gallery

展覽開幕:2018/08/18 15:00
藝術家:利安.摩根(Liam Morgan)、吳季璁、盂施甫、徐瑞憲、陳淑強、蕭聖健、蘇尼爾.高帝(Sunil Gawde)

策展人:吳中平

 

 

「專注的動作」聯展將於8月18日至9月29日在双方藝廊展出,邀請七位國內外藝術家,包含、利安.摩根(加拿大)、吳季璁、盂施甫、徐瑞憲、陳淑強、蕭聖健,及蘇尼爾.高帝(印度),由策展人吳中平策畫,本次參展藝術家的創作皆包括動力元素並使用機械零件,作品分別以機械動力、聲音及光影裝置等多面向的藝術形式呈現,探討在數位科技的社會,藝術家如何回應現實中的動力創作。

 

自從六○年代以來,藝術家越來越頻繁地使用攝影機,電腦繪圖,互動感應器等技術;運用相較於早期更方便操控的軟體程式來操作修飾這些媒體,展出方式還可輕鬆結合各類型攜帶式電子裝置。種種都為創作、展示和作品的存在打開全新的領域。如今在虛擬世界中的感知已足以比擬真實,藝術也走向虛擬/擴增實境,作品存在的領域在虛實間也更加自由地移動。當新媒體藝術在「虛」的領域大幅躍進,此次「專注的動作」所展出作品帶領觀者回到物理世界,以一種相較下近乎類比的方式將「實」的精神與詩意表現手法也精進到更高的層次,展現新媒體藝術存在於物理世界之中的特殊位置。觀察和記錄的技術日新月異,過往大眾所認知的新媒體包含了各種工業媒材、現成物、電腦軟體,在時代與科技的演化種種也從新媒體轉變成當代中的經典,但無可否認的是這些現實物件的動作結合藝術家賦予的理念,以一種專注並真誠的方式永不停歇的運轉,仍深深吸引觀眾。展覽中這些使用工業、日常、自然物件等特殊媒材進行創作的作品建構於藝術家對自身成長的文化背景,以及對社會、政治、環境、及自我等等議題的思考之上,以各自的方式將媒材透過手工雕塑及動力裝置來表達自我,又或營造出擬仿自然的內心風景,將媒材重新轉換並賦予意義。

 

「專注的動作」一展,是一場關於傳統與科技之間彼此衝撞下所迸發出的美學實驗,集結七位藝術家,藉由此次展覽,希望大家來看看藝術家們在科技媒材如此迅速地發展下,對他們產生了什麼樣的衝擊,也反映出當今,為了追求科技發展而相對被冷落的物理世界,仍有許多可以表現的可能性。在這個對於真實的定義正在演化之際,藝術家要如何去回顧自己存在的現實世界。

Artist Talk: How Contemporary is Ink? The Weight of Tradition, Mar 29, Art Basel in Hong Kong
藝術家座談:水墨是否當代?傳統的重量,3/29,香港巴塞爾藝博會

 

Wu Chi-Tsung was invited to join the artist talk, How Contemporary is Ink? The Weight of Tradition, at Art Basel in Hong Kong.

How does ink art find its creative and critical potential in the context of a globalized art world? Four artists from Hong Kong, mainland China, and Taiwan will discuss the role of ink in their work, and how they consider its value—and weight—in contemporary artmaking.

Artist|Peng Wei, Hung Fai, Hu Xiaoyuan, Wu Chi-Tsung
Moderated by Lesley Ma, Curator, Ink Art, M+, Hong Kong

 

More information for Wu Chi-Tsung’s solo at Art Basel in Hong Kong

 


 

吳季璁受邀參加「水墨是否當代?傳統的重量」藝術家座談,由香港巴塞爾藝博會舉辦,M+策展人馬唯中主持。

在全球化之下,水墨是否仍具有創造性與發展潛力?四位來自香港、中國、台灣的藝術家將會一同分享,思索當代水墨藝術的價值。

藝術家|彭薇、熊輝、胡曉媛、吳季璁
主持人|馬唯中,M+策展人

 

更多吳季璁香港巴塞爾藝博會個展訊息

 

PRESENCE: A Window into Chinese Contemporary Art, Feb 9 – Jun 3, St George’s Hall, UK
中國當代藝術之窗,2/9 – 6/3,聖喬治大廳,英國

 

PRESENCE – A Window into Chinese Contemporary Art

Artists|aaajiao, Li Binyuan, Suki Chan, Chou Yu­Cheng, Luke Ching, Cao Fei, Han Feng, Chen Hangfeng, Kong Chun Hei, Wang Ningde, susan pui san lok, Ma Qiusha, Tian Taiquan, Wu Chi­Tsung, Annie Lai Kuen Wan, Yan Xing, Lu Xinjian, Sun Xun, Chen Ching­ Yuan

Dates|9 February – 3 June 2018

Venue|The vaults, St. George’s Hall, Liverpool

Work on display|Wrinkled Texture 027

 

The University of Salford is delighted to present PRESENCE: A Window into Chinese Contemporary Art
in Liverpool as part of the 2018 China Dream season.
This exhibition is the first time that the University’s New Collection of Chinese Contemporary Art has been shown in its entirety. The collection has been developed since 2013, mainly in partnership with the Centre for Chinese Contemporary Art (CFCCA). It is a broad collection with a variety of themes in a number of different media. The artists range from emerging through to established, and come from mainland China, Taiwan, Hong Kong and the diaspora. What links these works is the artists’ relationship with Northwest England and how, in different ways, they each reflect the world that we live in. The curator, Lindsay Taylor, hopes that this exhibition provides visitors with a window into contemporary Chinese culture, and that the collection continues to grow through new and existing partnerships for the benefit of future generations of audiences.


 

中國當代藝術之窗

藝術家|徐文愷、厉槟源、陳淑雲、周育正、程展緯、曹斐、韓楓、陳航峰、鄺鎮禧、駱佩珊・蘇珊、王寧德、馬秋莎、田太權、吳季璁、尹麗娟、鄢醒、陸新建、孫遜、陳敬元

展期|2018 2/9 – 6/3

地點|聖喬治大廳,利物浦,英國

展出作品|皴法習作027

 

索爾福德大學很高興為您帶來利物浦2018年中國夢文化計劃的一部分:中國當代藝術之窗。 這次展覽是大學第一次全面展示一系列中國當代藝術的收藏。自2013年主要與中國當代藝術中心(CFCCA)合作。這 系列的收藏收集了廣泛的作品 。有來自中國大陸、台灣、香港和海外新興和知名的藝術家。 這些作品聯繫了藝術家與英格蘭西北部的關係,以及和他們以不同的方式反映出所居住的世界。 希望這個展覽能為參觀者提供一個機會去接觸和了解中國當代文化,以及將這些收藏提供給未來幾代的觀眾觀賞。

 

WU CHI-TSUNG SOLO EXHIBITION AT ART BASEL IN HONG KONG 2018, MAR 27 – MAR 31
吳季璁個展於香港巴塞爾藝術展,3/27 – 3/31

 

 

Wu Chi Tsung Solo Exhibition at Art Basel in Hong Kong 2018

Booth|3D22 Galerie du Monde

Private View (by invitation only)|March 27 – 28
Vernissage|March 28, 2018, 5pm to 9pm
Public Days| March 29, 1pm to 9pm; March 30, 1pm to 8pm; March 31, 11am to 6pm

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

 

The solo project at Art Basel Hong Kong 2018 (Booth 3D22) by the Taiwanese conceptual artist Wu Chi-Tsung, whose works are based on the tradition of shan shui, the expressive brush and ink landscape painting technique which dates back to the 10th and 11th centuries.

The experimental project is site-specific and includes a large-scale projection titled Wire V, a Still Life video and his signature Cyano-Collage works. The wire series originated in 2003, and is based on the structure of the Magic Lantern slide projection work, through a mechanical control to repeatedly adjust the focal length to transform a regular piece of wire mesh into a moving image of a dynamic Chinese landscape (shan shui); to explore how images change the way we see and imagine the outside world. Every single piece of this series of work provides different angles into this proposition.

In Wire V, an episcope (Opaque Projector) is used as the imaging principle. The strong light illuminates the mesh wire, and is directed through a large camera lens focusing the image, which is then projected as an exquisite image. With the rapid development of digital technology, the requirement for image resolution continues to increase, from photography, video equipment to display devices. Format from full HD, 2K, 4K or even 8K in the future, exponentially increases every few years. In addition to the promotion of the commercial market, I am curious about the deeper desires that drive the endless pursuit of reproduction far beyond what the body can sense. Or we just change a way in which to pursue a space that is feasible, hopeful, visitable and livable.

Cyano-Collage Series is inspired by the texturing technique (cun-fa) which is often used in Chinese landscape (shan shui) painting. The method involves covering the rice paper in a photosensitive solution before continually crumbling it whilst it is exposed to direct sunlight, to create the effect of light and shadow on the paper.

Cyanotype and plain Xuan paper are added in multiple irregular layers to create the collage. The resulting experimental photography montages are re-interpretations of the concept of Chinese landscape painting; the artworks resembling mountain ranges and tumultuous blue seas.

The video work – Still Life 006 – Chrysanthemum shows the artist extending his examination of traditional Chinese landscape painting and moving images to describe the fluidity of state, intersections, and ambiguities.

 


Cyano-Collage 024, 2018, Cyanotype photography, Xuan paper, acrylic gel,180 x 360 cm

《氰山集之二十四》,2018,氰版、宣紙、壓克力膠,180 x 360 cm

 

吳季璁個展於巴塞爾藝術展

展位|3D22 世界畫廊,香港

貴賓預展|3月27日至3月28日
開幕之夜|3月28日下午5 時至9 時
公眾開放日|3月29日下午1 時至9 時,3月30日下午1 時至8 時,3月31日上午11 時至下午6 時

地點|香港會議展覽中心,香港灣仔港灣道1號

 

台灣概念藝術家吳季璁在巴塞爾藝術展香港展會 (展位3D22) 以傳統中國山水畫為基礎的個人實驗項目。展覽作品為場地特定,當中包含一件特別製作的大移動影像裝置作品 — 《鐵絲網五》;以及一幀《小品》視頻和數張全新《氰山集系列》的氰版攝影拼貼作品 。

此系列攝影作品為傳統中國山水畫「皴法」技法的重新詮釋。運用氰版攝影作品的原理將塗佈感光藥劑的宣紙揉皺後曝曬於陽光下,記錄紙張在曝光後所產生的視覺效果。氰版攝影佐以作為留白的空白宣紙層層拼貼;這實驗性的作品視覺上仿若峻嶺深山和洶湧藍海,建構出宛如山水又似風景畫的攝影蒙太奇。

Wire V, 2018, Metal, glass, motor, Dimensions variable

《鐵絲網 五》,2018,金屬、玻璃、馬達,尺寸可變

 

鐵絲網系列開始於2003年,以基本的幻燈投影(Magic Lantern)為架構,透過機械控制的反覆調焦,將一片平凡的鐵絲網轉換為充滿山水意境的動態影像,借此探討影像如何改變了觀看,和想像外在世界的方式。系列中的每件作品,各自由不同的角度切入這個命題。鐵絲網五中,使用實物投影(Opaque Projector)的成像原理,將強光照射在鐵絲網上,透過大型相機的鏡頭聚焦成像,投射出鉅細靡遺的影像。隨著數位技術的快速發展,對於影像解析度(Image
resolution)的要求不斷提升,從攝影、錄影器材到顯示設備,格式由full HD、2K、4K、甚至到未來的8K,每隔幾年就以倍數成長,除了商業市場的推動,驅使人類不停追求再現(Repre-sentation)的極致,早已遠超過身體所能感知的真實。又或許我們只是換了個方式,追尋那片可行、可望、可遊、可居的一方天地。

錄像《小品》作品以探討傳統中國山水繪畫與流動影像之間的關係,其試圖描述其中流變不定、交錯與曖昧的狀態。

 

Esctasies Teresa, Mar 24 – Apr 1, ALTE MÜNZE, Berlin

Wu Chi-Tsung is invited to participate “Esctasies Teresa,” a group show in Berlin, displaying a site-specific Crystal City and recent Cyano-Collage Series works.

 

Esctasies Teresa
A Group show at the ALTE MÜNZE curated by Julius Studio

Opening: Mar 24, 5-10pm
Finissage: Mar 31, 6-10pm
Opening time: Tue – Thr 4-7pm
Venue: ALTE MÜNZE, Molkenmarkt 2, 10179 Berlin, Germany

 

Artist:
Erik Andersen
Gabriel Beretti
Davide Gennarino
Zoe Goldstein
Miriam Lenk
Olag Schirm
Zuzanna Skiba
Selou Sowe
Saverio Tonoli Adamo
Juan Varela
Wu Chi-Tsung

 

 

St. Teresa of Avila, mystic and reformer of Catholic spirituality, lived and worked during the Siglo de Oro, a period marked by major historical events and profound transformations. At the age of 62, Teresa wrote what is considered her masterpiece, ‘The Inner Castle’, in which she refers to the seven inner dwellings, an itinerary of the soul’s personal and spiritual growth. Inspired by her intimate writings and her room in Avila ́s Carmelite monastery, the exhibition adapts and reinvents the ecstasies of Teresa, evoking and grounding them in the vaults of the Alte Münze.

We are first welcomed to the underground space in the twin rooms, resonant with unseen voices and coloured light. Immersed in humidity, plants imprisoned and attached to the machines sing along with colourful geothermal material. With their heavy metal doors, brass locks and hidden iron mesh gates, diverse scenarios are protected in the three vaults, where the treasures of time passed were once stored. Scraps of sculpture and recycled tunics, masks and ambiguous material occupy the dark interstices and in- between spaces of these heavily fortified compartments. In the central vault is collected the volatile material of the landscape and its constituent elements, where the quality of lightness accumulates. Facing this triad of monumental safes and looking into the dark corridor, five niches preserve a sample of interior objects that refer to immobility. Guided by the green smell of lubricating oils, we then enter the machinery room with its complex interweaving of old pipes running along the wall and the ceiling, which become the canvas for a light installation. In this place, between a crypt for rituals and a museum not yet restored, the attempt is made, once again, to transform shit into gold. Blessed are the eyes that see.

Catalogue released: Far from East – Wu Chi-Tsung’s solo exhibition at KÜNSTLERHAUS BETHANIEN, Berlin
吳季璁個展「Far from East」畫冊於貝塔寧藝術村發行,柏林

 

Cooperated with Wu Chi-Tsung Studio, Künstlerhaus Bethanien published “Far from East” catalogue after his solo exhibition. The catalogue comprised the selection of Wu Chi-Tsung’s works from 2003 to present, showcasing Wu’s contemplation to contemporary art as well as the tradition culture of east and west.

 

Name|Far from East

Publisher|Künstlerhaus Bethanien GmbH Kohlfurter Str. 41/43
T: +49 (0) 30 616 903 0
Author|Wu Chi-Tsung Studio
ISBN|978-3-941230-64-4

 

The studio is honored to invite Valeria Schulte-Fischedick, International Studio Programme of Künstlerhaus Bethanien to write the preface, she stated:

“In times when globalization seems to dominate also the language of the international art-scene, Wu proposes his personal situated alternative that both respects its Eastern roots as well as the transformation the culture of his country has experienced – amongst other influences through colonization. What Gayatri Chakravorty Spivak states for in her words “subaltern” voices – stressing that they are made unheard by the dominant western production of knowledge – could possibly also be transferred to the way traditional art forms in any part of the world are treated. They are made almost unheard in the sometimes loud, hyperventilating sound of the global art speech, but as Wu says, “the Far East is no longer faraway, and the East is no longer east.” Devoid of falling back into old dichotomies, Wu reflects on his highly skilled and very poetic work by saying that ‘drawing a line not only creates what is visible, but also what is invisible.’”

Following the theme, Wu Chi-Tsung added at the end of the catalogue: “Along with globalization, contemporary art expands rapidly under the domination of Western culture, prompting constant changes and innovation, whilst rupturing local traditional cultural contexts. Numerous regional arts and aesthetics have rapidly vanished, leading to a unified but monotonous development of contemporary art. How to contain diverse cultural arts in such a globalized world is a core proposition of the present time.”

 


 

 

德國貝塔寧藝術村與吳季璁工作室合作出版Far from East個展畫冊,收錄吳季璁自2003年至2017年的作品選集,呈現藝術家創作生涯中對於當代藝術以及東西方文化的思索。

 

名稱|Far from East

出版商|Künstlerhaus Bethanien GmbH Kohlfurter Str. 41/43
T: +49 (0) 30 616 903 0
作者|吳季璁工作室
ISBN|978-3-941230-64-4

 

展覽畫冊更邀請貝塔寧藝術村國際工作室計劃 Valeria Schulte-Fischedick撰寫前言,她評論:

「身處全球化下的國際藝術世界,吳季璁深具個人特色的藝術語言,彰顯其東方精神的本質,與臺灣後殖民時代的文化自覺。傳統藝術的處境,常如斯皮瓦克(Gayatri Chakravorty Spivak)所言,西方強勢的知識生產掩蓋了從屬者的歷史。在宣揚全球化的藝術論述時,不同的聲音往往就此淹沒。但吳季璁說到:『遠東已不再遙遠,東方也不只是東方。』跳出二元論的對立,他以巧妙而詩意的作品回應,描繪意在言外的留白。」

畫冊最後,吳季璁補充:「伴隨著全球化,當代藝術在歐美強勢文化的主導下快速擴張,不斷地顛覆與創新,卻也斷裂於各地的傳統文化脈絡,加速許多區域性特有的藝術與美學的消逝,讓當代藝術的發展趨同而單一。如何在國際化的同時兼容文化藝術的多元性,實是我們時代的核心命題。」

 

 

 

The Light Between The Mountain and The Sea, DEC 10 – Jan 14, Tamsui Customs Wharf
「拾光」新北市公共藝術展,12/16 – 1/14,淡水海關碼頭

 

The Light Between The Mountain and The Sea

Date|DEC 10 – Jan 14, 2017

Venue|Tamsui Customs Wharf, No.259, Tamsui Dist., New Taipei City 251, Taiwan

Work on display|Crystal City – Project at Tamsui Customs Wharf

 


 

「拾光」新北市公共藝術展

展期|12/16 – 1/14, 2017

地點|淡水海關碼頭,新北市淡水區中正路259號

展出作品|水晶城市-淡水海關碼頭計劃

 

 

駐足於淡水海關碼頭前遙想那段淡水的金色時光,過往歷史與當代發展不斷層疊上去的人文厚度,宛如觀音山與淡水河間的吉光片羽。106年12月16日至107年1月14日於淡水海關碼頭園區舉辦的「拾光-2017新北市公共藝術展」,邀請國內外展歷豐富的藝術家吳季璁與莊志維,以淡水在地的自然特色與城市意象創現地製作藝術裝置,透過「光」的藝術創作,讓新北市北端的冬夜很藝術。

 

藝術家吳季璁現地製作的《水晶城市—淡水海關碼頭計劃》,表現淡水城鎮從古至今的發展。在海關碼頭洋樓2樓的木地板上,堆疊出一個個宛如晶體成長的透明盒,軌道上的燈光就像時間靜默地流動於空間中,無限蔓延擴張著透明城市,閃著虹光的天空,隨著四季變化的自然風景,在藝術家的巧手下,投影出另一個無比真實的世界。

 

如果說洋樓是淡水歷史的時光膠囊,中正路側的野趣草坪則是海關碼頭的畫布。435駐村藝術家莊志維近年以戶外雷射裝置點亮不同場域的夜間神祕氛圍,特別為海關碼頭所量身定做的《裝置微光計劃—海關碼頭》,翠綠的雷射光束從海關碼頭倉庫建築上漫溢而過野趣草坪至中正路,隨著風動雨落而律動雷射光海,呼應著倉庫另一側緩悠起伏的淡水河面。另一件《森林裡的洋流》則是帶領觀眾想像這個喧鬧的都市是一片海洋,泛著光環的圓圈像是人與人之間流動的關係,也是人與空間互動的關係,在月夜下化做海流,歡迎大家到海關碼頭來欣賞三組拾光藝術創作,體驗與日間不同的一場藝術之旅。

FAR FROM EAST, WU CHI-TSUNG SOLO EXHIBITION AT KÜNSTLERHAUS BETHANIEN, NOV 16 – Dec 10, BERLIN
吳季璁個展「FAR FROM EAST」於貝塔寧藝術村,11/16 – 12/10,柏林

《水晶城市008》,2017,軌道、馬達、HID、塑膠,尺寸可變
Crystal City008, 2017, Track, motor, HID, plastic, Dimensions variable

 

Far from East-Wu Chi-Tsung Solo Exhibition
Venue|Künstlerhaus Bethanien, Berlin (Kottbusser Straße 10. 10999 Berlin)
Date|Nov. 16 – Dec. 10, 2017
Reception|Nov. 16, 2017. 7pm

 

Wu Chi-Tsung has participated in the artist-in-residency program co-organized by Taiwan’s Ministry of Culture and the Künstlerhaus Bethanien in Berlin, Germany. From November 16th to December 10th, 2017, the program will present his solo exhibition “Far From East” at Berlin, showcasing his recent works, including installations, photography, and videos.

In Wu Chi-Tsung’s early works, he utilized media art to discuss the fundamentals of images and seeing. In recent years, he expanded his research field, traversing through the field of culture and art from East to West, as well as integrating traditional aesthetics and contemporary artistic concepts. In his dialectics and diverse way of practices, his artworks nonetheless preserved the sensibility and romance of an oriental literatus.

The exhibition begins with “Crystal City,” giving the audiences a glimpse of the artist’s point of view. Under the radiating light, the sharp and clear shadows of the ordinary plastic boxes became distinct, projecting a view resembling a concrete jungle of skyscrapers. In this artwork, Wu Chi-Tsung observes the ambiguous boundary between reality and fantasy, questioning as the cyber space took a major part in our daily lives, then what is real, and what is illusory?

Wrinkled-Texture” and “Cyano-Collage” redefine the junction of photography and painting. The photography series “Wrinkled-Texture” is inspired by the “texturing method”, which is the core technique of Chinese literati painting. Cultivating the technique and the spirit of calligraphy, artists draw down a representational depiction of mountains and stones, which serve as the projection of his inner-thoughts. In “Wrinkled Texture”, Wu utilized cyanotype techniques to apply a photosensitive emulsion on Chinese rice papers, and then exposed the hand-wrinkled papers under the sunlight. After washing off extra emulsion, the shades and the patterns of the wrinkled papers were documented. The complete imagery resembles Chinese landscape – Shan Shui, which Wu substitutes ink and brush with photogram. “Cyano-Collage” inherits the cyanotype photography “Wrinkled-Texture.” The exposed rice papers were collaged into mountains, allowing the artist to further probe into the aesthetics of traditional paintings.

Lastly, the artwork “Still-Life 006 – Chrysanthemum” translates the traditional cut-branch flower painting into a time based moving image. As a video installation, the piece is projected on a hanging scroll, suggesting an outlying and ephemeral scenery that is akin to a vaguely fleeting memory. “Still-Life” series is originated from the artist’s awe to contemporary art and his nostalgia to traditional art.

Given the dominance role of European and American culture in globalization, contemporary art has been rapidly expanding, revolutionizing and innovating. However, it is disconnected to local traditional cultural contexts, increasing the disappearance of unique regional arts and aesthetics. Raised under traditional art cultivation, Wu Chi-Tsung is deeply aware of such disconnection. In his recent artworks, Wu has been finding the possible balance between Eastern and Western cultures, as well as traditional and contemporary art.

The term “Far East” is a Eurocentric geographical concept. Yet, in a globalized epoch, Far East is no longer far away, and the East is no longer east.

 


 

 

吳季璁個展「Far from East」
地點|柏林貝塔寧藝術村,Kottbusser Straße 10. 10999 Berlin, Germany
時間|11/16 – 12/10
開幕酒會|11/16  pm7

 

吳季璁參與德國貝塔寧藝術村與台灣文化部合作的駐村計劃,將在2017年11月16日至12月10日於柏林舉辦個展《Far from East》,展出其近期創作,包括裝置、攝影與錄像。

吳季璁的創作早期由媒體藝術切入,探討影像與觀看的本質,近年來積極拓展其研究範疇,橫跨東西方文化藝術,作品融合傳統美學與當代藝術語言,在觀念性的辯證與多元的表現形式中,依舊保有東方文人式的感性與浪漫。

展覽以《水晶城市》作為開端,帶領觀眾進入藝術家的視閾。日常生活中平凡的塑膠包裝盒在強烈光源照射下,銳利清晰的影子比物件本身更加強烈真實,映照出彷彿高樓林立的城市景象。在此作品中,吳季璁敏銳地觀察到當代生活中虛擬與真實之間的模糊界線,當網路世界(Cyber space)成為我們的日常生活空間時,熟為真實?孰為幻象?

皴法習作》與《氰山集》則重新定義影像與繪畫的交界。《皴法習作》系列攝影作品,發想自水墨畫中的「皴法」概念。皴法是傳統中國文人繪畫中的核心技法,以書法的筆墨精神,對山石紋理概括描繪,畫家藉此投射個人內心的山水景物,寄情其中。《皴法習作》運用古老的氰版技術( Cyanotype ),以無相機攝影( Photogram)的手法替代筆墨,將感光藥劑塗佈於宣紙上,乾燥後在陽光下曝光,而後水洗定影記錄下皺摺紋理的光影變化,成像宛如山水景致。而《氰山集》延續《皴法習作》的氰版直接攝影,將曝曬過後的紙張以蒙太奇(Montage)的手法拼貼成叢山萬嶺的景象,進一步探究傳統繪畫的美學。

最後,作品《小品之六 菊》將傳統折枝花卉的繪畫形式,翻譯成具時間性的動態影像,以錄像裝置的形式呈現,投影在懸浮的空白卷軸上,悠遠飄妙的意境,宛如逐漸消散的模糊記憶。小品系列源自-藝術家對於當代藝術的喟嘆,與對傳統藝術的緬懷。

伴隨著全球化,當代藝術在歐美強勢文化的主導下快速擴張,不斷地顛覆與創新,卻也斷裂於各地的傳統文化脈絡,加速許多區域性特有的藝術與美學的消逝。成長於傳統的藝術養成,吳季璁特別有感于此斷裂,近年的創作,不斷地在東西方文化,傳統與當代藝術之間,尋求兼容平衡的可能。

遠東(Far East)是以歐洲為中心的地理觀念,對於東亞區域的總稱。然而在這全球化的時代,遙遠的東方早已不再遙遠,卻也早已不再東方。

 

 

 

 

Wu Chi-Tsung’s Cyano Collage in  ‘WISDOM and NATURE’ Fundraising Auction, Nov 29
吳季璁氰山集系列作品將於 WISDOM and NATURE 義賣會,11/29

 

Work on display|Cyano-Collage 012
Year|2017
Medium|Cyanotype, paper, acrylic gel
Size|75 cm x 175 cm
Donated by the artist 

 

WISDOM and NATURE‘, a traveling exhibition which is in honor and celebration of nature and ancestral wisdom and held by Le Ciel Foundation and Phillips, culminates in a Fundraising auction on 29 November in New York including Wu Chi-Tsung’s latest Cyano-Collage piece.

Inspired by the beauty of our planet and the wisdom of its people, The show captures the natural splendor of both humanity and the Earth through 40 contemporary artworks. All of the participating artists’ pieces vibrate with this theme and connect to nature in different mediums.

 

The artists participating in the exhibition include:

Claudia Andujar, Gilles Bensimon, Hugo Burnand, Freddie Child-Villiers, Wu Chi-Tsung, Tinko Czetwertynski, Odyssée Dao, Pierre de Vallombreuse, Anne de Vandière, Alinka Echeverría, Alain Ernoult, Eliane Fattal, Esther Giles, Murray Fredericks, Michael Flomen, Adam Fuss, Justin Brice Guariglia, Caroline Halley des Fontaines, Béatrice Helg, Aranka Israni, Alexander Khimushin, Daniel Kukla, Timo Lieber, Charles March, Denise Milan, Karma Milopp, Cristina Mittermeier, Beth Moon, Ernesto Neto, Sidney Regis, Tamsin Relly, Stuart Rome, Rolf Sachs, Priscilla Telmon, Janaina Tschape,  David Yarrow, and Zuiryu.

 

Fundraising Auction
29 November 7:30pm EDT
Phillips Auction House|450 Park Avenue, New York (map)

Viewing Dates
London Exhibition
4 – 8 September
30 Berkeley Square, London (map)

Paris Exhibition
18 – 22 September
46 Rue Du Bac, Paris (map)

New York Exhibition
27 – 29 November
Phillips Auction House|450 Park Avenue, New York (map)

 

 

吳季璁作品將於 WISDOM and NATURE 義賣會

展出作品|氰山集之十二
年份|2017
媒材|氰版, 宣紙, 壓克力膠
尺寸|75 cm x 175 cm
藝術家捐贈

 

「Wisdom and Nature」巡展由Le Cie Foundation和Phillips聯合舉辦,旨在向大自然和祖傳智慧致敬,展示40件不同媒材的當代藝術作品。並於11月29日在紐約舉行義賣會,其中包含吳季璁最新的氰山集系列作品。

參展藝術家|Claudia Andujar, Gilles Bensimon, Hugo Burnand, Freddie Child-Villiers, Wu Chi-Tsung, Tinko Czetwertynski, Odyssée Dao, Pierre de Vallombreuse, Anne de Vandière, Alinka Echeverría, Alain Ernoult, Eliane Fattal, Esther Giles, Murray Fredericks, Michael Flomen, Adam Fuss, Justin Brice Guariglia, Caroline Halley des Fontaines, Béatrice Helg, Aranka Israni, Alexander Khimushin, Daniel Kukla, Timo Lieber, Charles March, Denise Milan, Karma Milopp, Cristina Mittermeier, Beth Moon, Ernesto Neto, Sidney Regis, Tamsin Relly, Stuart Rome, Rolf Sachs, Priscilla Telmon, Janaina Tschape,  David Yarrow, and Zuiryu.

 

義賣會
29 November 7:30pm EDT
Phillips Auction House|450 Park Avenue, New York (map)

預展日期
London Exhibition
4 – 8 September
30 Berkeley Square, London (map)

Paris Exhibition
18 – 22 September
46 Rue Du Bac, Paris (map)

New York Exhibition
27 – 29 November
Phillips Auction House|450 Park Avenue, New York (map)

 

 

Suzu 2017: Oku-Noto Triennale, Sep 3 – Oct 22, Japan
奧能登國際藝術祭,9/3 – 10/22,日本奥能登珠洲市

Passing
2017
Motor, found objects, HID
Dimensions variable

Wu Chi-Tsung and artist Chen Shu-Chiang will participate in Suzu 2017: Oku-Noto Triennale, Japan, presenting an on-site installation work. 

 

OKU-NOTO TRIENNALESUZU 2017

Date: 2017 Sep 3 – Oct 22

Venue: Suzu City, Ishikawa, Japan

 

We are pleased to announce that “SUZU 2017: Oku-Noto Triennale” will be held for 50 days from 3 September to 22 October 2017 in Suzu City, Ishikawa Prefecture.
The city of Suzu is located at the unique juncture where the warm current (kuroshio) and cold current (oyashio) in the Sea of Japan meet and seasonal winds from the continent laden with moisture. Suzu flourished as an important port when maritime trade across the Sea of Japan was active, including kitamae-bune, the freight ships of the Edo-period. It is also a place where different cultures across Japan have been accumulated as represented by local festival and remains as a source of Japanese culture as still seen in Kiriko and Yobare.

“SUZU 2017: Oku-Noto Triennale” aims to be an unprecedented festival in which participating artists can rediscover the charm of the place, its patterns of life and its people, while engaging locals and supporters from elsewhere. Let us jointly create an art festival where traditional culture resonates with contemporary art.

 

吳季璁將與藝術家陳淑強合作,參與日本奧能登國際藝術祭,展出大型現地製作裝置作品。

 

奧能登國際藝術祭

時間:2017年9月3日 – 10月22日

地點:日本奥能登珠洲市

展出作品

汲往
2017
馬達、現成物、HID
尺寸可變

 

2017年9月3日起至10月22日,奧能登珠洲市將舉行為期50天的“奧能登國際藝術節”。珠洲和日本列島不同,黑潮(暖流)與親潮(寒流)在此碰撞,由大陸吹來的季風導致了海水降雨。以日本海為舞台,從海上交通昌盛期起,作為北前船暫靠的中繼基地,珠洲因此興盛一時,匯集了來自日本各地的生活文化,在祭奠上使用的Kiriko(巨型燈籠,又名Hikiyama)和Yobare(在自家用高級料理款待近鄰)等風俗流傳至今。

奧能登國際藝術節旨在發掘出珠洲當地·生活·居民的潛在魅力。藝術家們將和珠洲市民一起,共同打造迄今為止從未有過的,傳統文化與最先端的美術完美融合的新型藝術節。

TAIWAN VIDEA 2017 SELECTION, The Taiwanese Avant-garde Video Screening Project, Jul 19 – Aug 20, Europe
臺灣錄像巡映歐陸交流計畫,7/19 – 8/20,歐洲

 

 

“TAIWAN VIDEA” 2017 Selection in Europe will display Wu Chi-Tsung’s Landscape In The Mist 001.

 

“TAIWAN VIDEA” 2017 Selection
The Taiwanese Avant-garde Video Screening Project
Curated by Yunnia Yang

 

Touring Schedule:

1. July 19 (Wed.), 2017 8:00pm
Republic of Macedonia: Museum of Contemporary Art, Skopje

2. July 28 (Fri.), 2017 8:00pm
Croatia: Galerija AŽ Atelieri Žitnjak, Zagreb, GalleryAŽ

3. August 1(Tue.), 2017 8:00pm
Slovenia: SCCA-Ljubliana Center for Contemporary Arts

4. August 16, 19-20, 2017
Germany: art space “Rosalux” , Berlin
Opening and Curator’s talk: August 16 (Wed.) 7:00pm
Exhibition time:
August 16 (Wed.): 7 pm – open end
August 19 (Sat.) : 2 pm – 6 pm
August 20(Wed.): 2 pm – 6 pm

 

Film art is an important artistic expression in the contemporary visual culture. The charms of images dominate the lifestyle and way of thinking of our new generation. Among the Taiwanese contemporary arts, video art and experimental films enrich the visual aesthetics and symbolic meanings with their own critical character, originality and diversity. The internationally-awarded creative videos from Taiwan might become a fleeting glimpse of beauty. The curatorial project 《TAIWAN VIDEA》 is to converge the creative energies and aesthetic features of film art, including video art, performance art, experimental films and animations, digital animations, etc. The depth of these videos refers to many facets of human beings’ living conditions: the alert about the consequence of human desire challenging God with technology and civilization (Lin Peychwen’s “Making of Eve Clone I”), criticizing the desire law of chasing after the ‘Progress’ deteriorating humanity (Huang Zan-Lun’s “Double”); revealing the beautiful lies constructed by the authorities (Chen I-Chun’s “ The Piggy Song”), the seriousness of the collective consciousness manipulated by the contemporary media (Zhang Xu-Zhan’s “Ritual of Cathode Ray Tube”); a nutrition taken as a metonymy to criticize politicians devouring people’s future dreams with empty promises (Wang Ding-Yeh’s “Beef-Wonderful Promises”), analogizing the images of the New Year’s Eve fireworks and a candle as a metaphor of the contradiction between the celebration of a country’s future and the sacrifice of martyrs (Ho Wei-Ming’s “Over My Dead Country”); the danger and paranoia of overexpanding self-consciousness (Wu Tzu-An’s “Disease of Manifestation”), the spatial imagination of an individual searching for the freedom of his body and mind (Pu Shuai-Cheng’s “Secret Plane-Immense Floating”); the intimacy and mystery of cultural encounter breaking the cultural stereotypes (Chang Huei-Ming ‘s “Tough Town”), questioning about simulated scenery in everyday life (Tsui Kuang-Yu’s “ Invisible City: Taiparis York”);with a new way of seeing to explore aesthetic possibilities of representing the oriental landscape painting (Wu Chi-Tsung’s “Landscape in the Mist 001”), Leviathan-like monstrous image composited from a dozen footages filmed at an open night market to show the danger of consumption (Jawshing Arthur Liou’s “Insatiable”) . The 12 creative videos from Taiwan will subvert the international audience’s impressions on the Taiwanese culture and arts, crossing over the boundaries of fine arts and pop culture. The issues of 《TAIWAN VIDEA》 are not only related to Taiwan itself, but also to the contemporary problems in the world. Creative thinking with universal value is the fundamental necessity of avant-garde images with subversive power.

 

Duration: 90 minutes

1. Lin Peychwen, Making of Eve Clone I, 2016, 9′

2. Huang Zan-Lun, Double, 2015, 12’55”

3. Chen I-Chun, The Piggy Song, 2013, 8’7”

4. Zhang Xu Zhan, Ritual of Cthode Ray Tube, 2011-2013, 5′

5. Wang Ding-Yeh, Beef-Wonderful Promises, 2011, 4’42”

6. Ho Wei-Ming, Over My Dead Country, 2013, 11’11”

7. Wu Tzu-An, Disease of Manifestation, 2011, 9′

8. Pu Shuai-Cheng, Secret Plane-Immense Floating, 2011, 5’31”

9. Chang Huei-Ming, Tough Town, 2015, 9′

10.Tsui Kuang-Yu, Invisible City: Taiparis York, 2008, 5’10”

11. Wu Chi-Tsung, Landscape in the Mist 001, 2012, 09’15”

12. Jawshing Arthur Liou (Director), Rachel Weaver (Sound composition), Insatiable, 2010, 10′

 

TAIWAN VIDEA 2017 Selection from Yunnia Yang’s curatorial projects:
1. The Apocalyptic Sensibility: The New Media Art in Taiwan(WRO Media Art Biennale 2013, Wroclaw, Poland; Taipei Fine Art Museum 2015)
2. TAIWAN VIDEA (Asolo Art Film Festival 2015, Italy)
3. Taiwan Videa2.0: Cultural Encounter (Asolo Art Film Festival 2016, Italy)

 

 

《Taiwan Videa》2017 Selection – 臺灣錄像巡映歐陸交流計畫,將展出吳季璁作品《煙林圖之一》。

 

《Taiwan Videa》2017 Selection
臺灣錄像巡映歐陸交流計畫
策展人:楊衍畇

 

歐陸巡映行程:

1. July 19 (Wed.), 2017 8:00pm 馬其頓當代藝術館,斯科普耶,馬其頓共和國

2. July 28 (Fri.), 2017 8:00pm, Galerija AŽ Atelieri Žitnjak,克羅埃西亞,札格列布市

3. August 1 (Tue.), 2017 8:00pm  SCCA當代藝術中心-盧布里亞納,斯洛維尼亞,盧布里亞納市

4. August 16, 19-20, 2017 “Rosalux”藝術空間 ,柏林,德國
Opening and Curator’s talk: August 16 (Wed.) 7:00pm
Exhibition time:
August 16 (Wed.): 7 pm – open end
August 19 (Sat.) : 2 pm – 6 pm
August 20(Wed.): 2 pm – 6 pm

 

影像藝術是當代視覺文化極為重要的主題,而影像的魅力主導了新世代生活型態與思考方式,台灣當代藝術中錄像藝術與實驗影像的批判性、原創性與多元性豐富了影像美學與象徵意涵,而在國際與台灣各大影展獲獎的創意影像作品驚艷一時,《TAIWAN VIDEA》台灣前衛影像展即是匯聚上述影像的創意能量與美學特色,精選自策展人於2013-2016年間所規劃《末日感性:臺灣新媒體藝術展》、《TAIWAN VIDEA》、《TAIWAN VIDEA2.0:文化秘遇》三策展計畫中12部臺灣前衛影像作品,包含錄像藝術、行為藝術、實驗影像、實驗動畫、數位動畫、MV動畫等類型,影像深度觸及當代人類生存議題:警示人類慾望以科技文明挑戰上帝的後果(林珮淳「夏娃克隆創造計畫I」), 批判追求「進步」的慾望法則消弭人性(黃贊倫「副本」);揭露當權者所建構美麗的謊言 (陳依純「曲水流豬」), 當代媒體操控集體意識的嚴重性(張徐展「陰極射線管的神秘儀式」), 食物轉喻諷刺政治巧語吞噬人民的美夢人生(王鼎曄「牛肉-美好諾言」),以類比跨年煙火與燭火的影像隱喻國運歡慶與烈士犧牲的矛盾性(何尉民「Over my dead country」),自我意識過度擴張的危險偏執(吳梓安「宣言癖」),個體尋求身體意識自由的空間想像(蒲帥成「秘密平面計畫-浩瀚飄浮」) ,以文化秘遇破除刻板印象(張暉明「Tough Town」),質疑日常生活中擬態景致(崔廣宇「看不見的城市:台巴黎約克」),以新的觀看方式擴展與再現東方山水美學的可能性(吳季璁「煙林圖之一」),以臺灣夜市所攝取的無數影像形成似巨蟒的形象顯示消費危機(劉肇興「未央」)。12部台灣創意影像作品將顛覆觀者對台灣文化藝術的印象,跨越了純藝術與流行文化的界限,議題非僅與台灣相關更與全球當代問題接軌,普世價值的創作思維正是具有顛覆力量的前衛影像所必要的基礎。

 

巡映作品(全長90分鐘)

1.夏娃克隆創造計畫I.林珮淳.2016年.9分鐘

2.副本.黃贊倫. 2015年.12分55秒

3.曲水流豬.陳依純.2013 年. 8分7秒

4.陰極射線管的神秘儀式.張徐展.2011-2013年.5分鐘

5.牛肉-美好諾言. 王鼎曄.2011年.4分42秒

6.Over My Dead Country. 何尉民.2013年.11分11秒

7.宣言癖.吳梓安.2011年.9分鐘

8.秘密平面計畫- 浩瀚漂浮. 蒲帥成.2011年.5分31秒

9.Tough Town.張暉明.2015年.9分鐘

10.隱形的城市: 台巴黎. 約克.崔廣宇.2008年.5分10秒

11.煙林圖之一.吳季璁.2012年.9分15秒

12.未央.劉肇興(導演).Rachel Weaver (聲音創作).2010年.10分鐘

 

《TAIWAN VIDEA》2017 Selection 精選自策展人楊衍畇以下當代藝術策展計畫:
1.《末日感性:臺灣新媒體藝術展》(2013波蘭WRO媒體藝術雙年展. 2015台北市立美術館)
2.《TAIWAN VIDEA》台灣前衛影像展(2015義大利阿索洛國際藝術電影節)
3.《TAIWAN VIDEA2.0:文化秘遇》台灣前衛影像展(2016義大利阿索洛國際藝術電影節)

Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan, Jul 8 – Oct 8, National Taiwan Museum of Fine Arts
記憶的交織與重疊─後解嚴臺灣水墨,7/8-10/8,國立台灣美術館

 

Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan at National Taiwan Museum of Fine Arts will display Wu Chi-Tsung’s WireIV, Still Life 05 – Cherry and Cyano-Collage 008.

Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan

Date: 2017 Jul 8 – Oct 8
Venue: Taiwan Museum of Fine Arts, Taichung, Taiwan
Curator: Wu Chao-Jen

 

Ink painting is an important form of painting that represents the Oriental traditions. Originated in China, ink painting was later introduced to Japan, Korea, and Chinese-speaking regions in southeast Asia. Ink painting uses paintbrush, ink, paper, and silk as media, and has formed a system of its own in the domain of art. After the Tang dynasty, Chinese ink painting was divided into the”Northern School” and “Southern School.”  The “Southern School” emphasizes intriguing brushstrokes and rhythmic use of ink; it focuses on bone method or the way of using the brush to create vitality and spirit, fusing poetry, calligraphy, and painting together. It is closely related to traditional Chinese literati philosophy. However, “literati painting” overemphasizes refined literati tastes, which has also affected the development of ink painting. After the 18th century, ink painting was introduced to Taiwan by government officials stationing in Taiwan, scholars and tutors, and traditional painters; famous artists from the period included LIN Chao-Ying, LIN Chueh, and HSIEH Kuan-Chiao. Although these artists were commonly referred to as the “Min-practice” because they inherited the wild and leisurely ink painting style of the southern Zhe school of painting, they nonetheless gave rise to the beginning of the heritage, transformation, and development of ink painting in Taiwan.

In late 19th century, “Western painting” and “Toyoga ( Eastern painting or gouache painting),” which originated from the meticulous heavy color techniques of the Chinese “Northern School,” were introduced to Taiwan during Japanese colonization. With the aid of “Taiten ( Taiwan Fine Arts Exhibition)” and “Futen (Taiwan Governor-General Art Exhibition),” many Taiwanese traditional ink artists switched path to creating “Gouache painting,” becoming the unique “local color” of the new southern territories propagated by the Japanese colonial government. Japanese colonial system fell as WWII came to an end in 1945, and in 1946, Taiwan Provincial Administrative Executive Office organized the “Taiwan Provincial Fine Arts Exhibition ( Provincial Exhibition).” In 1949, the Nationalist government moved to Taipei, and many renowned Chinese ink artists came to Taiwan and lectured at institutes or tutored at own studios, leading to the “Debate over the Orthodoxy of National Painting” in the 1950s. It was not until the establishment of the “Gouache Painting” category by the Provincial Exhibition in 1983 that gouache painting could finally break the shackles of the orthodoxy of National Painting, yet the term “National Painting” was only gradually replaced by “ink painting” in the 1980s.

Hence, every major political or historical event has triggered social and art and cultural developments, and are all intertwined. Politically, Taiwan was under martial law from 1949 to 1987; and during this highly sensitive period of authoritative rule, Taiwanese art  communities experienced the “Debate over the Orthodoxy of National Painting” in the 1950s, the emergence of modern art groups in the 1960s, the debate of nativist realism in literature and art during the 1970s, and establishment of National Institute of the Arts ( now National Taipei University of the Arts) in 1982 and the Department of Fine Arts at Tunghai University in 1983; together, the art and literature communities challenged and gradually dismantled the authoritative system. Taiwanese art professionals fearlessly broke the political shackles during the martial law period, and boldly challenged the past political taboos after the lifting of martial law in 1987, which enabled ink art and other forms of art to thrive and prosper, constructing a splendid and vibrant new look for ink art.

2017 marks the 30th anniversary of the lifting of martial law, and National Taiwan Museum of Fine Arts has specially invited Professor WU Chao-jen to curate a special exhibition entitled “Memories Overlapped and Interwoven: Post-Martial Law Period Ink Painting in Taiwan,” adopting the perspectives of art history and temporal axes to examine the course of development of ink painting in Taiwan since the lifting of martial law in 1987. The exhibition features five major themes: 1. Aesthetics of Brush and Ink; 2. Abstract Expression of Ink and Wash; 3. Ink – Environment – Society; 4. Ink – Video – Installation; and 5. Putting an End to the Debate over the Orthodoxy of National Painting. The five themes showcase interrelated contents while featuring independent displays. Through different themes and aspects, the curator reexamines the intertwined relation between Taiwanese ink painting and politics, highlighting the diverse creative visions inspired by artists’ life experiences facing the overlapping and interweaving of historical memories, explores the vibrant ambitions of artists who strive to break historical restrictions of ink painting, and combs  through the interwoven historical relationship between Taiwanese ink painting and gouache painting.

“Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan” features works of diverse categories and media, including ink and wash painting, meticulous heavy color painting, gouache painting, installation, video, and animation; in terms of style and expression, all the works manifest artists’ realizations and sentiments of life, social and cultural concerns, dialectics on history and reality, and the depth and breadth of ink art exploration, exhibiting vibrant creative energy and dynamics. Through interpretation of and dialogues with exciting works of 24 artists from different generations, this exhibition aims to investigate the intertwined relation between Taiwanese ink painting and politics, and present artists’ diverse creative visions inspired by overlapped and interwoven historical memories, as well as the splendid and exciting new look of ink art constructed on such visions, concretely, and in details, presenting and explaining the course of development of Taiwanese ink painting from the lifting of martial law up to the present time.

 

 

 

國立台灣美術館記憶的交織與重疊─後解嚴臺灣水墨群展,將展出吳季璁作品《小品之五 櫻》、《鐵絲網IV》、《氰山集八

記憶的交織與重疊─後解嚴臺灣水墨

時間:2017 07.8 – 10.8
地點:國立台灣美術館 201-202展覽室
策展人:吳超然

藝術家:于彭、王怡然、李茂成、李君毅、李明則、李重重、李義弘、吳季璁、林鉅、姚瑞中、洪根深、倪再沁、袁旃、許雨仁、陳念慈、彭偉新、彭康隆、曾建穎、華建強、黃致陽、楊世芝、楚戈、潘信華、蘇煌盛

 

水墨畫是代表東方傳統的重要繪畫形式,源自中國並傳播至日本、韓國及南洋華語地區等國家,水墨畫以毛筆、墨、紙、絹等為媒材,在美術領域中自成體系。中國繪畫自唐代後分為「北宗」、「南宗」兩系統,「南宗」創作講究筆趣、墨韻;重視骨法用筆,營造氣韻生動,詩、書、畫融合之意境,與中國的傳統文人思想密不可分,然而「文人畫」過度崇尚文人雅興亦影響水墨畫之發展。18世紀後水墨畫隨著清代寓臺官員、文人教席及傳統畫師流傳至臺灣,時有林朝英、林覺、謝琯橋等名家,雖因沿襲自中國南方福建浙派之狂放野逸水墨風格而被慣稱為「閩習」,卻也開啟水墨藝術在臺灣傳承、變革與發展的扉頁。

19世紀末日本殖民臺灣引入「西洋畫」及源自中國「北宗」工筆重彩繪畫技法之「東洋畫」(膠彩畫),在「臺展」、「府展」的推波助瀾下,眾多臺灣傳統水墨畫家都改習「東洋畫」,成為日本殖民政府標榜南方新領土的獨特「地域色彩」。1945年二戰結束日本在臺殖民體制,1946年國民政府行政長官公署舉辦「臺灣省全省美術展覽會」(省展),1949年國民政府遷都臺北,許多中國水墨名家隨之來臺擔任教席或開班授業,乃至有1950年代的「正統國畫之爭」。直至1983年「省展」成立「膠彩畫部」,「膠彩畫」乃揮別正統國畫名稱牽絆,然「國畫」一詞仍到1980年代才逐漸由「水墨畫」所取代。

由此可見,每每發生重大的政治或歷史事件,總會牽動社會與文化藝術的發展,彼此相互纏繞。在政治上,臺灣於1949-1987年戒嚴,在高威權敏感的戒嚴時期,而美術界則歷經了1950年代的「正統國畫之爭」、1960年代現代美術繪畫團體興起,1970年代文學及美術的「鄉土寫實」論戰、1982年國立藝術學院(今國立臺北藝術大學)與1983年東海大學美術系等相繼成立,共同經歷過藝文界對威權體制的挑戰與逐步拆解過程。臺灣的藝文工作者,在戒嚴期間無畏地衝破政治上的禁錮,乃至1987年解嚴後對過去政治禁忌的勇於顛覆,使水墨與其他藝術呈百花齊放之勢,建構出繽紛的新水墨藝術風貌。

2007年適逢臺灣解嚴30年,國立臺灣美術館特別委請吳超然教授策劃「記憶的交織與重疊─後解嚴臺灣水墨」特展,著眼以藝術史為觀點、時間為軸線,爬梳自1987年解嚴迄今,臺灣水墨的發展脈絡。本展以五大主題為軸:一、筆墨美學;二、水墨的抽象表現;三、水墨‧環境‧社會;四、水墨‧影像‧裝置;五、告別正統國畫之爭。五個主題內容彼此關連,展示手法卻各自獨立,策展人透過不同主題面向切入,重新檢視臺灣水墨藝術與政治的糾結關係,彰顯創作者的生命經驗,面對歷史記憶的交織與重疊,所激發出的多元創作視野,探索藝術家在水墨領域中,突破歷史框限的旺盛企圖,並梳理臺灣水墨與膠彩之間的糾結歷史關係。

「記憶的交織與重疊─後解嚴臺灣水墨」展出作品類別與媒材紛呈,有水墨、工筆重彩、膠彩、裝置、錄像及動畫等,在風格表現上,在在彰顯藝術家對生命的感悟與觸動、社會人文關懷、歷史與現實的思辨,及水墨藝術探索的深度與廣度,展現出旺盛的創作活力與動能。本展企圖透過24位不同世代藝術家精彩作品的演繹與對話,檢視解嚴後臺灣水墨藝術與政治的糾纏關係,呈顯創作者在歷史記憶交織下,迸發出的多重視野,以及以此所建構出的繽紛多彩的水墨藝術新貌,具體而微地闡述解嚴迄今的臺灣水墨的發展脈絡。

Mandala of Ink Art, Jun 24 – Oct 29, Kaohsiung Fine Arts Museum
水墨曼陀羅,6/24 – 10/29,高雄市立美術館

 

Mandala of Ink Art at Kaohsiung Fine Arts Museum will display Wu Chi-Tsung’s Landscape In The Mist 001 and Still Life 02 – Orchid.

 

Mandala of Ink Art

Date: 2017 Jun 24 – Oct 29
Venue: Kaohsiung Fine Arts Museum, Kaoshiung, Taiwan

 

What is contemporary? How to define ink art? Each person has different answers to these questions. This exhibition is an attempt to present the cotemporary facets of ink art through the most inclusive and open-minded observation as possible, transcending all literal definitions of contemporariness or ink art. Drawing references from the concept of “mandala”, this exhibition is composed of four themes: “Form” (material), “Meaning” (spirituality), “Void” (contrast between void and solid) and “Space” (spatial structure). They are the four quadrants in the mandala of this exhibition to have a systematic review of the development of contemporary ink art in this new century. The theme at the center of the mandala is Chi, which means “energy of the universe”. In the exhibition, it provides an experimental territory representing the subjective spirit of new-generation artists and the perspectives of ink art in southern Taiwan. By asking questions not asked before and serving as an interdisciplinary and multimedia platform, this exhibition aspires to discover another round of paradigm-shifting possibilities for the future of ink art.

 

 

 

高雄市立美術館水墨曼陀羅群展,將展出吳季璁錄像作品《煙林圖之一》以及《小品之二 蘭》。

 

水墨曼陀羅

時間:2017.06.24 – 10.29
地點:高雄市立美術館 201-203展覽室
藝術家:王天德、石忘塵、江盈臻、吳季璁、李明啟、李品墨、林俊廷、林壽宇、林銓居、柯偉國、柯懷晴、洪上翔、洪根深、胡軍軍、孫浩、徐冰、徐累、袁旃、許雨仁、陳劭彥、陳幸婉、陳松志、陳浚豪、陳穎蓁、曾偉豪、曾霆羽、華建強、黃千倫、黃法誠、黃柏皓、楊景堯、廖敏君、劉丹、留白、劉國松、蔡文汀、蔡旻芸、蔡國強

 

何為當代?又該如何定義水墨?言人人殊,本展覽捨棄作字面的定義,試圖用最大化的包容與開放去觀察、去呈現,具現水墨藝術的當下現象。展覽藉曼陀羅的概念,由 「形‧意‧空‧間」四個主題形成四個方位,亦即透過「材質」、「精神性」、「虛/實」、「空間」等四個面向梳理當代水墨藝術在新世紀發展的脈絡;曼陀羅的軸心區—「輪圓」,主題為「炁」,是「宇宙能量」之意,它是新生代的實驗場域,表現新生代及南方水墨觀點的主體性精神。本展覽希冀不僅扮演新的提問者角色,也秉持平台、跨界、多媒的理想信念,為水墨藝術的未來提供另一輪翻轉的可能。

 

指導單位:文化部、高雄市政府文化局
主辦單位:高雄市立美術館
協辦單位:財團法人原住民族文化事業基金會
統籌:館長李玉玲
策展團隊:洪根深、蔡文汀、吳慧芳

Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia, Jun 18 – Aug 20, MOCA Yinchuan
聲東擊西-東亞水墨藝術的當代再造,6/18 – 8/20,銀川當代美術館

 

Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia at MOCA Yinchuan will display Wu Chi-Tsung’s Cyano-Collage Series, Wrinkled Texture Series and Landscape In The Mist 002.

 

Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia

Date: 2017 Jun18- Aug20
Curator: Chia-Chi Jason Wang
Venue: MOCA Yinchuan, Yinchuan, China

 

The exhibition “Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia ” which is curated by Mr. Cha Chi Jason WANG will be put on display at Museum of Contemporary Art Yinchuan during June 18th to August 20th 2017. 27artists which from China and other countries and regions will demonstrate their artistic works by various mediums, including installations, paintings and video works.

It is equally crucial how the artists deal with the problematics of ink art. Through the use of heterogeneous materials, concepts, and formal techniques, how the artists achieve conceptual transformation creatively. Besides denoting interchange between Eastern and Western cultures, “Crisscrossing East and West” as the theme of the exhibition also calls for broader visions and insights to widen the realm of ink art.

Stones from other hills may serve to polish the jade of this one. From diversity to pluralism, artists who come from different backgrounds and traditions are invited to gather here in Mainland China, specifically at the MOCA Yinchuan to reflect upon the works of one another. It is hoped that through such encounters, intertextuality as well as intertextual relationships can be established to help enhance the aesthetic remaking of contemporary ink culture.

 

 

銀川當代美術館聲東擊西-東亞水墨藝術的當代再造聯展,將展出吳季璁《煙林圖之二》、《氰山集》、《皴法習作》等五件錄像與平面作品。

聲東擊西-東亞水墨藝術的當代再造

时间:2017.06.18 – 2017.08.20
地点:银川当代美术馆
策展人:王嘉骥

 

参展艺术家:
安美子(韩国)、张相宜(韩国)、黄致阳(台湾)、郑光熙(韩国)、江大海(中国大陆)、金浩得(韩国)、上原木吕(日本)、李茂成(台湾)、李义弘(台湾)、梁铨(中国大陆)、林延(中国大陆)、三濑夏之介(日本)、潘信华(台湾)、邱黯雄(中国大陆)、任戬(中国大陆) 、尚扬(中国大陆)、藤原志保(日本)、宋陵(中国大陆)、屠宏涛(中国大陆)、王天德(中国大陆)、王雅慧(台湾)、吴季璁(台湾)、徐冰(中国大陆)、徐累(中国大陆)、严善錞(中国大陆)、杨世芝(台湾)、余友涵(中国大陆)

 

银川当代美术馆将于2017年6月18日至2017年8月20日呈现“声东击西—东亚水墨艺术的当代再造”展览,由王嘉骥策展,邀约来自中国及东亚其他国家和地区的27位艺术家,通过装置、绘画、视频等形式,将展出总数超过120组件的代表作,呈现不局限以水墨纸绢作为素材的创作。

此次展览所使用的“声东击西”一词,除了是在东、西方文化交会的层面上,反思水墨艺术于当代再造的可能之外,也期待艺术家籍由异质性的物质、观念与形式手段,能够激荡出多重的诠释及创作上的可能。透过“再造”,希望透过东亚几个地区的部分艺术家创作,进行对照式的观察与展览呈现,重视起艺术家创作的问题意识与观念转化,唤醒更多艺术家省视和思考水墨文化在历经西潮强势且持续的侵袭与冲击之后,演变至今的美学面貌及文化意义。

他山之石可以为错,借由多元性的展陈,也许是文化背景上的迥然不同、历史命运上的似曾相识,或是个人创作方法上的刻意立异,来自各地的艺术家在中国大陆齐聚一堂,借由银川当代美术馆独特的空间,可以彼此观照,互为文本,为水墨文化提供具有当代意义的美学再造契机。

 

主办单位:银川当代美术馆
赞助单位:宁夏民生文化艺术教育基金会

 

 

波蘭雕塑中心The urge to create visions… 1929 – 2017, May 27 – Sep 17, Centre of Polish Sculpture in Orońsko

 

 

波蘭雕塑中心“The urge to create visions…” 1929–2017聯展將展出吳季璁作品《水晶城市007

 

“The urge to create visions…”1929–2017

27th May – 17th September 2017
Museum of Contemporary Sculpture
Curator: Grzegorz Musiał
Coordinator: Leszek Golec
Work on Display: Crystal City 007

 

Participants: Elias Crespin, Carlos Cruz-Diez, Wojciech Fangor, Paweł Grobelny, Mikołaj Grospierre, Bethan Huws, Kimsooja, Lin Yi, Michał Martychowiec, Laszlo Moholy-Nagy, Jesus Rafael Soto, Franciszka and Stefan Themerson, Ludwig Wilding, Chi Tsung Wu

 

The international exhibition organized in cooperation with the Signum Foundation includes the works of outstanding artists of historical avant-garde and contemporary artists. The exhibition will be the highlight of the summer season 2017.

The title of the exhibition refers to Stefan Themerson’s essay from 1936, published in 1937 in the second edition of the avant-garde magazine ‘f.a.’ (artistic film). Themerson mainly discusses in it the problems of artistic film, which is one of the media in this exhibition, however, the visual experiences connected with movement, light, time and space are also interesting for artists working outside the realm of film.

The presentation has the form of collage and is happening simultaneously on several levels of experimenting with the widely understood visuality. It is a record of the past and present dreams about this amazing experience.

Historical and contemporary artists taking part in the exhibition engage in media dialogue, going beyond  linear narrations.

Chronologically, the exhibition opens with László Moholy-Nagy’s film Ein Lichtspiel schwarz weiss grau from 1930, shot with the use of a light modulator, kinetic sculpture on which the artist had been working since 1922. In the context of the film, several installations of contemporary artists will be shown: Bethan Hus will present White, Grey, Black from 2016 and Wu Chi-Tsung will present Crystal City 007 from 2015. Beside a series of Stefan Themerson’s abstract black-and-white  photograms, you will see Yi-Chun Lin’s large format pictures, made with the use of state-of-the-art electronic equipment. Spatial pictures of Jesus Rafael Soto from the first half of the 60s, inspired by Pierre Boulez’ music, lead a dialogue with Michał Martychowiec’s video, which is a visual variation on Soto’s iconic work, Penetrables, created in 2010 at the Palazzo Dona in Venice.

The series of photographs titled The Sun Unfolded made in 2008 by Korean artist Kimssoja is a contemporary reflection on Wojciech Fangor’s op-art paintings from the 1960s.

Carlos Cruz-Diez’s light work Chromosaturation is an installation that will take over the whole space of the Chapel Gallery. The artist is going to create in this space an artificial environment, produced as a result of merging of three colours: blue, red and green, which will eventually create a monochromatic situation. This visual experiment causes disorders in the retina accustomed to simultaneous reading of a wide range of colours.

Another work, happening on several time-space planes is the installation Tattarrattat from 2010, produced as an in-situ project at the Palazzo Dona in Venice. In Orońsko it will be presented in the historical interiors of Józef Brandt’s palace, as a form of game with the viewers and their habits.

The motto of the exhibition is Michał Martchowiec’s neon work How Far Can You See from 2013.

Stefan Themerson ended his historical essay with a statement-question: “The new avant-garde will come. I know what I would like from it. I would like it to make what I would like to see. And I would like to see clear, rational, common-sense, visual statements. But what it should do is not at all what I want to see. It should do what its own need to create visions will force it to do”.