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


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


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


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

photo london installation view

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


Photo London|UP Gallery|D12


Public Opening|5/16-19

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

Artists|Wu Chi-Tsung, Chen Rong-Hui



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

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

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



Buttercup Tree Grid for Website

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


Photo London|絕版影像館|D12



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



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





Installation View 展覽現場




Art Basel in Hong Kong, Mar 29-31, Convention & Exhibition Center

Art Basel Hong Kong

Presented by Galerie du Monde, Wu Chi-Tsung’s new Cyano-Collage Series and Still Life 009 – Maple, Still Life 010 – Lotus will be premiered 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. Besides, Wu Chi-Tsung’s most representative works Cyano-Collage SeriesStill Life Series, and Wrinkled Texture Series will all be exhibited. 







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

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、馮鍾睿和已故的郭漢深等作品。展覽將收錄吳季璁的作品《氰山集系列》、《小品系列》與《皴法習作》系列,其中包括藝術家在柏林創建工作室後的最新探索。




Installation View 博覽會現場


Art Basel Hong Kong


Art Basel Hong Kong


Art Basel Hong Kong




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.








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。




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)


*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》


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。」







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)


主辦單位|GALERIE DU MONDE、吳季璁工作室


特別贊助|鴻柏建設、Draft Land






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





Taipei Dangdai Art Fair, Jan 17-20, Taipei Nangang Exhibition Center

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.






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


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




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.


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.



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.



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


参展艺术家:吴季璁、Zeitguised, Tomás Saraceno, Eponine Momenceau, Frederik Heyman.
策展人:乐大豆(Davide Quadrio)




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。





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?




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。


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。


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)



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。




Poetic Utterance, Oct 6 – Nov 30, InArt Space, Tainan

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






展覽時間:2018年10月6日-11月30日 (10月6日開幕茶會)


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。

「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

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。










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。


展期:10/6-2019 4/28



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

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.






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)









Artist Talk: How Contemporary is Ink? The Weight of Tradition, Mar 29, Art Basel in Hong Kong


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









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.




展期|2018 2/9 – 6/3




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。


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



展位|3D22 世界畫廊,香港

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



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 。


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。



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


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


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


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。」





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




展期|12/16 – 1/14, 2017










吳季璁個展「FAR FROM EAST」於貝塔寧藝術村,11/16 – 12/10,柏林

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。


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。


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
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

媒材|氰版, 宣紙, 壓克力膠
尺寸|75 cm x 175 cm


「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.


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

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

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. 



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.





時間:2017年9月3日 – 10月22日







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



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。




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


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


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


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


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


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








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》。



時間:2017.06.24 – 10.29
地點:高雄市立美術館 201-203展覽室


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。