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crystal city Wu chi tsung

水晶城市系列 Crystal City Series

裝置
軌道、馬達、LED、塑膠容器 (PET、PVC、PS)
尺寸視空間而定
2009 – 2016

Installation
Track、Motor、LED、Plastic
dimensions variable
2009 – 2016

 

有另一個不可見的世界,但我們每日生活其中,它是由電子設備、程式、網絡、媒體、訊息所構築,我稱之為”水晶城市”。
用水晶命名,是因為它就像晶體的成長,其中的各個元素,按一定的內在規律與邏輯自動的組構衍生出來,更無盡的蔓延擴張。
它是如此透明、輕盈、不可見又毫無量感,卻投影出另一個無比真實的世界。
那裡是我們精神的寓所。

There is another invisible world in which we live each and every day. It is made up of electronic equipment, programs, networks, media and information, and I call it “Crystal City.”

I chose the word “crystal” because this world grows like a crystal, each individual element within it automatically coming together and infinitely expanding and spreading according to a set internal rhythm and logic It is transparent, light, invisible and lacking in volume and yet still projects a world of unparalleled reality.

This is a place I consider our spiritual home.

 

 

水晶城市007
Crystal City 007
dimensions variable
2015

 
Crystal City 007 Wu Chi Tsung
 
Crystal City 007 Wu Chi Tsung
 


 

水晶城市 006
Crystal City 006
dimensions variable
2013

 
wu chi tsung
 
wu chi tsung
 


 

水晶城市 005 Plus – 太空漫遊
Crystal City 005 Plus Space Odyssey
dimensions variable
2014

 
Crystal City 005 Wu Chi Tsung
 
Crystal City 005 Wu Chi Tsung
 


 

水晶城市 005 – 勞斯萊斯委託製作
Crystal City 005 – Commissioned by Rolls-Royce
dimensions variable
2014

 
Crystal City 005 Wu Chi Tsung
 
Crystal City 005 Wu Chi Tsung
 

 

 

水晶城市 004
Crystal City 004
3 m diameter x 3 m H
2013

 
wu chitsung Crystal City
 
wu chitsung Crystal City
 

 

 

水晶城市特別版 — 荒原
軌道、馬達、HID、塑膠、廢棄物
尺寸視空間而定
 
Crystal City Special Edition— Wastelands
track、motor、HID、plastic、waste
dimensions variable
2013

 
“荒原”延伸自”水晶城市”的基本概念–試圖描述一個我們生活其中卻不可
見的世界,但擴大其範疇,含括許多我們難以迴避的現實:自然環境的破壞、
各種污染、資源的浪費、戰爭‥‥等等。
人類文明在成長擴張的同時,卻也創造出一片無盡而孤寂的荒原。
 
Extends from the the main concept of “Crystal City”, “Wasteland” depicts the invisible world that exists in our daily life, where lives many realities we cannot escape, such as destruction of the nature, pollution, waste of resources, war, etc.
As long as the growth of human civilization, humans created an endless lonely wasteland.

Wu Chi-Tsung Crystal City
 
Wu Chi-Tsung Crystal City

 

 

水晶城市003 — 航行
Crystal City 003 — Voyage
5m W x 6m L x 4.5m H
2010

 
wu chi tsung crystal city 003
 
wu chi tsung crystal city 003
 

 

 

水晶城市002 — 漂浮
Crystal City 002 — Float
6m W x 4m H
2009

 

 
wu chi tsung
 

 

 

水晶城市001 — 漫遊
Crystal City 001 — Wander
5m W x 9m L x 4m H
2009

 

 

 

臻品藝術中心週年展 「島嶼製造,溢遊地景」
Manufactured Island.Drifting Landscape
10/17 (六) 3:00pm 開幕

廣告

 

「島嶼製造,溢遊地景」
展期:2015/10/17-11/28
開幕:10/17 (六)   3:00pm  座談會:4:00~5:00pm
臻品藝術中心  台中市西區忠誠街35號   04-23233215

 

Manufactured Island.Drifting Landscape
17.10.2015-28.11.2015
Opening: 10/17 (六)   3:00pm  Artists Talk: 4:00~5:00pm
Galerie Pierre
Address: No. 35, Zhongcheng St, West District, Taichung City, 403
Tel: 04-23233215

 

策展人:陳宣誠 + 蘇孟宗
展出藝術家:王柏仁、王曉華+黃贊倫、林峰毅、任大賢、
吳季璁、吳雅筑、許旆誠、郭弘坤、陳明德、劉克峰、劉崇聖、鄭乘騏、戴翰泓

去年臻品藝術中心首度將週年大型策畫展,交由橫跨建築與藝術領域的劉克峰老師進行策畫,對於從事建築26年的關係企業龍寶建設和經營當代藝術25年的臻品藝術中心,能讓建築與藝術在展覽空間中接軌,是難得的一種展演形式。臻品藝術中心負責人也是龍寶建設董事長張麗莉表示「藝術融合在建築中已是密不可分的關係,現在很多建設公司紛紛成立藝術中心,或者,也都邀請專業團隊量身打造建築的公共藝術。但是,能讓建築的觀念或形式走入當代藝術的展演中,卻是比較少見的。」

今年延續建築與藝術展演,邀請建築師陳宣誠及蘇孟宗聯合為臻品策劃「島嶼製造,溢遊地景」的展覽,共邀請14位建築師與藝術家共同參與。展覽形式與媒材非常豐富,有平面作品、裝置、行動裝置、影像等,策展人將臻品空間分為13個展覽區域,讓參展者在分配的空間中進行創作思考。透過創作者自身的經驗和空間概念以及擅長的表演形式,在空間中製造出不同的視覺和互動效果。

 

_MG_4616 s (1)

藝術家吳季璁將展出全新創作《水晶城市007》以全新的機構裝置,呈現藝術家口中不可見的世界由電子設備、程式、網絡、媒體和訊息所構築,宛如晶體成長,依著內在規律與邏輯組構而衍生、無盡蔓延擴張。透明又輕盈,不可見又毫無量感,燈光沿著半弧形軌道緩緩投影出虛擬城市的光影,那是我們精神的寓所,另一個無比真實的世界。

 

 

末日感性:臺灣新媒體藝術展
The Apocalyptic Sensibility: The New Media Art from Taiwan

2015-09-14_banner-980x163

時間: 2015/09/26 – 2015/11/15

地點: 台北市立美術館地下樓E展覽室

東歐最大規模的新媒體藝術節「波蘭媒體藝術雙年展」(WRO Media Art Biennale) 2013年以「創新價值」(Pioneering Values)國際徵件,策展人楊衍畇以「末日感性」主題回應創新非必然是前衛的領航者,反思科技對於人的生命意義與影響更為重要,主辦單位從1500多件作品中精選出吳季璁的「水晶城市002」與林珮淳的「夏娃克隆啟示錄」、「夏娃克隆肖像」於波蘭展出,吳季璁以「水晶城市002」榮獲波蘭媒體藝術雙年展首獎- 藝術雜誌評論與編輯大獎(WRO 2013 Award- Award of Critics and Editors of Art Magazines)。「末日感性:臺灣新媒體藝術」波蘭返國展將呈現「末日感性」策展意念的全貌,林珮淳、吳季璁、黃贊倫、黃致傑、陳依純、張徐展六位藝術家以新感性思維看待科技文明,處於消費主義與媒體社會影響的我們將會有更深刻的感受與省思。

 

Date: 2015/09/26 – 2015/11/15

Venue: Taipei Fine Art Museum Gallery E

To celebrate the 50th anniversary of the birth of electronic art, the 15th WRO Media Art Biennale takes ‘Pioneering Values’ as the focal theme of the international competition. Among 1500 works in the open call, the Taiwanese artists Chi-Tsung Wu ’s ‘Crystal City 002’ and Pey-Chwen Lin’s ‘ The Revelation of Eve Clone Revelation’, ‘The Portrait of Eve Clone’ are selected with the curatorial concept ‘ The Apocalyptic Sensibility’ of the Taiwanese curator Yunnia Yang. She responds to ‘Pioneering Values’ that being innovative is not necessarily an avant-garde pioneer, it is more crucial to introspect the meanings and the influences that technology brings human beings. The Homecoming Exhibition from WRO Media Art Biennale 2013 ‘The Apocalyptic Sensibility: The New Media Art from Taiwan’ will give a complete picture of the curatorial philosophy ‘ The Apocalyptic Sensibility’ with the works of the six Taiwanese artists: Pey-Chwen Lin, Chi-Tsung Wu,  Zan-Lun Huang, Scottie Chih-Chieh Huang, I-Chun Chen, and Zhang Xu Zhan. They look into the technologized civilization with new sensibilities so that we will have deeper perceptions and contemplations about the consumerism and the media society which we live in.

 

資料來源: http://www.tfam.museum/

吳季璁 皴法習作 Wu Chi-Tsung Wrinkle-Texture 2012

皴法習作系列 Wrinkled Texture Series

吳季璁 皴法習作 Wu Chi-Tsung Wrinkle-Texture 2012

 

“皴法習作”( Wrinkled Texture )這系列攝影作品,將傳統山水畫中的「皴法」概念重新詮釋。

皴法是傳統繪畫中核心技法,筆墨對山石紋理主觀性的概括描述, 包含著書法用筆的概念,畫家藉此描繪個人想像中的山水景物,寄情其中。

作品中運用古老的氰版攝影法( Cyanotype ),將感光材料塗佈於宣紙上,在陽光下曝曬約三十分鐘,過程中不斷調整重塑紙張的皺折,而後水洗定影,記錄下其紋理,宛如山巒絕壁。

類似無相機攝影( Photogram)的手法,但拍攝的對象就是其紙張本身,和過程中隨機的皺折紋理變化,試圖將傳統繪畫的山水意象與攝影、觀念、行為融為一體。

 

The photographic series ” Wrinkled Texture ” reinterprets the texturing methods (cun-fa) of traditional Chinese landscape painting (Shan shui).

Texturing methods are at the heart of traditional landscape painting, subjective renderings of rocks and mountain terrains.  An extension of the penmanship seen in calligraphy, these texturing methods were used by painters as a way to express themselves, to convey the landscapes born of their imagination.

“Wrinkled Texture” utilizes the classic photographic technique – Cyanotype.  Paper was covered in the photosensitive solution and then continually reshaped and refolded while being exposed to sunlight for about thirty minutes. After the paper was washed, the image would be fixed, revealing the likeness of mountain precipices and cliffs.

Works in the series “Wrinkled Texture” is similar to a photogram, but the object photographed is the paper itself and the outcomes of chance.   It is an attempt to blend shan shui imagery of traditional painting with photography, conceptual art, and performance.

 

吳季璁 皴法習作 Wu Chi-Tsung Wrinkle-Texture 2012

皴法習作之捌
139cm X 70cm
氰版, 宣紙
2012
Wrinkled Texture 008
139cm X 70cm
Cyanotype, paper
2012

吳季璁 皴法習作 Wu Chi-Tsung Wrinkle-Texture 2012

皴法習作之貳拾參
76cm X 92cm
攝影
氰版, 宣紙
2015
Wrinkled Texture 023
76cm X 92cm
Photography
Cyanotype, paper
2015

吳季璁 皴法習作 Wu Chi-Tsung Wrinkle-Texture 2012

皴法習作之肆拾壹
131cm X 41.9cm
攝影
氰版, 宣紙
2015
Wrinkled Texture 041
131cm X 41.9cm
Photography
Cyanotype, paper
2015

吳季璁 皴法習作 Wu Chi-Tsung Wrinkle-Texture 2012

皴法習作之肆拾玖
95.5cm X 177cm
攝影
氰版, 宣紙
2015
Wrinkled Texture 049
95.5cm X 177cm
Photography
Cyanotype, paper
2015

吳季璁 皴法習作 Wu Chi-Tsung Wrinkle-Texture 2012

皴法習作之伍拾壹
88cm X 159cm
攝影
氰版, 宣紙
2015
Wrinkled Texture 051
88cm X 159cm
Photography
Cyanotype, paper
2015

吳季璁 皴法習作 Wu Chi-Tsung Wrinkle-Texture 2012

皴法習作之伍拾肆
48cm X 214cm
攝影
氰版, 宣紙
2015
Wrinkled Texture 054
48cm X 214cm
Photography
Cyanotype, paper
2015

 

[PAC] JING SHEN:The act of painting in contemporary China
[米蘭當代美術館] 精神:當代中國的繪畫藝術

Poster-of-Jing-Shen


【米蘭當代美術館】精神:當代中國的繪畫藝術

2015.7.10-2015.9.6

地點|Pac Padiglione D’arte Contemporanea (意大利 Milan)
藝術家|陳邵雄、丁乙、郭鴻蔚、何翔宇、闞萱、廖國核、李華生、李傑、林科、李姝睿、鳥頭、邱志傑、蘇笑柏、唐狄鑫、王功新、吳季璁、徐震、嚴培明、張恩利、趙趙
主辦|Pac Padiglione D’arte Contemporanea (意大利 Milan)

 

Jing Shen. The act of painting in contemporary China explores – from an innovative point of view – the emergence of themes and methods that are typical of classical Chinese art in the work of twenty artists from three different generations.

 
In Chinese culture, painting holds an exceptional position. One need look no further than the fact that, in China, writing is painting. And vice versa. For artists, critics, curators, collectors and the audience, painting is and has always been a privileged device to reflect on and understand the world and art. It is a means that still gives rise – with well-thought awareness – to broad and deeply meaningful reflections and outcomes. Its influence is such pervasive that it emerges and makes itself visible not only on canvas or paper, but also in installations, performances, sculptures, videos and digital works. Therefore, Jing Shen – The act of painting in contemporary China is not – or not only – an exhibition of paintings, but rather an exhibition on the relationship of painting with other media; on its fundamental role within a cultural universe.
 
The curators’ view on the exhibition – the originality of its approach – entails going beyond the interpretation according to which Chinese contemporary art is a reflection of its Western counterpart – and origin. Jing Shen argues that classical Chinese art – not only painting, but also ceramics and woodblock printing, for instance – already contains the ingredients and nutrients of thoughts, attitudes and shapes that represent the richness of contemporary Chinese art. The dialogue with the West and with other worlds (let us not forget our marginality within the cultural geography of China) enriches this osmosis between the past and the present, this continuity – which is sometimes difficult – but never replaces it.
‘Jing Shen’ means ‘awareness of the gesture’, but also ‘inner strength’. It refers to the moment preceding the pictorial act in classical painting – also of Buddhist or Taoist tradition. It is the climax of a preliminary work that occurs before facing the creation of an image. An idea and a practice that emphasise a well-thought search for awareness and its active outcome: the gesture, the act of painting.
 
A ‘proactive’ painting, which finds its original means in the liquidity of ink and in calligraphy, whose traces surface in the most diverse ways in the selection of works and artists on display at PAC. Jing Shen also wants to suggest to what extent art and the Western avant-gardes of the second post-war period have been influenced by this artistic culture, by ink painting and calligraphy, and by their underlying philosophies. And it wants to think of art as a whole, as the outcome of an exchange and continuous influence over time and space, where the rules of interpretation can only be errant, adaptable and provisional.

_
artists: Birdhead, Chen Shaoxiong, Ding Yi, Guo Hongwei, He Xiangyu, Kan Xuan, Lee Kit, Li Huasheng, Li Shurui, Liao Guohe, Lin Ke, Qiu Zhijie, Su Xiaobai, Tang Dixin, Wang Gongxin, Wu Chi-Tsung, Xu Zhen, Yan Pei-Ming, Zhang Enli, Zhao Zhao

 

01

courtesy of The Artling

02

courtesy of Micol Gardoni

Phantom of Civilization 文明幻魅

Interview with the artist Chi-Tsung Wu in the framework of the exhibition Phantom of Civilization

 

2015年5月16日-9月6日

策展人|鄭慧華、凱文・穆蘭 Kevin Muhlen

開幕|2015.5.16(Sat)
展期|2015.5.16 – 9.6
地點|盧森堡卡西諾當代藝術中心(Casino Luxembourg — Forum d’art contemporain)

開幕演出|王福瑞 :超傳波 Hyper Transmission

盧森堡卡西諾當代藝術中心(Casino Luxembourg – Forum d’art contemporain)與台北立方計劃空間合作策劃的展覽〈文明幻魅〉(Phantom of Civilization),將於2015年5月16日於盧森堡開幕。本展邀請藝術家袁廣鳴、王福瑞和吳季璁,共同展出八件聲音及影像代表作品。聲音藝術家王福瑞亦將於開幕當天於卡西諾當代藝術中心進行現場聲音演出。

〈文明幻魅〉的策劃歷時超過兩年,自卡西諾當代藝術中心(Casino)總監凱文‧穆蘭文於2012年底拜訪台灣之後,便與立方空間展開雙向交流策展計劃,第一階段成果為由穆蘭所策展的〈渾沌(UNGROUND)〉:加斯特·布歇(Gast Bouschet)+娜丁‧希爾伯(Nadine Hilbert)影像裝置展,該展於2014年9月已於立方空間展出,策展人、藝術家及聲音設計/藝術家史帝芬‧歐馬利(Stephen O’Mally)亦於開幕之際來台。

2015年〈文明幻魅〉展為此交流計劃的第二階段,將引介三位台灣傑出藝術家至盧森堡展出。本展主題〈文明幻魅〉,意圖通過三位藝術家近十年來的創作對當代文明進行深刻的經驗檢視與思索。長期以來,袁廣鳴、吳季璁和王福瑞各以不同的媒介而開創出獨特的藝術表達語彙,他們的作品看似各自獨立,卻可以對於我們所身處的文明世界及其現代性在不同層面引發交互對話。自1990年代起至今,他們的創造力仍然高度活躍,並累積了成熟的技術和內涵的深度;這一代的創作者在時代的氛圍與鼓勵下陸續開始實驗科技媒介,通過影像、聲響、機械裝置來探索現代人的新感官經驗,並以此帶領觀者思考現代的生活特質。〈文明幻魅〉展覽,將呈現其對現代文明──關於人工/自然、物質/心靈、現實/想像之間的哲思和辯證。

盧森堡卡西諾當代藝術中心與立方計劃空間雙方基於對世界藝術的持續前沿研究與共識,期冀通過此交流計劃深化文化間的相互瞭解與連繫。本交流計劃由盧森堡文化部、台灣文化部(駐法國臺灣文化中心),及台北市文化局贊助。

16.5 — 6.9.2015
PHANTOM OF CIVILIZATION

ARTIST(S): FUJUI WANG, CHI-TSUNG WU, GOANG-MING YUAN
CURATOR(S): AMY CHENG, KEVIN MUHLEN

The exhibition Phantom of Civilization presents the work of three artists from Taiwan: Fujui Wang, Chi-Tsung Wu, Goang-Ming Yuan. Using different media such as installations, sound and video, they create landscapes that reflect different aspects of contemporary civilization – a civilization caught between tradition and technology, between ostensible beauty and hidden threats, between solitary contemplation and the hustle and bustle of big city life, between 0 and 1.

 

Fujui Wang, Sound Dots, 2010. Installation sonore. Vue d'installation au Casino Luxembourg, 2015. © Mike Zenari.

Fujui Wang, Sound Dots, 2010. Installation sonore. Vue d’installation au Casino Luxembourg, 2015. © Mike Zenari.

Fujui Wang (born 1969) uses sound to explore the world in which we live. Drawing on his experiments with noise, he samples environmental sounds – often sounds that are inaudible to the human ear – which he then materializes through his work. Capturing the electromagnetic field that surrounds us, his installation at Casino Luxembourg invites visitors to experience the density and vastness of the “charged” environment in which their daily lives unfold.

 

 

Chi-Tsung Wu, Crystal City 003 - Voyage, 2010. Installation (circuit, moteur, LED, PVC). Vue d'installation au Casino Luxembourg, 2015. © Mike Zenari.

Chi-Tsung Wu, Crystal City 003 – Voyage, 2010. Installation (circuit, moteur, LED, PVC). Vue d’installation au Casino Luxembourg, 2015. © Mike Zenari.

Chi-Tsung Wu (born 1981) creates installations that immerse visitors in dream-like landscapes and meditative environments steeped in Chinese culture and pictorial tradition, while simultaneously confronting them with panoramic views of cities in constant evolution. While his work alludes to his origins and cultural (and spiritual) heritage, it never disregards the reality of the contemporary world in which he lives. Wu’s gaze moves back and forth between the permanence of traditional Chinese landscapes (he studied Shan shui, a particular form of Chinese landscape painting) and the transience of constantly changing cities. Oscillating between tradition and technology, his works reflect the ambiguous nature of his own personality and of society as a whole.

 

 

Goang-Ming Yuan, Disappearing Landscape - Passing II, 2011. Installation vidéo à triple projection. Vue d'installation au Casino Luxembourg, 2015. © Mike Zenari.

Goang-Ming Yuan, Disappearing Landscape – Passing II, 2011. Installation vidéo à triple projection. Vue d’installation au Casino Luxembourg, 2015. © Mike Zenari.

Goang-Ming Yuan (born 1965) creates visually immersive video installations in which the reality of the images is counterbalanced by untypical camera movements that imbue his films with a fantastical, dreamlike atmosphere. The tension in his films results from a seeming coexistence of two antagonistic worlds, as they explore interior and exterior spaces that allude to the state of society, but also to the fate of individuals moved by intimate and deep emotions. In Yuan’s films, everything can change from one moment to the next, as calm turns into chaos.

Phantom of Civilization is a collaborative project initiated by TheCube Project Space in Taipei, Taiwan, and Casino Luxembourg with the aim to present three Taiwanese artists in the framework of a thematic exhibition in Luxembourg.

 

source: Casino Luxembourg Museum

六本木之夜 Roppongi Art Night 2015

top_killer01_pc

 

日期 4/25 18:22 ~ 4/26 4:56
地點 Reine Building
免費入場
展出吳季璁作品鐵絲網I以及水晶城市002
投影器的結構大致與幻燈機相同,最大的差別在於前方的成像放大鏡反覆的前後運動,在1­0公分的範圍內不斷改變焦距,而被投影物(即鐵絲網)位於焦點上而清晰的位置亦隨之改­變,好像不停的在來回搜尋、徘徊般,在焦距變化中,影像幻滅、消逝、被穿透,而又重生­、再現。

 

[Date] 4/25 18:22 ~ 4/26 4:56
[Place] Reine Building
[Participation fee] FREE
Wire Ⅰ, Crystal City 002, Wu Chi-Tsung Installations on the streets
The structure of projector is similar to that of a slide projector.The greatest difference is that the imaging magnifier in front will constantly move back and forth.With the changing focal length,the image keeps disappearing and reappearing. The small wire netting of some 10 sq. cm. form a strong contrast with the image being projected. To me,it is like an allegory about media: the development of media constantly changes our way of seeing the world and our attitude towards reality.The projector modifies the image of the wire netting and creates a new space for the projection of meaning.

 

01 (1)

 

02

 

03

 

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05
landscape in the mist wu chi tsung

煙林圖系列 Landscape In The Mist Series

自幼透過繪畫學習藝術,從東方的水墨山水,到西方的素描水彩風景,繪畫是我對於藝術的最初想像。個人主要的創作始於2002年的錄像實驗,從此思考影像 / 觀看的問題,成為我創作的主軸。曾幾何時,新的藝術表現的追尋,和曾經熟悉但逐漸遺忘的藝術傳統,似乎漸行漸遠,背道而馳。於是2009年有了小品系列的構想,試著把傳統繪畫和自己熟悉的影像語言連結在一起,重新詮釋那逝去的優雅氛圍。其實更像是重新連結起拉扯分裂的兩個自我。

1995年羅浮宮來到台北的展覽 Louvre,有一張柯洛 (Jean-BAPTISTE CAMILLE COROT) 的作品“靜泉之憶”( Souvenir of Mortefontaine),深深的震撼少年時期的我,倒不因為它的浪漫氣氛,而是它竟然和我以為的山水意象如此接近,卻又說不上來相似的到底是什麼,彷彿有種內在精神上的共通。或許概念中深信不疑的差異和界線,也不是那麼理所當然……

這系列的錄像作品”煙林圖”, 將“小品”中有關於傳統繪畫與影像語言的探討,延伸到不同的文化和地域之間,試著描述其中交錯、曖昧與流變不定的狀態。

 

Wu Chi-Tsung began his art studies at a young age. Painting was his first introduction to art, from the inked shan-shuis of the East, to the sketched, watercolor landscapes of the West. Most of Wu’s professional work stems from his video experiments of 2002, and he has been engaged in questions of looking, gaze, observation, and the medium of video, ever since. The pursuit of this new expression has created some distance from the art traditions that were once familiar to him. As a result, in 2009 Wu conceived of the idea of a series of smaller works, in an attempt to connect traditional painting with the language of video—which he has vigorously developed—in order to re-interpret an elegance of the traditional works, that seems to have been lost in our contemporary context. For Wu, it also feels as if he is finally able to link together two torn selves.

When visiting a traveling exhibition from the Musée du Louvre in Taipei, in 1995, the teenage Wu was touched by the work Souvenir of Mortefontaine (1864) by the French painter Jean-Bapiste Camille Corot. The resonance Wu perceived was not exactly in the romantic portrayal, but a close resemblance to what Wu had assumed to be a landscape, and yet, not being fully able to articulate what it was, he could only sense an unspeakable connection to the work. Or perhaps [that] the presumed differences and boundaries were not so concrete after all…

The series Landscape in the Mist extends the examination of traditional painting and video language to different cultures and localities, in an attempt to describe the intersections, ambiguities, and fluidity of state.

 

 

煙林圖之一
單頻道錄影
09;15;20
2012

Landscape In The Mist 001
Single-channel video
09;15;20
2012


001 (1)

 

 

煙林圖之二
單頻道錄影
11;35;10
2012

Landscape In The Mist 002
Single-channel video
11;35;10
2012


Landscape in the mist 002

 

wu chi tsung Still life

小品系列 Still Life Series

單頻道錄影(1920X1080i FullHD Mpeg2)
Single-Channel Video(1920X1080i FullHD Mpeg2)



這批作品的發想,來自於對繪畫的緬懷;但緬懷追悼的,或許不僅止於繪畫。

某些無以名狀的情感和記憶,不知不覺中慢慢的消逝,等到你忽然驚覺,它們早已遠去,淹沒在一片白霧中,面目模糊難以辨識。

創作這組作品的過程,我一直有種淺在的罪惡感,好像做這麼美感的東西是種錯誤,販賣東方情境是種墮落,這不過就是視網膜上的藝術,當代藝術追求的可是創新而顛覆的概念…… 於是我們不斷的切除來自記憶和文化根源的養分,因為我們是如此的自卑,我們一心只想成為他們。

再回頭看看那悠遠的意境,還是如此動人;但它的美,早已是種異國情調。


These works are inspired by a cherished memory of painting; however, the mourning over this lost memory might not be limited to painting only.

Some nameless emotions and memories unconsciously and slowly dissipate until, to our surprise, they are far away and cloaked by a white mist, their appearances obscured.

During the process of creating these works, I felt a slight sense of guilt, as if creating paintings so pleasing to the eye would be a betrayal of Eastern aesthetic pursuits and an act of despair.   After all, this is just art that seeks to please the eyes, while contemporary art seeks to emphasize the concepts of innovation and subversion…  …we find ourselves continuously severing nourishment and comfort from our memories and cultural roots because we feel inferior, we wish only to become someone else.

When we look back at those distant moods, they are still so moving; however their beauty have long become foreign.

 

 

小品之五 櫻
Still Life 005 Cherry
單頻道錄影 1920 x 1080 FullHD Mpeg2
Single-Channel Video
00;20;43;45
2016

 
Still Life 005 Cherry, Wu Chi-Tsung
 

 

 

小品之四 竹
Still Life 004 Bamboo
00;20;33;00
2010

 
004 bamboo
 

 

 

小品之三 盆栽
Still Life 03 – Bonsai
00;04;18;20
2009

 
003 bonsai
 

 

 

小品之二 蘭
Still Life 02 – Orchid
00;04;20;06
2009

 

 

 

 

小品之一 松
Still Life 01 – Pine
00;03;19;26
2009


001 pine
 


 
吳季璁 小品 still-life

 

wuchitsung wire

鐵絲網系列 Wire Series

2009_wire004 wu chitsung
 
2009_wire004 wu chitsung
 
2009_wire004 wu chitsung
 

鐵絲網 IV
金屬、玻璃、馬達
視空間而定 (機具40cmL x 16cmW x 24cmH)
2009
 
Wire IV
Metal, glass, motor
Dimensions variable (projector40cmL x 16cmW x 24cmH)
2009

 

影像的〝距離感〞是鐵絲網IV 探討的主軸。

變焦(zoom)是一個純然影像機具的觀看邏輯,造成了一種〝虛構的距離感〞,跳脫了人在空間中觀看的位置、距離、和視角。在廣角的影像中使人彷彿可以抽離於身邊近在咫尺的事物,沉醉於杜撰的遼闊與疏離;在長鏡頭的影像中使人保有一種狀似親密的旁觀窺伺,隔離了近距離接觸的危險。影像轉換了觀看世界的方式,也重新建構對於真實的認知,賦予了人類前所未有的自由,只不過有個小小的副作用 ——— 再也難以想起,究竟站在何處看這世界。

The sense of distance in image is the theme explored in Wire IV.

Only image-recording apparatus can see things by zooming in or out. It creates a “fictional sense of distance” that is detached from people’s position, distance, and perspective in space. In the wide-angle shot, people seemingly get far away from nearby object, indulging in the fictional wide space and alienation. In the telephoto shot, we appear to be watching and peeping closely without the danger of close encounters. The image changes our way of looking at the world and reconstructs out perception of reality. It gave us unprecedented freedom with a minor side effect ——— it’s hard to remember where we stand when looking at the world.

 

 
wu chi tsung
 
wireIII@Wondering in the Poetry_The 2nd NCAF Techno Art Creation Project KMFA TW_2007_02
 

鐵絲網 III
金屬、玻璃、壓克力
尺寸視場地大小而定
2007
 
Wire III
Metal, glass, acrylic
Dimensions variable
2007

 
環型的空間中央,放置著投影機具,由靜止啟動緩慢的旋轉,投影在牆面的光區如同掃描揭露著環繞四週的影像空間 (有點像燈塔掃過黑暗,釋放出景物的感覺);旋轉的速度逐漸加快,機具的聲響漸漸增大,空間中的光線及影像亦愈趨閃爍不定;加快到極速時閃爍感慢慢緩和,運動趨於穩定,最終變成整片平靜的光線,影像在環場牆面上展開。一段時間後,速度漸慢,週而復始。
 
大致是一個關於速度,空間,和身體感的嘗試。
 
A projector at the center of a circular space starts to revolve slowly and to scan the wall with a bright light that exposes images in the space (a little like a lighthouse sweeping over the scenery and liberating it from darkness). Both the slow speed of the revolving projector and its sound slowly increase, and the images and light beam in the space start to flicker randomly. As the increasing speed reaches its limit, the flashing sensation lessens somewhat, the movement stabilizes and finally creates a continuous and calm ray of light revealing the surrounding images on the walls. After a period of time, the whole apparatus slows down and then starts again.
 
Generally speaking, the piece attempts to explore the concepts of speed, space, and perception.

 

 
wu chi tsung
 

鐵絲網 II
金屬、玻璃、壓克力
尺寸視場地大小而定
2003
 
Wire II
Metal, glass, acrylic
Dimensions variable
2003

 
回顧<<鐵絲網I>>的創作自述,本想新作應該換湯不換藥,也就不需要再多說廢話;但隨著機具的製作,形式和觀念的相互作用下,漸漸覺得有所發現,似乎還有點心得提一提。

<<鐵絲網II>>的核心概念,只是單純的想並置一個無限深入的影像空間,和一圈單調的在原地循環輪轉的鐵絲網。創作的重心逐漸由影像轉移到機具,以及兩者間的關係;機具除了功能性的產生影像和暴露自身結構外,還隱含的某種象徵或隱喻。

伴隨著光源、鏡片組的調整,和一圈鐵絲網,影像的風格與前作迥異,打個比方來說,如果前作的視覺風格如同南宋山水畫中煙嵐縹緲的情境,<<鐵絲網II>>也許更近於北宋時期的大山大水。也許用水墨情境,意象來談自己的作品太過危險,可能會被概念化的草率對待,不過還是要坦承,對影像空間的構思,最初來自傳統水墨裝裱型制中的”捲軸”。

拼湊著影像空間的可能性,機具的探討、雕塑、裝置…..等的粗淺認識,再加上心底老是隱隱作祟的”東方”,這故事似乎還要絮絮叨叨的說個沒完。

As I reviewed the artist statement for Wire I, I thought the second version should not be very different so I wouldn’t need to write redundant words. However, as I made the mechanism, I gradually felt I was learning something from the interaction of forms and ideas. It seemed I still had something to share after all.

The core concept of Wire II is simply putting the infinite space of an image side by side with a spinning wheel of wire mesh material. The center of the creative process gradually shifted from the image to the mechanism and the relationship between them. The mechanism has the functions of producing the image and exhibiting its structure while suggesting a certain symbolism or a metaphor.

Compared with Wire I, the new version with a roll of wire mesh material has a different light source and a new set of lenses. To make an analogy, if the previous piece is like the foggy and heavenly atmosphere in Chinese landscape painting of Southern Song Dynasty, perhaps Wire II resembles the magnificent mountains and rivers in the painting of Northern Song Dynasty. It is probably dangerous to talk about my work in terms of the characteristics of Chinese ink painting at the risk of sloppy conceptualization. Nevertheless I have to admit that my idea for the space of image was inspired by the traditional Chinese painting scroll.

As I explore the possibilities of the space of image and study about mechanisms, sculpture, installation art and more, along with the “East” in the back of my mind, it seems the story of the Wire series will go on and on.

 

 

 

鐵絲網 I
金屬 玻璃 壓克力
尺寸視場地大小而定
2003

Wire I
metal glass acrylic
dimensions variable
2003

 
投影器的結構大致與幻燈機相同,最大的差別在於前方的成像放大鏡反覆的前後運動,在10公分的範圍內不斷改變焦距,而被投影物(即鐵絲網)位於焦點上而清晰的位置亦隨之改變,好像不停的在來回搜尋、徘徊般,在焦距變化中,影像幻滅、消逝、被穿透,而又重生、再現。

花很久的時間思索和嘗試,究竟什麼樣的被投影物和造型最能點出這樣的感受,最後決定的是——鐵絲網和某種山水情境。鐵絲網規矩、單調的造型,冰冷、工業的材質感,與整個投影器頗為搭調,但其具有彈性和可造型的特點,每次摺疊都會紀錄下某些痕跡,很像之前做些水墨時,宣紙給我的感覺,一筆一筆都被記憶下來,增添了某些令人懷念的手感,對應整體材質感的冰冷。

不過十多公分見方的小鐵絲網(實際被投影初的範圍更小),和透過投影器所呈現出的影像,成為強烈的對比,對我來講它也像個關於媒體的寓言:媒體的發展,不段轉變我們看待世界的方式和看待真實的態度,像投影器轉換了鐵絲網的影像,賦予一個可以投射精神的新的空間。不過,整件作品卻好像到過頭來,說一個更古老的故事。

The structure of projector is similar to that of a slide projector.The greatest difference is that the imaging magnifier in front will constantly move back and forth and change the focal length within a range of 10 cm.When the projected object(the wire netting) is in focus,the sharply focused parts keep shifting,suggesting a wandering search for something.With the changing focal length,the image keeps disappearing and reappearing.I spent a lot of time thinking what kind of projected object and form could best produce this effect.I finally decided on……wire netting or a certain kind of landscape.

The regular,monotone form of wire netting and its cold industrial material rather match the projector.At the same time,it is flexible and formable.Each folding will leave behind some trace.
It reminds me of the feeling that xuan paper gave me when I did ink painting.
The human trace left behind contrast with the coldness of the material.

The small wire netting of some 10 sq. cm.(the actual area being projected is even smaller) form a strong contrast with the image being projected.To me,it is like an allegory about media: the development of media constantly changes our way of seeing the world and our attitude towards reality.The projector modifies the image of the wire netting and creates a new space for the projection of meaning.But in the end, the work seems to be telling an ancient story.

灰塵 DUST

dust

空間裝置
攝影機, 投影機, 三腳架
尺寸視場地大小而定
2006
 
Installation
Video camera, projector, tripod
Dimensions variable
2006

 

螢幕前方的攝影機,正對投影機鏡頭的光源,對焦在空間中央,拍攝的訊號傳回投影機中,形成一個光線和電子訊號的現場即時循環。
投影機前一腳架遮斷射入攝影機的光線,在一個適當的位置和角度,空間中的灰塵粒子會反射投影機的光線,在畫面上飛舞閃爍,就像日出前的剎那,空中的一切清晰可見;隨著觀眾的進入走動,帶動氣流的變化,瞬息萬變。
透過影像媒體,重新發現和觀注生活週遭的外在世界。

In front of the Screen, the Camera Points in the direction of the light of the projector. Its focus is on the center of the space, sending video signal of the projector. Thus a live circulation of light and electronic signals is established.
A tripod in front of the projector blocks the light projected into the camera. At the appropriate position and the right angle, you can see the dust in the space reflecting the projector’s light. On the screen it wavers and glimmers just like the moment before sunrise when everything in the air can be clearly seen. As viewers walk around in the space and disrupt air current, the image of flickering dust changes rapidly and constantly.
Through the medium of video, we can rediscover and pay attention to the world around us in life.


The work entitled Dust illustrates Wu Chi-Tsung’s deep concerns about the nature of media. Wu constantly examines the questions: How do we see the world through media? How does media technology operate as a manipulative mechanism and a source of power? How does media technology change our relation to the world? Wu chooses to manipulate devices of his own design in a highly sophisticated and at times highly unconventional manner. The emerging and hidden images in his work suggest a new relationship between artist and media and image and viewer. —— Shu-Min Lin / 6th Shanghai Biebbale

 

006

 

001

 

雨景 Rain

rain


雨景
單頻道錄影
約13分鐘
2002

Rain
Single-channel video
00;13;00;00
2002


“雨景”這件單頻道錄影的作品,創作年代約在2002年。約13分鐘的時間內,攝影機並無任何運動,拍攝的是自家窗外的景色,在淡水河、關渡橋一帶,背景有一小片觀音山,前景是大度路、關渡橋的交流道、以及捷運淡水線,整幅畫面的結構有點山水畫中”一河兩岸”的味道。

拍攝時將機器的快門速度設定在1/8000秒,每滴落下的雨滴都被抓住了瞬間停留在空中的影像,非我們熟悉的”一絲”雨滴的殘像,而是一顆顆水珠。由於雨滴墜落的速度太快,在一個個影格間甚至看不出落下的連續關係,只有一顆顆水珠不規則的跳動。但背景的車輛行進速度緩慢,所以在一個個影格間仍保持連續運動的幻象,透過機具設定在時間上稍稍調整,攝影紀錄的”真實”出現了縫隙,相牴觸於人類的視覺經驗,這是一個純然”攝影機”眼中看見的風景。

The production of the work rain was quite simple. First, I moved to a flat near the Kuan-Du Bridge and observed the view outside the window shown in the work for a few months. One afternoon, it suddenly rained. When I tried to film the rain, I automatically turned the button controlling the shutter speed. I discovered that raindrops filmed at a shutter speed of 1/8000 second looked quite different.
At the normal shutter speed of 1/60 second, multiplied by about 30 frames per second, one can only record half an image in one second. However, we are seldom aware of the limitation of video images, at least in the temporal dimension, because they already satisfy the requirement of our sight for the illusion of movement. When the shutter speed is increased to 1/8000 second, it means that only 30/8000 of an image is recorded in one second.

In my work, the motion of the falling raindrops gets entirely lost, meanwhile the cars still keep moving. A chasm seems to open up in “eality”. We do not know where it will lead.

From another point of view, the camera may be able to see much more than the human eye. However, we usually use it to satisfy our old visual needs and seldom make maximum use of it. Maybe it has things it wants to say. This is an anthropomorphic interpretation.

In addition, in post-production, I slowed down the playback speed to 80%. In terms of the realization of the concept, this gesture may be superfluous. At any rate, I felt that the cars moved too quickly, just like everything in this age. If the speed could be adjusted, 80% may be a good choice.