Sean Kelly Gallery | Hall 2.1, Booth R2

VIP Preview  June 16 – 17, 2026

Public Days  June 18 – 21, 2026

Venue Messe Basel, Messeplatz 10, 4058 Basel, Switzerland

尚凱利畫廊 | 2.1 展覽廳, R2 展位 

貴賓預展  2026 年 6 月 16 日至 17 日

公眾展期  2026 年 6 月 18 日至 21 日

會址 瑞士巴塞爾展覽中心

Wu Chi-Tsung’s new works from the Cyano-Collage Series, No. 253 and No. 275, will be exhibited at Sean Kelly Gallery’s booth at Art Basel in Basel this week. As one of Wu’s most significant ongoing series since 2015, the Cyano-Collage Series transforms the brushwork and texture strokes of traditional ink painting through cyanotype and photogram. Using Xuan paper, photosensitive chemicals, sunlight exposure, and collage, the series constructs a visual space suspended between shanshui, landscape, and photographic montage,  carrying forward the aesthetic spirit of traditional art through a contemporary artistic form.  The textures that emerge as the paper reacts to sunlight and chemicals are themselves a translation of the “cunfa”—the texture strokes of classical ink painting—into a photographic language.

吳季璁的新作《氰山集之二百五十三》、《氰山集之二百七十五》，本週於瑞士巴塞爾藝術博覽會的尚凱利畫廊展位展出。作為吳季璁自 2015 年起持續發展至今的重要創作系列，《氰山集》以氰版直接攝影（photogram）替代傳統書畫中的筆墨：透過宣紙、感光藥劑、日曬曝光與拼貼，建構出介於山水、風景與攝影蒙太奇之間的視覺空間，希望藉由當代的藝術形式，傳承傳統藝術中的美學意境。宣紙在日曬與藥劑作用下浮現的肌理，正是將傳統水墨的「皴法」筆觸，轉譯為攝影的語言。

Wu has continued his material experimentation, extending his supports from wooden baseboards to metal panels such as aluminum and brass—not only to achieve greater durability but also to harness their polished sheen to evoke the shifting light of the sky. The reflective surface lends a spatial dimension to what were once planar works, drawing the light and shadow of the surrounding environment, along with the viewer’s own perspective, into the work itself. In the two pieces shown in Basel, the polished aluminum panels create a distinct reflection that filters through the Cyano-Collage landscape, opening new possibilities for the series.

吳季璁亦不斷嘗試媒材上的創新實驗，他將作品的基底從木板換成鋁板、銅板等金屬材質，不但令作品更能經久保存，金屬特有的質地與反光特性，也為原來的平面作品帶來立體的空間性，將周遭環境的光影與觀者的視角，一同納入作品之中。影像不再是固定的——它隨光線、空間與觀看者而流動變化。此次於巴塞爾參展的兩件新作，打磨過後的鋁製底板光澤自氰版山水背後透出，為作品帶來了縱深，也拓展了系列的可能性。

This year marks Wu Chi-Tsung’s fourth presentation of Cyano-Collage new works at Art Basel in Basel with Sean Kelly Gallery, having participated in three consecutive editions from 2022 to 2024. He had been mounting the series on aluminum panels since 2021, and Cyano-Collage 130 in 2022 marked his first use of a brass panel as a support, continuing his experimentation with metal.

今年是吳季璁第四度攜手尚凱利畫廊於巴塞爾展會中展出，過去自 2022 到 2024 年，曾連續三年參與展出《氰山集》新作。吳季璁自 2021 年起已採用鋁板作為系列基底，而其中 2022 年參展的《氰山集之一百三十》則是他首度以黃銅板為基底之作，延續他對金屬媒材的實驗。

In 2023, alongside four new works from the Cyano-Collage Series, Wu presented the immersive video installation Dust 002 in Unlimited—Art Basel’s pioneering platform for works that transcend the conventional fair booth, including large-scale sculpture, painting, video projection, installation, and live performance. Wu was the first Taiwanese artist selected for Unlimited—a milestone that held particular significance for him, marking international recognition of years of experimentation and the chance to present his own visual language as a large-scale immersive installation on one of contemporary art’s most closely watched stages. First created and exhibited during Wu’s 2006 residency in the UK, and shown since in Germany, Luxembourg, the United States, Riyadh, and Taipei, the Dust Series continues his exploration of light, the image, space, and perception. In a darkened room, a camera faces the direction of a projector’s light; dust drifting through the air reflects that light and is magnified onto the screen. As viewers move through the space and disturb the air, the flickering image of dust shifts continuously—a fleeting language written by motion and chance, revealing how our very presence continuously shapes the world around us.

2023 年，吳季璁除了展出《氰山集》四件新作外，更以沉浸式影像裝置《灰塵 002》於巴塞爾的「意象無限（Unlimited）」展區展出——此為巴塞爾藝術展中極具前瞻性的展覽平台，集中呈現超越傳統藝術展覽的藝術作品，包括大型雕塑、繪畫、影片投影、裝置藝術和現場表演等。吳季璁為首位獲選於「意象無限」展出的台灣藝術家，這對他而言別具意義——能在這個全球最受矚目的當代藝術舞台上，以大型沉浸式裝置呈現自身的創作語彙，是國際藝壇對其多年實驗的高度肯定。《灰塵》最初由吳季璁 2006 年於英國駐村期間創作並首次展出，並在此後於德國、盧森堡、美國、利雅德與台北展出。此作品系列延續著他創作中關於光、影像、空間與感知的探索：在闃黑的空間中，攝影機對準投影機的光源方向拍攝，空氣中懸浮流動的灰塵會反射投影機的光線，再被放大投影於銀幕；當觀者穿行其間、擾動氣流，閃爍的塵埃影像會不斷地變化，像是運動與偶然共同書寫出的瞬時語言，也揭示自身的存在時時刻刻都在影響著周邊的世界。

For Wu Chi-Tsung, Basel has never been only a stage for showing work; it has also been where lasting bonds are formed––with collectors, institutions, and the land itself. One such bond began with a Swiss couple who acquired an early piece, Cyano-Collage 006, and hung the long horizontal scroll in their home in the Swiss mountains. When Wu saw the work set against the range beyond the window––the mountains born of sunlight and the texture of Xuan paper echoing the real Alps outside––he was deeply moved. The images of the Cyano-Collage Series are rooted in nature and transformed through photography and collage; placed within a real mountain landscape, the work seemed to have returned to where it was always meant to be.

巴塞爾對吳季璁而言，不只是一個展示作品的舞台，更是與藏家、機構與這片土地建立深厚連結的起點。一對瑞士藏家夫婦收藏了他早期的《氰山集之六》，並將這件水平長卷掛在他們位於瑞士山間的家中，當吳季璁看到這件作品與窗外綿延的山景並置——畫中由日光與宣紙肌理生成的山，與真實的阿爾卑斯山遙相呼應——他深受觸動。《氰山集》的影像本就根源於自然，再經由攝影與拼貼轉化而成；當作品被安放在這樣真實的山林環境裡，彷彿回到了它原本就該在的位置。

For Wu, this is what collecting can mean at its most moving: a work that is no longer simply an image on a wall, but one that enters a collector’s life and surroundings, breathing alongside their days, their memories, and the landscape around them. The closeness between people and nature in Swiss culture resonates with the very spirit that East Asian shanshui has long sought––allowing this work, in mountains far from home, to find a second kind of belonging.

In 2026, Wu returns to Basel with new works from the Cyano-Collage Series, continuing his sustained presence at one of the world’s foremost contemporary art fairs.

對吳季璁來說，這正是收藏最動人的意義：作品不再只是牆上的影像，而是真正進入藏家的生活與所處的環境，與他們的日常、記憶與這片山水共同呼吸。瑞士文化中人與自然的親近，恰與東方山水所追求的境界相通，也讓這件作品在異鄉的山中，找到了另一種共鳴。

2026 年，吳季璁以《氰山集》新作再度回歸巴塞爾，延續他在這個國際頂尖藝術博覽會的持續耕耘。