Wu Chi-Tsung’s Solo Exhibition Jing-atmospheres at Sean Kelly New York

Cyano-Collage production


November 5 – December 18, 2021
Opening Reception Thursday, November 4, 6-8pm

Sean Kelly is delighted to present jing-atmospheres, Wu Chi-Tsung’s first solo exhibition in the gallery and indeed the United States. Chi-Tsung’s innovative body of work encompasses a broad range of media including photography, video, installation, and painting, in which he combines traditional and contemporary forms and methodologies to explore perceptions of the physical and natural worlds. This exhibition features new Cyano-Collages, videos, and an immersive film installation. There will be an opening reception on Thursday, November 4 from 6-8pm, the artist will be present at the gallery.

Wu Chi-Tsung was trained from an early age in the traditions of Chinese calligraphy, Chinese ink painting, watercolor, and drawing, and worked in these time-honored idioms for many years. While those practices still inform his process, Chi-Tsung’s current work seeks to understand how media and technology are manipulated to represent our relationship to the world. In the main gallery, there are new iterations of his Cyano-Collage series, in which he connects Eastern and Western culture and art to integrate traditional aesthetics within a striking contemporary language. His Cyano-Collages replace the traditional ink and brush used in Chinese shan shui paintings –literally, “mountain-water-pictures”—with experimental photography to reinvigorate the traditional landscape language. To create these stunning images, Chi-Tsung prepares hundreds of cyanotype photographic papers—Xuan paper treated with a photosensitive coating—that are crumpled, exposed to sunlight, and then mounted onto aluminum, creating a spectrum of tonalities. The results are collaged images that resemble the mountainous landscapes often found in Chinese shan shui paintings, but which are produced using completely a contemporary process.

Utilizing video, installation, and photography, Wu Chi-Tsung discovered in these new media compelling conceptual stratagems that spurred new and dynamic approaches to image making. Featured in the main gallery are two new films from Wu Chi-Tsung’s Still Life series, that conceptually translate motifs of traditional cut-branch flower painting into time-based moving images. Describing these works, Chi-Tsung stated that they 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.”

In the front gallery, is a work from Wu Chi-Tsung’s Wire series, begun in 2003. Applying a structure similar to a magic lantern – an early type of image projector that used a light source, pictures printed on transparent plates, and one or more lenses – Chi-Tsung’s Wire VI, uses an automated mechanical control to repeatedly adjust the focal length of a camera trained on a single piece of wire mesh. A strong light illuminates the mesh and is directed through a large camera lens that projects a continually evolving image onto the wall. The result is a moving image that suggests an exquisite Chinese landscape. With this work, Wu Chi-Tsung explores how images change the way we see and imagine the outside world. 

In the lower gallery, Chi-Tsung’s 2006 installation, Dust, investigates the artist’s deep concern with our relationship to images. A camera, positioned at one end of the darkened gallery, has its lens focused on the light of a projector installed at the opposite end of the room. The camera is focused on the center of the room and sends a live video signal to the projector. Thus, a recording of the reflection of the circulation of dust particles moving about the room are projected on the wall, wavering and glimmering. As viewers progress through the space, disrupting the flow of air, the images of flickering dust change constantly and instantaneously. The emerging and hidden images in Chi-Tsung’s work suggests a new relationship between artist and media, image and viewer.

Born in 1981 in Taipei, Wu Chi-Tsung currently lives and works in Taipei, Taiwan and Berlin, Germany. He was the recipient of the Liu Kuo Sung Ink Art Award, Hong Kong and Taiwan, 2019, the WRO Media Art Biennial, 2013 and the Taipei Arts Award, 2003. He was short-listed for the Prudential Eye Awards, 2015 and the Artes Mundi, 2006. His work has been included in international exhibitions at institutions such as the Mori Art Museum, Japan; the National Museum Cardiff, United Kingdom; the Long Beach Museum of Art, Los Angeles; the Casino Luxembourg – Forum d’art Contemporain, Luxembourg; the Museo Del Palacio De Bellas Artes, Mexico; the Central Academy of Fine Arts (CAFA) Art Museum, Beijing, China; Shanghai Art Museum, China; the Seoul Museum of Art, South Korea; the Minsheng 21st Century Museum, Shanghai, China; the Museum of Contemporary Art Yinchuan, China; the Hiroshima City Museum of Contemporary Art, Japan; the Ullens Center for Contemporary Art (UCCA), Beijing, China and the Taipei Fine Arts Museum, Taiwan amongst others. His work is included in renowned collections such as the Arario Museum, Seoul, South Korea; the Borusan contemporary, Istanbul, Turkey; the M+ Museum, Hong Kong, China; the Santa Barbara Museum of Art, Santa Barbara, California; the Spencer Museum of Art, Lawrence, Kansas; the The University of Salford Art Collection, Salford, United Kingdom; the Ullens Center for Contemporary Art, Beijing, China; the White Rabbit Gallery, Chippendale, Australia; the Yu Hsiu Museum of Art, Nantou, Taiwan and the Post Vidai Collection, Ho Chi Minh City, Vietnam.

Production process of Cyano-Collage 120, 2021, 300 x 900cm

Being listed as one of the ‘most exciting and thought-provoking’ show in New York area by the Artnet, Wu Chi-Tsung’s solo exhibition jing-atmospheres will be closing tomorrow. 

Wu considers the New York show a very clear survey of his practice. The show features works that span his whole artist career, as early as the Wire VI which has been developed since he was a college student, as well as the installation work Dust, and as recent as the two huge Cyano-Collage Series that were conducted at the new Tamsui studio, and three video works.

Before the exhibition’s opening, Wu Chi-Tsung was interviewed by author Vivienne Chow at Artnet. Her article, titled Wu Chi-Tsung Is Drawing Global Notice for Revamping Chinese Landscape Painting With Video, Light, and a Big Dose of Chance reviewed Wu Chi-Tsung’s international journey after he realized that Taiwan is not big enough to contain his ambition. 

The article states that Wu is now “among a small group of East Asian artists who are appearing on a world stage thanks to the attention of Western galleries. The accomplishment is even rarer for an artist of his age, and coming from Taiwan. While many leading Western galleries have set up shop in Asia, only a handful of them have brought relatively young Asian artists back to the dealers’ home turf in Europe or the U.S.”

Wire VI ,2021
Wire VI ,2021

Wu Chi-Tsung has received art training from both Eastern and Western sources, which is a common upbringing in Taiwan.“We actually grew up bilingual, and it is unlikely that a Western artist would have practiced calligraphy and ink painting since childhood, but Asian artists are generally trained in Western art, and this is obviously our best characteristic and competitive advantage”, said the artist to Vogue Taiwan in an interview prior to the show. In addition, he has taken up artist residencies in several countries. In addition to the two studios in Taiwan, he has set up studios in Saigon and Berlin. The intensity of his experience in both Eastern and Western cultures, as well as the breadth of his vision has contributed to the fascinating diversity and openness in his works, from materials, aesthetic to concept. Whether to audiences from different cultures or professionals in the fields of new media, ink painting, or photography, his work always strikes them as a mixture of familiarity and surprise. By introspecting and outlooking, Wu Chi-Tsung has formed an unique artistic language that is rich and liberated, and free from language and cultural barriers. 

Wu shared that, “I really hope this journey, one that has been full of trial and error in finding a way out, can inspire more young artists to go out to find opportunities, to see this big world.”

Produced by Frieze Studios, in collaboration with Sean Kelly, New York 


日期 2021年11月5日-12月18日
開幕酒會 11月4日(週四),下午6-8點



吳季璁亦靈活利用影像、裝置和攝影等新媒體媒材,以傳達他對於「影像」的持續思考與探索。本次,《小品之十四 黃梅》也將在主展廳中呈現。據藝術家介紹,這一系列作品將傳統繪畫中的折枝花鳥畫轉化為時基影像,其靈感來自於「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。」



吳季璁1981年生於臺北,目前在臺灣臺北和德國柏林生活和工作2019年獲港台劉國松水墨藝術獎、2013年波蘭媒體藝術雙年展藝評與藝術雜誌編輯獎(WRO)、2003年獲台北美術獎首獎。他曾入圍英國世界藝術獎(Artes Mundi,2006)、英國保誠當代藝術獎(Prudential Eye Awards,2015)。他的作品曾於日本森美術館、英國卡迪夫國家博物館、洛杉磯長灘美術館、盧森堡卡西諾當代藝術中心、墨西哥藝術宮、中國北京中央美術學院美術館、中國上海美術館、韓國首爾美術館、中國上海民生21世紀博物館、中國銀川當代藝術館、日本廣島市現代藝術館、中國北京尤倫斯當代藝術中心(UCCA)和臺灣臺北市立美術館等國內外藝術機構展出。他的作品被多家著名博物館收藏,如韓國首爾阿拉里奧美術館、土耳其伊斯坦堡的Borusan Contemporary Art Collection、香港的M+博物館、美國加州聖巴巴拉藝術博物館、斯賓塞藝術博物館、英國索爾福德大學藝術館,英國索爾福德市、中國尤倫斯當代藝術中心、澳大利亞白兔美術館、台灣南投毓秀美術館、越南Post Vidai Collection等。

Cyano-Collage 121
Wu Chi-Tsung in front of Cyano-Collage 121 吳季璁與《氰山集之一百二十一》
Photography: Jason Wyche, New York, Courtesy: Sean Kelly, New York

個展《境》,被Artnet News列為紐約地區「最激動人心與令人深思」的展覽之一。


展覽開幕前,吳季璁在畫廊接受了Artnet作者Vivienne Chow的專訪。文章標題點出吳季璁「以其由光、影和隨機性組成的水墨創作贏得了全球注目」,並回顧了藝術家在「不滿足於台灣的發展空間」後進行的國際化探索。

Artnet文章介紹,吳季璁是 「極少數受到西方畫廊關注並活躍於世界舞台上的東亞藝術家之一。對於這個年紀且來自台灣的藝術家而言,這個成就更屬罕見。目前,雖然許多頂尖西方畫廊已經進軍亞洲,但是只有少數畫廊會將較為年輕的亞洲藝術家帶到歐美的主戰場辦展」。





Read More 延伸閱讀

Artnet: Chinese Landscape Painting with Video, Light, and a Bid Dose of Chance ARTNET專訪:由影像、光與隨機性組成的水墨畫

New York Solo Exhibition jing-atmospheres List as Editors’ Picks by Artnet 

Ocula: Wu Chi-Tsung’s Xuan Paper Collages Open Up Many Visual Possibilities 

Interview with Artist Wu Chi-Tsung: Art is never a Blank Sheet of Paper  

Wu Chi-Tsung’s Solo Exhibition jing-atmospheres at Sean Kelly New York 

Exhibition Film Produced by Frieze Studios in Collaboration with Sean Kelly New York
Frieze Studio製作、尚凱利畫廊協製《境》展覽影片

Installation view 展覽現場

Installation view
Installation view
Installation view
Installation view
Photography 攝影/ Jason Wyche, New York, Courtesy 致謝/ Sean Kelly, New York