All posts by author

Wu Chi-Tsung Donates New Wrinkled Texture in Support of ACC New York 2026 Gala Auction
吳季璁將捐贈《皴法習作》新作支持紐約 ACC 2026 慈善晚宴義賣

In early May, Wu Chi-Tsung, in collaboration with Sean Kelly Gallery in New York, will donate his new work Wrinkled Texture 182 to the Asian Cultural Council¹(ACC) 2026 Gala auction in support of its New York headquarters. Held at New York’s Rainbow Room, this year’s biennial gala will honor acclaimed actress Michelle Yeoh and Blanchette Hooker Rockefeller Award² recipient Wendy O’Neill, continuing ACC’s more than six-decade mission of fostering cultural exchange between Asia and the United States.

Wu Chi-Tsung has long been committed to international cultural exchanges. Following his recent donations to ACC’s Hong Kong and Taiwan chapters, this contribution to its New York headquarters represents not only an act of support and a way of giving back, but also reflects the inspiration he drew from his residency in New York. Through this act, he hopes to carry forward these resources and values, supporting emerging artists and contributing to the continued development of the broader art ecosystem.

5 月初，吳季璁將與紐約 Sean Kelly Gallery 共同捐贈新作《皴法習作之一百八十二》，於亞洲文化協會1（ACC）2026 慈善晚宴上義賣，以支持 ACC 紐約總部。這場兩年一次的晚宴將於紐約 Rainbow Room 舉行，今年特別表彰知名演員楊紫瓊（Michelle Yeoh）與布蘭切特・胡克・洛克菲勒獎2（Blanchette Hooker Rockefeller Award）得主 Wendy O’Neill，延續 ACC 六十多年來推動亞洲與美國之間文化交流的使命。

吳季璁長期關注國際文化交流，去年亦曾捐贈作品支持 ACC 香港與台灣分會，這次捐贈給紐約總部，不只是對 ACC 的支持與回饋，更在回應紐約那段駐村經驗對他的啟發，希望能將這樣的資源與精神傳承下去，支持更多新銳藝術家，進而推動整體藝術環境的正向發展。

Wu Chi-Tsung’s studio during his 2013 residency at Triangle Arts Association in New York
吳季璁 2013 年於紐約駐村期間，位於 Triangle Arts Association 的工作室

In 2013, Wu Chi-Tsung received an ACC fellowship to undertake a six-month residency in New York. He was prompted to apply after reading the catalogue of The Third Mind: American Artists Contemplate Asia, 1860–1989, organized by the Solomon R. Guggenheim Museum in 2009. This exhibition, which traced the profound influence of Asian art, literature, and philosophy on American modernism, led Wu to realize that Asian culture is not merely a passive reference within Western art, but an indispensable intellectual force, sparking his curiosity about New York’s contemporary art scene.

Having studied both traditional ink painting and Western painting from a young age, Wu shifted toward image-based practice during his university years, and has since continuously reflected on how to reconnect traditional painting with the language of the image. Beginning in 2003, his Wire series of installations transformed crumpled wire mesh into dynamic shan-shui (Chinese landscape) imagery through a slide-projection-like structure. In 2009, his Still Life series reinterpreted the motif of broken branches and flowers from traditional ink painting through the language of video, ingeniously translating pictorial “blank space” into light by filming underwater. In 2012, Wrinkled Texture drew inspiration from “cun-fa,” the brush techniques used to render the texture of rocks and mountain terrains in shan-shui painting. Wu coated Xuan paper with photosensitive cyanotype chemicals, crumpled it, and exposed it to sunlight, using photogram techniques to record the chance interplay of light and shadow on the wrinkled surface, creating images that evoke precipitous mountain forms. This creative trajectory, which continually weaves together Eastern and Western cultures and traditional and contemporary artistic practices, together with years of exhibiting and engaging in exchange across Europe, deepened Wu’s desire to travel to New York, a melting pot of culture and art.

2013 年，吳季璁獲得 ACC 藝術家獎助計畫，赴紐約進行為期六個月的駐村創作。申請的契機，來自他讀到紐約古根漢美術館 2009 年展覽「第三心靈：美國藝術家凝視亞洲, 1860–1989」的展覽畫冊——這個展覽追溯了亞洲藝術、文學與哲學如何在一百多年間深刻影響美國現代藝術運動，讓他意識到亞洲文化並非西方藝術的被動參照，而是其中不可或缺的智識養分，也因此對紐約的當代藝術現場充滿好奇。

自幼學習傳統書畫及西畫，大學期間轉向影像創作後，他便持續思考如何重新連結傳統繪畫和影像語言。2003 年開始的《鐵絲網》系列裝置作品，透過幻燈投影將揉皺的鐵絲網，轉換為動態的山水意象；2009 年開始的《小品》系列，則以錄像語言重新詮釋傳統水墨中折枝花卉的題材，巧妙地透過在水中拍攝，將繪畫中的留白轉換成影像中的光；2012 年的《皴法習作》，從傳統山水畫中描繪山石紋理的「皴法」獲取靈感，先將宣紙塗布氰版的感光藥劑，再揉皺放置在陽光下曝光，以直接攝影的手法記錄下揉皺的宣紙上隨機產生的光影，創造出宛如山巒絕壁的影像。這條持續融合東西文化和古今藝術的創作路徑，加上過去多年赴歐參展、交流的經驗，讓吳季璁更渴望親身前往紐約這個文化與藝術的熔爐。

*Wire I*
鐵絲網 I
Dimensions variable, 2003

*Wrinkled Texture 08*
皴法習作 08
139 cm x 70 cm, 2012

However, once in New York, his practice took a direction entirely different from his original proposal. Wu is deeply grateful to ACC for the freedom it afforded him, allowing him to set aside his initial framework and turn instead toward an in-depth investigation of Western material traditions—including the preparation of traditional oil painting grounds, the structural mounting of canvas and stretcher, and the ways in which drapery in Greco-Roman sculpture articulates a sense of form and weight. This period of material experimentation ultimately developed into the Drapery Study series, laying a key technical and conceptual foundation for his subsequent practice.

然而真正到了紐約之後，創作卻走向一條與原定計畫全然不同的路。他十分感謝 ACC 給予充分自由，讓他可以放下原有框架，轉而深入研究西方藝術的材料傳統——包括傳統油畫的打底方式、畫布與畫框的裱褙結構，以及希臘羅馬雕塑中常見的衣紋（Drapery）如何呈現體感與量感。這段材料實驗，最終發展為《布紋習作》系列，也為日後的創作奠定了關鍵的技術與概念基礎。

*Drapery Studies 001*
布紋習作 001
Dimensions Variable, 2014

Wu Chi-Tsung’s *Drapery Study* series, created during his New York residency
於紐約駐村期間創作的《布紋習作》系列

Wu Chi-Tsung once briefly served as an assistant to Ni Tsai-Chin through his friend Ni Yu-an (a fellow artist and Ni’s eldest son). Ni Tsai-chin was a prominent Taiwanese ink painter, art historian, and critic who had served as director of the National Taiwan Museum of Fine Arts. Deeply grounded in tradition while remaining widely engaged with contemporary art, Ni was known for his innovative contributions to ink painting. His 1991 essay “Western Art: Made in Taiwan” sparked widespread debate through its articulation of cultural subjectivity in Taiwan, while his representative work A Lost Country employed ink collage to depict the fractured terrain in the aftermath of the 1999 Jiji earthquake. Ni Tsai-chin’s work inspired Wu Chi-Tsung’s artistic practice, prompting him not only to reconsider Chinese cultural traditions, but also to develop a broader perspective on cultural subjectivity in Taiwan and even across Asia.

In early spring 2015, Ni Tsai-chin passed away after an illness. To pay tribute to this important mentor, Wu Chi-Tsung drew on Ni’s ink collage approach, combining the techniques of Wrinkled Texture with the material research of Drapery Studies to create the Cyano-Collage series in 2016. He adopted the preparatory techniques of classical realistic oil painting—mounting linen onto a wooden panel with rabbit skin glue and applying a gesso ground (methods developed while working on Drapery Study), before adhering Xuan paper onto the surface, securing it with acrylic medium, and finishing with varnish. From 2021 onward, Wu has continued his material experimentation, extending his supports to metal panels and harnessing their polished sheen to evoke the shifting light of the sky. The reflective properties of metal also lend a spatial dimension to what were once planar works, incorporating the light and shadow of the surrounding environment, along with the viewer’s perspective, into the work itself. The imagery of the Cyano-Collage series presents striking landscape motifs. Conceptually, it continues Wu’s integration of Eastern and Western traditions, past and present; materially, it brings together knowledge and techniques from both.

吳季璁早期因友人倪又安（藝術家，倪再沁長子），曾短暫擔任倪再沁先生的助手，他是台灣知名水墨畫家、藝術史學者暨藝評家，曾任國立台灣美術館館長，鑽研傳統亦廣泛涉獵當代藝術，在水墨上的創新更有所成就；1991 年發表的〈西方美術・台灣製造〉一文，對台灣主體性意識的論述在當時引發廣泛討論；代表作《失落的山河》以水墨拼貼形構出九二一大地震後山河碎裂的景象。吳季璁的創作上受到倪再沁先生的啟發，讓他不僅對於中國傳統文化改觀，對於台灣甚或亞洲的主體性意識，都有了更開闊的視野。

2015 年初春，倪再沁不幸病逝，為了紀念這位重要前輩，吳季璁借用其水墨拼貼的形式，結合《皴法習作》的製作手法與《布紋習作》的材料研究，於 2016 年創作出《氰山集》系列：以古典寫實油畫的打底方式——將麻布以兔皮膠粘附於木板、用 gesso 打底（正是在發展《布紋習作》時習得），上面再將宣紙，以壓克力膠貼覆固定，完成後上凡尼斯。2021 年起，吳季璁持續材質實驗，將基底材延伸至金屬板，利用其打磨後的光澤，創造出天空的光影；而金屬的反光特性，也為原來的平面作品帶來了立體的空間性，將周遭環境的光影及觀者的視角，納入成為作品的一部分。《氰山集》的影像呈現鮮明的山水意象，概念上延續其融合古今東西的藝術觀，而在製作上亦融匯東西方的材料學與技法。

*Cyano-Collage 001*
氰山集 001
180 cm X 407 cm, 2016

Accordingly, in Wrinkled Texture 182, the artwork donated to ACC this time, Wu deliberately preserves the exposed linen edges at the top and bottom, along with traces of sizing and ground, as a way of commemorating his material explorations in New York back in 2013. In terms of proportion, the head margin (sky) is broader than the foot margin (earth), echoing the classical scroll principle that the sky should be wider than the earth. The work thus resembles a fragment of a handscroll; what was once a planar surface between photography and painting is reconfigured into an object with a sculptural presence.

也因此，這次捐贈給 ACC 的《皴法習作之一百八十二》，刻意保留上下兩端裸露的麻布邊緣與上膠打底痕跡，正是為了紀念當年於紐約探索材料的過程。畫面比例上，上端（天）留白寬於下端（地），呼應傳統卷軸「天大於地」的古典原則，整件作品如一段被截取的卷軸，原本介於攝影與繪畫之間的平面，轉向帶有雕塑感的物件形式。

Detail view of part of *Wrinkled Texture 182*
《皴法習作之一百八十二》局部照

“I used to prefer a cleaner finish—working toward a resolved form that could speak for the idea directly. But my mindset has shifted lately. There’s something closer to Happening in how I work now—looser, more open to the unexpected. What occurs in the process, what the material does on its own—I let it stay. It becomes part of the work.”

For Wu Chi-Tsung, Wrinkled Texture 182 is a unique and difficult-to-categorize work that sits between his Wrinkled Texture and Cyano-Collage series. It brings together elements from both while reflecting the evolution of his thinking over more than a decade. Through this work, he also hopes to express his sincere gratitude to ACC for its support at a pivotal moment in his artistic journey.

「從前我往往會把作品收得更乾淨，希望以純粹的形式清楚闡述觀念。但近期創作狀態有些改變，可以更放鬆的去做作品，讓創作過程中的偶發，和材質本身的特性，都自然而然成為作品的一部分。」

對吳季璁來說，《皴法習作之一百八十二》是一件特殊且難以歸類的作品，介於《皴法習作》和《氰山集》之間，融合了兩系列的元素，也回顧了他十餘年來想法的轉變；更希望藉此作品，向曾經在他藝術之路的關鍵時刻，給予支持的 ACC，表達由衷的感謝。

The Asian Cultural Council (ACC), founded by the American philanthropist John D. Rockefeller III, is a global nonprofit organization headquartered in New York that supports and funds fellowship programs fostering cultural exchange between the United States and countries throughout Asia. Since its establishment in 1963, ACC has awarded more than USD 100 million in grants, supporting over 6,000 cultural exchanges across 16 artistic disciplines in 26 countries and regions.
亞洲文化協會（Asian Cultural Council, ACC）是一個在紐約創立並設立總部的全球性非營利組織，由美國知名慈善家約翰．洛克菲勒三世（John D. Rockefeller 3rd）創立，提供與募集獎助金，推動美國與亞洲各地的文化交流。自 1963 年成立以來，ACC 已挹注超過 1 億美金贊助 6 千多個文化交流，跨越 16 項藝術範疇，遍佈 26 個國家及地區。 ↩︎
The Blanchette Hooker Rockefeller Award, established in 2009, commemorates the first chair of ACC and the wife of John D. Rockefeller III. Sharing her husband’s deep commitment to Asian art and culture, she was also guided by a vision of creating a better world. The award honors philanthropists who, in partnership with ACC, have made significant contributions to fostering international dialogue, understanding, and mutual respect between Asia and the United States.
布蘭切特・胡克・洛克菲勒獎（Blanchette Hooker Rockefeller Award）成立於 2009 年，以紀念 ACC 第一任主席，約翰・洛克菲勒三世（John D. Rockefeller 3rd）的妻子。洛克菲勒太太與丈夫共同有著對亞洲藝術及文化的熱誠，及創造一個更美好世界的願景。獎項表揚慈善家，他們與 ACC 合作，為發展亞洲及美國的國際對話、了解及尊重，作出良多貢獻。 ↩︎

Wu Chi-Tsung’s New Cyano-Collage at Art Basel Hong Kong
吳季璁《氰山集》新作將於香港巴塞爾展出

*Cyano-Collage 266*
氰山集之二百六十六
240 x 90cm x 2 panels, 2026

Galerie du Monde｜Booth 1D33
VIP Preview｜Mar 25-26, 2026
Public Days｜Mar 27-29, 2026
Venue｜Convention & Exhibition Centre, Hong Kong

gdm 爍樂（世界畫廊）｜1D33展位
貴賓預展｜2026年3月25日至26日
公眾展期｜2026年3月27日至29日
會址｜香港國際會議展覽中心

Wu Chi-Tsung’s new work, Cyano-Collage 266, is currently on view at Galerie du Monde’s booth at Art Basel Hong Kong. As one of Wu’s most significant ongoing bodies of work since 2015, the Cyano-Collage series transforms the brushwork and texture strokes of traditional Chinese painting through the language of photogram. Using Xuan paper, photosensitive chemicals, sunlight exposure, and collage, the series constructs a visual space suspended between shanshui, landscape, and photographic montage, while seeking to carry forward the aesthetic spirit of traditional art through a contemporary artistic form.

In this new work, Wu Chi-Tsung brings the Cyano-Collage series to a new stage. Within the series, the traces of light and shadow produced by the wrinkled paper remain relatively abstract; it is the skyline that gives shape to the viewer’s perspectival imagination of a two-dimensional space. In Cyano-Collage 266, however, the deliberately preserved fold along the lower edge of the work expands that spatial dimension beyond the image itself and into physical reality. In doing so, the work also extends Wu’s recent inquiry—from the Wrinkled Texture series to Wrinkled Texture: Fading Origin—into the differences between analog and digital reproducibility, while attempting to preserve and make visible the unique, unrepeatable moments that emerge in the process of creation.

Wu Chi-Tsung notes, “In the past, I tended to resolve my works more cleanly, using purified form to articulate an idea with greater clarity. Recently, however, I have been thinking somewhat differently. I want the material itself, as well as the process of making, to carry meaning. In this work, I have tried to preserve many of the traces left by the making process, allowing the wrinkles of the paper and the naturally flowing watermarks to become part of the composition.”

For Wu, whether a work has truly reached completion often depends on whether the viewer’s gaze can move freely within it. In this sense, the work recalls Guo Xi’s Northern Song painting theory, articulated in Lofty Message of Forests and Streams (Linquan Gaozhi), in which landscape is conceived not as a fixed image but as a space that one can reach, appreciate, wander through, and dwell in. What emerges, then, is a space in which both vision and imagination may move freely. The space within the work is generated not only by the moment of exposure recorded in the image, but also by the shifting light across the undulating material surface in the present moment of viewing, as well as by the traces left behind through the movement of water. In encountering Cyano-Collage 266, the gaze is first drawn into the depth of the image through sky, mist, and mountainous form, then extends along the direction of the flowing marks—at times descending like mist cascading downward, at times circulating upward along the folds of the paper. These movements respond not only to vapor and mountain form, but also to the actual creases of the material surface, continually shifting between illusion and physicality.

While Wrinkled Texture: Fading Origin foregrounds the loss of information inherent in analog reproduction, Cyano-Collage 266 returns to the same core question by another route: when the image no longer functions merely as representation, but becomes entangled with time, chance, surface folds, and perceptual experience, the work is no longer simply photography, nor merely painting, but a site in which vision itself continues to unfold. For Wu Chi-Tsung, this new work marks an important milestone within the Cyano-Collage series. It not only extends the series’ underlying dialogue with Eastern aesthetics, but also opens up a new conversation between photography and painting. This quality of moving across distinct yet overlapping fields—image-making, painting, ink traditions, conceptual practice, and new media art—is not unique to Cyano-Collage alone, but is in fact one of the defining characteristics of Wu’s broader artistic development and way of thinking.

Detail view of the lower left corner of *Cyano-Collage 266*
《氰山集之二百六十六》左下角局部照

吳季璁的新作《氰山集之二百六十六》，正於巴塞爾藝術展香港展會（Art Basel Hong Kong）gdm爍樂畫廊中展出。作為自 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：以宣紙、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。

在此件新作中，吳季璁進一步將《氰山集》推向新的層次。該系列中，紙張皺摺形成的光影痕跡相對抽象，其實是由天際線界定了觀者對於二維空間的透視想像；而在《氰山集之二百六十六》下方刻意保留的紙張摺痕，讓空間從影像維度推展到實體。這樣的處理，也進一步推進了他近年從《皴法習作》到《皴法習作：消逝的原件》中關於類比與數位複製性差異的討論，試圖保留和呈現出創作過程中每個獨一無二的當下。

吳季璁表示，「我以前會將作品收得更乾淨，藉由純粹的形式清楚闡述觀念，但近期我有些不同的思考，希望讓材質和創作的過程都能有其意義。在這件作品中，我試著保留許多製作過程中的痕跡，讓紙張的皺摺與自然流淌的水痕成為構圖的一部分。」對他而言，一件作品是否完成，往往取決於觀者的視線能否在其中自由流動，如同北宋郭熙在《林泉高致》中提到的「可行、可望、可遊、可居」，形塑一個讓視線與精神得以投射、游移與停留的空間。於作品中的空間不僅來自影像所再現的曝光當下，也來自觀看當下材質表面的起伏的光影，以及水性流動所留下的痕跡。欣賞《氰山集之二百六十六》時，目光會先被天空、雲霧與山勢引入畫面深處，再順著流痕的方向延伸，有時像雲霧往下漫延，有時又順著皺摺向上循環，不僅和水氣、山形，也與物質表面的真實摺痕彼此呼應，在虛實之間不停切換。

若說《皴法習作：消逝的原件》更明確處理了類比複製中的訊息耗損，那麼《氰山集之二百六十六》則像是從另一條路徑回到同一個核心命題：當影像不再只是再現，而與時間、偶然性、表面皺褶與感知經驗交纏在一起時，作品便不再只是攝影，也不只是繪畫，而是一個讓觀看持續生成的場域。對吳季璁來說，這件新作是《氰山集》系列中一個重要的里程碑——它不只延續系列原有的東方美學脈絡，也打開了攝影與繪畫之間的新對話。這種橫跨影像、繪畫、水墨書畫、觀念、新媒體藝術等不同範疇的特質，不只存在於《氰山集》，也是吳季璁整體創作發展與思維的一個鮮明特質。

Solo Exhibition Opens in Taipei Introducing New Work and Technique 吳季璁台北個展明日開展，新作呈現數位影像的嶄新可能

Installation view of Dust 002 at Noor Riyadh 《灰塵 002》於利雅德光之藝術節展覽現場

Exhibition Recap: Dust 002 in Riyadh and Taipei
《灰塵 002》於利雅德與臺北展覽回顧

Wu Chi-Tsung’s installation Dust 002, previously presented at Art Basel Unlimited 2023, was exhibited in Riyadh and Taipei from late 2025 to early 2026, continuing his exploration of light, image, space, and perception across different urban and curatorial contexts. Dust 002 is itself a real-time image installation: a camera is directed toward the beam of a projector, while dust particles suspended in the air reflect the projector’s light much like the moon reflects sunlight. As viewers move through the space and disturb the air, the image changes instantly, generating an evolving relationship among the artist, the viewer, the moving image medium, and chance. Through the camera, the work constructs a viewing system that relocates human vision into the world of dust, yet what appears before us feels almost like another universe.

In 2025, internationally active new media curator Li Zhenhua invited Wu Chi-Tsung to present Dust 002 at Riyadh’s annual light festival, Noor Riyadh. The organizers described the work as a form of “living drawing” and “calligraphy” written by air and chance: dust drifts through the beam of light, its paths briefly appearing before quickly dissolving, like a transient language composed jointly by motion and accident. In designboom’s coverage, the work was likewise described as transforming light into a subtle atmospheric movement, allowing particulate illumination to drift across the surface like suspended dust.

In the Taipei Astronomical Museum’s 2026 New Year special exhibition, In the Interstice of Light, Dust 002 entered an entirely different yet deeply compelling context. This marked the museum’s first exhibition centered on art curatorship. Rather than focusing on the transmission of knowledge or any single scientific principle, the exhibition pointed to a simple yet profound proposition: light not only renders things visible, but also reveals what would otherwise remain unseen. Curator Makoto Lin and Head of Exhibitions Hsieh Hsiang-Yu brought together contemporary art, astronomy, and physical thought in an effort to open up the perceptual boundary between the visible and the invisible. Wu noted that, although this was the museum’s first attempt at presenting an art exhibition, the institution’s respect for both the artist and the work resulted in an installation that far exceeded the presentation in Riyadh.

And yet, this work—well known to many, seen by some at Art Basel Unlimited, but still unseen by most audiences in Taiwan—did not make its Taiwanese debut in an art museum. Instead, it was first presented in a space shaped by science and education: the Taipei Astronomical Museum, where it was newly encountered and reinterpreted.

Within the exhibition, Dust 002 was placed at the deepest point of the gallery and, for the first time, presented as a monumental vertical projection, making the act of viewing feel closer to gazing up at the night sky. The originally microscopic dust particles, captured within a real-time feedback system composed of an astronomical telescope, a camera, and a projector, were elevated to a visual scale reminiscent of stars and the cosmos. As viewers entered the gallery, their bodily movement stirred the air, causing the dust image to shift; when they stood still, the image gradually settled. In this way, the work made one aware of how one’s own presence is constantly affecting the surrounding world, while also offering an experience that was at once scientific, poetic, and quietly romantic.

The presentation at the Taipei Astronomical Museum also opened up another unexpectedly rich layer of interpretation. Hsieh Hsiang-Yu observed that when a finger was brought close to the lens, the light spots would reveal the shadow of the finger. Most of these shadows appeared upright, while a smaller number appeared inverted. This phenomenon depends on whether the dust particles are positioned in front of or behind the focal plane, resulting in either an upright or inverted image. Such close observation then led to discussions of the scientific principles involved, which Wu found especially fascinating, and further encouraged his hope for future collaborations that bring together scientific phenomena and educational outreach.

Installation view of *Dust 002* at Taipei Astronomical Museum
《灰塵 002》於臺北市立天文科學教育館展覽現場

吳季璁曾於 2023 Art Basel Unlimited 展出的裝置作品《灰塵 002》，2025 年底至 2026 年初，先後於利雅德與臺北展出，從不同城市與展覽脈絡中，持續開展他對光、影像、空間與感知的探索。《灰塵 002》本身為一件即時影像裝置：攝影機對準投影機的光源方向拍攝，空間中的灰塵會反射投影機的光線，如同月亮反射太陽光。隨著觀者的移動擾動空氣，畫面也瞬間改變，形成藝術家、觀者、影像媒體與偶然性之間持續生成的關係，如同透過用攝影機建立一套觀看系統，把人的視角放到灰塵的世界，卻彷彿看到另一個宇宙。

2025年，活躍於國際新媒體藝術領域的策展人李振華，邀請吳季璁參與利雅德一年一度的「光之藝術節」（Noor Riyadh）展出《灰塵 002》。官方將這件作品描述為一種由空氣與機運寫成的「活的素描」與「書法」：塵埃在光束中漂浮，路徑短暫顯現又迅速消散，像是運動與偶然共同書寫出的瞬時語言；designboom 的報導中，也形容它把光轉化為一種細微的大氣運動，讓顆粒般的光在表面漂移，如同浮游的微塵。

而這件很多人聽過、在 Art Basel Unlimited 看過，但台灣觀眾卻一直無緣親見的作品，在台灣的首展並非在美術館展出，而是在一個屬於科學與教育的場域——臺北市立天文科學教育館中，被重新認識與理解。

在臺北天文館 2026 跨年藝術特展《光的間質》中，《灰塵 002》被放進另一個非常不同但迷人的脈絡裡。這是天文館首度以藝術策展為核心所推出的特展，不以知識傳遞或單一科學原理為目標，而是揭示一個簡單的道理：光既使物可見，也使不可見之處得以顯影¹。策展人許戊德（Makoto Lin）與天文館展覽組組長謝翔宇，將當代藝術創作、天文與物理思維並置，嘗試透過作品去打開「可見」與「不可見」之間的感知邊界。吳季璁表示此次展覽雖是天文館首度嘗試藝術展，但由於館方對藝術家和作品的尊重，作品效果遠超越在利雅德的展出。

展覽中，《灰塵 002》被安排在特展室最深處，並首度以巨幅垂直投影呈現，使觀看姿態更接近仰望星空；原本微觀的塵埃，在天文望遠鏡、攝影機與投影機構成的即時回饋系統中，被拉升為近似星空與宇宙的視覺尺度。當觀者走入展間，身體移動帶動氣流，灰塵影像便隨之改變；當觀者站定，畫面又慢慢安定下來讓人意識到自身的存在如何無時無刻影響著周遭的世界，也為觀者帶來一種既科學又詩意浪漫的獨特體驗。

這次在天文館展出，也意外打開了《灰塵 002》另一層有趣的閱讀方式。謝翔宇觀察到：當手指靠近鏡片時，光斑裡會出現手指的影子，大部分影子是正的（和手指同向），少部分則呈現反向。而這樣的現象取決於灰塵顆粒位於焦點的前方或後方，而形成了正像或反像。如此細膩的觀察，進而延伸出科學原理的討論，讓吳季璁感到十分有趣，也希望未來能有更多結合科學現象與教育推廣的展覽合作。

謝翔宇，〈在可見與不可見之間：臺北天文館 2026 跨年藝術特展《光的間質》〉 ↩︎

Drawing Study Series Featured in Group Exhibition “Shadow and Void: Buddha¹⁰”
《寫生習作》系列於群展《Shadow and Void: Buddha¹⁰》

Drawing Study — MAO Bodhisattva Guanyin, Ming-Qing Dynasty
寫生習作—觀音菩薩自在坐
Single-Channel Video (no sound), 26-second loop. Commissioned by MAO, 2022

Shadow and Void: Buddha¹⁰
Opening reception January 17, 2025 18:00 – 20:00
Dates 18 January to 20 April 2025
Venue Esea contemporary, 13 Thomas St, Manchester

Wu Chi-Tsung’s Drawing Study Series will be presented at the group exhibition “Shadow and Void: Buddha¹⁰” at ESEA Contemporary in Manchester. The exhibition, a collaboration between the gallery and MAO (Museum of Asian Art, Turin), is curated by Xiaowen Zhu and Davide Quadrio. It intertwines scientific studies, contemporary art, and spirituality by showcasing recently restored Buddhist sculptures from the seventh to the eighteenth centuries CE, on loan from MAO, alongside contemporary works by Shigeru Ishihara, Lee Mingwei, LuYang, Sun Xun, Sinta Tantra, Wu Chi-Tsung, and Zheng Bo. The exhibition includes three new commissions created specifically for “Buddha¹⁰.”

The conceptual genesis of ‘Buddha¹⁰’ traces back to 2022, emerging from MAO’s critical initiative to excavate, analyze, and recontextualize its Buddhist artifacts. This scholarly endeavor poses essential questions about provenance, institutional presence, and the complex trajectories that brought these sacred objects to an Italian museum—interrogating not just their physical journey but their cultural translation and transformation.

Within this context, Wu Chi-Tsung presents Drawing Study — MAO Bodhisattva Guanyin, Ming-Qing Dynasty, a work that extends his innovative series initiated in 2021 during his collaboration with TAO ART SPACE in Taipei. Through an ethereal methodology, Wu employs light as his medium, wielding a flashlight as a luminous brush to trace the spectral presence of ancient Buddhist statuary. This specific piece to be exhibited —commissioned and acquired by MAO—capture the essence of a Buddha statue from the museum’s permanent collection. As light trails materialize in space, they gradually reveal the statue’s form, creating a meditative choreography that embodies yūgenism—that ineffable quality of profound grace and subtle beauty. This temporal-spatial intervention orchestrates a contemplative dialogue between contemporary artistic practice and centuries-old devotional objects, weaving a philosophical thread through time that questions our relationship with sacred artifacts and their evolving contexts.

Shadow and Void: Buddha¹⁰
開幕酒會 2015年1月17日 18:00 – 20:00
展期 2015年1月18日至4月20日
地址 Esea contemporary, 13 Thomas St, Manchester

吳季璁的《寫生習作》系列將於曼徹斯特ESEA當代藝術中心群展「Shadow and Void：Buddha¹⁰」中展出。本次展覽由該藝術中心與都靈亞洲藝術博物館（MAO）合作，由朱曉聞與Davide Quadrio共同策劃。展覽交織了科學研究、當代藝術與靈性探索，呈現MAO博物館近期修復的七至十八世紀佛教雕塑，並與Shigeru Ishihara、李明維、陸楊、孫遜、 Sinta Tantra、吳季璁與鄭波等當代藝術家的作品並置展出，其中包含三件為「佛陀¹⁰」特別委託創作的新作。

「Buddha¹⁰」計畫始於2022年，源自MAO博物館對其佛教文物進行發掘、分析與重新語境化的嘗試。這項學術探索提出了關於文物來源、機構典藏及這些神聖物件如何輾轉來到義大利博物館的根本性問題——不僅探究其實體遷移的軌跡，更深入探討其文化轉譯與轉化的過程。吳季璁在此呈現《寫生習作—MAO觀音菩薩自在坐》，這件作品延伸了他2021年與台北TAO藝術空間合作個展時的系列創作，由MAO委託創作並收藏，捕捉了館藏佛像的本質精神。藝術家以光為媒材，運用手電筒作為發光的畫筆，描繪古老佛像的光譜痕跡。隨著光痕在空間中具現，逐漸顯露雕像的形態，創造出具有深邃優雅而微妙之美的幽玄之境。這件時空介入作品編織出當代藝術實踐與千年供奉物件之間的沉思對話，在時間之流中牽引出哲思的線索，探問我們與神聖文物及其演變脈絡之間的關係。

Solo Exhibition Fading Origins in Los Angeles
個展《消逝的原件》於洛杉磯開幕

1 Comment

*Cyano-Collage 226* 氰山集之二百二十六
150 x 90 cm, 2024

Wu Chi-Tsung: Fading Origin
Dates January 18 – March 8, 2025
Venue Sean Kelly Los Angeles, 1357 Highland Ave, Los Angeles, CA 90028

Wu Chi-Tsung’s solo exhibition “Fading Origin” is on view at Sean Kelly, Los Angeles. The exhibition reflects the artist’s profound contemplation of humanity’s transition from the analog to the digital world, exploring how this shift has fundamentally transformed human civilization and our way of life. In light of the current circumstances, the opening reception is postponed.

The exhibition features an experimental new series, Wrinkled Texture Fading Origin, which investigates the loss of information through the process of reproduction. In this new series, the diptych and quadriptych works begin with a single, full sheet of exposed cyanotype paper, which then becomes the basis for recursive cyanotypes within the same work, with each image serving as the negative for the adjacent sheet. The result is a mesmerizing shift between blue and white tones, where the original image gradually dissipates into a field of color. This process captures the ephemeral and transient qualities of the natural world while emphasizing the slight, irreproducible differences unique to analog processes. Through double-exposure techniques and exploration of faded origins, the series reflects Chi-Tsung’s commitment to advancing the medium while preserving the poetic, tactile qualities of analog photography.

The artist explores the inherent properties of cyanotype photography—the technical foundation of his signature works Cyano-Collage and Wrinkled Texture Series. While cyanotype was once widely used for industrial blueprint reproduction, each successive reproduction gradually loses detail, resembling fading memories, or as the artist describes, “aerial perspective drawn on a timeline.” This imperfect nature of analog reproduction stands in stark contrast to the possibility of perfect replication in the digital world. This exploration broadens the expression of uncontrollability inherited from the spirit of Chinese landscape painting in his cyanotype works, further questioning the profound differences in life experiences and thought patterns between analog and digital generations.

The exhibition also introduces a new site-specific interactive installation, Calligraphy Study, where viewers can write with water-dipped brushes on specially prepared canvases. As the water evaporates, the writing disappears. The work presents the artist’s reflection on “writing in an ephemeral era,” transforming calligraphy into an artistic experience that combines visual and physical sensations. This piece evolved from the artist’s earlier Calligraphy Study series, which debuted at the Hengshan Calligraphy Biennial. Under the biennial’s theme “Era of Principle and No Principle Interwoven,” Wu attempted to transcribe Wang Xizhi’s “Letter of Loss and Confusion” on a modified treadmill. The motion of the treadmill symbolizes the rapid changes in contemporary society, rendering traditional calligraphic practice nearly impossible and highlighting the challenge of meaningful dialogue between brush and paper in our accelerated era.

*Wrinkled Texture Fading Origin 009*, 皴法習作：消逝的原件
228 x 111.1 cm x 2 pcs, 2024

吳季璁個展：消逝的原件
日期 2025年1月18日至3月8日
地址尚凱利畫廊，1357 Highland Ave, Los Angeles , CA 90028

吳季璁正於尚凱利畫廊洛杉磯空間舉辦個展「消逝的原件」，展覽將呈現藝術家對類比世界至數位時代轉變的深刻思考，並探討這種轉變如何徹底改變了人類文明與生活方式。鑑於近期洛杉磯地區災情，開幕酒會將延期舉行。

展覽將呈現實驗性新系列《皴法習作：消逝的原件》，探討複製過程中的訊息耗損。在這個新系列中，單張完整的氰版感光紙被並置為兩個或四個一組的序列，每張影像都作為相鄰張的負片。這個過程在藍白色調之間產生迷人的轉變，原始影像逐漸從中消散。這個過程不僅捕捉了自然現象與生命稍縱即逝的內核，同時也強調了類比工序中那些細微且無法複製的獨特差異。通過雙重曝光技術與對原始影像消逝的探索，這個系列體現了吳季璁在推進媒材發展的同時，也致力於保存類比攝影中詩意與觸感品質的決心。

這件作品亦呈現了藝術家探索氰版攝影的本質的深入——這是他具代表性作品《氰山集》與《皴法習作》的技術基礎。氰版攝影曾廣泛應用於工業藍圖複製，然而在重複複製過程中，每一代作品逐漸失去細節，彷彿被遺忘的記憶，或如藝術家所述，如同「畫在時間軸上的空氣遠近法」。這種類比複製的不完美特質，與數位世界中完美複製的可能性形成鮮明對比。這項探索拓寬了其氰版攝影創作中繼承於山水畫精神的不可控性表達，進一步追問類比與數位世代在生命經驗與思維模式上的深刻差異。

展覽同時推出全新互動裝置《書法習作》，觀眾可使用沾水毛筆在特製畫布上書寫，隨著水分蒸發，筆跡隨之消失。作品呈現了藝術家對「稍縱即逝的時代中的書寫」的思考，將書法轉化為一種結合視覺與身體感的藝術體驗。這件作品發展自藝術家早期的《書法習作》系列，該系列首次於橫山書藝雙年展中展出。在雙年展《法與無法交織的年代－書法作為一種視覺形式》的主題下，吳季璁在改裝的跑步機上進行書法創作，試圖臨摹王羲之的《喪亂帖》。跑步機的運動速度象徵當代社會快速變遷，使傳統書法實踐幾近不可能，凸顯在加速時代中毛筆與紙張難以展開有意義對話的困境。

Solo Exhibition Wu Chi-Tsung: Trail to the Moon in Taipei
吳季璁台北個展「氰山映月」

Lying Moon 臥月
Site-specific Installation, 2024

Wu Chi-Tsung: Trail to the Moon
Opening reception: 19 December, 7:30 pm
Dates: Dec 19, 2024 – Mar 29, 2025
Venue: Galerie du Monde, 390 Ruiguang Road, Neihu, Taipei
⁡
We are delighted to announce “Wu Chi-Tsung: Trail to the Moon,” the inaugural exhibition at gdm’s (Galerie du Monde’s) new Taipei space. This marks Wu’s fourth solo presentation with the gallery and features the site-specific installation Lying Moon, new Cyano-Collages, and his latest experimental series “Wrinkled Texture – Fading Origin.”

Centerpiece of this inaugural exhibition, Wu Chi-Tsung’s Lying Moon (2024) unfolds as a monumental 6-meter immersive photographic installation, conceived specifically for this inaugural exhibition. The work’s title operates on multiple semantic registers: in its most immediate sense, it depicts a moon prostrating across the ground, inviting viewers to physically recline upon its surface. Yet “lying” here also gestures toward the work’s conceptual artifice—this is a moon that deceives, a constructed celestial body assembled from the collective imaginary. The lunar topography, traditionally read as familiar craters and seas, is here meticulously crafted from sand, photographed, manipulated, and collaged into a new cosmological fiction. This dual reading of “lying”—as both physical positioning and poetic deception—transforms into a metaphor for how perception unfolds along lines of becoming: emergent, indeterminate, contingent, historical, and deeply narrative in its unfolding. The Lying Moon reveals both technical and spiritual continuity with Wu’s signature works also presented in this exhibition, the Cyano-Collage Series and Wrinkled Texture Series, collectively demonstrating his two-decade exploration of how images fundamentally alter our modes of seeing, imagining, and experiencing the world.

Cyano-Collage 235, 236, 237
氰山集之二百三十五，二百三十六，二百三十七
300 x 300 cm x 3 panels, 2024

吳季璁個展：氰山映月
開幕酒會 2024年12月19日, 7:30 pm
展覽日期 2024年12月19日至2025年3月29日
地址爍樂（世界畫廊）, 台北市內湖區瑞光路390號
 ⁡
我們很榮幸地宣布，吳季璁個展「氰山映月」於爍樂（世界畫廊）全新台北空間盛大開幕。這是吳季璁與畫廊的第四次個展合作，展出作品包括場域特定裝置作品《臥月》（Lying Moon）、最新的氰山集系列，以及其最新實驗作品《皴法習作-消逝的原件》。⁡

吳季璁為此開幕展創作了沉浸式攝影裝置《臥月》（2024），作品寬達六米，是專為畫廊空間量身打造。作品標題蘊含多重語意層次：就其最直觀的層面而言，它呈現了一輪橫臥地面的月亮，邀請觀眾實際躺臥其上。然而，「lying」一詞在此同時指向作品的概念性詭計——這是一輪具有欺騙性質的月亮，是從集體想像中建構而成的天體。月球表面那些我們所熟悉的環形坑與月海，皆由藝術家精心以沙粒構造、攝影、處理並拼貼而成的全新宇宙寓言。這種對「lying」的雙重解讀——既是實體的空間位置，也是詩意的欺瞞——化身為一個關於感知如何沿著生成軌跡展開的隱喻：它是湧現的、不確定的、偶然的、歷史性的，並在其展演過程中深具敘事性。《臥月》在技法與精神內核上，呈現出與同展的代表性作品《氰山集》及《皴法習作》系列的一致性與傳承，共同展現了吳季璁二十年來對圖像如何根本性地改變我們觀看、想像和體驗世界方式的探索。

Installation Views 展覽現場

Cross-Sector Collaboration: Artistic Design for Dun Ren Hospital’s Album “Earthing”
跨界合作：敦仁醫院《安土》專輯藝術設計

In the summer of 2012, lyricist Yung-Feng Chung visited Dun Ren Psychiatric Hospital in Yuanlin and was surprised to find no iron bars, unpleasant odors, or unsettling noises. The patients lived leisurely lives and were treated with respect. During the COVID-19 pandemic in 2020, he and composer Shiuan Chang revisited the hospital to learn how Dun Ren Hospital centers around patients, refining an internal support system through daily morning reflections and reviews. Inspired by this, Shiuan Chang composed a series of music, including folk songs and children’s songs, designed to connect with the patients’ memories, provide them comfort, and also document the composer’s ongoing internal dialogue and psychophysical reconstruction. The album’s name “Earthing” is derived from Dunren Hospital’s principle of “settling the earth and being humane”, and was released recently. The album is released on its official website, and steaming services such as Spotify and Apple Music

Invited by Shiuan Chang, Wu Chi-Tsung took on the role of art director for the album. He was captivated by the myriad perspectives unfolding at every turn, as well as by the depiction of contemporary ethos and the psychological landscape of modern life woven into the music. Through the familiar acts of “tearing” and “kneading” in his artistic process, Chi-Tsung embodies the narrative perspective of “Earthing.” He metaphorically navigates life’s twists and turns and confronts its myriad challenges within the folded pages, utilizing a “visualized” textual arrangement to delve into life’s mysteries.

在2012年夏天，詞作家鍾永豐訪問位於員林的敦仁精神專科醫院時，驚訝地發現那裡沒有鐵窗、異味或令人緊張的聲音，病友們生活閒適而受到尊重。至2020年疫情期間，他與作曲家張玹再度拜訪，學習醫院如何以病友為中心改進支持系統。張玹受此啟發，創作了一系列曲目，包括民謠和兒歌，這些音樂旨在與病友的記憶產生聯繫，為他們帶來慰藉，亦紀錄作曲家自我的持續內在對話與身心重建。專輯名稱取自敦仁醫院「安土敦乎仁」的宗旨，並於近期上線專輯官網與Spotify，Apple Music等平台。

吳季璁受張玹之邀，擔綱專輯的藝術設計，他驚艷於樂音中所揭示當代精神樣貌與現代生活的心理狀態敘述。吳季璁透過在他創作《氰山集》等作品時已諳熟於心的「撕」與「揉」動作，作為敘述《安土》的視角，他在摺頁中模擬面對生活的波折與重重考驗，以「視覺化」文字排序敘述探索生命中的未知。

New Cyano-Collage Series at TEFAF New York
《氰山集》系列新作於TEFAF紐約

*Cyano-Collage 196*
氰山集之一百九十六
120 x 150 cm, 2024

Sean Kelly | Stand 330
Dates: May 9 -14 2024
Venue: Park Avenue Armory, New York

Simultaneously with Taipei Dangdai, two Cyano-Collage works will debut to western audiences at Sean Kelly’s booth at the prestigious TEFAF fair in New York. Cultivated in the art traditions of both the East and the West since his childhood, Wu Chi-Tsung has always aspired to combine Western contemporary media with the spirit of Eastern aesthetics to reach a broader audience and inspire diverse interpretations of his work.

“Through my work, xuan paper is able to be noticed by more people. For example, when I was exhibiting in Europe when the audience learned about the production process of the “Cyano-Collage Series”, they were all amazed by the outstanding resilience of the xuan paper after being crumpled, flattened, soaked, and dried. If in this way, more artists from other countries will also start to become interested in this material and begin to use it in their creations, can this traditional eastern media breathe a new life in the contemporary art world? “, Chi-Tsung shared during an interview with Vogue Taiwan.

Established in 1988, The European Fine Art Foundation (TEFAF) is widely regarded as the world’s preeminent organization for fine art, antiques, and design. TEFAF organizes two international fairs—TEFAF Maastricht, which presents over 7,000 years of art history, and TEFAF New York, focused on modern and contemporary art and design.

展會現場 Installation view
Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York/Los Angeles

尚凱利畫廊 | Stand 330
日期: 2024年5月9 -14日
地址: Park Avenue Armory, New York

與台北當代近乎同一時期，另外兩件《氰山集》系列作品將於世界另一端的紐約TEFAF博覽會尚凱利畫廊展位首秀。吳季璁自幼深受東西方藝術傳統的熏陶，在創作中一直希望將西方當代媒介與東方美學精神結合，以觸及更廣泛的觀眾，激發對其作品的多樣解讀。

「（我希望）透過我的作品，宣紙能夠被更多人注意到。例如，當我在歐洲展出時，觀眾對宣紙經過揉皺、壓平、浸泡及風乾後仍顯出的卓越韌性感到驚訝。如果這樣，更多來自其他國家的藝術家也開始對這種材料感興趣並開始在他們的創作中使用它，這種傳統的東方媒介能否在當代藝術世界中注入新生呢？」吳季璁在接受《Vogue Taiwan》訪問時分享道。

TEFAF（歐洲美術基金會）成立於1988年，被廣泛認為是世界上最卓越的美術、古董及設計組織。TEFAF每年舉辦兩場具有影響力的國際博覽會，分別是位於荷蘭馬斯垂克、聚焦於7000年跨度的古典美術的TEFAF馬斯垂克，與位於美國紐約、專注於現代與當代藝術及設計的TEFAF紐約。

New Cyano-Collage at Taipei Dangdai
《氰山集》系列新作於台北當代

*Cyano-Collage 205*
氰山集之二百零五
240 x 420 cm, 2024

gdm (Galerie du Monde) | Booth E07
Dates: May 9 – 12, 2024
Venue: Taipei Nangang Exhibition Center

This week, new works of the Cyano-Collage Series will be showcased at the Taipei Dangdai Art Fair, represented by gdm (Galerie du Monde). Recalling the traditional cyanotype photographic technique, the artist treats xuan paper with a photosensitive coating, then crumples the sheets by hand, creating wrinkles and folds before exposing them to sunlight. From the resulting dozens of textured papers with varied tonalities, he assembles and layers the fragments to construct landscapes that resemble rocky terrains with peaks shrouded in mist, snow, and rushing water, evoking the aesthetic of Eastern ink paintings . For the artist, it’s all about experimentation.

“Most artists have a strong ego. We try to control our work. But the more you try to control it, the more likely you are to lose the possibility. Sometimes, we should just let it go. Let the work grow in the way it should,” Chi-Tsung has said.

Cyano-Collage *197*
氰山集之一百九十七
120x 150 cm, 2024

爍樂（世界畫廊）｜ E07展位
日期: 2024年5月9日 – 12日
地址: 台北南港展覽館

本週，《氰山集》系列新作將於台北當代藝術博覽會爍樂（世界畫廊）展位呈現。作品創造性地應用傳統的氰版攝影技術，藝術家將感光藥劑塗布於宣紙，再將紙張揉成皺褶，令其曝曬於陽光下，從而產生數十張質地和色調各異的紙張，最後，再將這些紙張拼接層疊，構建出類似奇峰或滄海的景觀，同時呼應了東方的書畫傳統。對藝術家而言，一切都是關於實驗。

「大多數藝術家都有強烈的自我，試圖控制作品。但你越試圖控制，就越令作品失去可能性。有時候我們應該學會放手，讓作品以應有的方式成長，」吳季璁說。

Formosa News Special on the Artistic Journey of Wu Chi-tsung
民視新聞專題報導吳季璁的藝術之旅

https://youtu.be/xlnIlyCUWEs

Formosa News recently featured a special report on Wu Chi-tsung and his artworks, focusing particularly on the creative process of his cyanotype photography. Reporter Stephany Yang visited the artist’s studio and had an in-depth discussion with Wu Chi-tsung about his unique techniques involving Xuan paper and the natural interplay of sunlight and shadows. Viewers had the opportunity to see how Wu ingeniously blazes new trails by utilizing natural environmental elements for contemporary creations that convey the essence of ink painting. The program also delved into Wu Chi-tsung’s artistic evolution and his modern interpretation of traditional Chinese ink painting. The following report extract is reposted from FTV News.

Today we take you to meet Taiwanese award-winning multidisciplinary artist Wu Chi-tsung. Wu is famous for creating beautiful landscape artworks by wrinkling Xuan paper and putting it under sunlight. FTV reporter Stephany Yang takes us to see the artistic process.

Stephany Yang: Beautiful landscape artworks are hung on the wall. At first glance, it might look like a regular painting, but it’s actually a cyanotype work created by Wu. He first applies a photosensitive coating to Xuan paper, which is also called rice paper. He then wrinkles the paper, and puts it under the sunlight at the top of his studio’s rooftop.

Wu Chi-tsung: For about half an hour, I will keep changing the shape and read the beautiful and random texture of light and shadow. Then, gradually develop the shape of the work. All the work, I did usually under the sunlight. Sunlight could change any time. Wind will move the paper. The most important thing. You cannot control how you crumble the paper and what form you would get. I love all the randomness in the work so I can always find new things and learn from it.

Stephany Yang: Afterward, he washes the paper. Mountains, oceans, glaciers, and other landscapes slowly emerge.

Wu Chi-tsung: After exposure under the sunlight, I need to wash the paper for half to one hour to remove the extra chemical because cyanotype chemical contains some acid. If it remains in the paper, it will make the paper become yellow and fragile. It is kind of interesting because I was working under the direct sunlight so I could see stronger contrast like this part. You could see a very strong color tone and contrast inside. For me, I almost could see each paper and feel the weather of the day when I was doing the exposure. I think every day is different.

Stephany Yang: For some of the works, he uses aluminum mounts to create a gray texture. Wu says the process of creating an art piece requires a great deal of patience. The color, detail, and texture of the work greatly depend on the type of Xuan paper and weather conditions.

Wu Chi-tsung: You can see on top is no acrylic color, anything. Just simply a reflection of the aluminum panel with the texture. When you walk around the work and see the work from different directions, the reflection will change. Also, the light of the environment changes through the daytime. The papers I used on this work was created on a cloudy day but with stronger UV light because you can see the strong intensity of blue tones, but at the same time have a very smooth shadow tones. Also, this paper was machine-made paper, not handmade paper. It shows a very strong blue.

Stephany Yang: Wu was trained from an early age in Chinese calligraphy, watercolor, Chinese ink painting, and drawing. He received his Bachelor of Fine Arts from the Taipei National University of the Arts. He began experimenting with cyanotype art in 2012. He hopes to reinvent ink painting.

Wu Chi-tsung : My cyanotype work combines two things together. One is to have a dialogue with ink painting, Shan shui, this tradition that I started to do since I was a kid. I really love the kind of aesthetic behind it. But nowadays, we don’t use brushes anymore. We barely use pen for handwriting. It might be difficult for the audience to relate to this art tradition. So, I got the idea to replace the ink and brush part with experimental photography. That is why I came up with the idea to try the cyanotype. It is very simple and very direct. The most beautiful thing is that it works under the sunlight. It is not in a dark room. It is the environment engaging with nature which I like a lot.

Stephany Yang: Wu says he wants to continue to create bigger works and pay tribute to nature.

民視新聞最近特別報導了吳季璁及其藝術作品，並重點介紹了他的氰版攝影藝術的創作過程。由記者Stephany Yang來到藝術家工作室，與吳季璁詳細探討了他使用宣紙以及日光與陰影自然交互作用的獨特技巧。觀眾將得以一窺吳季璁如何巧妙地另闢蹊徑，利用自然環境元素來進行傳達水墨精神的當代創作。該節目還深入探討了吳季璁的藝術演變以及他對中國水墨畫傳統的現代詮釋。以下是從FTV新聞轉載、由吳季璁工作室翻譯的報導摘錄。

今天我們帶您認識台灣屢獲殊榮的跨學科藝術家吳季璁，他以將宣紙折皺並置於陽光下所創作的美麗的山水藝術作品而聞名。民視記者Stephany Yang將帶領我們一同見證他的藝術創作的過程。

Stephany Yang：美麗的山水藝術作品懸掛在牆上。乍看之下，它可能像一幅普通的繪畫，但實際上這是吳季璁用氰版攝影法的原理創作的作品。他首先在宣紙上塗上光敏薄層，然後他將紙褶皺，並將其置於位於他工作室屋頂上方的陽光下曝曬。

吳季璁: 在大約半小時左右的曝曬時間內，我會不斷改變（紙張的褶皺的）形狀，閱讀光影的美麗而隨機的紋理，然後逐漸發展出作品的型態。所有的作品通常都是在陽光下製作的。陽光會隨時改變，風會移動紙張，最重要的是，你無法控制如何褶皺紙張以及你將得到什麼形狀，我喜歡作品中的這所有的隨機性，這樣我就可以不斷發現新事物並從中學習。

Stephany Yang: 之後，他洗淨紙張，山川、海洋、冰川和其他山水景觀逐漸浮現。

吳季璁: 在陽光下曝光後，我需要花半小时至一小時洗净纸张，以去除多餘的化學物質，因為氰版摄影所使用的化學物質中含有一些酸性成分。如果它残留在紙上，紙張會變黃且脆弱。有趣的是，因為（這張紙版）我是在直射陽光下工作，所以（在這張紙張上）我可以看到更強烈的對比，就像這部分一樣，你可以看到非常強烈的色調和對比。對我來說，我幾乎通過每一張紙感受到曝光那天的天氣，每一天都是不同的。

Stephany Yang: 對於一些作品，他使用鋁製底板創造灰色的紋理。吳說創作一件藝術品需要很大的耐心。作品的顏色、細節和紋理在很大程度上取決於宣紙的類型和天氣條件。

吳季璁: 你可以看到（這件作品）頂部沒有壓克力顏料，任何東西，其紋理來自於鋁製底板的反射。當你在作品周圍行走，從不同的角度觀察作品時，反射會發生變化。同時，展示空間的光線也會在一天中發生變化（並進一步豐富作品呈現的效果的可能性）。製作這件作品上使用的宣紙的那天是陰天，但有較強的紫外線光線，因此你可以看到藍色調的部分具有激烈的強度，同時又呈現出非常平滑的陰影調。此外，這種紙是機器製造的紙張，而不是手工紙。它呈現出非常濃郁的藍色。

Stephany Yang: 吳季璁從小就接受中國書法、水彩畫、中國水墨畫和素描的培訓。他畢業於台北藝術大學美術學士學位。他於2012年開始嘗試氰版攝影藝術，並希望重新詮釋水墨畫。

吳季璁: 我的氰版攝影作品將兩件事情結合在一起，（水墨傳統與實驗攝影）。水墨畫與山水傳統是我從小就在接觸與對話的。我非常喜歡水墨中的美學與精神，但現在人們已幾乎不再用筆寫字，遑論使用毛筆的經驗。對觀眾來說，可能很難與這種藝術傳統產生共鳴。所以，我想到了用實驗攝影來替代墨和筆部分的想法，這就是為什麼我想嘗試氰版攝影的原因。它非常簡單而直接。最美妙的是它是在陽光下運作的，而不在昏暗的暗房中。它與大自然的環境產生直接的互動，這一點我非常喜歡。

Stephany Yang: 吳表示他希望繼續創作更大尺幅的作品，並進一步向大自然致敬。

Cyano-Collage Series Showcased in the Upcoming Group Exhibition at Asian Art Museum in San Francisco
《氰山集》系列於舊金山亞洲藝術博物館群展

Into View: New Voices, New Stories
Dates Jan 19, 2024 – Oct 17, 2024
Venue 200 Larkin Street, San Francisco, CA 94102

In the upcoming exhibition Into View: New Voices, New Stories at Asian Art Museum in San Francisco, U.S.A., Cyano-Collage 024 will be presented. The exhibition features recently acquired paintings, sculptures, ceramics, prints, and mixed-media work by local and international contemporary artists who challenge and subvert convention by transforming familiar stories, stereotypes, and techniques. Other participating artists includes Artists: Koon Wai Bong, Theresa Hak Kyung Cha, Michael Jang & Barry McGee, Cathy Lu, Jiha Moon, Younhee Paik, Nicole Pun, Stephanie Syjuco, TT Takemoto, Wesley Tongson, Rupy C. Tut, and Jenifer K Wofford.

Cyano-Collage 024 was the featured artwork in Wu Chi-Tsung’s solo exhibition presented by Galerie du Monde at Art Basel Hong Kong 2018, where it made its debut. In 2019, it was selected for exhibition when Wu Chi-Tsung was awarded the winner of the inaugural Liu Kuo-Sung Ink Art Award.

In 2021, upon acquiring the work, the Asian Art Museum organized an online event that allowed art lovers to learn more about the production process of the work and the artist behind it.

展望：新聲音，新故事
日期 2024年1月19日至10月17日
地址 200 Larkin Street, San Francisco, CA 94102

《氰山集之二十四》將在美國舊金山亞洲藝術博物館新展《展望：新聲音，新故事》中展出。該展覽呈現了最新納入博物館典藏的當代繪畫、雕塑、陶瓷、版畫和複合媒材作品，這些美國本土或國際藝術家通過改變熟悉的故事、刻板印象和技巧來挑戰和顛覆傳統。除吳季璁外，參展藝術家還有Koon Wai Bong, Theresa Hak Kyung Cha, Michael Jang & Barry McGee, Cathy Lu, Jiha Moon, Younhee Paik, Nicole Pun, Stephanie Syjuco, TT Takemoto, Wesley Tongson, Rupy C. Tut，以及Jenifer K Wofford。

這件作品是吳季璁首次嘗試單一底板的最大尺幅的創作，寬3.6公尺、高1.8公尺。他花費數月時間研究與實驗氰版相紙的拼接，力求呈現氣勢磅礴而富有詩意的畫面，畫面中近景的深藍與遠景黃棕色的氰版顏色對照令構圖更具縱深感。2018年巴塞爾藝術展香港展會期間，作品於世界畫廊舉辦的吳季璁個展中首次發表，並在2019年吳季璁榮獲首屆「劉國松水墨藝術大獎」之際再度亮相。

2021年，在舊金山亞洲藝術博物館典藏該作品之際，博物館特別為此舉辦了一場線上交流活動，邀請藝術家與美術館藏家及藝術愛好者分享製作過程與藝術理念。

Group Exhibition Living Paper at Galerie du Monde in Hong Kong
吳季璁參與香港世界畫廊群展「活紙」

Key vision Kelly Wang
海報主視覺王佳怡
*Brush Rest*, 2023, 67x 137x91cm

Living Paper
Dates Jan 10 – Mar 9, 2024
Opening Reception Jan 10 17:00 – 19:00
Venue 11 Duddell St, Central, Hong Kong

Cyano-Collage 186 — *Cyan0-Collage 186*
《氰山集之一百八十六》
225 x 90 cm, 2023

Wu Chi-Tsung will ring in the new year with his participation in the group exhibition Living Paper, presented by Galerie du Monde and explores the diversity and versatility of paper as a medium, as well as its limitless potential for creating a visual dialogue.

Established in 1974, Galerie du Monde is hosting this exhibition as part of its 50th-anniversary celebration series. The exhibition is curated by Olivia Wang who is an art consultant, curator and writer, with a focus in contemporary Asian ink art, and features recent works from Wu Chi-Tsung’s Wrinkled Texture Series and Cyano-Collage Series, along with works from nine other Asian artists including Chiang Yomei, Fu Xiaotong, Hung Fai, Young-sé Lee, Ling Pui Sze, Ma Hui, Wai Pong-yu, Kelly Wang and Zheng Chongbin. The curator shares that “while the material enables artists to engage with their artistic traditions, the multivalence of the material itself lends itself to endless possibilities of exploration and creation. In the hands of this group of artists, paper becomes alive and comes into its own being.”

Believing that interacting with materials and technology is a crucial part of art creation, Wu Chi-Tsung’s daily working routine revolves around paper: treating, crumbling, exposing, “washing,” reassembling, and, most importantly, experimenting. To the artist, xuan paper possesses the most complicated and sensitive qualities among all papers. With different manufacturing methods, it is capable of producing a wide range of delicate ink colors. “Through my work, I hope to bring more attention to xuan paper and contribute to the industry, allowing traditional Eastern media to breathe new life into the contemporary art world.”

*Wrinkled Texture 165*
皴法習作165
150 x 75 cm, 2023

活紙
日期 2024年1月10日 – 3月9日
開幕酒會 2024年1月10日17:00 – 19:00
地址香港中環都爹利街11號

吳季璁將參展香港世界畫廊群展《活紙》，為新年拉開序幕。世界畫廊成立於1974年，本展將開啟畫廊五十週年慶系列活動。展覽策展人汪鈴是一名藝術顧問、策展人與作者，她長期關注亞洲當代水墨領域。展覽將探索紙張作為媒介的多樣性和多功能性，以及創造視覺對話的無限潛力。吳季璁的《皴法習作》系列將與蔣友梅、傅小桐、熊輝、李隆世、凌佩詩、馬蕙、韋邦雨、王佳怡、鄭重賓等其他九位亞洲藝術家的作品共同呈現，深入探討紙張的豐富物質性和文化內涵。策展人分享道：「紙張作為媒材令藝術家能夠與他們的藝術傳統互動，而紙張本身的多重性質也為無窮的創新與多樣的創作提供了可能性。在這群藝術家的手中，紙張變得有生命且展現了自身的存在價值。」

吳季璁相信與材料和技術的互動是藝術創作中至關重要的一部分，他的日常工作幾乎圍繞著「紙」展開：施加藥劑、揉皺、曬紙、「洗紙」、組合，以及無數次的實驗。他認為宣紙擁有其他紙張無法比擬的豐富性和敏感性。透過不同的處理方法，它們能夠呈現極其細膩的墨色變化。「透過我的作品，我希望更多的人能夠注意到宣紙，同時也期待這個傳統的東方媒介在當代藝術世界中焕發新生。」

Solo Exhibition Wu Chi-Tsung: Synchronicity at the Katonah Museum of Art
紐約州卡托納美術館呈現個展「吳季璁：Synchronicity」

Wu Chi-Tsung: Synchronicity
Dates July 9 -October 1, 2023
Artist Talk July 9 14:00 – 15:00
Venue 134 Jay Street, Katonah, NY 10536

The Katonah Museum of Art (KMA) presents Wu Chi-Tsung: Synchronicity, which marks Chi-Tsung’s first solo museum exhibition. The exhibition will focus on the artist’s most recent body of work, his Cyano-Collage Series, that seamlessly incorporates Eastern aesthetics with collage and photographic processes to create sublime reinterpretations of traditional Chinese Shan Shui (mountain-water) landscape paintings. A meditative video installation in the main galleries and an immersive installation in the project gallery will provide further examples of Wu’s diverse and innovative practice. On July 9, Wu Chi-Tsung will join KMA Executive Director Michelle Yin Mapplethorpe for an in-depth discussion on his dynamic and interdisciplinary practice.

The Katonah Museum of Art is a non-collecting institution geared towards visual arts, located in Katonah, New York. From its inception, the KMA was committed to presenting exceptional art from all cultures and time periods. The founders’ decision to be a non-collecting institution resulted in a dynamic and flexible exhibition program, which remains one of the most distinctive features of the Museum.

In November, after the successful closing of his first institutional solo show in the US at the Katonah Museum of Art, Wu Chi-Tsung has donated his Cyano-Collage 179 to the Katonah museum for its annual live benefit auction that supports for the Museum’s acclaimed exhibitions, educational programs, and forward-thinking initiatives.

吳季璁：Synchronicity
日期 2023年7月9日 – 10月1日
藝術家講演 2023年7月9日14:00 – 15:00
地址 134 Jay Street, Katonah, NY 10536

卡托納美術館（KMA）呈獻「吳季璁：Synchronicity」，這標誌了吳季璁的首次美術館個展。本次展覽將聚焦於吳季璁的《氰山集》系列新作，介紹藝術家將東方美學與拼貼、攝影技術進行無縫接合的創作方式，從而呈現藝術家對於傳統中國書畫進行的突破性的再詮釋。此外，展覽還將展出《煙林圖系列》等沈浸式影像裝置，呈現吳季璁多樣而創新的藝術實踐。7月9日，吳季璁將與美術館館長Michelle Yin Mapplethorpe進行對談，分享其充滿活力的跨學科創作。

卡托納美術館是位於紐約州卡托納的一個以視覺藝術為主的藝術機構。從成立之初，KMA 就致力於呈現來自各種文化和時期的傑出藝術。其非收藏機構的特性也令美術館充滿活力、擁有靈活的展覽計劃，是該博物館最獨特的亮點之一。

十一月，在卡托納美術館個展順利閉幕後，吳季璁將《氰山集之一百七十九》捐贈給該博物館，作為其年度現場慈善拍賣的拍品。這項拍賣活動旨在支持博物館的優秀展覽、教育計劃和前瞻性活動。

Installation Views 展覽現場

Artist Talk 藝術家對談

Dust 002 At Art Basel Unlimited in Basel, Switzerland
《灰塵002》於巴塞爾藝術展「意象無限」

1 Comment

Art Basel Basel, Unlimited Sector
Sean Kelly Gallery Booth U59
VIP Opening June 12, 2023
Public Dates June 15-18, 2023
Venue Messe Basel Messeplatz 10 4058 Basel Switzerland

This week, video installation Dust 002 alongside with new works from the Cyano-Collage Series will be presented at Sean Kelly Gallery’s booth at Art Basel Unlimited, Art Basel’s pioneering exhibition platform for projects that transcend the classical art fair stand, including large-scale sculptures and paintings, video projections, installations, and live performances.

The Dust was initially created and debuted during Wu Chi-Tsung’s residency at in 2006, which marked his first solo exhibition in an art institution in the United Kindoms. Since then, the work has been exhibited in Germany, Luxembourg and the U.S.. It features a real-time streaming of the reflection of the circulation of dust particles moving in the room. As viewers progress through the space, disrupting the flow of air, the images of flickering dust change constantly and instantaneously creating a captivating relationship between artist and viewer, technology, and chance. Dust not only reorients us to the small beauties of the world but demonstrates our fundamental inability to perceive these phenomena without, in turn, affecting them.

巴塞爾藝術展「意象無限」單元
尚凱利畫廊 | Booth U59
VIP預覽 2023年6月12日
公眾展期 2023年6月15-18日
會場 Messe Basel Messeplatz 10 4058 Basel Switzerland

本週，影像裝置《灰塵002》與《氰山集》系列新作將於巴塞爾藝術展「意象無限」單元的尚凱利畫廊展位展出。「意象無限」單元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。

2006年，《灰塵》由吳季璁在塞特藝廊的駐留期間創作並首次展出，並在此後於德國、盧森堡和美國展出。它捕捉了塵埃於空間中的遊移並將其實時投影於銀幕。當觀者穿越空間，干擾空氣流動時，閃爍的塵埃影像會不斷地變化，創造一種藝術家和觀眾、技術和機會之間迷人的關係。《塵埃》不僅重新導向我們關注世界上細微而美麗的事物，也向我們揭示了我們本質上無法在不影響這些事物的條件下感知它們。

Taipei Dangdai: New Works and Open Studio Party
台北當代藝術博覽會：新作發表與開放工作室派對

*Cyano-Collage 170*
氰山集之一百七十
146 x 297 cm, 2023

Galerie du Monde｜Booth B15
Preview May 11, 2023
Public Dates May 12 – 14, 2023
Venue Taipei Nangang Exhibition Center

This week, new works of Wu Chi-Tsung’s will be showcased in Taipei Dangdai Art Fair represented by Galerie du Monde. A fan-shaped Cyano-Collage Serieson aluminium board will be presented together witha newDrawing Studies – MAO Bodhissatva Guanyincreated in Turin, Italythat is commissioned and collected by Museo d’Arte Orientale di Torino.

世界畫廊｜B15展位
貴賓預覽 2023年5月11日
公眾展期 2023年5月12日至14日
會址台北南港展覽館

本週，世界畫廊將攜吳季璁新作亮相台北當代藝術博覽會，一件鋁製底板扇形《氰山集》系列作品將會展出。同時，吳季璁受到意大利杜林東方藝術博物館委託、於杜林創作的《寫生習作——MAO觀音自在坐》也將首次於台灣亮相。

Wu Chi-Tsung Open Studio Party
Dates May 12, 2023
Address No.34, Lane 223, Section 3, Chongqing North Road, Datong Dist., Taipei

On May 12, Galerie du Monde will be holding an open studio party at Wu Chi-Tsung’s Taipei studio. For RSVP, please contact [email protected]

吳季璁開放工作室派對
日期 2023年5月12日
地址台北大同區重慶北路三段223巷34號

5月12日，世界畫廊將於吳季璁台北工作室舉辦開放工作室派對，敬請聯絡[email protected]預約出席。

Drawing Studies Commissioned and Acquired by MAO – Museo d’Arte Orientale di Torino
杜林東方藝術博物館委約創作並收藏《寫生習作》新作

1 Comment

Buddha10： A Fragmented display on Buddhist visual evolution
Dates May 6, 2023 – September 3, 2023
Venue Via San Domenico, 11 10122 Torino Italia

On May 6th, the second half of Buddha 10 was unveiled at the MAO – Museo d’Arte Orientale di Torino, where the visual evolution of Buddhist art throughout history shall be explored with renewed vigor. The exhibition is a tapestry of collections from various regions, woven together across time in the museum’s collection. The highlight of the exhibition will be Buddhist sculptures from the Chinese collection, which will offer different perspectives and reflections on the museum and its proud collection of Asian Art.
⁡
Curated by Davide Quadrio who is renowned for working closely in the East Asian art scene over decades, the exhibition will also feature contemporary art practices, among which Wu Chi-Tsung’s Drawing Studies – MAO Bodhissatva Guanyin is commissioned and collected by the museum. The video installation captures the Buddha statue from the museum’s permanent collection and will debut at the museum’s Japanese garden, creating a timeless symphony of art.

Buddha10： A Fragmented display on Buddhist visual evolution
展期 May 6, 2023 – September 3, 2023
地址 Via San Domenico, 11 10122 Torino Italia

5月6日，群展Buddha 10的下半部分將於杜林東方藝術博物館開幕，繼續探索佛教藝術跨越歷史的視覺呈現。展覽由長期關註與研究亞洲古代與當代藝術的策展人樂大豆（ Davide Quadrio）策劃，將展示博物館收藏中來自不同地理區域、貫穿古今的收藏，並與一系列當代藝術作品共同展示，旨在為博物館豐富的亞洲藝術收藏提供不同的觀點和反思。吳季璁被博物館委託製作並典藏的影像作品《寫生習作——MAO觀音自在坐》將於博物館日本花園的枯山水間首次亮相，呈現出跨越時空的共鳴。

Calligraphy Study
書法習作

1 Comment

Calligraphy Study 001
書法習作001
Single-channel video, 2min, 2022

Recently, Wu Chi-Tsung debuted his new work series, the Calligraphy Series, at 2023 Hengshan Calligraphy Biennial. Co-organized by Taoyuan Museum of Fine Arts and Hengshan Calligraphy Art Center and co-curated by Wu Chao Jen Philip and Chen I Tso, the inaugural biennial, titled “Era of Principle and No Principle Interwoven”, is centered on the development and future prospect of Chinese Calligraphy in the context of contemporary art.

‘In this video, a length of a paper is attached to a modified treadmill. After turning the treadmill on, Wu uses a brush to write on the moving paper. As he attempts to transcribe the famous Letter of Loss and Confusion ( Mil Whi) by Wang Xizhi, the speed of the paper’s motion makes writing futile as all characters turn out to be entirely illegible. The speed of the treadmill represents the rapid changes in the spatiotemporal setting. Not only is the brush unable to cope with the circumstances, but it is also incapable to engage in a meaningful conversation with the paper. ‘ （Quoted from curatorial statement by Hengshan Calligraphy Art Center）

吳季璁新作《書法習作》於首屆橫山書藝雙年展發表。本作是吳季璁特別為本此展覽的新創作品。雙年展由桃園市立美術館與橫山書法藝術館合辦，由策展人吳超然、機構策展人陳俋佐共同企劃，以《法與無法交織的年代─書法作為一種視覺形式》為主題，聚焦當代藝術語境下書法藝術的未來。

「本作是吳季璁特別為本此展覽的新創作品。在這件錄像中，他在改裝的跑步機上貼上一張紙，啟動跑步機後，用毛筆在滾動中的紙上書寫。他企圖臨摹王義之的《喪亂帖》，但因為速度的開係，最終無法成宇。這個創作中跑步機的速度指涉了時空環境下的轉變，毛筆不僅雞以帤駁，更無法和紙張產生有意義的對話。」(節選自橫山書法藝術館策展論述)

Calligraphy Study 001, Single-Channel Video 2min
書法習作001，單頻道錄影
2022

Luxury Fashion Brand SHANGXIA Presents the “Cyano-Collage” Series in its 23FW Collection
中國奢侈時尚品牌SHANGXIA 上下新季成衣呈現《氰山集》系列作品

Shang Xia FW fashion show at Paris Fashion Week
Shang Xia 上下巴黎時裝周走秀現場

Shangxia runway — Shang Xia FW fashion show at Paris Fashion Week
Shang Xia 上下巴黎時裝周走秀現場

Wu Chi-Tsung’s Cyano-Collage Series was featured in Shangxia’s FW23 courture collection which debuted at Paris Fashion Week recently. Shang Xia is a Chinese luxury fashion brand backed by Hermès offering high-quality products with a contemporary twist on traditional Chinese aesthetics and crafts. In its FW 23 collection, it reinforces the brand’s exploration of ‘duality’ and how symmetry and asymmetry coexist.

中國奢侈時尚品牌SHANG XIA上下與吳季璁合作，將其《氰山集》系列作品呈現於品牌的2023秋冬系列成衣，並於近日的巴黎時裝周完成首秀。SHANG XIA上下由蔣瓊耳女士與愛馬仕集團共同創立，提供具有當代中國美學和工藝傳統的高品質產品。在其2023秋冬系列中，該品牌繼續了其對於二元性的探討，思考對稱與非對稱的並存。

New Cyano-Collage Series at Art Basel Hong Kong
《氰山集》系列新作將於巴塞爾藝術展香港展會發表

Galerie du Monde｜Booth 3D17
VIP Preview Mar 21-22, 2023
Public Days Mar 23-25, 2023
Venue Convention & Exhibition Centre, Hong Kong

Next week, a new Cyano-Collage will be presented at Galerie du Monde’s booth at Art Basel Hong Kong. This piece will be showcased alongside the works of 14 other prominent artists, all of whose creations exudes an ambiguity and with that comes thought provocation, inspiring viewers to question the sense of self.

世界畫廊｜3D17展位
貴賓預展 2023年3月21日至22日
公眾展期 2023年3月23日至25日
會址香港國際會議展覽中心

下週，《氰山集》系列新作將於香港巴塞爾藝術展香港展會世界畫廊展會發表。本次，世界畫廊將展出來自14位具有國際影響力的藝術家的作品，這些作品均有意擁抱著一種模糊性，挑戰著觀眾關於「自我」的思考。

Wrinkled Texture Series At Asia Society Texas’ Ongoing Exhibition
《皴法習作》於亞洲協會德州中心展出

Summoning Memories: Art Beyond Chinese Traditions
Exhibition Period February 10, 2023 – July 2, 2023
Venue 1370 Southmore Blvd. Houston, TX

Wrinkled Texture 113 is featured in Asia Society Huston’s recent group exhibition “Summoning Memories: Art Beyond Chinese Traditions”. Curated by guest curator Dr. Susan L. Beningson, the exhibition highlights works by over 30 contemporary artists of Chinese descent who reinterpret traditions in dynamic and innovative ways. Across painting, sculpture, and photography, these works were created by both established and emerging artists of different generations who use experimentation to draw on both Eastern and Western art-making practices and materials.The Asia Society’s is a global non-profit organization whose purpose is to navigate shared futures for Asia and the world across policy, arts and culture, education, sustainability, business, and technology.

Curator Susan L. Beningson stated, In his Cyano-Collage series, Wu Chi-Tsung explores the essence of Chinese ink landscape painting, moving beyond the brush to utilize innovative new materials and techniques. To create these evocative landscapes, Wu prepares layers of cyanotype photographic papers, a method used since the mid-1800s. He treats the xuan paper, the material used in traditional Chinese ink landscapes, with a photosensitive coating. The multiple pieces of paper are crumpled, exposed to sunlight, and then mounted into collaged images that resemble the craggy mountain peaks of traditional Chinese ink shan shui (mountain and water) landscape painting – thus creating ink landscapes without the ink. Wu replaces the traditional materials of ink and brush with experimental photography in order to reinvent the process. Wu has said that his landscapes resist any fixed reading: “They could be anything, because they are not representing any real landscape. This is the spirit of a Chinese landscape.. The best works always come from some kind of coincidence… Most artists have a strong ego. We try to control our work. But the more you try to control it, the more likely you lose the possibility. Let the work grow in the way it should.”

召喚記憶：超越傳統的中國當代藝術
日期 2023年2月10日至7月2日
地點 1370 Southmore Blvd. Houston, TX

《皴法習作113》正於亞洲協會休士頓分會最近的群展《召喚記憶：超越中國傳統的藝術》中展出。本展由客座策展人Susan L. Beningson博士策劃，集中呈現了三十餘位華裔藝術家的當代藝術作品。作品涵蓋繪畫、雕塑、攝影等類別，均實驗著結合東方與西方的藝術傳統與材料，以創新的方式重新詮釋著傳統。亞洲協會總部位於紐約，是美國一個非牟利組織，創辦宗旨是向世界傳播亞洲文化。

策展人Susan L. Beningson介紹道，「在《氰山集》系列中，吳季璁探索了中國水墨山水畫的本質，運用創新的材料和技術超越了傳統筆觸。為了創造這些意境深遠的山水畫，他使用光敏劑處理宣紙，這是傳統中國水墨山水畫所使用的材料。這些宣紙被揉皺，曝露在陽光下，然後拼貼成山峰嶙峋的山水圖像，與傳統中國水墨山水畫頗為神似。吳季璁用實驗攝影取代了傳統的墨水和筆觸，他不用墨水便創造出了水墨山水對傳統書畫進行了當代的重新詮釋。藝術家表示，他的山水畫抵抗任何固定的解讀『它們可以是任何東西，因為它們不代表任何真實的風景。這就是中國山水畫的精神。最好的作品總是來自某種隨機性…大多數藝術家都有很強的自我。我們試圖控制自己的作品。但是你越想控制它，你就越有可能失去可能性。讓作品按照它應有的方式成長』。」

New Crystal City at The 9th Hong Kong & Shenzhen Bi-City Biennale of Urbanism\Architecture (Shenzhen) Longhua Sub-Venue
《水晶城市》於第九屆深港雙城雙年展龍華分展場

The 9th Hong Kong & Shenzhen Bi-City Biennale of Urbanism\Architecture (Shenzhen)
Longhua Sub-Venue

“Between Warp and Weft”

Exhibition Period: 30 December 2022 – 30 March 2023

Venue: Dalang Fashion Town, Shenzhen Longhua District

Wu Chi-Tsung is invited to participate in The 9th Hong Kong & Shenzhen Bi-City Biennale of Urbanism\Architecture (Shenzhen) at Longhua Sub-Venue, titled “Between Warp and Weft”. Founded in 2005, the biennale aims to build a communication platform for international art scenes in Shenzhen and Hong Kong. The Longhua Sub-Venue is curated by Yang Yong and Ji Harou, a series of workshops, forums, screenings and thematic exhibitions will be organized in responding to the theme of sustainability.

The work is constructed of numerous transparent plastic boxes whose shadows resemble geometrical skyscrapers when a moving light casted on. The ordinary materials used in this artwork remind viewers of the realistic world; however, it leads people to a further imaginary scene. Chi-Tsung introduces, “there is another invisible world in which we live every day. It is made up of electronic equipment, programs, networks, media and information, and I call it ‘Crystal City’… It is becoming our new spiritual home in the contemporary world”

第九屆深港雙城雙年展龍華分展場 —「經緯之間」

展覽日期：2022年12月30日至2023年3月30日

地點：深圳市龍華區大浪時尚小鎮

第九屆深港城市 \ 建築雙城雙年展（深圳）龍華分展場「經緯之間」展期由即日至2023年3月30日，藝術家吳季璁獲邀參與展覽。創立自2005年，雙年展旨在為深圳及香港兩地提供平台，以當代視覺文化呈現及探討全球普遍存在的城市問題。本屆雙年展的龍華分展場由楊勇及紀浩如策展，三個月的展期將聯動多個時尚集團舉辦多場文化藝術活動，包括工作坊、行走、共創、論壇、放映、快閃、企業館主題展覽等，呼應可持續的概念，製造沉浸式的藝術現場體驗，通過展覽搭建起城市與公眾之間的溝通橋樑。

作品由若干透明的塑膠盒子組成，在移動光源的照射下，其投影仿若城市中的摩天大樓。在這裡，塑膠盒廉價的工業材料提示著現實世界，而投影的世界則將人帶入想像的疆界。季璁介紹稱，「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》⋯⋯那裡是我們精神的寓所。」

Calligraphy Series will Debut at 2023 Hengshan Calligraphy Biennial
新作《書法習作》系列將於2023橫山書藝雙年展發表

2023 Hengshan Calligraphy Biennial
Exhibition Period Jan 20 – Apr 24, 2023
Venue Hengshan Calligraphy Art Center
Address No. 100, Daren Rd, Dayuan District, Taoyuan City, Taiwan 337

Wu Chi-Tsung will debut his new work series, the Calligraphy Series, at the upcoming 2023 Hengshan Calligraphy Biennial. Co-organized by Taoyuan Museum of Fine Arts and Hengshan Calligraphy Art Center and co-curated by Wu Chao Jen and Chen I Tso, the inaugural biennial, titled “Era of Principle and No Principle Interwoven”, is centered on the development and future prospect of Chinese Calligraphy in the context of contemporary art.

2023書藝雙年展：法與無法交織的年代─書法作為一種視覺形式
展覽期間 2023年1月20日至2023年4月24日
展覽地點 橫山書法藝術館
展覽地址 臺灣桃園市大園區大仁路100號

吳季璁新作《書法習作》將於首屆橫山書藝雙年展發表。雙年展由桃園市立美術館與橫山書法藝術館合辦，由策展人吳超然、機構策展人陳俋佐共同企劃，以《法與無法交織的年代─書法作為一種視覺形式》為主題，聚焦當代藝術語境下書法藝術的未來。

Installation View 展覽現場

Large Wrinkled Texture Series on Folding Screen will be Exhibited at ART SG in Singapore
首件大尺幅《皴法習作》系列屏風作品將於新加坡國際藝術博覽會中亮相

Wrinkled Texture - Folding Screen 002 — *Wrinkled Texture – Folding Screen 002*,《皴法習作屏風之二》
2022, 215 x 79 x 6pcs

Stand BA04, Galerie du Monde
VIP preview days Jan 11, 2023
Public days Jan 12-15, 2023
Venue Marina Bay Sands Expo & Convention Centre, 10 Bayfront Avenue, Singapore

Presented by Galerie du Monde, Wu Chi-Tsung’s new works will be shown at the inaugural edition of Art SG. Founded by The Art Assembly, an affiliation of major international art fairs with a particular focus on the Asia Pacific region comprising Taipei Dangdai, India Art Fair, PHOTOFAIRS Shanghai and the forthcoming Tokyo Gendai, the new international art fair will feature over 150 of the world’s leading galleries, from Singapore and across the globe. Art SG offers a meeting point in Southeast Asia for collectors from the region and beyond to convene and engage with one of the world’s most dynamic cultural landscapes.

Among the new works from the Cyano-Collage Series and the Wrinkled Texture Series specially created for the new fair, it is noteworthy that the Wrinkled Texture – Folding Screen 002 marks the artist’s first attempt to compose on a traditional folding screen. The series applies the classic cyanotype technique to xuan paper. During this process, the artist treats xuan paper with a photosensitive coating that is then crumpled and exposed to sunlight, revealing images that bring to mind the mountainous landscapes often found in Chinese shan shui paintings. Folding Screen 002 was created amidst continuous rain where light, the key catalyst, was insufficient. The artist adjusted the exposure under the low light conditions and eventually achieved the delicate and subtle palette seen in this work.

Cyano-Collage-160 — *Cyano-Collage 160*,《氰山集之一百六十》, 2022, 120 x 90 cm

Galerie du Monde, BA04展位
VIP預覽 2023年1月11日
公眾開放 2023年1月12~15日
地址金沙會展中心, 海灣道10號, 新加坡

本週，世界畫廊將攜吳季璁《氰山集》及《皴法習作》系列新作亮相首屆新加坡國際藝術博覽會（Art SG）。藝博會由旗下包括台北當代、印度藝術博覽會、影像上海藝術博覽會及東京現代等國際藝博會的The Art Assembly聯手瑞銀集團呈現，將匯聚來自全球30個地區逾150間全球頂級世界畫廊，為東南亞及世界各地的藏家提供了齊聚一堂的機會，共賞世界上最有活力的文化景觀。

本次值得注目的新作《皴法習作屏風之二》是吳季璁首次嘗試於大尺幅日式屏風上進行創作。該系列作品使用氰版攝影法之原理，將感光材料塗佈於宣紙上，在陽光下曝曬，過程中不斷調整重塑紙張的皺折，而後水洗定影而形成宛若山巒般的「筆觸」，對於光照有著相當敏感的需求。而本次製作過程中，藝術家在陰雨連綿、光線不足的條件下摸索曝光技巧，最終呈現出淡雅細膩而幽微的色調。

New Cyano-Collage Series will be presented in the upcoming Art Basel Miami Beach by Sean Kelly Gallery
《氰山集》新作將於邁阿密巴塞爾藝術展尚凱利畫廊展出

*Cyano-Collage 151* 《氰山集之一百五十一》, 2022, 90 x 300cm

Sean Kelly Gallery | Booth D11
Preview November 29 – 30, 2022
Public Dates December 1 – 3, 2022
Venue 1901 Convention Center Drive Miami Beach, FL 33139

New works from Cyano-Collage Series on aluminum board will be presented at the upcoming Art Basel Miami Beach by Sean Kelly Gallery on the fair’s 20th anniversary and Sean Kelly’s 20th year of participation. Since 2002, Art Basel Miami Beach has been a highlight of the global art world calendar, connecting collectors, galleries, artists, and more in an engaging celebration of contemporary art.

In 2019, when Chi-Tsung joined Sean Kelly Gallery, his Cyano-Collage 064 was exhibited at Art Basel Miami Beach. Being exhibited in the Meridian Section, which is a new curatorial section for large-scale artworks and performances, the artist was able to challenge himself to complete a largest-scaled composition.

尚凱利畫廊 | D11展位
預展 2022年11月29-30日
日期 2022年12月1-3日
地址美國邁阿密會展中心

適逢邁阿密巴塞爾藝術展二十週年誌慶，尚凱利畫廊將攜吳季璁使用鋁製底版創作的《氰山集》系列新作亮相D11展位。自2002年創辦以來，邁阿密巴塞爾藝術展一直致力呈現豐富多樣的藝術作品，以別樹一格的方式聯繫南北美洲、歐洲以至世界各地的藝術圖景。

2019年，吳季璁宣布加入尚凱利畫廊，並於同年攜《氰山集之六十四》參展邁阿密巴塞爾藝術展，并在為大型繪畫與裝置作品特設的策展單元「藝匯經線」展區挑戰了大尺幅《氰山集》的創作。

artworks and information