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drawing-studies-001

Drawing Study Series and Cyano-Collage Series in Frieze London
《寫生習作》與《氰山集》參展倫敦弗里茲藝術博覽會

Drawing study series



Stand D15, Sean Kelly New York
VIP Preview days October 13-14, 2021
Public days October 15-17, 2021 
Venue The Regent’s Park, London, UK


Sharing sceneries of mountains and oceans that were either captured in Taiwan or from his imagination to yet another continent,  Works of Wu Chi-Tsung’s will be showcased at Frieze London 2021. They will be presented along with creations of other young artists of Sean Kelly Gallery. The visually dynamic group of works will mark the gallery’s inaugural participation in the show. 

It is noteworthy that the Drawing Study Series will be presented overseas for the first time. The Drawing Study 001 – Seascape LongDong captures actual real-time sceneries, the reprocessed videos show visual variations to create a perceptive confusion suspended between moving and static images. Although they originate from reality, what the artist offers are sceneries that can never happen in the phenomenal world. Meanwhile, three aluminum boarded Cyano-Collage Series will be presented.



About Frieze London

Frieze London is one of the world’s most influential contemporary art fairs, focusing only on contemporary art and living artists, and takes place each October in The Regent’s Park, in the heart of London.

Frieze London was founded in 2003. The fair is one of the world’s key contemporary art fairs, focusing only on contemporary art. The 2021 edition of the fair showcases over 160 of the most notable galleries from around the world.






Cyano-Collage


Stand D15, Sean Kelly New York
VIP預覽 2021年10月13~14日
公眾開放 2021年10月15~17日
地址 倫敦攝政公園內



吳季璁作品即將在本週開幕的倫敦弗里茲藝術博覽會的尚凱利畫廊展位中展出,將來自台灣與他腦海中的山景與海景分享給另一個大陸的觀眾。此次,由吳季璁與其他幾位優秀的年輕藝術家的作品所組成的精心策劃、視覺生動而豐富的展覽將是畫廊於該博覽會的首秀。

值得一提的是,本次將是吳季璁2021年新作《寫生習作》系列在海外的首次亮相。出展的《寫生習作001-龍洞海景》拍攝於台灣北部的龍洞,真實的現實景象通過技術處理而出現了視覺上的變異,製造出介於動態與靜態之間的感知迷惑。儘管本於現實,作品提供的卻是現象界不可能真實發生的圖景。同時,三幅鋁底板《氰山集》新作將在博覽會中展出。



關於倫敦弗里茲藝術博覽會

倫敦弗里茲藝術博覽是世界頂尖當代藝術博覽會之一。會與大多數其他博覽會不同,弗裏茲倫敦和大師展的舉辦地「攝政公園」位於主辦城市的中心地帶,這也構成了倫敦充滿活力的文化結構和國際藝術景觀的一部分。

弗里茲藝術博覽會是少有的幾個聚焦當代藝術和在世知名藝術家的藝博會之一,展現了當今一些最令人耳目一新的藝術家,從新興藝術家到現象級藝術家都有,展會由獨立策展人組成的團隊為特色展區提供建議。



 
Cyano-Collage-114

Aluminum Paneled Cyano-Collage 114’s Participation in The Armory Art Show in New York
氰山集系列鋁底板作品《氰山集之一百一十四》將參展紐約The Armory Art Show

cyano-colllage 114


Sean Kelly Gallery | Booth 120

Preview  September 9, 10am-8pm

Public Days  September 10-12

Venue  Javits Center, 429 11th Ave, New York, NY 10001, United States


Represented by Sean Kelly Gallery, Wu Chi-Tsung’s new work Cyano-Collage 114 will be participating in the Armory Art Show in New York. It marks the first time the artist attends the renowned fair. The Cyano-Collage 114 is created on an aluminum panel, which is a main exploration of the Series in 2021. 


About the fair


The Armory Show is New York City’s premier art fair and a leading cultural destination for discovering and collecting the world’s most important 20th- and 21st-century art. The Armory Show features presentations by leading international galleries, innovative artist commissions, and dynamic public programs. Since its founding in 1994, The Armory Show has served as a nexus for the art world, inspiring dialogue, discovery, and patronage in the visual arts.






Sean Kelly Gallery | 120 展位

預覽 2021年9月9日

公眾開放 2021年9月10~12日

地址 美國紐約 11大道429號,賈維茨會議中心(Javits Center)


本月,尚凱利畫廊將帶著吳季璁的的新作《氰山集之一百一十四》參加位於美國紐約的The Armory Art Show ,亦是藝術家首次參與這個藝術博覽會。這件作品延續了吳季璁2021年在《氰山集》系列中使用鋁製底板的探索方向。



關於The Armory Art Show


The Armory Art Show是紐約市首屈一指的藝術博覽會,是發掘與收藏世界上最重要的20世紀和21世紀藝術品的極佳舞台,展示著國際領先的畫廊、充滿創新精神的藝術家與特色的公共項目。自1994年成立以來,The Armory Art Show一直是藝術界的一個紐帶,激發了視覺藝術的對話、發現和讚助。



 
installation view of the exhibiton

[Exhibition Review by Living and Design] Beyond the Physical Form
[Living and Design 住宅美學專稿] 超脫物形的藝術旅程

installation view of the exhibiton


Recently, Wu Chi-Tsung’s new solo exhibition “Seeing Through Light” at Tao Art Space was reported by Living and Design Magazine.


The article introduces, ‘In this exhibition, Wu Chi-Tsung retraces his initial interests and continues his exploration of visual expressions, and once again develops a different video shooting technique.


For Wu Chi-tsung, it is not necessary to pay too much attention to the individual works themselves. What is more crucial is to develop a unique Weltanschauung and to establish the form, language, thinking and perspective of viewing art in the process of developing the works. The value of the artwork as a “thing” is not high, but as a starting point to lead into a certain spiritual journey, in which the artist gives the object to verify the existence of the journey, giving it an “intangible” value.






前言:

  在海外發展多年的現代藝術家-吳季璁,除了香港世界畫廊正在進行中的個展-《現》外,回到故鄉台北,由策展人王嘉驥老師在Tao Art Space策劃今年另一個展「照見」,少時在傳統學院派的藝術薰陶浸淫多年的吳季璁,自大學開始才進入當代藝術的領域,發展如影片、攝影、光影裝置等新媒體的創作方法,新舊衝突下的斷裂與拉扯中,成就自身的藝術方向,而場地為去年成立的Tao Art Space,因一張委託的《氰山集》系列作品,經介紹認識業主及收藏家Vicky,而開啟了這次展覽的緣分。



installation view of the exhibiton


修行即為創作  作品驗證藝術旅程


   西方藝術受到東方思想衝擊較大的時期,為佛學禪宗大師-鈴木大拙到美國與歐洲講學開始,影響並啟蒙許多現當代藝術家的創作方向,而日本當時擁有最完整的禪宗傳播系統,教義上相比藏傳佛教更類似哲學探討。


   對吳季璁來說,不需要給予個別作品本身過多的關注,如何發展發展作品的過程中,建立其世界觀及形式、語言、思考以及觀看藝術的角度更為關鍵,如只專注在單一作品本身,容易錯失背後更大的思維起點。藝術品做為「物」的本身的價值並不高,而是做為一個出發點導引進入某段精神上的旅程,其中,藝術家賦予物品驗證旅程的存在,使之擁有「無形」的價值。談到外界對於藝術家認知的謬誤,以為作品是創作者自我傲氣與任性下的產物,然而在真實的藝術創作中,需要先放下自我,順勢作品發展。吳季璁在藝術的修行過程,時常面對佛家思想中如何放下「我執」的命題,相信某些材質會因宿命而出現在生活中,過於控制作品容易畫地自限,然自我的執念越輕,而創作的可能性會帶領你到意想不到的境地,以上透過佛家與禪宗談到許多,與創作相關的思維模式。


 重現傳統攝影技術  擷取「無常」中的真實


   本次展覽《照見》也特別呈現了幾件吳季璁早期作品, 2004年的《自畫像》詮釋人是不斷變動的一種生物,如佛家談到的「無常」,也是時間流中的一部分碎片,利用攝影技法捕捉流逝的「剎那」,在暗室中面對鏡頭,使用手電筒描繪臉部,長曝後呈現不完全的面部狀態,並透過幻燈片與暗房沖洗,反映影像的可能性與有別於傳統自畫像命題的樣貌。當年度正是傳統底片攝影逐漸式微,數位影像抬頭興起的階段,藝術家以作品自身作為一份傳統攝影的紀念,呈現衝突且看似失真的真實紀錄。

   實驗攝影的技術發展到2012年,吳季璁感於數位攝影的便利性與單一性,嘗試回到技術本質的探討,在《皴法習作》與其後的《氰山集》系列,運用與攝影術幾乎同時發明的氰版藥劑和無相機攝影方法,在揉皺傳統中國書畫的宣紙後,塗上感光藥劑置放在陽光下進行自然曝曬,充分水洗即顯影出藍色的影像,自然如同岩石山景般的層次,意像呈現傳統水墨千山連綿的壯闊之景。


超脫時間的完美狀態  放下「我執」重新導引


  許久未在台北發表作品的吳季璁,經介紹了收藏家及展場業主,Vicky 和父親都熱愛收藏,父親偏愛以佛像和宋元瓷器為主的古美術及台灣現代藝術,而 Vikcy 則是以國內外當代藝術為主。Tao Art 獨有的兩代收藏經歷,揉雜古今正好與吳季璁的創作路線不謀而和,成就了這次吳季璁和 Tao Art 胡不堂佛像收藏的合作。

  「照見」在佛典中言意為「指向開悟成佛的透徹與超脫」,佛學中的修行,與藝術創作有極為相似的精神軌跡,雖然其過程有所不同,卻有相同的內化反應,與自我掙扎下的拆解體驗。本次展覽中,吳季璁重新回溯最初的創作思維,延續從自畫像時期開始的影像探索,再次發展出有別以往的影像處理技巧,在新作《寫生習作》拍攝初期,原本想以破碎的形式呈現捕捉胡不堂所藏佛像「剎那」下的真實,當他注視著這經歷千年的佛像,反思面對自己或人皆是變動不定的命數,而佛像卻擁有超脫其中的完美狀態,使他放下了當初設定的詮釋方法,透過光影重新測試、觀察引導,內化佛學與藝術的相互印證,重新理解「照見」的命題。



Written by 文/ Erin Song



 
poster

“Seeing Through Light: Wu Chi-Tsung Solo Exhibition” Introducing New Work and Technique
台北個展《照見》呈現數位影像嶄新可能

exhibition poster

Public Dates  Jul 13 – Oct 2, 2021, Tue – Sat, 11 am – 7 pm
Venue  Tao Art Space, 8f, No.79-1, Zhouzi St., Neihu Dist., Taipei city


 On Jul 13, “Seeing Through Light: Wu Chi-Tsung Solo Exhibition” opens at Tao Art Space in Taipei. Curated by renowned curator Chia Chi Jason Wang, the exhibition marks the premiere of a series of experimental video works, the Drawing Study Series. Applying a special video-filming technique, Wu Chi-Tsung offers an alternative way of looking at reality through the work.


Tao Art Space is jointly founded by art collector Vicky Chen and her father.  Parallel to their collection and presentation of contemporary art, Tao Art Space has also established a remarkable collection of antiques under the name “Hu Bu Tang.” Both believing that Art could transcend time, Wu Chi-Tsung and Tao Art started this collaboration. The artist presents a special feature of ancient Buddhist sculptures from Tao Art’s Hu Bu Tang Collection as part of the Drawing Studies Series,bringinga modern “exposure” to the antiques. Alongside, early works such as Rain and Self-Portrait will be exhibited to ‘pan across’ Wu Chi-Tsung’s artistic journey with video and photography. 


Due to the COVID-19 pandemic, Tao Art Space is limiting the number of people in the Gallery at any one time and is open by appointment only. Meanwhile, the Gallery has introduced a number of measures to keep the visitors and staff safe. Please click the button below to RSVP and enjoy your visit.





Seeing Through Light: Wu Chi-Tsung Solo Exhibition

Curated by Chia Chi Jason Wang

Once during nightfall, sculptor Auguste Rodin (1840-1917) held a lamp and led art critic Paul Gsell (1870-1947) to see an ancient Greek statue of Venus in the dark. With the dim lamplight, the sculptor turned the movable platform that held the statue, and made the critic look closely at the torso of Venus, illuminating the complex and intricate projections and depressions. This way, Rodin helped Gsell to discover the beauty of flesh represented by artists in the Classical period.[1]


During his youth, Wu Chi-Tsung was still exploring creative possibilities, and had also seen himself through light. In the dark, he replaced paintbrush with a flashlight, and pointed it at his face to capture his own portrait, while also setting the camera on long exposure (B mode) to allow the trail of light to simultaneously develop on the film. The printed and enlarged images became his earliest “Self-Portrait” series (2004). Based on this, “seeing through light” is not just a metaphor of Wu Chi-Tsung’s personal enlightenment and self-discovery, but also his unique creative means.


Rain
Rain 雨景, 13:00, 2002

Before the “Self-Portrait” series, he tried to capture the scenery outside his home window using high shutter speed (1/8000 second) for “Rain” (2002). In the video, the constantly skipping raindrops are a sharp comparison to the seemingly stationary landscape of the Tamsui River far away, especially the Guandu Bridge that spans over the river, as well as the roads and surrounding woods. Between those things moving at a high speed and remaining stationary are the endless traffic on the bridge and the road. Through camera and video camera, Wu Chi-Tsung repeatedly reverses and topples human’s daily vision, as well as their perceptive experience of reality. Consciously, Wu Chi-Tsung manipulates the “moment” in time by stretching and slowing it down or rapidly accelerating and speeding it up, through which he offers an alternative way of looking at reality.


“Seeing through light” is a common term in Buddhist scriptures, referring to the thorough understanding and transcendence of enlightenment. In May 2021, Wu Chi-Tsung holds a solo exhibition at TAO ART Space. In response to the gallery’s collection of classical sculptures, Wu has specially selected five Buddhist statues from different dynasties that have unique aesthetics and spiritual significances, including: “Gilded and Colored Limestone Head of Buddha” from Eastern Wei to Northern Qi (6th century), “Limestone Head of Buddha” and “Limestone Standing Bodhisattva” from Northern Qi (6th century), “Limestone Head of Bodhisattva” from Sui (6th-7th century), and “Wooden Standing Venerable Ānanda” from Song (10th-13th century), as the source images to develop a series of videos. The title, “Seeing Through Light,” not only reflects the curator‘s observation on Wu Chi-Tsung’s art from the past to present, but also echoes these Buddhist statue-themed new works featured in this exhibition.


 Drawing Study - Limestone Head of Buddha
 Drawing Study – Limestone Head of Buddha(screenshot)  寫生習作 - 北齊 灰石佛首像(截圖)
           

Like a brush made of light, the artist points a flashlight at the Buddhist statues and sketches; a video camera is fixed on the side to record the movements of the light beam in the space, as well as the end results of the manifestation of the Buddhist statues through the trail of light. The recorded videos, in the post-production process, are retouched using a digital program developed by the artist. Targeting each frame (30 frames/1 second), Wu Chi-Tsung sets for each layer a brightness parameter, so that it increases as the layers pile up. This way, the videos processed through the computer algorithm not only preserve the original temporal linearity, but also intensify with the piling up of layers to create a stunning visual effect, as if physical thickness were added to time.


Back in 2003, Wu Chi-Tsung was already experimenting with video creations of the same principle. The difference is that, back then, digital computing was still in the cradle, and he could only possess and access limited post-production tools, and make use of inexpensive equipment he had around to layer the pictures a frame at a time, completing “The Self-Portrait of 71 Frames.” Today, nearly 20 years later, with more advanced digital equipment and programs to assist his shooting and computing, the artist carries on and expands this concept that he was unable to thoroughly realize early on, achieving further development.


Early on, Wu Chi-Tsung completed many works simply titled “Self-Portrait” through exploring and experimenting on his own. From knowing self to observing reality, image tools were the core media he used to probe into the authenticity of phenomena. Contemplating on the nature of video and viewing, he often started from the rhetoric of suspicion and rhetorical question to establish the problematic. Paradox within suspense was almost an indispensable aesthetic quality of his video works.


self-portrait
Self-portrait No.4, 自畫像No.4, 2004

Continuing the existing style and video thinking, Wu Chi-Tsung’s seeing the Buddhist statues through light is obviously an exploration of artistic creation, which is concretely different than the Buddhist notion of enlightenment and seeing through reality and illusion. Despite this, the images of the Buddhist statues have been converted by him to gradually become illuminated in the dark, from partially to entirely, allowing audience to really witness the beauty of “seeing through light.” Wu Chi-Tsung conjures the embodied spiritual power of the statues to manifest its mysterious nature, while also turning the viewing experience into an enriched journey of discovery.


Wu Chi-Tsung continued to apply the same video post-production technique to the selected coasts and cities he shot, creating the “Drawing Study” series (2021). Regardless of the oceanic scenery at Longdong in northern Taiwan, or the urban landscapes of Taipei City, which are all actual real-time sceneries, the reprocessed videos show visual variations to create a perceptive confusion suspended between to be or not to be. Whether it is natural landscapes or urban crowds, they are all consistently changing to begin with; however, through the artist’s unique digital manipulation, they instantly consolidate into solid scenic spectacles, leaving everyone in awe. Although they originate from reality, what the artist offers are sceneries that can never happen in the phenomenal world. The artificial fabulation of Wu Chi-Tsung exists in-between reality and fiction, expanding for the works room of philosophical and aesthetic dialectics, and allowing viewers to ruminate on the notion of noumenon ( or thing-in-itself) and truth.


Matching the new videos created by Wu Chi-Tsung using the archived Buddhist statues of TAO ART Space as the source images with the spatial utilization, “Seeing Through Light: Wu Chi-Tsung Solo Exhibition” arranges for the original Buddhist statues seen in the videos to also be exhibited, hoping to trigger intriguing dialogues for the unexpected encounter of ancient and contemporary arts. Also, at the entrance of the first gallery, a special display of hand-puppet and hand-puppetry stage is specially organized—these are also unique items in the collection of TAO ART Space. The stages and puppets exude distinctive qualities of human drama, and the special display aims to welcome the guests of the exhibition, and usher them into the exhibition space.


As mentioned above, “Seeing Through Light: Wu Chi-Tsung Solo Exhibition” gathers works of the artist starting from his younger days of self-exploration, including “Self-Portrait,” “The Self-Portrait of 71 Frames,” and “Rain,” which are highly experimental, to all new works created in 2021, which include serval videos and photographic outputs using Buddhist statues as the theme, as well as two videos entitled the “Drawing Study” series that depict the oceanic scenery of Longdong and urban sceneries of Taipei. Comparing his earlier and new works not only helps audience to understand his latest works through learning about his past, but also allows audience to see Wu Chi-Tsung’s creative path and aesthetic preferences over the past 20 years.


[1] Auguste Rodin, Art: Conversations with Paul Gsell, trans. Jacques de Caso & Patricia B. Sanders (Berkeley and Los Angles: University of California Press, 1984), pp. 22-26.






Drawing Study 001 – Seascape LongDong 寫生習作 001 – 龍洞海景

日期 2021年7月13日 – 10月2日, 週二至週六11am – 7 pm
地址 Tao Art Space,台北市內湖區洲子街79-1號8樓


由策展人王嘉驥策劃的吳季璁個展《照見》,今日起於台北Tao Art Space開展。展覽將首次呈現藝術家使用新的拍攝技術完成的實驗影像《寫生習作》,展現其另類觀照現實之道。


TAO ART 由 Vicky Chen(陳薇捷)和父親共同創立,除了致力於當代藝術的收藏與展覽外,亦還建立了名為「胡不堂」的古物收藏,因其收藏路徑與吳季璁的創作方向不謀而合,本次,吳季璁特別與胡步堂合作,在《寫生習作》系列中,呈現了胡不堂收藏的佛像藏品,以現代之眼為古物賦予了全新的詮釋空間與觀看可能。此外,《雨景》、《自畫像》等早期影像作品也將展出,從而「全景」呈現出藝術家十餘年來對於實驗影像的思考與探索歷程。


受疫情影響,展覽將採取時段預約制,並嚴格遵守相關防疫規範,請通過下方鏈接進行預約後安心來館。





以下為策展人王嘉驥為本次展覽撰寫的介紹文章,文中將回顧吳季璁的影像創作生涯,並細緻介紹了本次《寫生系列》中所探索的數位影像技法。


照見:吳季璁個展

Seeing Through Light: Wu Chi-Tsung Solo Exhibition

策展人/王嘉驥


雕塑家羅丹(Auguste Rodin, 1840-1917)曾經趁著黃昏入夜的時間,持燈引導藝評家葛賽爾(Paul Gsell, 1870-1947),在黑暗之中欣賞古希臘的維納斯雕像。透過幽微燈光的映照,雕塑家同步推移承載雕像的轉盤,讓藝評家的目光緊盯愛神像的軀體,照見細膩有致的凹凸變化。藉此,羅丹讓葛賽爾發現了古典時代藝術家再現的肉體之美。[1]


年少時期的吳季璁,仍在摸索創作的可能,亦曾借光自照。在黑暗中,他以手電筒替代畫筆,對著自己的臉部捕捉肖像,並將相機設定為長時間曝光(B快門),讓光跡同步顯影在底片上。沖印放大的影像,成為他最早期的《自畫像》(2004)系列。就此而論,「照見」不僅是吳季璁個人啟蒙與自我發現的隱喻,也是他用於創作的獨特手段。


在《自畫像》系列之前,他嘗試過以高速快門(1/8000秒)攝錄自家窗外所見的《雨景》(2002)。動態影像裡,跳動無歇的雨滴對照遠處看似凝止不動的淡水河地景,尤其是橫跨河面的關渡大橋,以及路面和週遭的樹林。介於高速運動和凝結靜止之間,則是橋上和路上川流不息的車潮。透過相機和攝影機,吳季璁一再地反轉並顛覆人類日常的視覺,以及對於現實的感知經驗。有意識地操作時間中的「剎那」,予以延遲放慢或激烈加速,吳季璁提供了另類的觀照現實之道。


「照見」也是佛典常見常用的語彙,指向開悟成佛的透徹與超脫。2021年5月,吳季璁在Tao Art Space發表個展,特別因應此一機構的經典雕刻收藏,選擇了五件別具美感與精神意涵的歷代佛像,包括:東魏至北齊(6世紀)的灰石貼金帶彩佛首像、北齊(6世紀)的灰石佛首像和菩薩立像、隋代(6-7世紀)灰石菩薩首像,以及宋代(10-13世紀)木雕阿難尊者立像等,作為文本,發展出一系列的錄像作品。借「照見」之名,除了反映策展人對於吳季璁過往以來的藝術觀察,也對應他此次以佛像為題的這些新作。


Drawing Study – Wood Standing Ananda, Song Dynasty 《寫生習作 - 宋 木雕阿難尊者立像》

手電筒猶如光筆,藝術家對著佛像寫生;攝影機固定在旁,紀錄光束在空間中的移動,以及佛像在光跡下顯影的結果。錄製完成的動態影像,在後製的過程中,經由藝術家研發的數位程式,重新加以處理。針對每個影格(1秒30格),吳季璁為畫面的圖層設定明暗度的參數,令其逐層疊加。如此,電腦運算過後的錄像畫面,除了維持原來的時間線性,卻因為影格圖層的累加而強化,塑造出一種令人驚異的視覺效果,彷彿時間增加了物理性的厚度。


相同原理的錄像創作,吳季璁早在2003年已有嘗試。差異在於,那時還是數位運算方興未艾之時,他能擁有和取得的後製工具極為有限,只能運用手邊拮据的設備,逐格疊加圖層,完成了初階的《71格的自畫像》。將近20年後的今天,有了更先進的數位設備和程式協助拍攝與運算,藝術家延續並擴充早期還無法徹底實踐的觀念,如今有了進一步的發展。


早期的吳季璁多半憑藉自我摸索與實驗,完成不少直接以「自畫像」命名的作品。從認識自我到觀察現實,影像工具是他觸探現象真實性的核心媒介。思考影像及觀看的本質,他經常從懷疑和反詰的修辭開始,建立問題意識。懸疑中的弔詭幾乎是他影像作品不可或缺的美學特質。


延續先前已有的風格與影像思考,吳季璁借光照見佛像,明顯是出於藝術創作的探索,與佛家參悟虛幻現實的依歸具體有別。雖然如此,經他轉化的佛像形影,在幽暗中逐漸轉明,從局部到全部,倒是讓觀眾如實目睹了「照見」之美。吳季璁召喚佛像內蘊的精神力,顯現其神祕性,也使觀賞變成一趟豐富的發現過程。


Drawing Study 002
Drawing Study 002 – Urbanscape Taipei《寫生習作 002 – 台北市景》

吳季璁繼續將相同的影像後製技術,運用於他選景拍攝的海岸和城市,成為《寫生習作》(2021)系列。不管是北臺灣的龍洞海景,或是都會區的臺北市景,雖然都是再真實不過的現實即景,重新處理過後的動態影像,出現了視覺上的變異,製造了懸宕在是與不是之間的感知迷惑。自然景觀也罷,城市人潮也罷,本來都是變動不居;然而,經過藝術家特殊的數位操控以後,卻在轉瞬間凝結為固態的風景奇觀,著實讓人嘖嘖稱奇。儘管本於現實,創作者提供的卻是現象界不可能真實發生的圖景。吳季璁的人為擬造,存乎現實與虛構之間,擴延了作品的哲學暨美學思辨空間,觀者得以反芻本體與真實。


搭配吳季璁以Tao Art Space所藏佛像為文本的影像新作,「照見:吳季璁個展」在空間的運用上,也安排影像中所見的各尊佛像原作一同展出,期盼增添古代與當代藝術不期而遇的對話趣味。同時,第一展廳的入口處,特別安排了掌中劇的舞臺及戲偶展出──也是Tao Art Space的特別收藏。戲臺與人偶帶著鮮明的人間戲劇特質,也藉此迎賓,引領觀眾進入展場空間。


如前所述,「照見:吳季璁個展」集結藝術家年少時期以自我探索為起點的作品,包含《自畫像》、《71格的自畫像》、《雨景》等,具有濃厚的實驗氣息。2021年的全新之作,包含多件以佛像為題的錄像和攝影輸出作品,以及兩件分別以龍洞海景和臺北市景為題的《寫生習作》錄像作品。藉由早期作品與新作的對照,除了提供溫故知新之感,也讓觀眾得以觀照吳季璁20年來的創作路徑與審美偏好。


[1] Auguste Rodin, Art: Conversations with Paul Gsell, trans. Jacques de Caso & Patricia B. Sanders (Berkeley and Los Angles: University of California Press, 1984), pp. 22-26. 亦參閱《羅丹藝術論》,羅丹口述,葛賽爾筆記(臺北:雄獅圖書股份有限公司,1992),頁45-51。



 
cyano-collage 095

[Exhibition Review by ArtAsiaParcific] BENEATH THE SURFACE: WU CHI-TSUNG
[ArtAsiaParcific展評]表面之下:吳季璁個展專稿

cyano-collage 095
Cyano-Collage 095,氰山集之九十五, 200x 200 cm x 3 pcs , 2021


At the entrance of Wu Chi-Tsung’s exhibition “Exposé” (2021), curated by Ying Kwok at Galerie du Monde, stood a six-part folding screen depicting blue mountain peaks. The work was made from cyanotype-treated Xuan paper (Chinese rice paper), a laborious process derived from early photography whereby Wu translates the markings of light and time into shades of blue.


The folding screen ushered visitors into the main exhibition space, where the eye-catching, three-part Cyano-Collage­­ 095 (2021) evoked a great mountain range across an entire wall. Its wrinkled texture mimics the contours of majestic slopes and valleys, while the contrast between its deep indigo shades and its misty white layers recall the subtle ink-control seen in Chinese shanshui painting. Wu is heavily inspired by traditional Chinese landscapes, although he eschews the traditional medium of ink in favor of cyanotype. Trained from a young age in Chinese calligraphy, ink painting, and watercolor, Wu turned to cyanotype as a way to simultaneously pay homage to and reinvigorate classical ink aesthetics. 



cyano-collage 094
Cyano-Collage 094, 氰山集之九十四, 225 × 540 cm,2021,


Wu started experimenting with cyanotype in his Wrinkled Texture (2012– ) series as a means of reinterpreting the cun fa (texturing method) of Chinese landscape painting. Wu’s creative process is a strenuous one. To start, he soaks Xuan paper in a photosensitive solution. Then, he crumples the paper and exposes it in the sun for 30 minutes. Strong sunlight results in dark indigo hues, while cloudier days bring lighter blues. The paper is subsequently washed and flattened in a water tank for an hour to set the final image; it is during this step that Wu first sees his work. After selecting a section he finds interesting, he crops and mounts it on a canvas or scroll. “My creative practice is filled with endless experimentations. Every step along the process, I am constantly exploring the possibilities within, and always failing too,” Wu said in an interview with Obscura magazine. Even with limited control over the final image, Wu still manages to capture the essence of shanshui painting through his strategic cropping and framing of the work. In Wrinkled Texture 107 (2021), for instance, the placement of darker blues at the bottom of the frame grounds the image against its overexposed counterparts, and creates an illusion suggestive of shanshui’s classic peaks.


In his Cyano-Collage (2015– )series, Wu harnesses the uncontrollable aspects of this process—the weather, light intensity, wrinkle patterns—by collaging multiple sheets of paper on a canvas and sealing them with several layers of matte acrylic gel. In Cyano-Collage 086 (2020), for example, he adds layers of white rice paper on top of dark blue pieces to create an illusion of mist wavering between valleys. Paper fibers can even be seen in some white layers, highlighting its soft, nebulous quality. Such fine details achieved through his delicate craftsmanship create an impressive dimensionality. Meanwhile, Cyano-Collage 096 (2021) overlays treated Xuan paper in a blue gradient onto an unexposed paper background, a nod to the traditional Chinese painting technique liu bai (leaving areas blank) that creates breathing room. 


“Exposé” demonstrated Wu’s ability to reconcile seemingly contradictory qualities. The depth and elevation created by the textures in his works belie the flatness and smoothness of their surface. The illusions of ink mountains are reconsidered on closer inspection. What was unintentional—colors and patterns dependent on natural forces—transforms into intention through Wu’s meticulous arrangements. Wu’s inventive practice reinterprets the traditions of Chinese art, and invokes hidden depths beneath the works’ surface.


Written by Judy Chiu, an editorial intern at ArtAsiaPacific.

Wu Chi-Tsung’s “Exposé” was on view at Galerie du Monde, Hong Kong, from March 24 to June 13, 2021.






近日,《ArtAsiaPacific》雜誌發表專稿介紹吳季璁於Galerie du Monde的個展《Exposé現》。ArtAsiaPacific雜誌成立於1993年,是世界領先的介紹亞洲、太平洋地區與中東地區當代藝術與文化的英語媒體。


文章介紹了展覽的構造、《皴法習作》與《氰山集》系列的發展簡介並對吳季璁的創作進行了簡要評述。其中,作者評價道:

「《Exposé現》展現了吳季璁將看似矛盾的元素進行調和統整的能力。他的作品中,紋理所創造的縱深與平面性相結合。稍加觀察,原本隨機、無意義的自然產生的顏色與圖案在藝術家的精心安排下具有了意義,變成了想象中的水墨風景躍然眼前。吳季璁創造性的實踐重新詮釋了中國的藝術傳統,令他的作品更具有厚度與豐富性。」



 
creation process

[Critique by Heyshow.com] On the Limitless Imagination in Wu Chi-Tsung’s Interdisciplinary Arts
[黑秀網專稿]不藉筆墨畫山水,巧以陽光曬山色:聊創作跨域的無限想像,吳季璁專訪

Wrinkled Texture Series 097
Wrinkled Texture Series 097, 皴法習作之九十七,90.4×46.3 cm, 2021


Recently, Wu Chi-Tsung’s intriguing application of Cyanotype photography was introduced by Heyshow.com, the biggest Taiwan designers’ website with updated designing news and articles. The article reviews the creation process of the Wrinkled Texture Series as well as the Cyano-Collage Series.


In the article, the writer Hsu Szuying introduces:

When we look at the Cyano-Collage Series, we can’t help but be brought into the time in the picture, as the author invites the viewer to feel a juxtaposition of the past and the future tenses. In “Another Way of Telling” by John Berger and Jean Mohr, it is mentioned that “Imagine if time is cut in photography, that the time of a photograph is a state of interlaced events, then it can be expressed in a frontal, circular way, and the diameter of the circle depends on the amount of information contained in the image.” In the Cyano-Collage Series, the viewer can feel a great deal of information, including the deconstruction of traditional landscape painting methods, the study of paper materials, and the repeated testing of visual effects. These contents enrich the work itself and expand the viewer’s thinking, which is the spirit of art and the most valuable part of being a creator.




不藉筆墨畫山水,巧以陽光曬山色:聊創作跨域的無限想像,吳季璁專訪


 Cyano-Collage 091
Cyano-Collage 091, 氰山集之九十一,200×85 cm,2021


在我們既定的印象中,「山水畫」應該是白紙黑墨的視覺舞動,在墨色的深淺間展現筆觸的豐富性。有一位藝術家結合攝影中的氰版攝影法(藍曬法),在「無筆無墨」的狀態下,創作了一系列令人動容的藍色山水《皴法習作》(Wrinkled Texture )與《氰山集》 (Cyano-Collage)。運用浸、揉、曬、拼的手法,畫中的山嵐與稜線,磅礴中卻不失雅韻,這是他長達十年的材質研究的成果,他是吳季璁,在跨域過程裡尋找無限可能的藝術實驗者。


吳季璁,1981年出生於台北,2004年畢業於國立台北藝術大學美術系,目前居住、創作於台北及柏林。致力於攝影、錄像、裝置、繪畫與舞台設計, 其創作媒體媒材多元,發想自日常生活中平凡的材料與現象,轉換出充滿詩意的想像空間。關注影像及觀看本質的探討,並融合東西方傳統與現當代藝術形式。 曾獲台北美術獎首獎(2003)、波蘭媒體藝術雙年展(WRO,2013)藝評與藝術雜誌編輯獎、劉國松水墨藝術大獎(2019),並入選英國世界藝術獎(Artes Mundi,2006)、英國保誠當代藝術獎(Prudential Eye Awards,2015)。



cyano-collage 095
Creation Process of Cyano-Collage 095, 吳季璁創作《氰山集之九十五》,吳季璁台北工作室,2021


《氰山集》水墨與攝影的交錯

走進吳季璁的工作室,有種莫名的震撼,為製作《氰山集》,吳季璁與工作團針對能容納長兩公尺的作品量身打造了烘乾箱、洗紙台,並擬出一套完整的工作流程,例如選用哪種紙、曝曬、水洗的時間。有趣的是,即使有一套“製圖標準”,他還是能保持創作一定的偶然性,例如在曝曬過程中揉紙的方式、陽光曝曬的時間,接著以撕與拼貼的方式,建構了既能呈現材質特殊性又保有視覺美感的山水圖。

藍曬法(Cyanotype又稱氰版攝影法)誕生於1842年,以檸檬酸鐵氨與鐵氰化鉀為感光原料,在陽光曝曬下,使之產生變化,並經過水洗顯影後呈現出藍色的視覺效果,未曝曬到的則無任何顯色,也有人稱之為無相機攝影法。



Q1.當初選擇用氰版藍曬結合水墨創作的靈感來自哪裡呢?

季璁:選擇氰版攝影源於對數位攝影的不滿足。使用數位相機或電腦修圖能便利的產生各式各樣的影像,但生成影像方式只剩一種,也就是說只有一種方法做攝影。於是我想回到攝影的本質去紀錄光線,讓材質與技術更開放,並結合不同紙張去實驗,於是使用了氰版的技法。至於水墨題材,則是因為從小學習傳統書畫,對山水有很強的連結。然而,由於當代生活經驗與日常生活使用的物品已經和以前不同,現在的觀眾已經很難直接理解什麼是「筆墨」,所以我思考的是如何將其轉換成這個時代大家較能接受的影像,來傳遞水墨的美學與精神。


studio member
吳季璁與團隊於台北工作室,成員每個人都各有所長,把關每一個細節 圖/吳季璁工作室

Q2.您是如何理解「山水畫」的呢?與其他畫類相比有何特殊之處?

季璁:比較東方傳統水墨與西方傳統風景繪畫,它們其實反映了東西方思考方式的差異,西方的繪畫追求「再現」,例如油畫便是追求高度控制的媒材,但東方繪畫始終來自個人想象的投射,雖然北宋時期的山水風格相對寫實,然其也並非再現特定的山,而是畫家飽覽群山後自行歸納、總結出此地山水紋理之特色,再發展出一個筆法來描繪,投射自己想像的世界,是觀察、歸納、理解、再創造的過程。再往後期發展,畫家則更多的是基於前人的創作去發展山水意象,離自然寫實就更遠了。

東方的繪畫材料也是順應著這個特質發展。無論是宣紙、墨還是毛筆,均開創出非常複雜的工藝高度,紙與墨是極為敏感的材質,筆墨與筆觸可以細膩地反映出人在創作時的精神狀態。《氰山集》與《皴法習作》系列中納入了高度的隨機性與對於自然的投射延伸出來的水墨系統,並用無相機攝影法呈現出來。


Q3. 除了現在的創作模式,您是否有計劃將藍曬做其他材質或主題的探索呢?

季璁:《氰山集》系列經過多年的發展,已經開展出許多不同面向,例如表現山、海等自然風景,或更為抽象的內容。利用氰版無相機攝影的隨機特性,畫面的可能性極為多元,我希望能夠順其結果探尋更多表現空間,尤其希望能夠深入研究使用宣紙成像這件事。宣紙種類繁多,每種宣紙的屬性大異其趣,氰版在其上可以有很多的色彩和變化,是很隨機又很有機的。例如,如果使用水彩紙成像,其色度很可能乍一看很鮮亮,卻缺乏變化與餘韻。然而,宣紙卻能顯現出非常細膩的階調,如同山水中的墨色墨韻,這種細膩度是其他紙張無法比擬的。



cyano-collage 061
Cyano-Collage 061, 氰山集之六十一,205×205 cm,2019


可惜的是,宣紙這種非常細膩精緻的傳統工藝,因使用者變少、時代變遷而遇到發展危機,工廠也漸漸減少了生產紙張,人們缺乏認識它、探索它的機會。所以我還是想做更多宣紙結合氰版的實驗去探索不同紙張,也希望可以啟發其他創作者注意到宣紙種種特性及其背後悠久的歷史與複雜的工藝傳統。也許可以通過這樣的努力,讓世界上更多人開始認識並使用宣紙,使這門古老而細膩的技術重振生機。

在當代藝術世界,很多人在討論與追尋能夠反映這個時代的作品,但我對於藝術的信仰卻有些保守。我在思考的是什麼可以超越時代、超越時間性,反覆思考從所謂的「傳統藝術」到「現當代藝術」之間,始終不變的是什麼。

如果說當代藝術的潮流在於對新技術與精神的捕捉,我卻熱衷於反向而行,專注於材料學、技術,以及與自身所在區域文化的歷史及美術史的對話,用一種看起來不那麼激進或是前衛的方式創作,也許這反而是我對於當代藝術的批判性貢獻。



氰山之美



production process
氰山集製作過程,圖/徐思穎


如果用攝影的角度去看《氰山集》,會發現一些很有趣的事,當我們看照片時,我們會不由自主的被帶入畫面中的時間,是作者邀請邀請觀者感受一段過去與未來的脈絡。在John Berger 與Jean Mohr所寫的《另一種影像敘事一個可能的攝影理論》曾提到:「假如攝影中的時間切割,想像照片的時間是種事件交錯的狀態,那麼就可以從正面、圓圈的方式來表達,而圓圈直徑大小則取決於影像中所蘊含的資訊量。」在《氰山集》的畫面中,觀者能感受到大量的訊息,包含了對傳統山水畫法上的解構、對紙性的材質研究以及對視覺效果的反覆測試。這些內容豐富了作品本身,同時也拓展了觀者的思考維度,這是藝術的精神,同時也是作為創作者最可貴的部分。



作者/徐思穎 圖/吳季璁工作室



 
cyano-collage 106

Cyano-Collage on Aluminum Panels will be Premiered at Art Basel Hong Kong
鋁製底板《氰山集》將於巴塞爾藝術展香港展會首次發表

cyano-collage 106
Cyano-Collage 106 氰山集之一百零六,2021

Date May 21 – 23

Venue Convention & Exhibition Centre, 1 Harbour Road, Wan Chai, Hong Kong



From May 21 to 23, First Cyano-Collage Series work applying aluminum panels will be premiered at Galerie du Monde’s booth in Art Basel Hong Kong. As a substitute to wooden baseboard, aluminum panels create a distinct reflection that leaks through the Cyano-Collage landscape. The revealed base board, a.k.a the blank-leaving(留白), embraces traditional aesthetics of Chinese painting and enhanced the sense of space hence created new possibilities of interpretations. 






日期 2021年5月21日 – 23日

地址:香港會議展覽中心,香港灣仔港灣道1號



本月21日至23日,首次應用鋁製底板創作的《氰山集》系列作品將於巴塞爾藝術展香港展會的世界畫廊展位首次發表。相較於之前使用的木製底板,鋁製底板獨特的金屬反光從氰版山水中透出,照應了傳統繪畫中「留白」的概念,為作品帶來了縱深感與更為豐富的意境。




Installation Views 展覽現場



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[Exhibition Review by OBSCURA] TIME, LIGHT AND EXPERIMENT
[OBSCURA展評] 時間、光與實驗

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現於世界畫廊(Galerie du Monde)展出的《現 Exposé》正是把吳季璁近年的實驗作品《氰山集》(Cyano-collage)向大眾呈現出來。2019年時,他在台北舉行的個人展覽《東橋西照Echo》也有展示《氰山集》系列,同樣是穿越詩意山水的概念,但展示方式卻是截然不同。《東橋西照Echo》把作品展示在一所有歷史感的殘舊大樓裡,部分畫作更是隨意地貼在石灰剝落的牆上或是放在檯的邊緣,任由它懸垂在地上。這次在方正、潔淨又優雅的畫廊裡展出,又是另一種體驗吳季璁作品的方式。「我們刻意地把一幅大型六聯屏作品放置於展場入口,令觀眾必須要繞過這作品才看到其他展品,如行山一樣,攀過一座山才看到其他的風景。我們希望觀眾能夠一層一層地發現和探索,如中國山水畫強調的『可行、可望、可游』;吳季聰塑造他作品中的風景時, 也是懷着這種精神。」展覽的策展人郭瑛說。她在佈展時意外地發現六聯屏的板子間透出了光束,若隱若現光線正是呼應著中式園林中的影壁,讓觀眾開門見山地看到仿若懸浮空中的作品,並擴闊了對空間的想像。


「無論我創作什麼媒材的作品,我的思考方式與投射的世界都是繪畫的、山水的。 只有在傳統與現代、東方與西方之間遊走,才能讓我更意識到其中改變的東西是什麽、共通的地方是什麼,而不變的又是什麼。」吳季璁說。從小喜歡繪畫的他,在大學時代開始嘗試各種媒材,但他始終鍾情於影像本身。今次展覽除了《氰山集》,也有較早期的《皴法習作》(Wrinkled Texture),這兩個系列都是源於吳季璁對數位攝影的不滿足。「數位攝影生成影像方式只有一種,也就是說當代彷彿只剩一種方法做攝影,於是我想回到攝影的本質去紀錄光線本身,讓材質與技術更開放,並結合不同紙張去實驗。因而回到更古典、時間性更強、更不可控的氰版。」他這次的實驗方式使用了古老的氰版攝影法,來創建紙上的紋理——把中國宣紙浸泡於塗布感光藥劑之中,透過直接曝曬於陽光下和過程中不斷調整重塑紙張的皺折,創造了美麗的質感與層次。陽光猛的時候,紙上會呈現深藍色,陰天時藍色會變得淺一點;深淺也會因曝曬的時間而有所不同。在反復的嘗試後,吳季璁挑選喜歡的部分,並放在捲軸上,成為《皴法習作》。《氰山集》則是在這基礎上加上拼貼及繪畫,把雲霧裡的群山峻嶺立體地呈現出來。這不但蘊含著中國傳統水墨畫裡的山水意境,還記錄了當下的時間、光影明暗和身體姿態的表達。


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中國的山水畫表現的是情景合一,那麼吳季璁創作時又寄喻著怎樣的情感呢?「《皴法習作》和《氰山集》系列通過將筆墨置換為攝影,探索的是「山水」的可能性,在試圖拓張山水的邊界與想像空間。我們對於創作的每個環節都進行過無數次實驗,這個實驗的過程可能不太是感性與抒情的,而是在辯證地探索。」吳季璁說《氰山集》系列在今年之前都是控制性很強的作品,他一直追求技術上的極致,例如為了處理畫面中的留白與雲霧,在技法上將宣紙的纖維搓到極薄。即使技術已近乎極致,但他卻感到似乎失去了追求的意義。「近期比較大的突破在於創作狀態更為放鬆,更接近『自然而然』。除了構圖時讓氰版相紙自然地發展,也同時讓我的某些內在的東西自然地抒發出來,這與古人繪畫山水的狀態很相似。在創作《氰山集》時,我漸漸地把自己的意識放在他處,例如收聽廣播節目,讓手無意識地動作,越是這樣越能進入到一種類似冥想的狀態。 」吳季璁說創作這兩個系列時,他思考和追求的都是「形似」,像回應某幅經典的山水畫;但現在則進入了不那麼表象的思考,從而展開更多的可能性。「能夠將自己全然投射進入到一個『可觀、可居、可游』的想像空間,反而更契合水墨的內在精神。」


遊歷在眾多的作品之間,眼睛不禁停留在捲軸的《皴法習作》之上,近看時是一張擁有漸變色彩、皺摺了的紙張,遠看時卻浮現出山水的景象。加上,以最經典的東方書畫形式去結合西方的氰版攝影技術,在現代的語境中延續了傳統的美學。打開卷軸時更會有一種如走到大自然裡或行山時所感受到的柳暗花明,是對那未知景色的興奮和期待,難怪吳季璁笑說他也是私心地偏愛捲軸的《皴法習作》呢。






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“My creative practice is filled with endless experimentations. Every step along the process, I am constantly exploring the possibilities within, and always failing too. As the saying goes, ‘Successes are coincidental, while failures are essential’,” Taiwanese artist Wu Chi-Tsung said with a laugh. Sometimes the act of creating resembles an experiment, with its incessant attempts and failures after more failures; one awaits a coincidence to create a “successful” work. Amid a sophisticated and fortuitous creative process, Wu’s recent works the Cyano-Collage series struggled against, adapted to and interspersed with time and light to realise one experiment after another.


Currently exhibiting at Galerie du Monde, Exposé is a public display of the experimental series Cyano-Collage Wu created in recent years. In 2019, his Taipei exhibition Echo also exhibited the Cyano-Collage series, following the same concept of going beyond shan shui (landscapes), but with a completely different curatorial approach. Echo showed the works in a dilapidated building that exudes heritage. Some of the works were attached arbitrarily on walls with lime peeling off it, or lying around the table edge in suspension. Exhibiting the works in a four-square, clean and elegant gallery this time presents another way to experience Wu’s works. “We deliberately placed a large 6-part work at the entrance of the exhibition space, so that visitors must make their way around this work to see other exhibits, much like hiking, where one must overcome one mountain to see other scenery. We hope that visitors may discover and explore layer through layer, as Chinese shan shui paintings often emphasised in the quality of being ‘passable, discernible, navigable’; Wu shaped the landscapes in his work in the same spirit,” said Ying Kwok, the curator of the exhibition. While setting up, Kwok chanced upon the light that seeps out of the spaces between the panels of the 6-part work. The obscure rays echo the ying bi (screen walls) in Chinese gardens, such that visitors are given an uninhibited view of the work that appears suspended, and imaginations about space expand.


Echo exhibition view

What Chinese shan shui painting presents is the union of sentiments and scenery. As such, what kinds of sentiments were bestowed by Wu when he was creating? “The Wrinkled Texture and Cyano-Collage series swapped the ink and brush for photography, and what they explore is the possibilities of ‘shan shui’. They attempt to expand the boundaries and space for the imagination of shan shui. We conducted countless experiments in every stage of the creation. This experimentation was perhaps not so much as sentimental or expressive, but more of an exploration grounded in reasoning.” Wu said that the Cyano-Collage series was still very much a controlled work before this year. He has been pursuing perfectionism in techniques, such as in the treatment of liu bai(leaving areas blank) and misty clouds in the composition, for which he rubbed the fibre in the Xuan paper to an extreme fineness. As his techniques neared perfection, however, he felt at loss somehow with the meaning of the pursuit. “The biggest breakthrough lately was when the state of my creative process grew more relaxed, and closer to ‘natural spontaneity’. That not only allowed the photographic paper to develop naturally when I worked on the composition, but also enabled certain things in me to be released naturally. This is similar to the state wherein ancient people painted shan shui. In creating Cyano-Collage, I gradually placed my consciousness elsewhere, such as in listening to radio programmes, as I let my hands move unconsciously. The more I do this the more I was able to enter into a sort of meditative state.” Wu also said that while creating the two series, his thoughts and pursuits were “figurative”, like a response to a certain shan shui painting classic; whereas now his thoughts have entered into less literal realms, opening up more possibilities, “To be able to project oneself entirely into a ‘discernible, habitable, passable’ imagined space is more in keeping with the spirit of ink art instead.”


Roaming around so many works, my gaze lingered on the Wrinkled Texture on the scroll inadvertently. Seen in close proximity, it was a gradient, creased paper; seen from afar, the shan shui landscapes came through. Not to mention using the most classic Eastern art forms to fuse with Western cyanotype photography technology is a continuation of traditional aesthetics within the modern vernacular. Rolling out the scrolls, there was even a sense of optimism as one feels when entering into nature or hiking, that is, the excitement and anticipation for the unknown. No wonder even Wu said laughingly that he held a personal preference for the Wrinkled Texture in scrolls.



Write by/ ELVA PANG

TRANSLATION / GABRIEL SO



 

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[Exhibition Review by *CUP] Art of chance and coincidence
[*CUP展評] 世界畫廊與吳季璁 ——偶然與巧合的藝術

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Rently, writer and artist Cyrus Lambrecht has published an exhibition review on *CUP on Wu Chi-Tsung’s solo exhibition EXPOSÉ at Galerie du Monde.  In this article, Lambrecht discusses on chances and coincidences in Wu Chi-Tsung’s art.

Curator Ying Kwok introduced during the press preview that the aim of the exhibition is to unveil the production process of Wu Chi-Tsung’s works that applies cyanotype photography. After being able to see the behind-the-scenes, Lambrecht quoted John Locke’s theory named Tabula Rasa to describe the exposure process. The term literally means ‘blank board’ as a comparison to human’s mind before experiences, which resembles blank Xuan paper, while the wrinkles and sunlight exposure resembles experiences in a person’s life. Hence, the whole process as well as what finally emerges and remains on paper, the landscape-like imagery, are interesting metaphors for life.



Photos credit to the writer




若世界上所發生的事情,都只是一種偶然與巧合,人們所堅持的一切,會否也只是一段徒勞無功的過程?我們可能因為無法控制一些事情的發生,而感受到一刻的脆弱和無力感 —— 但就是當中一份偶然發現的驚喜,讓我們堅持自己的信念和執著。台灣多媒體藝術家吳季璁,在世界畫廊(Galerie du Monde)以「」(Exposé)為主題,展出一系列採用了氰版攝影和宣紙的畫作。透過獨立策展人郭瑛重視空間劃分的策展風格,呈現出時光荏苒與物是人非之間的一刻旖旎景象。



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宣紙與氰版藍曬法

在「現」的展覽中,共有 8 件同樣運用了氰版攝影手法的作品。其中以「氰山集」為題的畫作,在處理上增添了壓克力膠塗層,讓宣紙固定在畫布上。氰版藍曬法是一種傳統的顯影技術,透過製作負片、曝光及水洗的過程,進而產生化學作用,在紙張上顯現圖像和紋理。由於現今大多的紙張會以化學藥劑進行漂白,影響顯影效果,因此吳季璁在紙張的挑選上,以被譽為「紙壽千年」的宣紙進行創作。「氰山集」和「皴法習作」的創作靈感,都取材自中國水墨畫中的「皴法」概念,一種傳統以水墨勾勒山巒與石塊嶙峋質感的畫法。吳季璁反覆將宣紙摺疊與揉捏,使其形成獨特的紋理,再透過陽光與藥劑的化學反應,在紙張的纖維裡,交織出一種大自然與山水的意境。


柳暗花明又一村

佇立在畫廊門口的「氰山集之九十四」,為吳季璁在 2021 年所創作的六聯屏作品,每一幅彷似懸在半空的畫作,都經過氰版藍曬的處理。根據策展人郭瑛在開幕當天對場地策劃的闡述,她希望是次展覽可以給予觀賞者一種「柳暗花明又一村」的感覺,配合著場地的設計,展現出畫作當中涵蘊的層次。在走進了畫廊以後才驀然察覺,郭瑛特意保留了「氰山集之九十四」背面的原始面貌,無遺地展現吳季璁最真實的創作過程。她這一個策展決定,是為著大眾可以看到吳季璁更多創作背後的實驗和經歷,所以她亦在畫廊的角落,放置了不同藍曬效果的宣紙和創作手稿,讓觀賞者從藝術家的角度,逐步見證一件作品的誕生。



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人心如白板

在拼湊附有皺褶的宣紙的過程中,吳季璁會在每一層的宣紙之間,加上一層白紙來呈現「留白」的效果,然後再塗上 5 至 6 層壓克力膠和保護漆來固定畫面。英國經驗主義哲學家約翰.洛克(John Locke)在著作「人類理解論」中,曾提出「人心如白板」(Tabula Rasa)的理論:「一切觀念都是由感覺或反省而來的 —— 我們可以假定人心如白紙似的,沒有一切標記,沒有一切觀念,那麼它如何會又有了那些觀念呢?」洛克所論述的是人類一切的認知,本來就沒有一種先天的概念,一切都是從經驗而來。在吳季璁「氰山集之九十四」的創作過程中,會否亦在體現一種如「白板論」一般的哲學概念?宣紙能夠充沛地吸收顏料的特質,就如我們的心靈一樣盛載各種情緒。每一層象徵著經驗的壓克力膠,緩緩地組成我們的性格,就像皺褶的紋路,需要經過時間的沖洗才可以冉冉顯現。六聯屏在畫面上的推進,宛如人生每一個階段的發展,看似分離卻又巧合地連繫在一起。或許人生從來沒有遞增或遞減的過程,就如吳季璁的六聯屏一般。當一張畫布被填滿了,就塗上一層保護漆,把我們所得到的經驗和知識保存,然後再開展一段未知的創作。


偶然與巧合之間

在離開展覽之前,幾縷和煦的光線從「氰山集之九十四」的縫間折射到地上,巧合地形成了似是呼應著吳季璁作品裡,由皺褶所築建的大自然山景。每一次的偶然與巧合,都埋藏著一份等待我們去發掘的驚喜。台灣唱作歌手陳綺貞在歌曲「偶然與巧合」中曾經寫下這一段歌詞:「偶然與巧合之間,我們的選擇會不會,改變了世界,改變某一個人。」在偶然與巧合之間,到底我們可以得到甚麼?同時我們又可以付出甚麼?若我們精心策劃一場可知的快樂,就會失去了一份不可知的期待。吳季璁選擇了在藝術的空間裡,捕捉一種偶然與巧合的驚喜。在宣紙的皺褶之間,量度人與大自然之間的溫度。


文、圖/ 林靖風

參考資料 關文運(譯)(1959)。「人類理解論」(頁 68)(原作者:John Locke)。北京:商務印書館。(原作出版年:1689)

 
Wrinkled Texture 96

New Wrinkled Texture Scroll Available on Asia Society Charity Auction
《皴法習作》新作在線義賣中

Wrinkled Texture 96
Wrinkled Texture 96 scroll, 皴法習作96 卷軸


Lately Wu Chi-Tsung has donated his new work Wrinkled Texture 096 to theAsia Society for the  2021 Asia Arts Game Changer Awards Art Auction. Proceeds of the auction will be supporting Asia Society’s global Arts & Culture initiatives. The auction is now live and will close on May 5, 2021 at 8:30 PM (ET).  

Please click here for the Online Auction.


About Asia Society

The Asia Society’s purpose is to navigate shared futures for Asia and the world across policy, arts and culture, education, sustainability, business, and technology.


About the Asia Arts Game Changer Awards

The Asia Arts Game Changer Awards is a signature event honoring the Asia Arts Game Changers. Every year, major art collectors, artists, gallerists, dignitaries from the art world, and Asia Society trustees and patrons gather to celebrate contemporary art in Asia and honor artists and arts professionals for their significant contributions to contemporary art.

Past honorees include: Cai Guo-Qiang, Hon Chi Fun, Abir Karmakar, Krishen Khanna, Bharti Kher, Kimsooja, Lee Ufan, Liu Guosong, Nalini Malani, Nyoman Masriadi, Takashi Murakami, Yoshitomo Nara, Rashid Rana, Shahzia Sikander, Hiroshi Sugimoto, Do Ho Suh, teamLab, Wucius Wong, Xu Bing, Zeng Fanzhi, and Zhang Xiaogang.

All proceeds from the Asia Arts Game Changer Awards support Asia Society initiatives worldwide.






近日,吳季璁向位於美國紐約的亞洲協會捐贈了新作《皴法習作之九十六》以支持2021年Asia Arts Game Changer Awards 線上藝術拍賣,所得款項將支持亞洲協會的全球藝術與文化項目。拍賣現已上線,並將於2021年5月5日美國東部時間20時30分結束。

請點擊此處進入拍賣頁面。


關於亞洲協會

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。


關於Asia Arts Game Changer Awards
Asia Arts Game Changer Awards旨在表彰在亞洲藝術界做出突出貢獻的人士。每年,著名的藝術收藏家、藝術家、畫廊經營者以及亞洲協會的受託人和讚助人匯聚一堂,慶祝亞洲的當代藝術的發展,並表彰藝術家和藝術專業人士對當代藝術的重大貢獻。



 
Cyano-collage-101

Wu Chi-Tsung Participates in Frieze New York
吳季璁參展紐約弗里茲藝術博覽會

Cyano-collage-101
Cyano-Collage 101,氰山集之一百零一,100x100cm, 2021


Works of Wrinkled Texture Seriesand Cyano-Collage Series will be showcased in Frieze New York represented by Sean Kelly Gallery. Parallel to the physical fair at The Shed, Manhattan, May 5 – 9, 2021, an Online Viewing Room will open from May 5 – 14.  


About Frieze

Frieze Art Fair is an international contemporary art fair in London, New York, and Los Angeles.Frieze London takes place every October in London’s Regent’s Park. In the US, the fair has been running on New York’s Randall’s Island since 2012, with its inaugural Los Angeles edition taking place February 2019.[2][3] The fair was launched by Amanda Sharp and Matthew Slotover, the founders of frieze magazine, and is led by Victoria Siddall, global director of Frieze Fairs. Frieze Art Fair features more than 170 contemporary art galleries, and the fair also includes specially commissioned artists’ projects, a talks programme and an artist-led education schedule.






Cyano-Collage 095


《皴法習作系列》與《氰山集系列》將由尚凱利畫廊代理,參與紐約弗里茲藝術博覽會。除了2021年5月5日至9日於曼哈頓The Shed進行的現場展會外,線上博覽會也將於5月5日至14日舉行。


關於弗里茲藝術博覽會

弗里茲藝術博覽會是在倫敦、紐約和洛杉磯舉辦的國際當代藝術博覽會,紐約弗里茲博覽會自2012年起在紐約的蘭德爾島舉辦。博覽會由Frieze雜誌的創始人Amanda Sharp和Matthew Slotover發起,並由Frieze Fairs的全球總監Victoria Siddall領導。 弗里茲藝術博覽會擁有170多家當代藝術畫廊,該博覽會還包括特別委託的藝術家項目、會談項目和藝術家主導的教育日程。



 
exhibition poster

Solo exhibition Exposé opening on Mar 25 at Galerie du Monde
個展《Exposé 現》將於3月25日開幕



Opening  Mar 24, 6 ~ 8 p.m., 2021
Public Days  Mar 25 ~ Jun 13
Zoom Talk  Mar 31, 8 p.m. HKT
Venue  Galerie du Monde, 108 Ruttonjee Centre, 11 Duddell Street, Central, Hong Kong


HONG KONG – Galerie du Monde is pleased to present a solo exhibition by Wu Chi-Tsung: Exposé, curated by Hong Kong based Ying Kwok. Wu’s work explores light and time, and ways to recreate traditional art forms and aesthetics without losing the spirit. In Exposé, curator Kwok leads us on a journey to discover the correlation between Wu’s Cyano-Collage series and these concepts.


Born in Taipei in 1981, Wu received his BFA in 2004 from the Taipei National University of the Arts, where his training from an early age in the practices of Chinese calligraphy, ink painting, watercolor and drawing were furthered. After decades of creating experimental ink paintings, Wu turned to photography, video and installations to apply his aesthetics in classical landscapes.


Wu created his first Cyano-Collage in 2015, a further development of the earlier Wrinkled Texture series which he started in 2012. Both series explore the process of “recording light” on Xuan paper (Chinese rice paper). From Wrinkled Texture to Cyano-Collage, Wu showed he could somehow manipulate the unpredictable, creating beautiful illustrations of the relationship between man and nature.


Wu began the Wrinkled Texture series with the intention to reinterpret the traditional Texturing method (Cun Fa) of Chinese landscape painting. Instead of using ink and brush, Wu utilizes a classical photographic technique – Cyanotype, to treat his Textures. Wu first soaks the Xuan paper with a photosensitive solution, and then exposes them to sunlight for 30 minutes, while at the same time crumbling and shaping the paper into various forms and wrinkles. This exposure process is random and uncontrollable as the light intensity and the sun’s angle is different every day, at every hour.




cyano-collage 094
Cyano-Collage 094 will be exhibited at Exposé
《氰山集之九十四》將於《Exposé 現》中展出



The paper is then flattened and washed in a water tank in the studio for an hour to fixate the exposed textures. This is the most intriguing part of the entire process, as it is the moment when Wu sees the outcome – the different textures and possibilities. The treated paper becomes a record of time, light, and human gestures that is marked with folds and different shades of blue.

One out of dozens of treated Xuan paper is selected by the artist. At the beginning, Wu was focused on creating a dialogue with traditional Chinese landscapes. Thus, in that period, Wu selected images that remind him of classical landscape paintings by Chinese masters. Gradually, Wu developed other references – real life landscapes, nature, or abstract paintings. It could be anything. As Wu’s practice evolves, his imagination of this series of works transforms.

Rather than limiting himself to a single sheet of Xuan paper and uncontrollable compositions, Wu discovered a new way to create his imaginary scenery on a bigger scale through experimental collages. Each Cyano-Collage is composed of many pieces of Xuan paper, individually pasted onto the canvas by Wu, and then sealing each layer with acrylic gel before adding a new one. Sometimes, Wu adds plain white Xuan paper to create depth or to erase part of an image, leaving large areas of blank space in order for the subject to leap from the painting – this is one of the most important techniques in traditional Chinese painting, termed “Liu Bai”. Wu then finishes the painting with a UV-protection varnish for long-term preservation.

Xuan paper, also known as Chinese rice paper, is a very unique medium. Compared to drawing paper or watercolor paper, Xuan paper is much thinner, more absorbent and versatile. Hence, the artist could make lots of textures through repeated crumbling. Over the past decade, Wu has studied and experimented with several dozen types of rice paper, from different origins, with varied thickness, textures, and paper making process. Wu has saved all these testing papers in his studio, and he revisits them from time to time to “read” them again and find new inspirations. A selection of these raw materials will be presented to the public for the first time in Exposé.

Exposé, the second solo exhibition of Wu Chi-Tsung at Galerie du Monde, unveils the complicated and unpredictable process behind his Cyano-Collage through an immersive viewing experience. Whether it is a painting, an installation or a video, there is always a transparent aspect in Wu’s work. It is this honesty that is so inviting, allowing for such powerful bodies of work to be fully experienced by the audience. Wu’s practice also inspires us to carry on traditions and recreate new readings of classical techniques and aesthetics. Ancient or contemporary, they shall continue to cross-pollinate and together grow into a new realm.



On Mar 31st, an online artist talk was held between the artist and curator Ying Kwok when the duo shared their first meeting at the Centre for Chinese Contemporary Art in Manchester back in 2011, and how they brainstormed, developed and presented this new project together at Galerie du Monde.









開幕  2021年3月24日晚6~8時
展覽日期  3月25日~6月13日
線上對談  3月31日晚8時
地址  香港中環都爹利街 11 號律敦治中心 108 室 世界畫廊(Galerie du Monde)


香港 - 世界畫廊(Galerie du Monde)將舉行台灣藝術家吳季璁於香港的第二場個展「現」。策展人郭瑛將引領觀眾揭開《氰山集》背後既繁複又偶然的創作過程,探索吳季璁與時間和光線之相搏鬥、磨合與交融的靜態作品。對吳季璁而言,光是他創作中的催化劑,而時間則是他的暗房。他以「時光」為手段,探索東西方傳統技法和媒材的可能性,以當代的視角延續中國水墨的美學精神,創造出連接不同文化、過去和現在的獨特藝術語言。


1981 年生於台北,吳季璁從小便兼具傳統書畫與素描水彩的藝術養成,於 2004 年畢業於國立臺北藝術大學。骨子裏受東方傳統美學影響深刻,多年來堅持實驗水墨藝術,大學時期開始探索攝影、錄像及機械光影裝置等新媒介,去微觀宏偉的山水詩意。

氰山集》於 2015 年面世,此系列作品源於吳季璁於 2012 年開創的《皴法習作》,發想自水墨畫中的「皴法」概念。皴法是傳統中國文人繪畫中的核心技法,以書法的筆墨精神,對山石紋理概括描繪,畫家藉此投射個人內心的山水景物,寄情其中。吳季璁以宣紙為媒介,運用古老的氰版攝影沖印技術藍曬法替代筆墨。

吳季璁先將感光材料塗在紙張上,在陽光下曝曬約三十分鐘,過程中不斷重塑紙張皺摺,壓平後再經一小時的水洗程式,將皴法定影。水洗步驟非常重要,不單是要停止陽光與宣紙的化學反應,也是整個程序中最有趣的一環,皴法的色調和紋路首次顯示於藝術家眼前。此刻,時間、陽光的線條、和人類觸感都被記錄在海藍的宣紙上。陽光和天氣隨著時間一直在變化,所以吳季璁每一次曬紙都是一次偶然,最終呈現在紙上的皴法紋路變幻莫測。


曝曬後的宣紙被壓平和風乾後,吳季璁會仔細「閱讀」每張宣紙上的皴法紋路,從而進行篩選。一般在數十張宣紙中,吳季璁能選出一張裁剪為《皴法習作》作品。創作初期,吳季璁強調重現中國山水,與古代書畫大師產生對話,所以該時期選出的紙張都帶有山水詩意的皴法紋路。隨著時間的推移,吳季璁想要表達的語境也在變化。真實的風景、大自然、抽象藝術等,世間上所有事物都能成為吳季璁的靈感,從《皴法習作》到《氰山集》的突破見證他思想及想像力的蛻變歷程。



wrinkled texture 097
Wrinkled Texture Series 097 will be exhibited at Exposé
《皴法習作之九十七》將於《Exposé 現》中展出


經過三年對宣紙和藍曬法的研究,吳季璁於 2015 年創作出第一件《氰山集》作品,擺脫了畫面大小的局限和佈局的偶然性,將曝曬過後的紙張在畫布上拼貼成叢山萬嶺景象,進一步探究傳統繪畫的美學。宣紙質感柔薄,可讓吳季璁隨心貼附在畫布或木板上,用刷子刷平,再塗上五、六層壓克力膠進行固定。每次加上新的一層紙,吳季璁都會加進白紙,以中國傳統繪畫中的「留白」技法來調整構圖。最後,吳季璁會在畫面塗上防紫外線的保護漆。


宣紙的材料屬性是吳季璁創作初期的一大挑戰,其變化性和複雜度遠大於一般氰版攝影中使用的相紙。多次實驗後,吳季璁逐漸發現宣紙是格外特殊而精彩的材料。西方常見的紙張,像水彩紙,表面有塗層,無論多厚重的顏料都只會停留在表層。東方沒有放礬的生紙,雖然很薄,卻能夠將顏料吸收在紙纖維裏,把時間的變化記錄在紙上,創造出更多的可能性。

郭瑛於「現」中帶領觀眾探索吳季璁在過去九年的成長,揭開《氰山集》的創作歷程。不論是畫作、裝置或影像,吳季璁的作品中都在演繹時間的流動性,從曝光到拼貼,它不是單純靜態的東西,而是記錄著動態與韻律。吳季璁借助攝影來思考與表達,對攝影、繪畫、山水、空間作出提問,無止境地尋找新的可能,在跨文化的語境中開發東西方藝術傳統新的火花。



3月31日,吳季璁與策展人郭瑛還進行了一場線上對談。兩人分享了2011年在曼徹斯特中國當代藝術中心的第一次相遇,以及本次他們如何在世界畫廊的支持下集思廣益,構思、設計以至於呈現出本次展覽的種種細節與趣事。







Installation Views 展覽現場



Installation View

Installation View

Installation View

Installation View

Installation View

Installation View




Media Coverages 媒體報導


10 Must-See Art Exhibitions In Hong Kong In April 2021, Tatler Hong Kong, April 2, 2021


A Comprehensive Round-up of the Best Art Exhibitions to Visit this Month, Lifestyle Asia, April 8, 2021


Art of Chance and Coincidence, *CUP, April 1, 2021


Time, Light, and Experiment, OBSCURA Magazine, April, 2021


On the Limitless Imagination in Wu Chi-Tsung’s Interdisciplinary Arts, Heyshow.com, May, 2021


Beneath the Surface: Wu Chi-Tsung, ArtAsiaParcific, June, 2021



 
Wrinkled Texture 109

“EXPOSÉ” listed as ‘best art exhibitions to visit this month’ by Lifestyle Asia
《EXPOSÉ現》被Lifestyle Asia收錄為本月最佳展覽

lifestyle-asia


Wu Chi-Tsung’s ‘Exposé’ was recommended by Lifestyle Asia in their article “A comprehensive round-up of the best art exhibitions to visit this month” published on April 8th. Editor Joey Wong introduces the exhibition as below:

“A perfunctory gaze will perhaps write off Wu Chi-Tsung’s ‘Exposé’ exhibition as a simple series of mountainous landscapes; this perfunctory gaze would be wrong. Curated by Ying Kwok, ‘Exposé’ deep-dives into an extraordinary wrinkled-paper technique that mimics that of valleys, troughs and crevices; minute, natural-appearing details that would happen upon any geographic rendering. The textured cyano-collage process used, however, is completely randomised, with each fold and crease on Xuan paper a happy accident.”






Wrinkled Texture 109
Wrinkled Texture 109 皴法習作109, 88.5x169cm, 2021


在Lifestyle Asia報導《關於本月最佳藝術展覽的全面介紹》一文中,吳季璁個展《EXPOSÉ現》被收錄其中,編輯Joey Wong對展覽介紹如下:

「若只是敷衍了事地匆匆一瞥,人們會對《EXPOSÉ現》中展示的作品當作尋常的山水畫,而這無疑是錯誤的。在郭瑛的策劃下,展覽深入研究了用宣紙的皺摺去呈現山谷、谷底與裂縫等自然中的細節。然而,塗布試劑的宣紙在陽光下曝光後呈現出的紋路的結果卻是隨機的,每一條折痕、每一條紋路的出現都是一次令人驚喜的意外。」



 

“Exposé” WAS LISTED AS 10 Must-See Art Exhibitions In Hong Kong In April 2021 BY TATLER HONG KONG
《Exposé現》被香港Tatler評為2021年4月最不容錯過十大展覽

installation view


In the recent exhibition review 10 Must-See Art Exhibitions In Hong Kong In April 2021, Talter Hong Kong has listed “Exposé” as one of the must-see exhibitions in Hong Kong this April. Below is a quote from the report:


Cyanotype was invented to duplicate engineering drawings and was one of the first ways of creating photographic images in the 19th century.

But in 2012, Taiwanese artist Wu Chi-Tsung invented his own cyanotype process by crushing the light sensitive paper, exposing it to light and flattening it. This creates an illusion of traditional Chinese landscape painting when, in fact, it’s Wu’s contemporary interpretation of landscape paintings.

Exposé, curated by Ying Kwok, showcases Wu’s Cyano-Collage series and explores its relationship to traditional art and aesthetics.

March 25 to June 16. Galerie du Monde, 108 Ruttonjee Centre, 11 Duddell Street, Central, Hong Kong. Find out more at galeriedumonde.com






installation view


近日,個展《Exposé現》被香港Tatler評為四月香港最不容錯過的十大展覽,報導介紹稱「氰版攝影是19世紀所發明的最早的攝影術之一,其初衷是為了複製工程圖紙。而在2012年,台灣藝術家吳季璁發展出他自己的氰版攝影,他將宣紙揉皺、在陽光下曝曬再壓平。其畫面恍若中國傳統的山水水墨畫,這是吳季璁對於山水畫的當代詮釋。」



 
Cyano-Collage 082

Wu Chi-Tsung made a contribution to the Asian Cultural Council (ACC)
吳季璁捐助支持亞洲文化協會國際文化交流項目

Cyano-Collage 082
Cyano-Collage 082, 《氰山集之八十二》,2020


We are proud to share that Wu Chi-Tsung has made a contribution to the Asian Cultural Council (ACC). By donating the proceeds of Cyano-Collage 082 in collaboration with the Sean Kelly Gallery, he wishes to express his gratitude to the long-term generous support of ACC.

The Asian Cultural Council has supported cultural exchange programs for practicing artists, scholars, and arts professionals since 1963. In 2013, Wu Chi-Tsung was granted a six-month ACC Fellowship to travel from Taipei to research contemporary art practices in New York. During his fellowship, Chi-Tsung deepened his awareness of diverse cultural and artistic practices and has further developed his multi-cultural and timeless art language ever since.


About Asian Cultural Council

The Asian Cultural Council advances international dialogue, understanding, and respect through cultural exchange activities in Asia and the United States to create a more harmonious and peaceful world. This mission is accomplished through fellowships and other programs that support individual artists, scholars, and arts professionals.

To date, ACC has supported over 6,000 exchanges across 26 countries and regions, and 16 artistic disciplines. As a grantmaking and grantseeking organization, ACC raises funds from individual, foundation, and corporate donors. ACC also convenes arts leaders, fostering dialogue around the importance of cultural exchange in developing understanding and respect across international and cultural borders.






ACC grantees in New York
Wu Chi-Tsung with fellow grantees in New York in 2013
2013年,吳季璁與其他ACC受獎人在美國紐約


自1963年起,亞洲文化協會(Asia Art Council,後簡稱ACC)持續資助亞洲藝術家、學者與從業者的各項文化交流活動。2013年,吳季璁獲得了來自ACC的駐地支持,在紐約進行了為期六個月的駐村活動。紐約多元的文化氛圍豐富了他對於藝術的理解,也啟發了他此後的創作,超越區域文化和時代性的限制。為了支持這個深具啟發性的國際交流計畫,吳季璁近日與尚凱利畫廊合作,向ACC捐贈了《氰山集之八十二》的銷售收入,期待能夠藉此鼓勵與支援年輕藝術家的藝術創作與國際發展。


關於亞洲文化協會

亞洲文化協會透過在亞洲與美國間的文化交流活動促進國際對話,加強彼此間互相理解及尊重,以期創造一個更和諧的世界。我們透過獎助計畫以及贊助藝術家、學者及藝術專才之獎助項目來實現這個使命。

至今,亞洲文化協會已贊助了6000多個交流活動,遍及26個國家及地區,並包含16項藝術範疇。做為一個提供獎助金,同時也尋找贊助人的機構,ACC的募款對象包括個人、基金會及企業贊助。ACC匯總藝文專才,鼓勵對話以提倡文化交流的重要性,建立國際及跨文化的理解與尊重。



 
2018 ABHK

Cyano-Collage 024 Acquired by the Asian Art Museum
舊金山亞洲藝術博物館典藏《氰山集之二十四》

ABHK 2018
Cyano-Collage 024 at Art Basel Hong Kong in 2018
《氰山集之二十四》於2018年巴塞爾藝術展香港展會展出現場


We are honored to share that Wu Chi-Tsung’s Cyano-Collage 024 was acquired by the Asian Art Museum of San Francisco (AAM), one of the world’s finest collections of Asian art located in the U.S.

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



cyano-collage 024
Cyano-Collage 024 © Asian Art Museum.
《氰山集之二十四》 © 舊金山亞洲藝術博物館



Scaled 180 x 360 cm, the Cyano-Collage 024 was the artist’s first attempt on such a considerable dimension on a single panel. It took him several months to conduct experiments from selecting papers that involve interesting details to connecting them into a poetic scenery. Besides, it was the first time that he challenged a dual-color composition, which contributed to a deepened depth of field. 






Ink Asia 2019
Cyano-Collage 024 was exhibited at the Liu Kuo-Sung Ink Award, 2019
《氰山集之二十四》於2019劉國松水墨藝術大獎中展出


近日,美國舊金山亞洲藝術博物館典藏了《氰山集之二十四》。該館擁有全美最大的亞洲藝術藏品,特別以收藏中國古文物聞名。

這件作品為藝術家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。在2018年巴塞爾藝術展香港展世界畫廊展位中,作品首次发表,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。



 

‘Studio Encounter’ with the Asian Art Museum of San Fransisco
工作室與舊金山亞洲藝術博物館的線上「聚會」



On acquiring the Cyano-Collage 024, the Asian Art Museum organized an online event that allows art-lovers to learn more about the production process of the work, as well as the artist behind it.  

In conversation with Senior Associate Curator and Head of Contemporary Art Abby Chen, Wu Chi-Tsung presented a virtual tour of his Taipei studio through this video, a brief introduction of his life as an international artist who has studios in Taipei, Berlin and Saigon, and a thorough demonstration of the process and behind-the-scene stories of the Cyano-Collage Series. 






Studio team in Taipei after the online event
工作室團隊於活動現場


近日,舊金山亞洲藝術博物館典藏了吳季璁作品《氰山集之二十四》,為了讓藝術愛好者們更深入理解吳季璁的創作與思想,舊金山亞洲藝術博物館舉辦了一場線上交流活動。活動由博物館當代藝術部主管、高級策展人陳暢主持,分享了藝術家的國際創作生涯與經歷,除了介紹台北、柏林、西貢三間工作室外,更詳盡說明了氰山集系列的製作過程與創作趣事。



 
edge of light

REPORTED BY DFUN Magazine: Poems about shadow
《DFUN》雜誌專訪:堆疊轉換,一首影的空間詩

Poems about shadow | Interview with artist Wu Chi-Tsung



Recently, Wu Chi-Tsung was interview by the DFUN magazine, a magazine featuring design, architecture, fashion and art based in Taiwan. The report features Wu Chi-Tsung’s unique aesthetic in his works featuring light and shadow, and how the artist has been using them to transform the exhibition space into a poetic world. The report was published on the 2020 Spring issue of the magazine.

The report introduces Wu Chi-Tsung’s exploration of working on various media as an international artist traveling among his studios in Taipei, Berlin and Saigon. Next, Wu Chi-Tsung shares his experience in the installation Edge of Light that he cooperated with Chen Shu-Chiang.  Scaled 30 meters long and 10 meters wide, it took great effort to have the work installed in an abandoned train garage. By doing this, the artists have created an immersive experience for the audience allowing them to fully appreciate the magic of light and shadows. In the end, speaking of the relationship of light and shadow, Wu Chi-Tsung states that ‘light is the fundamental fact for us to perceive the world, and shadow metaphorizes or visualizes the substantiality of materials’.  






堆疊轉換 一首影的空間詩|藝術家 吳季璁


TEXT=Zoe Kang PHOTO=吳季璁工作室


前言

觀看他的作品,彷彿穿越山水、沈浸於一首首由光影譜寫而成的詩當中;平靜內斂,卻又耐人尋味。許多看似當代的手法之下,只要在細細探究過後,便會發覺其中蘊藏的東西方傳統美學能量;他便是如此擅長以帶有新意的藝術形式,重新為我們展現其獨樹一幟的新美學風格。


「光是我們能看到世界的基礎,影則是體現、隱喻物質和現象的存在。」­­­-吳季璁



畢業於國立台北藝術大學美術系之後,到世界各地參與藝術駐村計畫的吳季璁,向來擅長發掘平凡物件的可能性,並從日常材料及生活現象出發進行創作;如今,他的作品涵蓋攝影、錄像、裝置、繪畫與舞台設計,持續以多種媒材讓人們得以從不同角度參與新媒體藝術的多變性。

對他而言,不預設媒材的使用類別,更能夠自由廣泛地跨越標籤進行實驗,讓每一件作品自然地發展到合適它的藝術形式,而這部分從他在創作媒材的使用脈絡中,便可略知一二。從小接受繪畫訓練的吳季璁,繪畫成為他早期最重要的藝術思考方式,後來因擔心技術性過強的訓練成為創作包袱,便改以「錄像」作為創作的主要媒介,持續為自身的藝術注入不同的能量與新意。

「繪畫、錄像、接著是(光影)裝置,再到攝影,可以說是從平面性的媒材,慢慢嘗試到動態的影像、時間性(Time-based)的媒體;當回到處理攝影的時候,反而讓我銜接回繪畫的思考方式,有點像是從新媒體的角度重新與繪畫、平面結合。」吳季璁補充說道。



dust
灰塵,2006


多元媒材 創作不設限

吳季璁除了透過不同媒材的使用經驗,展開自身的藝術創作思維之外,常駐於不同國家城市也是讓他持續獲得靈感的方式之一。目前,他將臺北視為工作的主要製作基地,但他在德國柏林、越南胡志明市也都設有工作室;「柏林在過去二十年來一直是世界各地藝術家最聚集與活躍的地方,能夠接觸到各種文化藝術的養分,並且擁有相對合理低廉的物價,柏林工作室對我來說像是個Lab(實驗室),令我能夠專注去思考和嘗試新的東西。越南則是我目前最感興趣的新興藝術世界,我很期待觀察一個新的藝術社群如何慢慢成形。」

融合東西方傳統與現當代藝術的形式,再轉換出充滿詩意的想像空間,同樣也是吳季璁的藝術創作範疇。在2006年完成的裝置作品《灰塵》上,便是以東方特有的空間觀和宇宙觀,引領觀者以超越身體侷限的視角去理解、想像外在世界。

他於螢幕前方架設一台攝影機,讓其正對投影機鏡頭的光源,並對焦在空間中央,拍攝訊號傳回至投影機中時,便形成一個光線和電子訊號的現場即時循環。當投影機前的一腳架遮斷射入攝影機的光線時,在適當的位置和角度下,空間中的灰塵粒子將會反射投影機的光線;如同月亮反射太陽,以此帶領著觀者將視角放到灰塵的世界,看到另外一層宇宙。



edge of light
極光邊境,2014,80mL X 30mW X 15mH


沈浸式的光影環境體驗

空間在光影的堆疊之下,擁有了不同以往的生命力;同時,參與作品的方式也從觀看,而開始擴展至身體經驗。在與藝術家陳淑強一起合作的《極光邊境》作品中,吳季璁搭建了一面約30米長、10米寬的螢幕,在一個比籃球場還要大的廢棄火車維修廠房,使用維修廠房既有的物件與設備進行搭設,營造一處獨特的沈浸式光影環境體驗。

此次作品最大的挑戰是,場內每個物件都非常巨大、非常重,每次搬動一個東西幾乎都需要十幾個人合力,或是動用重型器械,光是火車馬達的線圈就超過一人高,重量也超過一噸;後來使用堆高機時,反而因為承載過重而翹起來,最後只好十幾個人坐在堆高機上壓住機身,才能搬動線圈。儘管過程艱辛,但對吳季璁而言依然是滿載而歸的體驗,「這樣的尺度感可以把日常熟悉的物件放大到遠大於身體的尺度,令光影本身變成沈浸式的環境,不僅對布展有很大挑戰,在想像上也有很強的刺激。」



wire 1
鐵絲網 I, 2003


影賦予的光之意義

儘管經常能在吳季璁的作品當中看見光與影的微妙關係、感受光影變幻所帶來的感官衝擊,然而,他卻認為自身的創作並不侷限於光影,「影像」才是他始終真正感興趣的部分。「藉由影像能最容易地去談論觀看這件事,並記錄下觀看的方式、視角;而在處理影像及思考觀看本質的過程中,很直接地會處理到光,這是一個自然的過程。」

最後,當問到自身是如何看待光影時,他更以一段話精闢說道,「『光』與『影』的關係有點像『虛』與『實』的差異;光是虛的,而影賦予了它意義、符號和想像的空間。」



 

Time and Light in Wu Chi-Tsung’s Art
吳季璁作品中的「時」與「光」

in the studio


Recently, Wu Chi-Tsung was invited by Sean Kelly Gallery to shoot a short video named In the StudioIn this abstract yet frank video, Wu Chi-Tsung presents a poetic dance with one of his favorite materials – light. Employing long-exposures, he is visualising the battles and joys in search of inspiration as he follows the guidance of a beam of light in his once pitch-dark studio.

Let there be light. For Wu Chi-Tsung, light is the catalyst in his art, and time devoted in his darkroom allows beauty to gently appear. British video artist David Hall coined the term ‘time-based art’ in 1972, which refers to the art forms that require a certain amount of time to be fully revealed. While the concept was devised with traditional art forms such as paintings and sculptures in mind, and also emphasized the duration of time and the scale in space, Wu Chi-Tsung tends to interpret it in a reversed way. He deliberately uses time as a tool to blur the boundary between new media art and traditional art and to redefine moving and still images. 


long time exposed landscape
Long Time Exposed Landscape, 2004
長時間曝光的風景,2004

The necessity of long exposure is shared in most of Wu Chi-Tsung’s still works, such as the Cyano-Collage Series, the Wrinkled Texture Series, and the Long Time Exposed LandscapeTherefore, these works all contain a considerable scale of time and momentum. They have become a living fossil in which a complete time axis is fused together.

In Chinese, the phrase that represents a long period of time is Shiguang (時光), which is a combination of the words for Time (時) and Light (光). The considerable time that Wu Chi-Tsung spends battling with, adapting to, and coping with time and light is a key feature of his works. He tends to focus on simple techniques and daily objects, still he devotes himself to research time and light and applying his learnings to the original material and turning it into something completely different from, and even opposite to, commonplace perceptions. 


cyano-collage series
Wu Chi-Tsung tend to transfer daily objects into poetic sceneries of Eastern aesthetics 
宣紙在陽光下呈現出屋漏痕般的自然筆法

As one of the furthest-developed works so far, the Cyano-Collage Series demands a large amount of ‘exposed paper’ for paper-reading and collage. As hours of sunlight reacts with the cyanotype chemistry on the Xuan paper, the ordinary wrinkles on the paper transcend their physical features and gain a similar spiritual quality as in traditional ink painting. After this, the artist observes the textures and folds of every paper, to ‘read’ and contemplate them, and pick the ones that evoke and inspire the artist the most. For this precious ‘decisive moment’, which is almost one in a hundred, processing and storing paper have become a daily routine. 

For his installation and video works that are more qualified to be called ‘time-based art’, time seems to be wasted or irrelevant. It moves forward, yet sometimes cycles; it goes by, yet sometimes stalls. As a reversed interpretation of time involving the artist’s understanding of Asian philosophies, these works have contributed to the complicity of the artist’s exploration of temporality. For instance, the Still Life Series, the Landscape in the Mist Series, and the Dust share a similar sense of stillness, in effect an almost nerdy gaze. Although these works last up to ten minutes, the visual message conveyed by the film tends to be relatively monolithic, as if they are a still frame stretched to fit a time axis. Nevertheless, it is exactly the seemingly meaningless gaze and the ostensibly wasted time that reveals the artist’s obsessed fascination and adamant aestheticism towards the object before the camera.  Give it time.







dust
The Dust at Light Interdiction, Kunstfest Weimar 2019 in Germany
2019年《灰塵》於德國威瑪藝術節展出現場

近日,吳季璁受尚凱利畫廊之邀,拍攝了短片《在工作室(In the Studio)》。這段抽象而坦誠的影像堪稱吳季璁與光共同呈現的雙人舞,他通過長時間曝光的技法將自己在創作中找尋靈感的過程具象化為獨自在漆黑的工作室中跟隨一線微光的指引摸索前進。
 
要有光。對於吳季璁而言,光是他創作中重要的催化劑,而時間則是他的暗房,令美徐徐浮現。1972年,英國錄像藝術家大衛˙霍爾(David Hall)提出「時基藝術」的概念,指需要經由時間才得以完整呈現的藝術形式,本義是與傳統的繪畫、雕塑等媒材相對照,強調作品在時間與空間維度的延展性。而在吳季璁的作品中,時間卻成為他主動混淆新媒體藝術與傳統藝術、動態與靜態的手段。


baseboard for the cyano-collage
 Cyanotype papers will be removed from the baseboard if the result is not optimal
創作失敗的氰版相紙被從底板上刮去

氰山集》系列、《皴法習作》系列、《長時間曝光的風景》等作品共通性地在創作中需要經歷長時間的曝光,令這些靜態作品從時間的積累中獲得了時間體量與內蘊的動勢。

在中文中代表較長一段時間的「時光」一詞由「時」與「光」結合而成,吳季璁與時間和光線之不可抗力相搏鬥、磨合與交融的漫長時光是其作品的重要內核。吳季璁的作品往往選擇最樸素的技法與最日常的媒材,把精力放在對於時間與光線的反復玩味與摸索上,令作品在這二者的共同作用下呈現出於原材料相異、更具想象空間的樣貌。


crystal city
 Wu Chi-Tsung is installing the Crystal City Series on the exhibition site
吳季璁於展覽現場調試《水晶城市》系列作品

《氰山集》系列作為吳季璁目前發展最充分的系列之一,需要儲備大量曬過的氰版相紙以供讀紙與拼貼。在光線的催化下,塗佈藥劑的宣紙上的平凡褶皺逐漸超脱物理性的范畴,而獲得了與歷來文人山水畫相通的精神屬性。其後,藝術家用類似於閱讀的方式去觀察曝曬過的紙張上呈現的紋理,從中挑選適合作品使用的紙張。為了這近乎百里挑一的「決定性瞬間」,處理、曝曬、儲存紙張成為了工作室每天日常工作的一部分。

相對而言,《小品》系列、《煙林圖》系列、《灰塵》等相對更符合「時基藝術」定義的作品則又以靜態的、發呆般的視角去凝視對象,是吳季璁對「時光」的反向思考。儘管作品時長拉到十分鐘左右,影片傳遞的視覺信息卻相對單一的,像是把一幀靜態圖像拉伸放入時間軸中。正是這樣的看似無意義的凝視與近乎浪費的時幅向觀者透露了藝術家對於鏡頭前的對象如醉如癡的眷戀之情。



 

Wu Chi-Tsung presents a short video as was invited by Sean Kelly Gallery
應尚凱利畫廊之邀,吳季璁呈現短片《在工作室》



Wu Chi-Tsung shares his daily musings about working and staying motivated during this difficult time from his studio in Taipei, Taiwan as he participates in the #inthestudio program launched by @seankellyny. 

In this abstract yet frank video, Wu Chi-Tsung presents a poetic duet dance with one of his favorite material, the light. Together they’ve challenged the boundary between moving and static images. Once again, Chi-Tsung explores how joyful and imaginative the relationship between an artist and his studio could be.








受尚凱利畫廊發起的#inthestudio項目之邀,吳季璁通過影像與觀眾分享了他日常工作的靈感源泉,以及他在這段特殊時期在台北工作室的生活。

這段抽象而坦誠的影像堪稱吳季璁與光共同呈現的雙人舞,而光一直是他在創作中最喜愛的媒材之一。「他們」共同挑戰了動態影像與靜態圖像之間的界限。影片中,吳季璁將工作室稱為「所有故事的起源」,並分享了他在創作中從迷茫無措到不斷嘗試再至捕獲靈感的過程。藉此,吳季璁又一次思考了藝術家及其工作室之間建立愉悅、動態、相互激發的關係的可能性。



 
taipei studio

Reported by Artco: HOW ARTISTS ARE DEALING WITH THE PANDEMIC
《今藝術》報道:藝術家的防疫策略

HOW ARTISTS ARE DEALING WITH THE PANDEMIC: INTERVIEWS WITH WU CHI-TSUNG AND HSI SHIH-PIN AT THEIR STUDIOS


Recently, Wu Chi-Tsung was interviewed by Artco on ‘how artists are dealing with the pandemic’. He shares that the studio is taking this opportunity to optimize the administrative and production management, as well as start reserving materials and equipment in advance in case there will be a further lockdown in Taiwan. Also, Wu Chi-Tsung is grateful that his studio has been in a healthy financial status thanks to the help and suggestions of their accountant, which ensured the normal operation studio during the special time.

Besides, Wu Chi-Tsung also stressed the importance of health to an artist. He has been working out in his studio during the closure of public gyms.






藝術家的防疫策略——吳季璁與席時斌工作室專訪



taipei studio

吳季璁工作室三樓工作現場除了全面戴口罩,同時保持社交距離。



全球化以來世界沒有任何一個時刻如同今日般隔絕。世界各國幾乎都處於封閉邊界的情況,商業貿易陷入停頓,各個企業在力圖生存的同時,也為了生命的存續而採取作業分流與居家工作的模式,全方位的影響令每個人都無法置身事外。視覺藝術產業面對的,除了全球各博覽會、拍賣會紛紛取消與延遲,美術館、基金會、畫廊等相關營利非營利場所的展覽也紛紛無限期延後。


在交易趨緩甚或停滯,藝術家複合收入減少(比如授課、演講等),英國藝術家馬修.伯羅斯(Matthew Burrows)在Instagram發起了自救計畫,邀請藝術家展售單件售價在英鎊200元以內的作品,標誌計劃標籤#artistsupportpledge(藝術家支持誓言),並承諾成功售出1,000英鎊作品後,會花200英鎊購買其它藝術家的作品。伯羅斯的想法是希望藝術家以互助的方式,同心協力共度難關。並認為作品要夠便宜,才能「以慷慨創造慷慨」。整個活動也採用自主、開放性的參與,並在契約精神下約束藝術家實踐「誓言」。受伯羅斯啟發,台灣藝術家王建揚則在臉書平台開啟台灣版,以「藝起加油」為題響應。活動在短時間內聚集了大量的作品與人潮,堪為台灣藝術市場少見的現象。然而或許也正因為中心化的操作,讓質疑聲浪也隨之排山倒海而來。無論如何,「疫情之下藝術家如何自處?」,成為藝術產業關注的話題。為此,我們特別採訪了擁有正式工作室,近期在國際與亞洲穩定成長的藝術家吳季璁與席時斌,邀請他們與我們分享各自工作室在疫情下的因應之道。


空閒是種救贖——那些想做未做的


從2017年開始成立工作室以來,吳季璁經歷了不少波折。期間曾因廠商施工不良,導致工作室蒙受巨大損失,不得不輾轉搬遷,直到第三次才搬到今日位於大龍峒的空間。然而這幾年,吳季璁無論在美術館或博覽會的展覽都很持續固定安排,有時反而因為供不應求而呈現不斷在趕製作品的狀態。工作室的壓力一直是「如何解決眼前的緊急項目」。也因此,疫情的突然來臨,雖然導致上半年的展覽全部取消,下半年的展覽則還狀態未明,但對工作室而言,反而多了喘息的機會,得以好好整理過往一直沒時間處理的事務。想做還沒做的從硬體上的工作區域重整,將使用上不順手、空間利用不理想的地方重新設計,到軟體上的資料庫重整、備份與作品製作流程優化。從製作過程、作品記錄、展覽紀錄……各樣形式的所有檔案到底要如何存檔、歸檔?可以最有效的搜尋、提取?吳季璁與工作室夥伴花了一個多月重新架構、整理,對吳季璁而言,「這是超級重要的一步」,可以讓本來就運作還不錯的工作室進一步系統最佳化。而吳季璁工作室經理朱莉安也表示,疫情對工作室的影響就目前看來其實正面多過負面。除了讓工作室得以好好重新整頓規劃,過去幾年吳季璁其實都忙於眼前的展覽計畫,而沒有充裕的時間沉潛新的作品。「這對藝術家不大健康。」因此原就計畫在今年減少展覽計畫的工作室,反而獲得了一段完整的休息時間。


同樣獲得喘息的,還有本來預計在六月份推出個展的席時斌。「其實畫廊本來很緊張我的進度,我自己也很緊張,但現在就是無限推延。」約莫兩年辦一次個展,席時斌一直有很穩定的市場支持。因此對席時斌而言,每次辦展對自己或對畫廊而言都很重要。如果此刻辦展風險太大,那麼稍微停頓一下,專心於創作,反而是比較理想的狀態。由於作品特性,席時斌的展覽一旦進入製作期就是金錢快速燃燒的時間,「所以現在我會把思考時間拉長,主要放在紙上、模型作業」。多餘的時間就用來研究新項目,比如立體書的結構等,探索如何將其與作品結合,開啟下一個可能的創作階段。



體質好,衝擊小 藝術家工作室就是一個中小企業



疫情衝擊下,人們第一個想到的便是金流的衝擊,這也是文化部紓困方案緊急在第一季便推出的原因。不過吳季璁與席時斌工作室對此卻都顯得較不擔憂,甚至目前最主要的創作工作,都還是消化去年的訂購與委託製作。另一方面,念過兩年應用數學的席時斌其實一直很喜歡會計的工作,也很習慣以整體社會的狀態來思考藝術與經濟系統的連動,因此工作室的財務、金流也一直控制得宜。「我最大的損失衝擊反而是我的投資。」對席時斌而言,藝術產業、藝術家本來就不是每個月擁有固定收入的族群,他們的收入從來就是複合型以及來自作品販售。然而,作品沒被交易並不影響其作為資產的存在,因此若真要論「損失」,其實來自無法提列虧損,業績下滑、沒賺到的部分。


因為習慣用企業的角度思考工作室的營運,面對疫情衝擊,席時斌的態度也傾向以商業運作的模式來因應。比如延後作品實際製作的時間,減少金流壓力,一如部分餐廳、店家的預防性歇業;工作室原計畫補充的人力則先遇缺不補,以減少開支,維持固定成本在自己與全職助理2個人力與工作室租金等基本開銷。將藝術家放在「生產者」的角色,席時斌認為:「藝術產業真正受影響最大的可能不是藝術家,而是裝裱、沖洗、運輸等周邊產業。」當然他也認為,如果疫情繼續,六、七月開始藝術家們應該要注意違約率與違約金的問題,風險大的案子也應盡量保守以對。


相較於席時斌個人對會計觀念的嫻熟,吳季璁工作室則有賴盡責的工作室經理與合作的會計人員。吳季璁說工作室很幸運地在成立之初就被教導正確的金流觀念,並從其獲得許多經營管理的建議,「事實上,最早發現我們問題的常常是他。」比如工作室曾經花費過多金錢在材料實驗,但如果前期的研究與樣品足夠就能避免不必要的浪費。年度會計會議便是逐項檢視哪裡提升、降低,獲利比例的差異等,同時確保工作室擁有足夠的儲備金。朱莉安也表示,會計帶給大家最大的觀念是:不會因為今天製作的是單一件的藝術品而改變原則,它的架構依舊是企業的經營與運作,也因此遇到危機時不會那麼快產生影響。吳季璁更認為:「我們常常把創作者放到太高的位置,以為藝術行政只是做雜務,這是不對的。營運管理最核心的部分與知識跟藝術創作完全不一樣,這是創作人很需要的部分,但也是他們最大的盲點。可是藝術圈卻常常不重視,甚至搞錯重點。」因此吳季璁也希望能以自己的經驗建立一個足以分享給其他藝術工作者的模式,減少不必要的冤枉路。


財務槓桿低、預備金充足、維持組織在一個足夠靈活但不過度龐大的規模,成為吳季璁與席時斌工作室在疫情衝擊下穩定的基礎。一如一場瘟疫讓我們看見各國行政系統的弱點,或許疫情也只是讓我們可以清晰檢視藝術家各自藝術體質、經濟體質的引爆點而已。



studio goods

配合政府防疫對策,吳季璁工作室準備了充足的防疫物品。



死亡才是藝術家事業最大的風險



雖然身邊好友常取笑之所以愛運動的吳季璁是因為「怕死」,但藝術家的生命確實才是藝術家生涯志業中最有價值的資產。


面對此次疫情,席時斌不斷在觀察、思考企業對「風險控管」一事的想法與作為,不禁表示:我們常常計算很多風險,但我們都忽略了藝術家有一個其它企業沒有的特點,就是一旦藝術家死亡、無法再製作新作品,就只有「剩餘價值」。因此藝術家其實是個高風險職業,而最大的風險就在藝術家本身,所以避險要素其實是:避險自己。尤其成熟的藝術家大部分都在35、40歲以上,若同時考量罹病的死亡機率等,真的「不要出來辦個展覽就過世了」。也因此,席時斌認為毋須過度在意展覽被取消,某方面而言,主動取消都可以說是一種風險控制。也因為思考到藝術家消亡所衍生出的後續財產處理等問題,席時斌表示近期已約好律師,想把遺囑的訂定、物權的後續使用等,趁機理解清楚,不要造成繼承者的負擔,或自己還要擔心他們是否會被騙等。


因為脊椎曾經受過傷,吳季璁一直保有運動的習慣,不管是慢跑、重訓、體操等,疫情影響下,因為避免再進出人群密集的健身房,也在工作室兼住家的空間裡安裝了單槓,讓自己維持運動的狀態。除了非必要的會議跟聚會都取消,進出工作室的人員也都盡量單純化並予以管制,防疫措施完全依據勞動部、衛福部公布的中小企業防疫準則施行,彈性上班時段、每日清潔消毒環境……,並著手規劃一旦疫情惡化,如何分裝各自的工作,採行遠端工作的模式。


隨著可以回去柏林的時間變少,吳季璁也將位於柏林的公寓退租,僅留下工作室,並將節省下來的費用拿來聘雇另一位兼職的助理。「口罩國家隊給了我很大的啟發。」因為過往工作室常常耗費許多時間處理大型博覽會期間龐大的工作量與挑戰,但這些廠商卻能迅速投入這麼多人力與資源應對危機,中衛的「七三法則」令吳季璁重新反省工作室的運作,並希望藉由每週工作三天、拉高單位時薪,來提高彼此工作的效率與品質,同時提升應對突發狀況的儲備彈性。


對於未來,很久沒在台灣待那麼久的時間,吳季璁開始有一些對作品的新想法,預計接下來將逐步著手嘗試。席時斌也認為經濟上自己並不擔心,未來還是會把能量保留在個展與中、大型的製作上。也因為過去的節奏太快速,「我是否在精神面、深度上可以做更多的探索?」因此想把投資放在開發自己與新作品上。


思考自己的定位,審慎評估各自的優勢與劣勢。時間,或許才是成熟藝術家對自己最好的紓困。



文/ 朱貽安

載於《典藏.今藝術&投資》雜誌2020年5月刊



 
wu chi-tsung live stream

Insider: A Virtual Visit to Wu Chi-Tsung’s Taipei Studio
第一現場:在線參訪吳季璁台北工作室

wu chi-tsung x taipeidangdai


On May 4th, Wu Chi-Tsung was invited by Taipei Dangdai and held a virtual tour that allows audiences to have a close look at his Taipei studio.

The live stream program is part of the ‘Taipei Connections’, a digital platform launched by Taipei Dangdai in partnership with Ocula aiming to nurture ongoing connections between the Taiwanese arts community and galleries at this time of limited travel and in-person meetings. Bringing together a diverse mix of galleries from Taipei Dangdai’s latest edition, the inaugural Taipei Connections will showcase a series of richly contextualized artworks for the public to explore.

During the 55-minutes-long live stream, Wu Chi-Tsung and Taipei Dangdai Co-Directer Robin Peckham showed people around his studio and talked about Wu Chi-Tsung’s internationally-minded prospects of the studio. 






直播回顧


5月4日,吳季璁受台北當代的邀請,通過直播帶領觀眾在線參訪台北工作室。

本次直播是台北當代與線上藝術平台Ocula合作呈現的新數位計劃「Taipei Connections」的一部分。這一線上平台不僅為畫廊提供機會與區域內乃至全球藏家進行互動,更呼應台北當代構建開放性平台的使命以突破傳統分享藝術及創意的藝博會模式。

台北當代聯合總監岳鴻飛(Robin Peckham)表示:「我們與 Ocula 合作開展的線上項目希望能為畫廊在台北藝術周之外的時間也能繼續提供平台,為其加深聯結和重新聯結台灣的收藏家群體。儘管親身會面所帶來的效果無可替代,但我們想藉由這個時刻再次思考如何作為橋樑去聯結畫廊和藏家,共度時艱。」



 
saigon studio

Wu Chi-Tsung Opens a New Studio in Saigon, Vietnam
吳季璁新工作室於越南西貢成立

saigon studio


Recently, Wu Chi-Tsung has set up a new studio in collaboration with Vietnamese artist Cam Xanh in Saigon, Vietnam as a significant step of his internationally-minded exploration.  Speaking of his third studio after Taipei and Berlin, Wu Chi-Tsung says, ‘I’m curious about the early stage of an art world, such as in Vietnam, everything happens and develops rapidly. I am grateful to witness and be part of this great historical moment as a member of this intimate and energetic community.’

Chi-Tsung met Cam Xanh in Korea in 2016 on the Asia Young 36 exhibition and was later invited by her for an artist residency in MoT+++ which she co-founded. During the residency, the space was presented as superimposition and coincidence of the two sites – Wu Chi-Tsung’s studio and a public art space – that opens to the public and enable the viewers to see the working progress. This year, inspired by this experience, Wu Chi-Tsung’s Taipei Studio managed a residency program for Italian artist Saverio Tonoli and conducted their collaborated event.

Lately, Saverio Toloni is now resides at A. Farm Saigon, an international artist-in-residency space established by Cam Xanh and run by MoT+++ and San Art teams.



still life series

Shooting scene of the Still Life Series in 2019
《小品系列》2019年拍攝現場



Besides, Wu Chi-Tsung relates to the context of postcolonial criticism and self-reflection towards its cultural identity in Vietnamese art. Last year, Wu Chi-Tsung shot new Still Life Series in Vietnam inspired by local culture and nature. Among them, the Still Life 012 — Buttercup tree was collected by the Nguyen Art Foundation.

Wu Chi-Tsung’s Wire V is now on view in the group exhibition Password 0~1 at the studio. Due to the restrictions during the pandemic, please contact motplusplusplus@gmail.com for visiting details and to make appointments. Moreover, please visit the online +1 trash to see more MoT+++ collections.






cyano-collage 50

The Cyano-collage 50 created during Wu Chi-Tsung’s residency is now collected by Post Vidai
吳季璁於駐村期間創作的《氰山集之五十》已於Post Vidai典藏



近日,吳季璁與越南藝術家Cam Xanh合作的新工作室落腳越南西貢,繼台北與柏林之後,進一步拓展了其藝術世界的國際版圖。吳季璁表示,「我一直很感興趣藝術世界究竟如何發展成型,而越南正處於這樣快速成長的階段,藝術社群緊密而且充滿活力,很高興有機會參與其中,見證歷史。」

吳季璁與Cam Xanh於2016年共同參加韓國Asia Young 36展覽時相識。2018年,在Cam Xanh的邀請下,吳季璁在其參與創辦的MoT+++空間中進行了為期三個月的駐村,並同時向公眾開放展示。這種將工作環境與展覽空間的並置的做法挑戰了「白盒子」的傳統語境,令觀眾能夠近身了解藝術家本人及其工作過程,並加強了藝術家與觀眾之間的交流。受到這次難忘經歷的啟發,今年,吳季璁在台北工作室邀請意大利藝術家薩維里奧・托諾利進行駐地創作,並共同合作呈現展覽《時易地》。其後,薩維里奧前往越南A. Farm繼續其亞洲駐村計畫。A. Farm亦是Cam Xanh主持的藝術空間,並由MoT+++與San Art團隊經營。



mot collective

Wu Chi-Tsung and Cam Xanh with MoT+++ team at Wu Chi-Tsung studio in Taipei
吳季璁、Cam Xanh與其他友人於台北工作室



此外,越南藝術中的後殖民批判與關於文化主體的思考令吳季璁深有共鳴。去年,他受當地文化與自然的啟發,在此拍攝了《小品系列》的新作,其中,《小品之十二 彎子木》於越南獨立藝術收藏機構Nguyen Foundation典藏。

吳季璁作品《鐵絲網五》現於越南工作室群展《Password 0~1》中展出。由於疫情發展持續變化,參觀請聯絡motplusplusplus@gmail.com 以獲取相關資訊並進行預約,亦可至+1 Trash瀏覽MoT+++的更多作品。



 

TWO OF WORKS OF THE ‘STILL LIFE SERIES’ WERE COLLECTED BY THE Nguyen Art Foundation
《小品》系列作品於越南Nguyen Art Foundation典藏



Wu Chi-Tsung’s video installation works Still Life 007 – Daffodil and Still Life 012 – Buttercup Tree were recently collected by the Nguyen Art Foundation.

Established in 2018, the Nguyen Art Foundation was born from a desire to better serve the artistic community of Vietnam. It was founded by Quynh Nguyen, under the advisory of Cam Xanh (pseudonym of Thanh Tran Ha), artist and founder of MoT+++. Since its conception, the foundation has worked to build an alternative infrastructure for the arts in Vietnam, and construct the base for what it hopes will form Vietnam’s first museum of contemporary art. The foundation aims to expand the possibilities for contemporary art in Vietnam by facilitating global exchange that enriches not only individual practices, but engages the overall growth of the Vietnamese art scene.

The Still Life 012 – Buttercup Tree was shot during Wu Chi-Tsung’s residency at MoT+++ in 2019, and was inspired by the local culture and nature of Vietnam.







still life series


吳季璁錄影裝置作品《小品之七 水仙》《小品之十二 彎子木》日前被越南Nguyen Art Foundation典藏。

Nguyen Art Foundation成立於2018年,由MoT +++藝術家兼創始人Cam Xanh(Thanh Tran Ha的藝名)協助創立。自成立以來,基金會一直致力提供越南當代藝術創作的替代空間,並希望未來在此基礎上建立越南第一座當代藝術博物館。

本次被典藏的兩件作品中,《小品之十二 彎子木》是吳季璁2019年在MoT+++駐村期間完成,記錄了藝術家對於越南自然文化的觀察與啟發。



 

Wu Chi-Tsung x Saverio Tonoli: We both found our inspirations from the other side of the world
吳季璁與薩維里奧・托諾利:我們都從世界的另一邊汲取靈感

Wu Chi-Tsung x Saverio Tonoli

We both found our inspirations from the other side of the world



Installation view of “Beyond the Now, Away from Here” in Wu Chi-Tsung Studio



T= Saverio Tonoli  W = Wu Chi-Tsung



How did you know each other?


T: We met in an opening studio event, 2017 in Künstlerhaus Bethanien, Berlin, Germany. Walking through the studios, Chi-Tsung’s work caught my eye immediately as I was looking for someone who also uses Xuan paper like I do. Paper became our main topic for the rest of the night. The rest came spontaneously: we kept in touch, visited each other’s studio and did a project in Berlin together. We already had the idea of this residency program since 2018, and finally managed to execute it now. 


W: From the very beginning, we were talking about Xuan paper. Every time I visit Saverio, I always bring a different kind of Xuan paper for him to test the material, and eventually I came up with the idea to invite him to Taiwan so that he could have a period of time to research more about Xuan paper. 



I learned that the title of this exhibition ‘Beyond the Now, Away from Here’ comes up from your discussion. How would you two interpret it?


T:  Both of us revisit traditional techniques in our art practice. Other than works on paper, I developed a variation of the Fresco – mural painting, making it more simple to paint and install and at the same time to enhance its freedom of movement. This gave us the input to to transform the studio space through our artworks and question the “here and now”, working on time and space.


W: We hope to present a detached experience to the audiences that merge the culture of Europe and Asia, and art practices of classic and contemporary. Our idea is to combine all the things to have a new dialogue.



(To Chi-Tsung) Is this the first time you open your studio to the public for an exhibition?


W: We would like to take the opportunity of the Taipei Dangdai Art Fair that brings international audiences and professionals to Taiwan. This year, we want to do something new in our studio and host a party here in order to directly meet people. Moreover, I hope that we could show the possibilities of what artist studios could do and how exhibitions could be to the Taiwanese art world. At the moment, most artwork you see in Taiwan are completed and displayed in white cubes and visiting artist studios is always considered to be private. However, I think that art is about the whole thing and can’t be concluded by the final “art piece” only. We want to open our studio to let everyone see the art practice.  This time, we will divide the studio into different functions on different floors during the exhibition, and make this space like an alternative space with abundant content. It would give people a special experience of the art-making.



(To Chi-Tsung)  How do you consider the role and possibility of an artist studio in the art world?


W: To host an artist residency program as an artist studio ourselves this time, I am inspired by my residency experience in MoT+++, Vietnam, the director of which herself is also an artist. At that time, we turned the exhibition space into a studio-like environment, and the exhibition was more like an open studio. It was a very interesting concept and I received many positive feedbacks. 

The position of artist studios has changed a lot in a few decades. Nowadays you see more and more artist studios getting bigger with multi-functions. It is not only a space for simply producing art, but a center to form the networks in the art world. Compared with institutions, the artist studio could gain more independence and flexibility in communications and executions. Besides, we are proud that we are financially independent so as to make things happen. Hopefully our experience could inspire other people and contribute to the diversity of the Taiwanese art world.



 (To Saverio) We saw on your Instagram that you’re working on new works for this exhibition. Are they inspired by your experience during the residency in Taiwan? If so, what are they?


T: Normally I enjoy working alone and consider the status of isolation essential for me. Finding materials and new providers, joining a talkative unknown group of artists, having to limit your working space and adhere to inevitable social conventions makes it challenging to recreate the proper working conditions. But this one is more of a private collaboration residency: I get a lot of support from the studio and plenty of isolation! Besides, Taiwan is beautiful free country with amazing landscapes and fruits.

Parallel my ongoing development on abstraction in painting, my work brought me here to study ink tradition and research on paper. With the expertise of FENKO Catalysis Chamber (www.fenko.com.tw) – one of the most important material lab in Taiwan producing paper – I can push to extreme ways some treatments on paper, with gravity and folds. I am looking forward to the exhibition to share my journey with international audiences.



(To Saverio) How was your cooperation with FENKO?


T: FENKO expands the use of paper in many different fields, one of which is the open collaboration with artists, and they research endlessly new materials and possibilities. FENKO’s expertise has been very precious to me, from consulting wide range of paper materials, packaging to paper preservation. Together we’ve found a perfectly suitable paper for one of my main works in the show, Self-absorbed on the rocks, painted on the cliffs of the Yilan coast of Taiwan. In this work, the large roll of paper is made wet and folded into the structure of the cliff, then ink-washed to extract its structure, volume and essence. At the last stage in the studio the paper is washed and flatten again. It is not hard to imagine that this specific work needs a very strong and flexible paper, due to the extreme treatment it undergoes on sharp rocks and having to be folded, washed and dried several times. The absorbing qualities of the paper is also very important. The paper has been designed for this purpose. My collaboration with FENKO will continue for three other pieces of the series, one of which will be performed in the following weeks on the south Vietnamese coast.


Saverio with Paper & Conservation Consultancy Szuhan Wang and director Lino Lee from FENKO Catalysis Chamber



Clearly both of you are experts on media and materials, and you both have interests in natural phenomena and daily objects. However, you reach art through the opposite route: Chi-Tsung learned painting first and get in touch with photography later in college; whereas Saverio grew up with photography and later experiment with painting and other media. How do you think about each other’s art? What would you say about the similarities and differences between your art?


T: Our attitude towards art is similar, nothing strictly political, social or personal but “beyond” and “away”. Everything in our art is about matter and perception. As we work with similar materials, we often discuss certain techniques and difficulties we encounter. For example, we both mount Xuan paper on canvas which differs from the tradition, so we always discuss how to mount and coat.


W: I think that the most interesting and fundamental part of both of us is that we are both painters, that is to say, our mentalities are both based on paintings. And we are both interested in water-based things. I use western techniques to express eastern sceneries, and Saverio is into eastern materials.  We both found our inspiration from the other side of the world. I think this kind of connection is beautiful.

Nevertheless, the direction of how we approach art is different. I don’t do ‘painting painting’. My priority in art is media art, but I use painting as a mentality to meditate on everything while Saverio deals with painting itself.


T:  Yes. My starting point was to work with my dad in the darkroom in our garage, where he showed me how the image is revealed. From then I started to substitute light with ink, with Italian materials, eastern materials etc. I always see the possibilities of painting in photography. When I work digitally on images with photoshop, I regard it as an alternative way of painting. )



I suppose it’s going to be the first exhibition you attend in 2020. Do you have any new year resolution on art, or to say, what would you like to explore more in the following year?


T: In this year, Inspired by my experience here I’m would like to open a second studio in Taipei, I’m working on it. After joining another residency in Saigon by A.Farm I will come back to Berlin in June and begin to understand what I have experienced in Asia during this months. Exploration will go on as usual.


W: It has been 20 years since I entered university in 1999. I started the studio three years ago and we have made amazing achievements. I have been focused on my art outside Taiwan and would love to be considered as an international artist rather than a Taiwanese artist. I wish this experience of working internationally with my studio could be a model to share with the art world in Taiwan in the near future. Moreover, I look forward to launch more collaboration programs and to make use of the resources we have in Taipei, Berlin and Saigon. We have much to share about our network and experience in these three cities.



Interviewed and translated by Wang Tianyi
Planning and Proofread by Julian Chu







吳季璁與薩維里奧・托諾利

我們都從世界的另一邊汲取靈感



《易時易地》於吳季璁工作室



薩=薩維里奧・托諾利, 吳=吳季璁



你們是如何認識對方的?


薩:我們在2007年德國貝塔寧藝術村的開放工作室活動中相識。當我走進活動場地時,季璁的作品一下子就從遠方牢牢吸引了我,因為我一直在找和我使用相同材料(宣紙)的人。那天我們的話題一直圍繞宣紙打轉。在這之後我們自然而然保持聯繫,相互拜訪對方的工作室、並且在柏林一起做了展覽項目。其實自2018年,我們就有了在季璁的台北工作室舉辦駐村項目的想法,但今年才得以實現。


吳:對,我們從一開始就一直在聊宣紙。每次我拜訪薩維里奧的時候,我都會給他帶上不同的宣紙讓他測試,並逐漸有了要邀請他來台灣的想法,這樣他就能有一段完整的時間研究材料。



聽說本次展覽的標題《易時易地》是你們共同討論的結果。你們如何詮釋這個標題呢?


薩:我和季璁都會去研究傳統媒材,並將他們運用在當代藝術實踐之中。除了使用宣紙創作之外,我也致力於探索濕壁畫的材料可能性,令其更為易於繪製與展示,同時增加其自由的流動感。這些(宣紙、溼壁畫)在藝術史中使用已久的材料是我們的靈感來源,也帶領我們置換工作室時空,反思何謂「此時此地」。


吳:我們希望融合歐洲與亞洲文化、古代與當代技法,為觀眾創造一個超然於此時此地的體驗。利用不同元素,開啟一個新的對話。



這是季璁第一次將工作室開放為面向公眾的展覽嗎?


吳:這次駐村項目正值台北當代藝術博覽會期間,許多國內外藝術界同仁與藏家、觀眾都會來台灣,我們藉此機會在工作室舉辦展覽和開幕Party,更直接地與大家交流,同時討論藝術家工作室與展覽的可能性,把我們的經驗和台灣的藝術圈分享。因為目前在台灣,絕大多數藝術作品均是以完成的狀態展覽在白盒子空間中,而參訪藝術家工作室則被視作是非常私人的行為。但是我卻認為藝術應是「一整件事」,不能只看到最終的作品,舉辦開放工作室展覽的目的也是為了讓每個人看到藝術創作的過程。我們將工作室空間分為不同功能,每一層都有不同的展示,讓工作室成為類似替代空間的場所,除了有豐富的內容外,也會給觀眾特殊的藝術體驗。



你如何看待藝術家工作室在藝術生態中的角色與可能性呢?


吳:這次想到以藝術家工作室舉辦駐村項目是啟發於我在越南MoT +++的駐村經驗,MoT+++的總監本人也是一位藝術家,當時我們嘗試將展覽空間變成了類似工作室的環境,呈現出的展覽更像是一個開放工作室。我認為這是很有趣的概念,並且收到了很多積極的反饋。

近幾十年來,藝術家工作室的角色發生了很大變化。如今,越來越多的藝術家工作室規模擴大,涉足的領域也更加多元。工作室不僅是一個單純用於生產藝術品的場地,而更是人際關係網的中心。與機構相比,藝術家工作室在交流和執行方面擁有更高的獨立性和靈活性。此外,我很開心我們的工作室能夠財務獨立,這是一切可能性的基礎。我希望我們的經驗可以啟發其他人,並為台灣藝術界的豐富性做出貢獻。



我們在薩維里奧的Instagram上看到你正在為新展覽創作新作品。這些作品是否與你此次在台灣駐村的經歷有關呢?


薩:一般來說我很享受獨自工作的狀態,獨處對我來說是極為重要的。在駐村過程中無論是尋找新的材料與供應商、結識新的藝術家朋友、適應有限的工作空間,以及適應地方文化都可能對藝術家的工作構成很大的挑戰。但是本次駐村經歷則更像一個私人的合作項目:吳季璁工作室為我提供了大量的支持,並且也令我能夠自由地獨自創作。此外,台灣是一个美麗而自由的國度,我沉迷於台灣的風景與紙墨文化。

也可以說是我的紙張作品將我帶來台灣。在這裡,我像海綿一樣學習和吸收關於傳統水墨的知識並潛心研究宣紙材料。在台灣最頂尖的紙張材質研究機構-FENKO鳳嬌催化室 (www.fenko.com.tw)(後文簡稱「鳳嬌」)的鼎力相助下,我找尋到了更有效的方法處理紙材,並且能夠更好地控制墨水在重力下的運動,我很期待在展覽中將我的探索分享給國際觀眾。



你是怎麼與鳳嬌合作的呢?


薩:鳳嬌在許多不同的領域開拓了紙張的用途,他們其中的一個嘗試便是與藝術家的合作,研究新的材料和可能性。本次,鳳嬌身為紙材顧問,為我在選紙、包裝和紙張保存方面提供了非常多寶貴的建議。我在鳳嬌的協助下,為這次展覽最主要的作品之一《Self-absorbed on the rocks》找到了理想的紙材,這幅作品是我將宣紙鋪佈在宜蘭海岸的峭壁上進行創作的。在岩壁上,我將大捲宣紙浸濕,將之按照岩壁的紋理折疊,再用墨水染色令岩壁的紋理、質感與量體在紙面顯現。最後,回到工作室後,宣紙被水洗並壓平。可想而知,這樣的處理工序對宣紙的強韌性與靈活性都有極高的要求,這樣才能受得了尖銳岩壁、多次折疊、浸濕與乾燥等極端技法。紙張的吸水性也非常重要,而這次使用的紙則完美滿足了上述要求。我還會在將來的三件作品中繼續與鳳嬌進行合作,其中一件我將在未來幾周內在越南南部海岸完成創作。


《Self-absorbed on the rocks》創作過程,使用鳳嬌的薄頁麻紙(ABA Lean Natural)



二位顯然都是媒體與媒材的專家,而且你們都鐘情於自然現象與日常物件。不過,你們接觸藝術的方式卻是相反的:季璁從小學習繪畫,後來在大學才接觸攝影,而薩維里奧卻從小接觸攝影,晚些才學習繪畫與其他媒材創作。你們怎麼評價彼此的藝術?你們認為你們之間的相同點與區別在哪裡?


薩:我們對待藝術的態度是相似的,我們的作品都沒有政治色彩,無關社會議題、個人經歷、環境或感覺,是「超越時間與地點而存在的」。另外,我們的作品使用相似的材料,我們經常會交流彼此的技術和遇到的困難。比如我們都用非傳統的方式將宣紙裝裱在畫布上,所以我們的話題常常圍繞在技術問題上。


吳:我認為我們最有趣的基礎共同點在於我們內在都是畫家,換句話說,我們都是以繪畫的方式和角度在思考。而且我們都對水的材料感興趣。我會使用西方的技法表現東方的意境,而薩維里奧也很熱衷於探索東方材料和文化,他甚至有在練習功夫。我們都從世界的另一邊汲取靈感,我認為這是非常美妙的連結。

然而,我們接觸藝術的方式是不同的。我主要做新媒體藝術,不用筆墨畫畫,但卻用繪畫的思維方式去思考所有的其他不同媒材。而薩維里奧則是專注處理繪畫本身。


薩:是的,我最早接觸藝術是和我父親一起在我家車庫的暗房中,在那裡,他向我展示了攝影的原理。從那時開始,我嘗試用墨水、義大利或東方的材料去模仿與替代光。當我用Photoshop處理圖片時,我認為我也只是在用數位的方式繪畫。



這想必是二位在2020年參加的第一個展覽。你們有什麼新年願望嗎?


薩: 這次的駐村經歷讓我想在台灣成立我的第二個工作室,我現在已經開始在為之做準備了。我會去越南胡志明市參與由A Farm主持的另外一個駐村項目,此後我會在6月回到柏林,花一段時間來總結一下我在亞洲的收穫。我的探索也會如昔繼續下去。


吳:現在距我1999年入大學已經20年了。三年前,我建立了工作室,至今我們已經有了些精彩的收穫和成績,在此期間我一直努力活躍於國際舞台,我期許自己被視為一位國際藝術家,而非僅是台灣藝術家。並希望未來能將我與工作室的國際化工作經歷能夠分享給台灣的藝術世界,啟發他人。另外,我也期待能夠進行更多的合作項目,妥善利用我們在台灣、柏林和越南的資源——在這三地我們都有太多能夠分享的事情與經驗了。



採訪、翻譯:王天藝
企劃、校對:朱莉安