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.
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
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.
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.
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.
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.”
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.
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.
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.
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.
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）
Calligraphy Study 001 書法習作001 Single-channel video, 2min, 2022
Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場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.
Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場
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.
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.”
《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』。」
Crystal City – Hong Kong & Shenzhen Bi-City Biennale for Urbanism\ Architecture 水晶城市-深港城市\建築雙城雙年展 Size variable, 2022 Photo credit: Shangqi Art
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.
Crystal City – Hong Kong & Shenzhen Bi-City Biennale for Urbanism\ Architecture 水晶城市-深港城市\建築雙城雙年展 Size variable, 2022 Photo credit: Shangqi Art
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”
Crystal City – Hong Kong & Shenzhen Bi-City Biennale for Urbanism\ Architecture 水晶城市-深港城市\建築雙城雙年展 Size variable, 2022 Photo credit: Shangqi Art
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.
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 Seriesand the Wrinkled Texture Seriesspecially 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.
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。
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 Serieson 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.
Installation view of Sean Kelly’s booth in Art Basel Miami Beach Meridians Section, 2019 Cyano-Collage 064, 《氰山集之六十四》,2019, 300x600cm 2019年邁阿密巴塞爾藝術展「藝匯經線」展區
Wrinkled Texture 127,《皴法習作之一百二十七》,2022, 72 x 88 cm
Para Site’s 2022 Fundraising Auction has come to a fruitful end. Together with Galerie du Monde, Wu Chi-Tsung has donated his Wrinkled Texture 127 to the auction, whose proceeds will directly support our exhibitions, programmes, and educational initiatives. The auction also features artworks by renowned international artists such as John Armleder, Antony Gormley, Qiu Zhijie, and Zhao Gang.
Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society.
Wu Chi-Tsung began the Wrinkled Texture series with the intention to reinterpret the traditional texturing method called cun fa in traditional Chinese landscape painting. Instead of using ink and brush, Wuemploys the classical photographic technique cyanotype, to render the textures.
Wu Chi-Tsung Solo Presentation ADAA Art Show 2022 Sean Kelly Gallery | Booth A10 Preview November 2, 2022 Dates November 3 – 6, 2022 Meet the Artists November 6, 2022, 12:00 pm to 3:00 pm (Wu Chi-Tsung will be present) Venue Park Avenue Armory, New York
Sean Kelly Gallery will present Wu Chi-Tsung Solo Presentation at the ADAA Art Show in New York as the artist’s debut at the Art Show.
Founded in 1962, ADAA is a national non-profit membership organization of art galleries that promotes the highest standards of connoisseurship, scholarship, and ethical practice in the industry. In the classical and elegant neo-Gothic building of the Park Avenue Armory, the exhibition will feature works of art from the Renaissance to the present, including oil paintings, sculptures, prints, drawings and photographs.
The Art Show is distinctive for its focus on solo exhibitions since its inception, allowing galleries to present a comprehensive overview of an artist’s career and explore their aesthetic connotations. This year, 55 of the 78 participating galleries will present solo exhibitions of artists.
This is why Chi-Tsung is particularly looking forward to this solo exhibition. With a historical anchor crossing from the classic to the present, as well as the refined and sophisticated aesthetic taste, ADAA’s focus is in alignment with Chi-Tsung’s professional training and artistic pursuit, where he was trained in the traditions of calligraphy, ink painting, watercolor painting and drawing at a young age, and reflects these time-honored idioms in his contemporary practices.
With new works from the Cyano-Collage Series and a work from the Still Life Series, the solo aims to reveal how Chi-Tsung’s work reflects “the influence of traditional aesthetics in his contemporary works, and at the same time critically consider how the development of media and technology affect the relationship between people and the world.
Artnet featured Wu’s work as one of the 7 must-see works to seek out at the ADDA Art Show. As described by editor Eileen Kinsella, “So much goes into the creation of Wu Chi-Tsung’s meditative, serenity-inducting Cyano-Collages, such as this giant fan-shaped one, which anchored the works in the solo presentation of the booth, created specifically for the show.”
Drawing Study – Limestone Head of Bodhisattva, Sui Dynasty， 《寫生習作 － 隋 灰石菩薩首像》2021， 00;21;01
Buddha10： A Fragmented display on Buddhist visual evolution Dates October 20, 2022 – September 3, 2023 Preview October 19, 2022 Venue Via San Domenico, 11 10122 Torino Italia
Invited by Davide Quadrio, curator of the exhibition who is renowned for working closely in the East Asian art scene over decades, Wu Chi-Tsung’s Drawing Study Series will be presented at Buddha10: A Fragmented display on Buddhist visual evolution at MAO – Museo d’Arte Orientale di Torino (Museum of Eastern Art).
The MAO exhibition will feature collections from different geographical areas and expand through a wide chronological period in the museum’s collection, among which Buddhist sculptures from the Chinese collection will be the highlight, with the aim to offer different perspectives and reflections on the museum and its proud collection of Asian art. The antiques will be echoed by a number of contemporary art practices and new works including the Drawing Study Series. The series originated in 2021 inspired by Chi-Tsung’s collaboration with TAO ART SPACE for his solo exhibition in Taipei, in which he uses a flashlight as a paintbrush to capture the silhouette of ancient Buddhist statues and records the tails of light in space, allowing the outlines of the statues to gradually appear. The gentle movement and the dim glow have created a yūgenism (profound grace and subtlety) atmosphere, symphonizing the timeless quality of the statues that were created centuries ago.
Museum of Eastern Art of Turin 杜林東方藝術博物館
Buddha10 展覽日期 2022年10月20日至2023年9月3日 預覽 2022年10月19日 地址 Via San Domenico, 11 10122 Torino Italia
本次展覽中，策展人從博物館引以為豪的亞洲藝術收藏中精選出來自不同地域、跨越古今的展品，並同時展示與之呼應的當代藝術作品，旨在為亞洲藝術史提供新穎的解讀視角與反思，此觀念與《寫生習作》的創作初衷不謀而合。《寫生習作》佛像系列起源於2021年吳季璁與台北藝術空間TAO ART SPACE的合作，他用手電筒作為畫筆，捕捉古代雕塑的輪廓，記錄空間中的光跡，輕柔的光線緩緩照亮昏暗的佛像，使其輪廓逐漸顯現，創造了一種幽玄的氛圍，映照出佛像幾個世紀以來的永恒與靜謐。
Represented by Sean Kelly Gallery, Wu Chi-Tsung’s Cyano-Collage will return to Frieze London 2022 after its debut in the world-renowned fair last year.
Sean Kelly Gallery | Booth 120 VIP Preview Sep 8, 2022 Public Days Sep 9-11, 2022 Venue Javits Center, 429 11th Ave, New York, NY 10001, United States
Represented by Sean Kelly Gallery, Wu Chi-Tsung’s new workCyano-Collage 135 will be participating in the Armory Art Show in New York. Founded in 1994, 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.
This June, the first Cyano-Collage Series created on a bronze panel will be exhibited at Sean Kelly Gallery’s booth which marks Wu Chi-Tsung’s debut in Art Basel in Basel. As the development of the series, the artist has experimentally worked with aluminum panels in 2021 and bronze panels this year as a substitute for wooden baseboards to achieve better durability of the works. The metal quality of the baseboard creates a distinct reflection that leaks through the Cyano-Collage landscape and broadens the potential of the series.
Cyano-Collage 145, 《氰山集之一百四十五》, 2022, 225 x 90cm x 4pcs
Galerie du Monde｜Booth 1C11
VIP Preview May 25-27, 2022
Public Days May 28-29, 2022
Venue Convention & Exhibition Centre, Hong Kong
In late May, new work from the Cyano-Collage Series in a quadriptych composition will be presented at Galerie du Monde’s booth in Art Basel in Hong Kong.
Cyano-Collage 145, 《氰山集之一百四十五》, 2022, 225 x 90cm x 4pcs
