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Photo Credit: Yu Tzu-Chin

Sean Kelly is delighted to announce that the gallery now represents Wu Chi-Tsung.

Wu Chi-Tsung’s innovative work features a broad range of media including photography, video, installation and painting, in which he combines traditional and contemporary forms and methodologies to explore perceptions of the physical and natural worlds. Trained from an early age in the practices of Chinese calligraphy, Chinese ink painting, watercolor and drawing, Wu Chi-Tsung worked for many years in a traditional idiom. Following a period spent creating experimental ink paintings, he turned to video, installation and photography, finding in these new media compelling conceptual stratagems that spurred new and dynamic approaches to making images. These have included films that conceptually translate traditional cut-branch flower paintings into time-based moving images and his recent Cyano-Collage Series, in which he connects Eastern and Western culture and art to integrate traditional aesthetics with startling contemporary language. On joining the gallery Wu Chi-Tsung said, “I’m pleased to be joining Sean Kelly, which has a legendary history and program, featuring amazing artists from all over the world.

Sean Kelly states, “We are delighted that Chi-Tsung is joining the gallery. We included him in a group exhibition this summer and were profoundly impressed by his conceptual and artistic process, in which he combines contemporary techniques and traditional Chinese methods to create a unique amalgamation of different cultures, the past and the present.”

Wu Chi-Tsung currently lives and works in Taipei, Taiwan and Berlin, Germany.

He was the recipient of the Liu Kuo Sung Ink Art Award, Hong Kong and Taiwan (2019). In addition, he was awarded the WRO Media Art Biennal (2013) and Taipei Arts Award (2003). He was short-listed for the Prudential Eye Awards, 2015; the Artes Mundi, 2006. His work has been included in international exhibitions at institutions such as the Mori Art Museum, Japan; National Museum Cardiff, United Kingdom; the Long Beach Museum of Art, Los Angeles; the Casino Luxembourg – Forum d’art Contemporain, Luxembourg; the Museo Del Palacio De Bellas Artes, Mexico and the Central Academy of Fine Arts (CAFA) Art Museum, Beijing, China; Shanghai Art Museum, China; Seoul Museum of Art, South Korea; Minsheng 21st Century Museum, Shanghai, China; the Museum of Contemporary Art Yinchuan, China; the Hiroshima City Museum of Contemporary Art, Japan; the Ullens Center for Contemporary Art (UCCA), Beijing, China; the Taipei Fine Arts Museum, Taiwan; amongst others. His work is included in renowned collections such as Xie Zilong Photography Museum (XPM), the Post Vidai Collection, M+ Hong Kong, and the Borusan Contemporary Art Collection.

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尚凱利藝廊宣布正式代理藝術家吳季璁。

吳季璁創新的作品涵括攝影、錄像、裝置、繪畫等多樣媒材，其創作融合東西方傳統與現當代藝術形式與方法，探索物質和自然世界的感知。他從小接受書畫、水彩及素描的學院訓練，形塑其多年來在作品中東方及傳統風格的呈現。在進行一段時間的實驗性水墨之後，他轉向錄像、裝置和攝影，受新媒體藝術的啟發，開展了新穎且動態的影像製作方法。其中包括將傳統的折枝花卉繪畫轉化成呈現時間流動感的動態影像，到近期連接東西方文化語境的《氰山集》系列，將傳統美學以令人驚艷的當代語言與概念呈現。吳季璁表示：「尚凱利是個充滿傳奇色彩的藝廊，代理許多世界各地傑出的藝術家，很榮幸參與其中。」

藝廊創辦人尚凱利先生說：「我們很高興季璁加入藝廊。季璁的作品在今年夏天藝廊的群展中展出，我們對於他的藝術表現感到印象深刻。他的創作概念結合當代技術與傳統中式技巧，創造了連接不同文化、過去和現在的獨特藝術語言。」

吳季璁，目前居住與創作於台北及柏林。2019年獲港台劉國松水墨藝術獎、2013年波蘭媒體藝術雙年展藝評與藝術雜誌編輯獎（WRO）、2003年榮獲台北美術獎首獎；並入圍2015年英國保誠當代藝術獎（Prudential Eye Awards）、2006年英國世界藝術獎（Artes Mundi）。

作品曾在許多國際展覽機構展出：日本東京森美術館、英國卡爾地夫國家藝廊、美國洛杉磯長灘美術館、盧森堡卡西諾當代藝術中心、墨西哥藝術宮、中國北京中央美術學院美術館、中國上海美術館、韓國首爾美術館、中國民生現代美術館、中國銀川當代美術館、日本廣島市現代美術館、中國北京尤倫斯當代藝術中心、台灣台北市立美術館。他的作品也由許多知名機構收藏如 : 中國長沙謝子龍影像藝術館、越南Post Vidai Collection、香港M+博物館、土耳其 Borusan Contemporary Art Collection等。

Wu Chi-Tsung’s video installation works Still Life 011 – Tsubaki and Still Life 012 – Buttercup Tree were recently collected by  Borusan Contemporary Art Collection, the first collection in Turkey which is a member of IACCCA (International Association of Corporate Collections of Contemporary Art). The collection, which was established in the 90s, was initially focused on Modern and Contemporary Turkish Art. Yet with the inclusion of international contemporary artists such as Donald Judd, Sol LeWitt and Jim Dine in the 2000s, it underwent a change and eventually shifted its focus towards New Media Arts with the inauguration of Borusan Contemporary as a public museum.
 
Photo courtesy of Borusan Contemporary, Istanbul
 

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吳季璁錄影裝置作品《小品之十一 茶花》《小品之十二 彎子木》日前被Borusan Contemporary Art Collection收藏。Borusan Contemporary Art Collection是土耳其首家加入IACCCA協會（國際當代藝術收藏集團協會）的當代藝術收藏機構，於20世紀90年代成立，初以收藏土耳其現當代藝術為中心，進入21世紀後，機構正式以公共博物館形式開放，收藏也轉向為關注國際藝術家、尤其是活躍於新媒體藝術領域的藝術家。

IN FOCUS: Wu Chi-Tsung | Applying Traditional Practices to Contemporary Photography

Taiwanese ‘on-the-radar’ artist Wu Chi-Tsung speaks to PHOTOFAIRS ahead of the Shanghai fair this month, where he will be exhibiting his fascinating works with Sean Kelly Gallery (New York & Taipei).

Interestingly, Chi-Tsung clarifies during the interview that he does not identify as a ‘photographer’, instead, he merges and unifies his extensive knowledge of multiple mediums to create dynamic, tactile-looking, and memorable artworks. The dilemma, the artist states, of distinctly categorizing art forms (such as painting, photography and contemporary dance), results in a ‘trapped’ mindset, thus limiting the potential for artists to develop and challenge themselves. PHOTOFAIRS, as a world-class art fair, aim to promote artists such as Wu Chi-Tsung, who are pushing the boundaries of photography and posing the question of how should photography be defined.

With an impressive portfolio including set-design, ink painting and video works, Chi-Tsung proudly represents what it means to be a contemporary artist in the 21st Century. We speak to the artist about breaking down barriers between mediums, the importance of preserving traditional methods and an exclusive step-by-step feature on how he creates the renowned ‘Cyano-Collage’ series…

“Sometimes it worries me that we have abandoned too many valued experiences and methods in traditional art as we transform too resolutely.”

PHOTOFAIRS: Your works display an exciting range of artistic mediums, such as painting, set design and photography. What is your thought process when deciding which medium to use for a project? What comes first, the idea and theme behind a project or the desire to use a specific medium?

WU CHI-TSUNG: Either way could be possible. Generally speaking, whenever I conceive a new project in any form, the language of painting is always my archetype. Every artist has his/her mentality, and painting is mine. For instance, the idea of ‘randomness’ from the eastern painting tradition (which partly is due to the nature of ink paints) is deeply rooted in me when I create my video installations and photography, like the Cyano-Collage series. I also imagine my art world via the spirit of paintings.

Part of PHOTOFAIRS’ objective is to explore the dynamic nature of photography as a medium, which includes presenting video works, installations and performance art to our audiences. One focus of the 2019 Fair is performance art and photography. With a career that involved set/stage design in collaboration with various institutions and performances, such as ‘Off the Map’ (2013) and ‘How Long is Now?’ (2017), how important do you think it is to combine performance art with other mediums such as photography, design or installation?

My experience in set design was mainly for contemporary dance. As dance itself might be abstract to many people, I consider it my duty to guide people to step into the world of the dance by visualizing certain elements. To me, what was the most difficult element of my job was to synchronize all the various elements on the stage. Every art form has its own time and space structure, and my duty is to organize everything to ensure they balance. For example, it is particularly difficult to apply videos to theatre, since the nature of the video is in the past, yet the performance is in the present. My experience in dealing with set design is similar to working with video installation; both require careful consideration of the relationship between the image and the space, and thus are more present than merely a single channel video.

Your artistic journey began with painting, where you gained a Bachelor of Fine Arts in Oil Painting from Taipei National University of the Arts in 2004. What lessons did you learn from studying painting that you can transfer to your photography?

It is an old tune if I talk about my understanding of painting. However, if I transfer it to another medium such as photography, new meanings are created, which is what I aim for when I work across different mediums.  I find it odd that people have set categories of mediums due to functional concerns, which eventually become a mindset that has trapped the way we think. I always try to seek the universal relevance of things and create a dialogue to connect them. I would not consider myself to be specialized in photography. I use photography as a tool to contemplate and express my thoughts. In my photography works, a hint of how time flows from the exposure to the manual collage is visible. The work is not static but a record of movements. On the other hand, my video installations are rather static that has few scenarios or changes.

Can you please tell us more about the ‘Cyanotype’ photographic technique, and how you used this technique in your impressive ‘Cyano-Collage’ series, which you will be presenting at PHOTOFAIRS | Shanghai 2019. Did you face any challenges working with this medium? Please also inform us on the significance of using this technique to commemorate Taiwanese Artist and Art Critic Mr. Ni Tsai-Chin.

My process follows the format below:

1. Cover the Xuan paper with the photosensitive solution, continually reshaping and crumpling the paper by hand to create the wrinkled effect during the exposure.

2. Leave the wrinkled paper exposed to sunlight for about thirty minutes to an hour and washing the paper to let the image fixed

3. ‘Read’ the papers to choose what could be used from the collage. Normally I choose only a few papers from dozens. I put one Xuan paper on the canvas, using a brush to flatten it. Next, I apply acrylic gel five or six times to seal the structure of the Collage. Every time a new layer of paper is added. I use blank papers to adjust the composition — to bring out the landscape, to create the depth, and to erase part of the image to leave empty space for imagination.

4. Finally, I apply the UV protective varnish to protect the cyanotype from sunlight.

The whole process is a bit similar to working on ‘layers’ in Photoshop, but no computers nor cameras are involved. The Cyano-Collage Series is based on the combination of what I have previously experimented in the Wrinkled Texture Series, experimental photography, and the aesthetics of traditional eastern painting.

The first challenge I met is that the nature of the Xuan paper is very different from the photographic paper that is normally used for cyanotype photography. I gradually learned, from my experience with Xuan paper, the complexity and variability of the material. The paper western painting adopts, for example the watercolor paper, has a coating so that the pigments would remain on the surface no matter how thick they are. However, in the raw Xuan paper (without alum) that is applied in ink painting, the pigments are absorbed. The extent that the ink seeps through the xuan paper can be controlled, creating greater possibilities.

Working closely and consistently with these traditional methods and materials like Xuan paper makes me aware of their limitations in the modern era, but also urges me to think about a way to inherit it by transforming it into contemporary practice. When my works were exhibited in the west, people were very intrigued by Xuan paper and thought that it resembles fabric.

I was deeply influenced by my work as an assistant for professional artist Ni Tsai-Chin, who was an experimental ink painter, conceptual artist, art historian and critic. His value and interpretation of art altered how I used to think about our tradition, and that is the reason why I paid tribute to him in my work.

Your contemporary artworks often integrate traditional methods (such as Shan Shui to depict natural landscapes) into the process and overall aesthetic. How important do you think it is to maintain these traditional artistic techniques in photography today? Do you often notice other artists combining old methods with new in their artworks?

Many contemporary artists haven’t had the training of painting which makes it harder for them to comprehend the history of art from a creator’s point of view. Sometimes it worries me that we have abandoned too many valued experiences and methods in traditional art as we transform too resolutely.

People who only work in the contemporary art world would struggle to really understand what contemporary art is, and same for individuals who only focus on traditional forms. Personally, I appreciate Liu Jianhua and Yu Peng’s art, for they break the limitation of the traditions, whilst working closely with them. For me, working in the contemporary art world with traditional methods gifted me the ability to understand what is shared and what is irreplaceable.

As well as the ‘Cyano-Collage’ series, Sean Kelly Gallery has also incorporated the series ‘Landscape in the Mist’ (2012) into their current group exhibition titled ‘Abstract by Nature’. When did you start experimenting with video?  Why did you choose to use video for this project?

I started working with video in 2001 whilst at university. After I was trained in traditional painting for more than ten years before college, I started to explore different mediums from ink painting to video. For about a year I have been taking my video camera everywhere. I film everything to capture contemporary daily experiences. I have been trying to create a dialogue in the language of new media art between video works and the training in painting that I have received. My ‘Landscape in the Mist’ video originates from the ‘Still Life Series’, both of which are my earliest attempt to combine my experiences in video and traditional painting. The ‘Landscape in the Mist’ series was inspired by the impressive landscape paintings of Camille Corot, creating a poetic atmosphere with traditional eastern painting.

What are you most looking forward to at PHOTOFAIRS | Shanghai? As an artist that does not work solely in photography, why do you think it is important for your work to be shown at our Fair in September?

Usually, I am invited to present my works at an exhibition which is one of three categories: contemporary art (new media art), photography, or traditional ink art. I am very much looking forward to learning how my work will be seen and discussed under the narrative of photography as well as in the context of mainland China.

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聚焦：吳季璁 | 在當代攝影中實踐傳統技法

台灣最受關注的藝術家吳季璁在2019影像藝術博覽會前接受了博覽會的採訪，他的幾件精彩作品將在尚凱利畫廊（紐約，台北）的代理下亮相博覽會。

有趣的是，季璁在採訪中強調自己並不是一個「攝影師」，而是將他對於各種媒介的經驗相互融合與統一，以創造出生動可感、令人印象深刻的作品。藝術家認為，對於各種藝術門類（如繪畫、攝影與當代舞蹈等）會限制住人的思維，因而制約了藝術家去挑戰與超越自我的可能性。影像藝術博覽會作為世界一流的藝術博覽會一貫致力於推廣像吳季璁這樣去挑戰攝影的邊界、質疑攝影的定義的藝術家。

吳季璁是21世紀當代藝術家風貌的最好代表：他履歷豐富，創作門類橫跨舞台設計、傳統繪畫與影像等。我們與他探討了藝術媒介之間界限的打破、保護與發展傳統技法的重要性、還有藝術家知名的「氰山集系列」的詳細創作過程等……

“有時候我會擔心我們因為發展太快、太急而放棄了太多傳統藝術中 寶貴的經驗與方法。”

影像藝術博覽會（後簡稱「博覽會」：你的作品涉及繪畫、舞台設計與攝影等不同種類的媒材，你完成一個項目時，如何決定使用何種媒材？你的作品一般是起源於一個想法，還是源於對於嘗試運用一種媒材的渴望？

吳季璁：都有可能，每個不一樣，整體來講我在想象不同媒材創作的時候，我思考的原型是源自繪畫。每個藝術家可能都有其思想方法(Mentality)，而我的就是繪畫。像東方繪畫傳統中的隨機性（受水性材料的性質影響）對我做錄像裝置或氰山集等攝影影響很深。我會用繪畫的精神去思考我的藝術世界。

博覽會：PHOTOFAIRS的宗旨之一是發掘攝影作為媒介的充滿活力的本質，2019年PHOTOFAIRS的重點關注即為舞台藝術與攝影。你有過與不同機構與表演者合作進行舞台設計的經驗，你怎樣看待舞台藝術與諸如攝影、設計或裝置等其他媒介的合作？

吳季璁：我做舞台設計的經驗主要來自於與當代舞蹈領域的合作。舞蹈本身對大部分人太抽象，我認為我的角色正是通過把某些東西視覺化，引導大家進入舞蹈想談的世界 。我面對的很大的挑戰是如何同步、聚焦不同的舞台元素。每一種藝術形式都有其內在的時間與空間結構，而我的工作正是要保證它們之間互相平衡，把它們同步聚焦到當下。比如說，在劇場中運用影像元素是很睏難的，因為影像的本質是屬於過去式的，而舞台演出則在當下。我認為做舞台設計與做影像裝置有相似之處，它們都需要對影像與空間進行審慎安排。

博覽會：你2004年畢業於台北藝術大學油畫係畢業，可以說你的藝術道路是繪畫開始的，繪畫對你現在的攝影藝術有什麼影響？

吳季璁：我對於繪畫的思考和理解放在繪畫去談便是老生常談，但將之轉化到不同的領域，比如攝影中去，則會產生不同的意味與價值，這便是我轉換媒體形式的目的。我認為一個很奇怪的事情就是我們為藝術定下了不同分類，一開始是為了功能性之便，但是逐漸的我們所有思考方式都被這個框架限定住了。相較於關註各種媒材之間的差異、我更感興趣其共同性。這有點像談當代藝術的時代性的時候，我感興趣的是超越時間、不改變的東西。我不認為我自己專注於攝影，而是在藉助攝影來思考與表達。我的攝影作品中有多很時間的流動性在裏面，從曝光到拼貼，它不是單純靜態的東西，而是記錄著運動。而另一方面，我的錄像其實則是非常靜態的。

博覽會：可以請你為我們介紹一下氰版攝影法，以及你如何利用這一方法創作氰山集系列的嗎？使用這一方式創作，你有遇到什麼挑戰嗎？另外，請向我們介紹你如何利用這一方法向倪再沁先生致敬？

吳季璁：我的創作過程簡述如下：

1. 將宣紙上塗佈感光塗料，用手將紙張不斷揉皺，以製造出曝光後的皴法效果。
2. 將紙放在陽光下曝光約30分鐘至一小時，然後沖洗紙張，令影像固定。
3. 「讀紙」，挑選適合作品使用的紙張，一般幾十張中只能選出一張。接著，我會將宣紙一層層固定在木板上，用刷子刷平。再塗上五、六層亞克力膠進行固定。每次加上新的一層紙，我都會加進一些白紙以保證留白、調整構圖。
4. 使用UV防護油，防止氰版攝影在陽光中變色。

整個過程有點像Photoshop中的圖層的概念，只是其中並沒有電腦或相機的參與。「氰山集系列」是基於「皴法習作」系列發展而來的，其技法與美學均基於創作「皴法習作」的經驗。

創作「氰山集系列」時我遇到的第一個挑戰是宣紙的材料屬性。宣紙的變化性和覆雜度遠大於一般氰版攝影使用的相紙。對於材料的研究是最開始的挑戰，我也逐漸發現宣紙是格外特殊而精彩的材料。比如西方的紙張，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，但顏料吸收在裏頭。墨進入紙張的層次各不不同，筆筆分明，時間性的變化可以記錄在上頭，創造出更多的可能性。

使用傳統方法與材質進行創作讓我更了解這些逐漸消失的東西，看到它們時代性的局限。我也希望能夠通過轉換材質的方法可以讓這些東西延續下去。當我的作品在西方展出時，大家都對宣紙的材質很好奇，覺得像布料，我也希望這能夠啟發其他文化和區域的藝術家去使用它，在跨文化的語境中去開發它的可能性。

我的創作受倪再沁老師影響很大。他是一位實驗水墨畫家、實驗藝術家、藝術史學者與評論人。他的很多觀念完全扭轉了我對於自身傳統的理解，這也是為什麼我通過作品來向他致敬。

博覽會：你的當代藝術作品經常與傳統水墨技法與美學相結合，你認為在當代攝影中保留傳統技法的重要性何在？你會經常注意到其他藝術家是如何結合傳統方法與當代藝術的嗎？

吳季璁：現在很多當代藝術家可能沒有繪畫訓練經驗，他就很難從創作的角度去理解美術史，其角度和學者沒有太大差別。有時候我會擔心我們因為發展太快、太急而放棄了太多傳統藝術中 寶貴的經驗與方法。只活動在當代世界創作的藝術家不會理解當代藝術是什麽，對於只活動在傳統藝術領域的藝術家亦然。只有在其間遊走，才能讓我意識到其中改變的東西是什麽，而我更感興趣的地方是，其不變的東西是什麽。 我個人比較欣賞于彭與劉建華的作品，他們能夠從非常傳統的角度出發，又跨越時代性的限制。

博覽會：除了「氰山集系列」外，在Sean Kelly畫廊當前的展覽中也展出了你的「煙林圖系列」，你是什麼時候開始嘗試影像媒介的？你為何選擇使用影像來呈現「煙林圖系列」系列？

吳季璁：2001年左右，我還在大學的時候便開始嘗試影像。在進大學前我已經接受藝術教育超過十年了，大部分都是用學院傳統訓練來學繪畫。因此上大學後我開始嘗試其他媒介，先是實驗水墨，後來變開始嘗試影像。有一年的時間我每天帶著攝影機亂拍。我從一開始就試著在用錄像與我接受的繪畫傳統訓練去對話。「煙林圖系列」起源於「小品系列」，這兩組作品都是我將影像媒介與傳統美學相結合的早期嘗試。「煙林圖系列」是受到柯羅的畫作啟發，他的風景畫中那種詩意的氛圍讓我看到了美的共通性。

博覽會：在PHOTOFAIR上海中你最期待什麼？作為一個不只從事攝影的藝術家，為什麼你認為你的作品參加PHOTOFAIR是重要的？

吳季璁：我的作品經常受邀參加三個領域的展覽：當代藝術（新媒體藝術）、水墨與攝影。我喜歡遊走在不同領域，也非常期待看到我的作品放在攝影的脈絡下以及在大陸的語境中如何被欣賞與討論。

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More Information

Original Website

2019 Photofair Shanghai exhibition info

 

OPEN STUDIOS, Lange Nacht der Bilder 2019

Dates | Sep 6, 6pm till midnight
Venue | room 203, building X, Studios ID, Genslerstrasse 13-13a 13055 Berlin

 

Wu Chi-Tsung will be joining the Lange Nacht der Bilder 2019 to host an Open Studio event at room 203, building X of Studios ID, Berlin on Sep 6. During the event, the working progress of a new “Cyano-Collage” work will be presented and the artist will share those behind-the-scene stories.

 

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photo credit: Sylvia Lee

 

圖像長夜 2019－開放工作室

日期 | 2019年 9/6 6pm – 12am
地點 | room 203, building X, Studios ID, Genslerstrasse 13-13a 13055，柏林，德國

 

9月6日，吳季璁將參加《圖像長夜2019（Lange Nacht der Bilder 2019）》，於柏林Studios ID進行開放工作室活動。屆時，藝術家將會呈現《氰山集系列》新作現場製作過程，並與到訪嘉賓分享作品背後的故事。

New works of the Cyano-collage Series will be premiered  in ‘Lingering in Nature’

 

Lingering in Nature, Giessen New Art Association, Germany

Dates｜Aug 31 – Oct 12, 2019 (Opens every Saturday 2-5 P.M.)

Curator | Andreas Walther

Opening Reception | Aug 31, 6 P.M.

Artist talk｜Sep 1, 2 P.M.

Venue｜Licherstr, Nahrungsberg Ecke, 35394 Gießen, Germany

 

The work of Wu Chi-tsung (* 1981 in Taipei, lives and works in Taipei and Berlin) is multi-faceted. Early on taught in ink painting and calligraphy, then in his twenties in dealing with oil painting, media art and architecture, he still works today in various media. Although brush and paint are no longer found in his studio, he nevertheless feels most at home as a painter and retains the traditional arts as a strong reference for his work. Starting from there and working in video, installation, cyanography and other media, Wu creates subtle signs that cross the ages and build a bridge to the contemporary. For his exhibition in Gießen he will combine a selection of existing works with a photographic edition.

 

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《氰山集系列》新作將於吳季璁個展《Lingering in Nature》展出

 

Lingering in Nature，基森新藝術協會，德國

日期 | 2019年8月31日至10月12日（每週六下午2至5時開放）

策展人 | 華安瑞

開幕酒會 | 8月31日晚6時

藝術家對談 | 9月1日下午2時

地點 | Licherstr, Nahrungsberg Ecke, 35394 基森市，德國

 

吳季璁（1981年生於台北，現工作、生活於台北與柏林）有著豐富的經歷與廣泛的探索。他從小接受傳統書畫訓練，在二十代轉向油畫、新媒體藝術與建築，至今仍橫跨不同媒材進行創作。儘管如今他的工作室中早已經難覓畫筆與顏料的蹤跡，他卻時刻以畫家的視角去思考藝術、從他生長其間的傳統藝術中汲取養分，並通過影像、裝置、氰版攝影等媒介將之轉化與表達。藉此，吳季璁創造了一座連結傳統與當代的橋樑，令其作品具有超越時間的美感與深意。本次展覽將展出吳季璁的系列攝影與影像作品。

 

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Installation View 展覽現場

 

 

photo credit: Sylvia Lee 

‘Landscape in the Mist 001′ will be showcased in ‘Abstract by Nature’

 

Abstract by Nature, Sean Kelly, New York

Dates｜Jun 28 – Aug 2, 2019

Opening Reception | Jun 27, 6 – 8 p.m.

Artists｜Callum Innes, Markus Karstieß, Hyun-Sook Song, Su Xiaobai, Wu Chi-Tsung

Venue｜475 TENTH AVENUE, NEW YORK NY 10018

 

Wu Chi-Tsung will be joining the group exhibition Abstract by Nature in Sean Kelly New York. Opening on Jun 28, the group exhibition will be featuring major works by an international group of artists, each of whom engages both traditional and non-traditional methods to produce meditative works that have a distinctly timeless quality. Wu Chi-Tsung’s Landscape in the Mist 001, Still Life 009 – Maple, Still Life 011 – Tsubaki and Cyano-Collage Series 061 and 062 will be featured, all of whom shares the claim of the exhibition, that is to reflect, evoke or transform elements of the natural world into pure poetic forms.

The exhibition will be on view till Aug 2, with an opening reception in the presence of the artist on Thursday, Jun 27.

 

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《氰山集》系列新作將於紐約尚凱利畫廊展出

 

自然抽象

尚凱利畫廊，美國紐約

日期｜2019年6月28日 – 8月2日

開幕酒會 | 6月27日 晚 6 – 8時

藝術家｜Callum Innes, Markus Karstieß, Hyun-Sook Song, 蘇笑柏、吳季璁

地點｜美國紐約第十大道475號, 10018

 

吳季璁將參與由紐約Sean Kelly畫廊群展《自然抽象》（Abstract by Nature）。展覽將呈現多名國際藝術家的多種媒介的當代藝術作品，一同展出還有來自中國唐宋時代、日本平安時代、室町時代的古董瓷器，旨在呈現一場傳統美學與當代實踐之間的互文對話，探討藝術的超時空屬性。展覽將展出吳季璁作品《煙林圖之一》、《小品之九 楓》、《小品之十一 茶花》 與《氰山集系列》，這些作品以不同形式映照並致敬自然，為自然的詩意抽象。

展覽開幕酒會將於6月27日（週四）舉行晚6點舉行，藝術家本人亦將出席。

 

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Installation View 展覽現場

 

 

 

 

 

 

Wu Chi-Tsung will be delivering an artist talk with Wu Chao-Jen (吳超然), guest curator of the current exhibition ‘A Wanderer between Heaven and Earth: Yu Peng (于彭) and His Life Work’ this Saturday. The artist and the curator will talk about the ‘formalism’ of brush and ink (筆墨) in Yu Peng’s work, his transformation from the western hard-pen sketches to eastern brush and ink (軟筆) and the reinterpretation of brush and ink in the contemporary context, etc.

 

Art Promenade on ‘A Wanderer between Heaven and Earth: Yu Peng and His Life Work’

Jun 15 15:00 – 17:00, Taipei Fine Arts Museum

Artist/commentator: Wu Chi-Tsung, Wu Chao-Jen

Location: Gallery 206, second floor, Taipei Fine Arts Museum

 

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展覽漫遊57：于彭－行者．天上．人間

06/15（六） 15: 00－17: 00   吳季璁 l 藝術家 X 吳超然 l 于彭回顧展策展人

集合地點: 于彭個展二樓206展場

關鍵密語 → 筆墨精神的柳暗花明

 

于彭回顧展正如火如荼在北美館展開，六月已是展出的最後一個月，許多觀眾近兩個月數度往返于彭展覽場，也持續聆聽幾位專家學者們從各個角度觀看與解讀于彭的創作。于彭被認為對水墨畫八、九O年代以來的現當代水墨創新具有突破性貢獻，觀眾不禁好奇，筆法與墨法嚴謹的水墨傳統如何被于彭突破? 在這一場獨特的對談裡，藝術家吳季璁與于彭回顧展的策展人吳超然老師將針對于彭創作的幾項議題進行一場別開生面的對談，包括：于彭的筆墨從哪裡來？如何在他的畢生創作裡實踐？西方的素描（硬筆）如何轉化成為筆墨（軟筆）？以及，「筆墨」在當代的意義等。

 

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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，並入圍英國世界藝術獎(Artes Mundi, 2006)、英國保誠當代藝術獎(Prudential Eye Awards, 2015)。

吳超然，「行者‧天上‧人間─于彭回顧展」策展人。2002年獲美國堪薩斯大學藝術史博士，曾任國立台北藝術大學美術系兼任講師（1998-2001），靜宜大學人文科專任助理教授（2002-2003）。2003年至今擔任東海大學美術系助理教授。曾策畫的展項：「水墨 x 複數─新世代水墨展」（高雄小畫廊，2017），「記憶的交織與重疊─後解嚴台灣水墨」 （國立台灣美術館，2017），「筆墨的當代性」（東海大學藝術中心，2009）等。學術專長：中國近現代藝術史，藝術史學方法論與中國書畫史。

 

Wu Chi-Tsung work Crystal City 003 was donated to M+ Hong Kong by Hong Kong collector Hallam Chow. The artist uses clear, rectangular plastic packaging of different sizes to construct a miniature city and illuminated it with moving light. The resulting cityscape of light and shadows is both a romantic mirage and a pile of industrial waste, making the installation a sharp commentary on contemporary life, which meets the focus of M+ collection.

 

 

《水晶城市003》由香港收藏家仇浩然捐贈給香港M+博物館。《水晶城市》系列利用不同大小的透明矩形塑膠包裝，構建出一座微型城市，並以遊移流動的光線來照亮作品，由此形成虛擬的城市景觀，作品對於當代生活的象徵性投射與M+收藏的關注重點不謀而合。

 

 

 

 

Wu Chi-Tsung’s Cyano-Collage 50 has recently joined the Post Vidai Collection, the largest private collection of contemporary art in Vietnam. Cyano-Collage 50, created during the artist’s residency at MoT+++ space in Ho Chi Minh city, could be regarded as a reflection and confirmation of Post Vidai’s long-lasting pursuit to unsettle the definition of ‘Vietnamese-ness’.

 

近日，吳季璁在越南MoT +++空間駐地期間創作的作品《氰山集之五十》被越南最大的私人當代藝術收藏機構Post Vidai收藏。該基金會長期以來致力於重新討論、思考「何為越南」的身份標籤，而跨國合作下的《氰山集之五十》也為這一命題增添了新的註腳。

 

Wu Chi-Tsung new work “Still Life 012 – Buttercup Tree” ,Cyano-Collage Series and Wrinkled Texture Series will be showcased in Photo London 2019.

 

Photo London｜UP Gallery｜D12

Preview｜5/15

Public Opening｜5/16-19

Venue｜Somerset House｜Strand, London WC2R 1LA, England

Artists｜Wu Chi-Tsung, Chen Rong-Hui

 

 

We are pleased to share with you that several photography and video works of Wu Chi-Tsung will be joining the upcoming Photo London represented by the UP Gallery.  Now in its fifth edition, Photo London has established itself as one of the major leading lens-based art fairs in the world.

This time, Wu Chi-Tsung will be cooperate with the UP Gallery, one of the rare galleries in Taiwan that is solely dedicated to exhibiting photography and moving image works, presenting his Cyano-Collage Series, Still Life Series and Wrinkled Texture Series. Developed from the Wrinkled Texture Series, the Cyano-Collage Series has become one of the most representative series of the artist. An innovative language of photography is developed within the artwork that combines the cyanotype technique, the collage method, as well as the wrinkled texture technique from traditional landscape painting and the aesthetics thereof. Wu Chi-Tsung’s long-lasting exploration in art could be reflected here, that he seeks the way to accommodate both the spiritual and nostalgic landscapes and the scientific and mechanical recording media, and further let them question, reinforce, and develop each other. The Still Life Series place more weight on the universality of traditional beauty, as well as how it is eternally unpredictable and uncertain. Upon the melancholy grounding color, what is recorded is exactly the artist’s mixture feeling of fascination and helplessness towards the beauty.

We look forward to welcoming you at Booth D12 at Photo London. We will also keep you updated via Wu Chi-Tsung’s Instagram accounts and public website.

 

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吳季璁《氰山集》系列、《皴法習作》系列與新作《小品之十二－彎子木》將於今年Photo London攝影藝術博覽會展出。

 

Photo London｜絕版影像館｜D12

貴賓預展｜5/15

公眾展期｜5/16-19

展覽地點｜倫敦薩默塞特府（Somerset House）Strand, London WC2R 1LA, England

參展藝術家｜吳季璁、陳榮輝

 

吳季璁的多件影像作品將參加今年五月的Photo London攝影藝術博覽會，與國際觀眾分享藝術家對於影像媒介的思考與對於影像美學的探索。今年是Photo London攝影藝術博覽會創辦的第五年，它已成為世界上最值得關注的主要專注於攝影媒材的藝術博覽會之一。

本次吳季璁很榮幸與台灣專注攝影與影像作品的藝廊絕版影像館合作，於D12展位呈現其《皴法習作系列》、《氰山集系列》與《小品系列》等作品。其中，《氰山集系列》發展自《皴法習作》，是吳季璁持續發展的系列作品之一，藝術家將藍曬與拼貼等現代技術與藝術手段創造性地嫁接至傳統東方山水意象和皴法美學之中。這組作品反映了吳季璁長期以來的思考與關注方向，即精神性的傳統文人風景如何與科學化、機械性的記錄媒材共存、相互解讀與拓展。《小品系列》則在此基礎上格外側重傳達傳統美之不可控與不可期，甚或消逝。藝術家在憂鬱底色之上試圖記錄的正是這種陶醉著迷卻又無可奈何的交雜感觸。

我們誠邀您光臨這場盛會，也歡迎您關注持續關注吳季璁的社交媒體與絕版影像館的Artsy頁面獲取相關信息。

 

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Installation View 展覽現場

 

 

 

Presented by Galerie du Monde, Wu Chi-Tsung’s new Cyano-Collage Series and Still Life 009 – Maple, Still Life 010 – Lotus will be premiered at Art Basel in Hong Kong 2019.

 

Galerie Du Monde｜3E18
Dates｜March 29 – 31, 2019
Private View｜March 27, 2pm to 8pm March 28, 1pm to 5pm
Vernissage｜March 28, 5pm to 9pm
Venue｜Convention & Exhibition Center, 1 Harbor Rd., Wan Chai, Hong Kong
Two major movements of Postwar Asia will be the cornerstone of Galerie du Monde’s presentation.The Fifth Moon Group and the One Art Group both sought to re-contextualize the millennia-old tradition of Chinese ink painting at different times in different places -1950s Taiwan for the former, 1970s Hong Kong for the latter. By infusing the medium with Modernist influences, both groups gave it an innovative impulse that remains influential to this day. Powerful pieces by key protagonists, such as Liu Kuo-Sung and Fong Chung-Ray, along with the late Kwok Hon-Sum, will be on view. Besides, Wu Chi-Tsung’s most representative works Cyano-Collage Series, Still Life Series, and Wrinkled Texture Series will all be exhibited. 

 

 

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吳季璁《小品之九－楓》、《小品之十－荷》、《氰山集》系列新作將於2019香港巴塞爾藝博會，世界畫廊展位首次亮相。

 

世界畫廊｜3E18
展覽日期｜03/29-31, 2019
貴賓預展｜03/27, 2 – 8pm 03/28 1 – 5pm
開幕典禮｜03/28 5 – 9pm
展覽地點｜香港會議展覽中心，灣仔港灣道1號，香港
戰後亞洲的兩大運動將成為Galerie du Monde本次展覽的重點。五月畫會和一畫會在1950年代台灣與1970年代香港皆試圖為中國水墨畫重新定位千年古老的傳統，兩個團體都給了它一種創新的突破，將書畫媒材注入現代主義的元素，至今仍然具有影響力。展覽將展出劉國松、馮鍾睿和已故的郭漢深等作品。展覽將收錄吳季璁的作品《氰山集系列》、《小品系列》與《皴法習作》系列，其中包括藝術家在柏林創建工作室後的最新探索。

 

 

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Installation View 博覽會現場

 

 

 

 

 

Wu Chi-Tsung’s works Wire V, Crystal City 007, and Cyano-collage 047 will be showcased at the Lightscapes: Re-envisioning the Shanshuihua at the Chinese American Museum, Los Angeles, USA

 

Duration: Feb.7 – Nov.10, 2019
Venue: Chinese American Museum, Los Angeles, USA
Participated artists: Wu Chi-Tsung and Nice Dong

 

Lightscapes: Re-envisioning the Shanshuihua 光之景: 山水畫的當代想像 presents works from Nick Dong and Wu Chi-Tsung, two Taiwan-born contemporary artists. Re-imagining the philosophies of Chinese landscape paintings, the exhibition brings forward new media works and immersive light-based installations that are not often explored within this genre.

This time, Wu Chi-Tsung ‘s representative works Wire V, Crystal City 007 and Cyano-collage Series are exhibited, in which light has featured foundamentally and prominently exploring the posibilities of light in the physical world while revealing the surrealistc Shanshui landscape in our contemporary experience. Corresponding to the historical building located in the original China town of the museum, the art works would guide viewers to wander through the juxaposition of abstraction and solidness, as well as traditions and the modern world. The exhibition will be on view till November 11, 2019.

This exhibition is presented by the Chinese American Museum in partnership with the Ministry of Culture, Republic of China (Taiwan) and the Taiwan Academy in Los Angeles. Major support for this exhibition is provided by the Friends of the Chinese American Museum, and El Pueblo de Los Angeles Historical Monument.

 

About Chinese American Museum

The Chinese American Museum (CAM) is the first museum in Southern California dedicated to the Chinese American experience and history in this region. Symbolically housed in the oldest and last surviving structure of Los Angeles’ original Chinatown, the 7,200 square foot Chinese American Museum (CAM) embodies a cultural and physical link to the past, as well as a promising point of entry for the city’s multicultural future. CAM is dedicated to researching, preserving, and sharing the experiences and contributions of Chinese Americans in the United States through quality exhibitions, programs, events, publications, and workshops. In addition to its role in the community as an active-learning institution, CAM is also proud to serve as a visual symbol of new and emerging traditions.

 

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吳季璁的作品《鐵絲網五》、《水晶城市007》與《氰山集之四十七》於美國洛杉磯華美博物館「光之景：山水畫的當代想象」展覽中展出

 

展期：2019年2月7日-11月10日
地點：華美博物館，美國洛杉磯
參展藝術家：吳季璁、董承濂

 

「光之景：山水畫的當代想象」近日於美國舊金山華美博物館開幕。展覽通過吳季璁與董承濂兩位台灣藝術家的沈浸式光影裝置作品，展現了新媒體藝術的兼容性，並探討了中國山水畫的精神所在。其中，吳季璁所展出的《氰山集》、《鐵絲網五》與《水晶城市007》三件作品均以光為基礎元素揭露出當代生活中超日常的山水景觀，從截然不同的角度探索著光在物理世界的施展空間，與坐落於洛杉磯中國城的華美博物館的歷史建築相呼應，令觀者在抽象與具象、傳統與現代之間游移悠遊。展覽將持續至2019年11月10日。

本次展覽由華美博物館主辦，台灣文化部與洛杉磯台灣書院共同協辦，並受到華美博物館的合作夥伴El Pueblo de Los Angeles團隊的鼎力支持。

 

關於華美博物館

華美博物館（CAM）是南加州地區第一個專注於美國華人經驗與歷史的博物館，坐落於洛杉磯中國城舊址中最古老的歷史建築中，面積達7200平方英呎。華美博物館通過高質量的展覽、活動、出版與工作坊等形式介紹美國華人的歷史與貢獻，不僅呈現出人們與歷史在文化與物理層面的連結，同時亦引領城市文化走向更為多元的未來。在博物館的社會公眾教育平台的職責外，華美博物館還樂於成為呈現新興文化傳統的標誌性空間。

Wu Chi-Tsung’s solo exhibition ‘ECHO’

A reflection of rational inquiry and perceptual poetry

Date｜Jan 18, 2019 (Fri) – Jan 20, 2019 (Sun)

Opening hours｜Jan 18 17:00-19:00；Jan 19 & 20 17:00-22:00

Location｜MAK7 Studio, 2F., No.133, Sec. 3, Nangang Rd., Nangang Dist., Taipei

As a collage of sheet iron, concrete, and colorful posters brimming with unique and strong Taiwanese character, a glimpse of the exhibition site itself located in a film studio hidden in an industrial district inhabited by a driving school would have started the visitor’s journey of an unusual cultural experience. Taiwanese artist Wu Chi-Tsung’s solo exhibition ‘ECHO’ curated by Wu Chi-Tsung Studio and Galerie du Monde, a Hong Kong-based gallery of contemporary art, will be open to public from January 18th to 20th 2019 in parallel with Taipei Dangdai. The exhibition is a reflection of oriental aesthetics in the shape of contemporary art, presenting a new horizon in the spectrum of worldwide art practice.

The philosophy of Wu Chi-Tsung’s work is a fusion of conceptual approach of experimental contemporary art language and visual language from the cultivation of classical eastern aesthetics. The ‘ECHO’ refers to the mirroring culture between the East and the West. Hence, the eastern tradition and their pursuit of the intangibility is contrasted with the contemporary language and the depiction of the solid world of the West throughout the exhibition.

‘Trained by both eastern and western traditional art academia yet focusing on contemporary media and conceptual art, I always reflect on the difference between eastern and western culture, as well as the contradiction between traditional art and contemporary art. It is a shame to witness the decay of traditional cultures and aesthetics that are exclusive to eastern cultures,’ says Wu Chi-Tsung, ‘as a result, I fuse and accommodate new and old, the West and the East in my recent works. The multicultural environment in Taiwan has nourished me. Living in an era that pursuits the zeitgeist, I’d rather be fascinated by those that are timeless. It is the light, the base of visual sense, that illuminates the tangible world as well as the invisible spiritual field and unveils the hidden commonness that is shared by every object from an essential perspective.’

Immaterial landscape yet realistic atmosphere

Upon the visitors’ first step at the exhibition site, they would soon be impressed by the atmosphere of the faint-lighted room composed of environmental music and the sound of axles. Following the guide of the shimmering light, what comes to people is a phantom city like a set of crystal sculpture which is a continuation of the artist’s renowned Crystal City Series. This time, the exhibition presents the artist’s new work on this series, the Crystal City 008, which is inspired by Hong Kong’s city landscape and its pace of life. Numerous transparent plastic boxes constitute the geometrical, rational and ordered skyscrapers shadowed by a vertically moving light source. Corresponding to the Crystal City 008, an on site production is created using plastic sheet as stretching and undulating mountains, and is set with several branches. A mechanical construction with HID light on its forepart moving forwards and backwards is running on a track that passes through the ‘mountains’, casted from where the shadows of the ‘mountains’ and the branches entwine. The ordinary materials used in this art work remind viewers of the realistic world; however, it leads people to a further imaginary scene. The shadow is casted on thin veils built upon industrial steel frames. How romantic and vulnerable, yet enormous and fathomless it is when the shadow of the crystal city moves slowly on the veils, and the boundary between the reality and illusions is blurred when the shadow is overlapped with that of the visitors as they walk through the ‘city’.

Blending the tradition and the contemporariness

Another on-site production in the exhibition is the Wrinkled Texture Series that characteristically reinterprets the texturing methods (Cun-Fa) of traditional Chinese landscape painting (Shan Shui) by photography to render the mountains and rocks in a subjective way. Pluralism and liberal spirit are rooted in Wu Chi-Tsung’s art. This time, the mountains and cliffs are portrayed on a huge screen that is composed with few aged door sheets with different styles, and set in an open ‘bedroom’ setting. The artist utilizes and modernizes the classic photographic technique – Cyanotype. Paper was covered in the photosensitive solution and then continually reshaped and refolded while being exposed to sunlight. After the paper was washed, the image would be fixed, revealing the likeness of mountain precipices and cliffs. It applies Photogram technique to record the random variations of the folded paper during the exposure aiming to blend traditional Chinese landscape (Shan Shui) with experimental photography, conceptual art, and performance, and hence to eradicate the border between traditional and contemporary art.

Unveiling the exceptional aesthetic in ordinary objects

After stepping out of the bedroom setting, visitors would be guided by a plants lining pathway to a wilder space of ruins. Bringing a scene of magnificence, the 488cm x 244cm Cyano-collage is by far the largest piece of the Cyano-collage Series. Based on the technique of the Wrinkled Texture Series, the Cyano-collage Series cut and regroup dozens of cyanotype photographic papers before mounting them on a canvas. Layers of rice paper constitute a purposeful preservation of unpainted space on the canvas that echoes the crucial concept Liu Bai in classical Chinese paintings. Moreover, with the bodily participation of the artist, the landscape is constructed to be appreciated both statically and on the move. Thus, the viewers are led by the art work from a concrete and solid reality embodied by the random mountain-shaped wrinkles on the photographic paper to a microscopic and imaginary world where the shadows representing traditional Chinese landscape (Shan Shui) appear. Which mountain is the ‘real’ one between them? Carrying the idea of utilizing ordinary objects to create an exceptional visual experience, the Wire V stands at a corner of the ruin site. Based on the structure of the Magic Lantern slide projection work, the Wire Series use a mechanical control to repeatedly adjust the focal length to transform a regular piece of wire mesh into a moving image of a dynamic Chinese landscape (Shan Shui). This Dialectical alteration of the wire has composed a different layer and possibility to the traditional Chinese landscape as a new visual language under the digital age. The Cyano-collage and the Wire V both embody Wu Chi-Tsung’s recent focus, that is to salute to and reflect on eastern traditional aesthetics and literati spirits by machinery and photography mediums.

Kelvin Yang, director of Galerie du Monde, says ‘What is delivered throughout this exhibition is not simply nostalgia but also a personal manifesto from Taiwan to the world. To dig out the characteristic DNA in Wu Chi-Tsung’s art has been our premiere pursuit of this exhibition from the very beginning which can be seen from our unconventional exhibition site selection. Wu Chi-Tsung never limits himself in his talent on traditional subjects. His liberal spirit and his light-and-shadow philosophy make his works combine both sense and sensibility.’

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Artist Talk｜inter : enter – International Networking of Art in an Asian Context

Date｜2019 Jan 20 (Sun) 17:30-19:00

Commentator｜Phenix Luk (Writer, former editorial director of The Art Newspaper China, co-founder of Beijing International Short Film Festival)

RSVP [email protected]

*Lectures in Chinese

Organizers｜GALERIE DU MONDE, Wu Chi-Tsung Studio

Co-organizers｜ THE STUDIO

Special Sponsors｜HOMPRO

Event Sponsors｜Draft Land, Weightstone Vineyard Estate & Winery, IL MERCATO, The Naked Grouse, WAGA STORE

Media Partner｜Prestige

Publicity Support｜tap+

Multimedia Support｜FOCAL

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吳季璁個展《東橋西照 ECHO》
照見感性的詩意與理性的辯證

展覽期間｜2019年1月18日(五)-1月20日(日)

開放時間｜1月18日 17:00-19:00；1月19-20日 17:00-22:00

展覽位址｜台北市南港區南港路三段133號2樓 MAK7 Studio

鐵皮、水泥、繽紛招牌拼貼出一種獨特而濃郁的台灣味。走進隱身於南港工業區及駕訓班中的實景攝影棚前，觀展者自場域所接收到的視覺訊息便已踏上了一場不尋常的、充滿期待的感官與文化之旅。台灣藝術家吳季璁個展《東橋西照 ECHO》，這個在台北當代展期間備受各界矚目的會外展，由立基香港並長期專注經營現當代藝術的世界畫廊 GALERIE DU MONDE偕吳季璁工作室聯合策畫，於2019年1月18日至20日正式對公眾開放，展覽核心以當代藝術映照東方美學，在縱貫古今、橫越東西的創作實踐中，展現當代藝術嶄新的開闊視野。

吳季璁的創作哲學揉合了感性的詩意與理性的辯證；其感性來自東方古典美學的涵養，理性則為當代藝術語言的實驗。《東橋西照 ECHO》將東與西分別代表的傳統/當代、虛/實，貫穿於展場空間的作品思維，主題中的「照」字，更是凝結個展精萃的關鍵能量。吳季璁表示：「成長在東西方傳統的學院藝術訓練，我的創作卻是影像及觀念性的當代藝術，經常感受到東西文化間的差異，傳統與當代藝術間的斷裂拉扯，尤其東方獨特的傳統文化與美學的逐漸消逝，更令人遺憾惋惜。於是近年來的創作，我試圖去融合東西新舊之間的鴻溝，兼容並蓄，而台灣多元文化匯聚的獨特環境，是我源源不絕的養份來源。身處在一個追求時代性的當代藝術世界，我反而對亙古不變的事物深感興趣。『光』作為視覺的基礎，照亮我們所見，也映照出不可見的精神世界，讓我從本質的層面上去思考問題，觀照一切事物底層的共通性。」

「虛」景「實」境

暗室微光，是踏入展場空間予人的第一印象。機械輪軸聲與空間音樂協奏，觀者順著明暗游移的光線指引，映入眼簾的是一座宛如水晶雕塑的幻影之城。延續吳季璁馳名國際的「水晶城市」系列，本次個展特別帶來新作「水晶城市008」，由無以計數的透明塑膠盒構築出一個虛擬的「城市」。以香港的快速節奏為靈感，堆疊出幾何、理性、有序的都市高樓，上下移動的光源倒映出都市叢林生活的剪影。而對應「水晶城市008」的現地延伸，是藝術家利用塑膠布呈現出綿延不絕的山嶺，並與樹枝倒影交錯，其中央鋪設了一條軌道，讓前端裝有HID燈的機械結構前後運行。作品利用尋常可見的工業材料，此即實，卻幻化出充滿想像的意境，此即虛。利用工地鐵架搭設了多面薄紗作為屏幕承接投影，薄紗之上緩慢運行的影像既浪漫脆弱，又龐大而不可測，觀者穿梭此間，身影亦與薄紗中的山巒疊合，實者虛之，模糊了虛實界線與焦距，也為個展訴求的精神破題。

拼接「傳統」與「當代」

展場中另一個現地製作作品為與屏風相結合的「皴法習作」。此作特色係將傳統山水畫中運用筆墨對山石紋理進行主觀性描述的皴法，以攝影的手法重新詮釋。在吳季璁的藝術創作中，蘊含了多元並置而自由開放的精神。多片拼接自不同時期與風格的門片組合而成一座巨大屏風，在敞開的現代臥室場景中巍然佇立，皴法屏風載承著山巒絕壁、奇峰巉岩，其古典山石的意境背後，是吳季璁為古老的氰版攝影法(Cyanotype)所賦予的當代視角；塗佈於宣紙上的感光材料在陽光下經歷長時間曝曬，過程中不斷調整重塑紙張的皺褶，而後水洗定影，使得成像後的豐富紋理宛若山石絕壁。以無相機攝影(Photogram)的手法，紀錄曝光過程中隨機而生的皺褶變化，意圖將傳統繪畫的山水意象與實驗攝影、觀念、行為融為一體，在新舊鎔鑄中突破當代與傳統間的藩籬。

撥見平凡之物的不凡意境

走出臥室場景，由一條植物林道引導觀者繼續趨前探索。斑駁脫漆的壁面與冬日冷風使得實景攝影棚中最後一個空間野味十足。座落於廢墟般場景上的「氰山集之十一」，氣勢磅礡，尺幅達488Ｘ244公分，為目前該系列中單件最大的尺幅。氰山集在皴法習作的基礎上，將數十幅氰版相紙以拼貼的手法重組裱貼於畫布上，再透過層層相疊的宣紙處理留白的空間層次，經由藝術家的身體介入，建構出可觀可遊的山水空間。相紙上的隨機皺褶是實，顯影於紙張上的影像是虛，「氰山集」系列在虛實相接的界線上，引領觀者透過藝術家的微觀與想像，思考於筆墨之外經由相紙的皺褶所彰顯的山水意境，「見山而非山，孰為山？」而延續運用平凡之物創造不凡意境的理念，展區一隅架設了幻燈投影，透過機械反覆調焦，將一片平凡的鐵絲網轉換為充滿山水意境的動態影像作品「鐵絲網五」。此作品以平凡的工業產物鐵絲網，作為辯證的主體，透過類比技術追求影像的極致真實感，使得山水不再只是意境高古悠遠的山水，而是富有時代感的嶄新視覺，與現代人的科技生活經驗產生共鳴。「氰山集」系列與「鐵絲網五」同時體現了吳季璁近年來的創作重心，即利用機械與影像媒介向東方傳統美學與文人精神致敬、延續與反思。

GALERIE DU MONDE總監楊永金表示：「《東橋西照 ECHO》所反映的不僅是對傳統文化消逝的關懷，更是吳季璁由台灣對世界發聲的宣言。在台北當代這個匯聚國際藝術世界對話的新場域中，如何從打破常規的展場選址思考開始，挖掘出吳季璁特有的DNA，是本次個展策畫中最為核心的題旨。吳季璁不囿於傳統素材的創作才華，從隨機中釋放自由的寫意，以及兼容感性與理性的思維脈絡，在每一件作品中照映出吳季璁獨有的光影哲學。」

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藝術家座談｜inter : enter – 從立足亞洲的當代突圍國際藝術生態

時間｜2019年1月20日(日) 17:30-19:00 (17:00入場)

與談人｜陸曉凡 (寫作人，曾任《藝術新聞/中文版》（The Art Newspaper China）編輯部主任、北京國際短片聯展聯合創始人)

敬請來信預約 [email protected]

主辦單位｜GALERIE DU MONDE、吳季璁工作室

協辦單位｜THE STUDIO

特別贊助｜鴻柏建設、Draft Land

行銷合作夥伴｜Prestige

宣傳協力｜tap+

多媒體協力｜FOCAL

Presented by Galerie du Monde, Wu Chi-Tsung’s new Cyano-Collage and Still Life works showcase at Taipei Dangdai Art Fair.

 

Galerie du Monde at Taipei Dangdai Art Fair｜Booth C03

VIP Preview｜Jan 17 2-5 pm

Vernissage｜Jan 17 5-9 pm

VIP Only Access｜Jan 18-20, 11-12 am

Public Days｜Jan 18, 12-8 pm; Jan 19, 12-7 pm; Jan 20 12-5 pm

Venue｜Taipei Nangang Exhibition Center, Hall one, 4F, Jingmao 2nd Rd., Nangang Dist., Taipei City, Taiwan

Artists｜Fong Chung-Ray, Kwok Hon Sum, Wu Chi-Tsung and Crystal Liu

 

Galerie du Monde will feature four contemporary ink artists, Fong Chung-Ray and Kwok Hon Sum, representing the early period in the development of contemporary ink painting based on traditional cultural tenets and standards; Wu Chi-Tsung and Crystal Liu, representing the current innovation of ink related contemporary paintings who stretch boundaries of ink art playing with new media and unusual materials. Exhibiting the work of these four important artists at Taipei Dangdai will provide the audience with an in depth experience in the growth and evolution of the movement of contemporary ink painting from the 1970s to the present.

 

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吳季璁《氰山集》與《小品》系列新作參展台北當代藝術博覽會

 

世界畫廊｜C03展位

VIP 預展｜ 1/17 2-5 pm

開幕｜1/17 5-9 pm

VIP開放｜1/18-20, 11-12 am

公眾開放｜1/18, 12-8 pm; 1/19, 12-7 pm; 1/20 12-5 pm

地點｜南港展覽館一棟四樓， 台北市南港區經貿二路1號

藝術家｜馮鍾睿、郭漢深、吳季璁、Crystal Liu

 

世界畫廊將於首屆台北當代藝術博覽會呈現四位當代水墨藝術家，為觀衆展示由七十年代至今當代水墨運動的成長和演變歷程。馮鍾睿和郭漢深，以傳統文化和素養為基礎，代表了當代水墨藝術的早期發展；而吳季璁和Crystal Liu則代表了當代繪畫的創新，突破水墨藝術與新媒體和非傳統媒介結合的界限，擴大了當代水墨語法的可能性。

 

 

 

Artist-in-Residency in MoT+++, Ho Chi Minh City

Date: Oct 22 – Dec 15, 2018

Exhibition: Dec 15, 2018 – Feb 2, 2019

Artist talk: Mountains and Rivers of the…  Conversation between Bang Nhat Linh and Wu Chi-Tsung, Dec 14, 6:00 – 9:00 pm

Venue: MoT+++, 1057 Đường Bình Quới, Phường 28, Bình Thạnh, Hồ Chí Minh, Vietnam

 

From October to December 2018 the MoT+++ space will be converted into the working studio of visual artist Wu Chi-Tsung. During his residency, Wu Chi-Tsung will develop new works in his experimental photography series of Cyano-Collages. The public will have the opportunity to see Wu Chi-Tsung’s work in progress on select dates during this period.

Conventional cyanotype photography uses objects placed on paper to create a negative or imprint of the object in white against a cyan-blue background. The paper, having previously been covered with a solution, is exposed to an ultraviolet light source, such as sunlight, causing a chemical reaction that results in the distinctive blue colour, and leaves unexposed paper white. Wu Chi-Tsung uses the cyanotype method to create large abstract photographic works that echo the mountainous landscapes of traditional Chinese Shan Shui ink and brush paintings.

Following a two-month residency at MoT+++, Wu Chi-Tsung’s studio will be opened to the public and placed in conversation with the installation work ‘Summer Grasses’ by Bang Nhat Linh. visitors are welcome to MoT+++ to see the interactions between works from the two artists. originating from Hanoi and Taipei respectively, Bang Nhat Linh and Wu Chi-Tsung’s artworks sensitively respond to centuries of geopolitical tensions in the region, as well as the personal histories of each of the artists.

 

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MoT+++ 藝術家駐村計畫

駐村時間：10/22 – 12/15, 2018

展期： 12/15, 2018 – 2/2, 2019

藝術家座談： Mountains and Rivers of the… 與Bang Nhat Linh的對話，12/14  6-9 pm

地點：MoT+++, 1057 Đường Bình Quới, Phường 28, Bình Thạnh，胡志明市，越南

 

從2018年10月到12月，MoT+++將被改造成藝術家吳季璁的工作室。在駐村期間，吳季璁將持續開發實驗攝影《氰山集》系列，工作室也會不定期開放大眾參觀。

傳統的氰版攝影使用放置在紙上的物體來創造白藍顏色的影像的負片。藝術家採用氰版技法製作大型抽象攝影作品，將噴灑過藥劑的氰版紙張暴露於陽光下，引發化學反應，產生獨特的藍色，而未曝光的部分則留下紙張本來的白色，藉此呈現中國傳統山水墨筆法與壯闊景觀。

駐村結束後，吳季璁將會開放使用的工作室作為展覽，與越南藝術家Bang Nhat Linh的作品《Summer Grasses》進行對話。吳季璁與Bang Nhat Linh的作品分別來自台北和河內，展覽除了呈現藝術家的個人歷史，更是敏鋭地回應了兩地幾個世紀的地緣政治局勢。

Wu Chi-Tsung work “Still Life 006 – Chrysanthemum” will be displayed on Tank Shanghai.

 

Duration: 2018 November 8-11
Venue: Tank Shanghai, No.2555 Longteng Ave.
Participated artists: Wu Chi-tsung, Zeitguised, Eponine Momenceau, Tomás Saraceno, Frederik Heyman
Curator: Davide Quadrio

 

Arthub teamed up with NOWNESS to present a new group show called “naturalunnatural” as part of “experiments” opening on 8th November in Tank Art Project Space Shanghai.

“界” refers to boundaries as well as interfaces. They are the dual-universe that are opposites and close ties at the same time. It is an experimentation of moving images that transcends boundaries and goes beyond perception between the dynamic sound and image, between the undefined time and space. Unlimited to a single-sided engagement, exploring the intertwined relationship between different media and forms.

In this exhibition, Ryoji Ikeda, a leading figure in Japanese electronic music and visual arts, will be exhibiting at Tank No.1 of the TANK SHANGHAI. Tank No. 2 will be hosted by Laure Prouvost, an artist who will represent France at the Venice Biennale in 2019. A group exhibition of “ Naturalunnatural – How will be remembered in the future?”, curated by Davide Quadrio of Arthub, will also be presented. In addition, in the Tank No. 3, artist Lu Sisi will perform a special piece for the opening party. The event is not only the first public exhibition of TANK SHANGHAI, but is also a special project of the Shanghai Biennale 2019.

 

Naturalunnatural
How will we be remembered in the future?

text/Davide Quadrio

 

For this exhibition, I have been invited by NOWNESS to explore the fragile interstice between nature, sustainability, beauty, and artificiality. The title of the show natural-unnatural refers to a way that the scientific progress has brought nature into a far complex realm of ambiguity which the artworks selected here present responding to this call: What are we doing? How do we interact with Nature and how ecosystems are built and protected? How is natural beauty compromised or enhanced by the artificial?

The artists invited to this group show which illustrates the incredible new space at Tank Shanghai Project Space. This show is a journey that invites to reflect about beauty as an uncontroversial quality of the human and moves the visitor into a realm of sensuality and inevitability. This show is a journey to the discovery of the fragility of this world of natural beauty contaminated and changed into a world of plasticity and deformations, where the humanity in its comprehensive technical development, challenges Nature and transforms it into risky territory for the future of our children. This process and all its risks though are per se beautiful and in this sense dangerous, disturbing and potentially explosive.

The exhibition is not about accusing or criticizing, instead it is an ode to the attention of beauty from recycle the present and attempt to shape the future. These images, whether based on fact or fiction, tell us how people want to remember and be remembered. They expose the desire to overcome time, space and a physical presence. The feelings of the body, the joy of the senses bring us into a world of wonder in a ludic way.

The exhibition opens by Wu Chi-Tsung, born in 1981 in Taipei, who devotes significant attention to the methods used in producing and interpreting images. In Still Life 006 – Chrysanthemum (小品之六菊), 2017, Wu is inspired by a cherished memory of the act of painting, the overwhelming beauty is here somehow shadowed by a sense of loss and guilt, almost like creating images of such beauty, is a betrayal of art and its subversive nature. This overwhelming beauty, practically a frozen image, performs the duty to open the show and to create the tone of the entire show to come.

The second room occupied by Zeitguised. The collective founded in Berlin in 2001 by Jamie Raap and Henrik Mauler, Zeitguised is a studio of art and digital design, specializing in the production of visual projects (both commercial and independent) of an algorithmic nature. The piece “Flotsam & Jetsam: Monobloc,” 2016, treats the ubiquitous plastic chair as a contemporary design classic in a continuous tension with character. The tree trunk, the only natural element in a world of plastic, presented here as the plastic chairs suffocate a mere corpse. The enormous hovering cloud of iconic chairs that behave like flotsam and jetsam in breaking waves is an image of poetry in the form of an algorithmic Perpetuum mobile.

The second animation presented is called “Birds”, 2016, and it mirrors ironically the content of the previous artwork with abstractions of birds on a tree branch, which are changed into shapes and textures coming from their own experiential world being them of natural or artefacts nature: so the body of birds is changed into an housebird, egg, leaves, bones etc. The beauty and fluidity of the unnatural human construction (chair) and the birds (unnaturally processed by the artists’ manipulation) are here ironically depicted as parasites, beautiful ones, and in the case of chairs iconic ones, but still a dangerous relic of the risk of the insubstantiality of human manipulation.

Frederik Heyman, born 1984, whose work is a balancing act incorporating multiple media. In this work, by using cutting-edge 3D scanning technology, Heyman virtually ’embalmed’ icons Isabelle Huppert, Kim Peers and Michèle Lamy in the latest episode of NOWNESS’s hit series Define Beauty. This work appears on the tv screen opposite to Zeitguised and brings the question as well as the subtitle of the exhibition: how do you want to be remembered forever?

In response to the question, Heyman created a digital memorial: a way to project ourselves into the distant future and be remembered by generations to come––exactly as we want to be. Using photogrammetry (3D scans), Heyman created frozen moments in time that emerges digital ‘wakes’ which will continue beyond our mortal existence surrounded by fantastic nature, flowers, trees, water, etc. life made of a plastic view is so unnatural and yet so painfully attractive.

The third room occupies by Éponine Momenceau, born in 1985, who patiently draws the outlines of a poetic and contemplative work, fruitfully heading towards a contemporary art that mixes dark rooms and exhibition spaces. The work Now is an Infinite Time, 2016 , is cyclic and hypnotic movement produced by the appearance of insects flying in a ray of light in the Amazon rainforest.

The movement thereby recalls the visions that one can have under the effect of ayahuasca, a hallucinogenic plant with healing properties according to the beliefs of Amerindian tribes of Amazonia. Bach’s Adagio of the Concerto accompanies this movement for two harpsichords and orchestra in C minor BWV 1060, of which study related to hypnotic mechanism has found to be music with healing and structuring properties based on impulse and tonal harmony. The artificial effect almost abstract of this artwork pairs the works by Zeitguised and Wu Chi-Tsung, bringing the subject of this show into a sphere of metaphysic innuendos, where life, death, love, trees, animals, viewer are only a small dot in the infinite time of the cosmos existence.

Tomás Saraceno, born in Argentina in 1973, lives and works in Berlin, concludes the exhibition bringing the theme of the show onto a cosmic level. The foreign world presented in the video The Politics of Solar Rhythm-Cosmic Levitation, 2018, explores and mimic cosmic celestial movements, almost showing the formation of a galactic planet, however the simulation brings this macro view into a micro world of dust and levitation of space dust suspended by sound waves. Thus the last room of this journey brings the viewer into a world of silence and of tiny/mega proportions, unnatural yet so natural leaves the viewer at the shore of the universal creation: disturbing and full of fear, humanity is brought back to the mysterious place of the beginning of everything, to a place where humanity is silenced by the extraordinary act of creation.

 

ABOUT NOWNESS

NOWNESS is a leading global creative video platform, presenting the best new wave short films in design, fashion, music, food, architecture, travel, etc. A go-to source of inspiration and influence, and a movement for creative excellence in storytelling. We celebrate the extraordinary of every day.

NOWNESS is the three-time Webby award-winning culture channel launched in 2010 in a collaboration between Dazed Media and LVMH. In 2017, leading independent Chinese media company Modern Media invested in NOWNESS to launch NOWNESS China and partnered with Dazed Media to create the global progressive publishing company Modern Dazed. The current team includes Creative Director and Dazed founder Jefferson Hack, Editorial Director Bunny Kinney and China Creative Director Shaway Yeh.

 

ABOUT TANK SHANGHAI

TANK SHANGHAI, founded by renowned contemporary art collector Qiao Zhibing, is a multifunctional cultural hub that combines exhibition venue with parkland, plaza, bookstore, education center and restaurant. The construction acreage is 10,00 sqm, and the whole project space spans over 60,000sqm.TANK SHANGHAI will be opened to the public in 2019. TANK SHANGHAI aims to foster connections among the public, contemporary art, urban life and nature. It is an upcoming center for public cultural activities and art at the West Bund.

 

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吳季璁《小品之六 菊》將於上海西岸油罐藝術中心展出

 

展期：2018年11月8日-11日
地点：上海油罐艺术中心，龙腾大道2555号
参展艺术家：吴季璁、Zeitguised, Tomás Saraceno, Eponine Momenceau, Frederik Heyman.
策展人：乐大豆（Davide Quadrio）

 

NOWNESS 携手上海西岸油罐艺术中心举行 NOWNESS EXPERIMENTS首个展览项目：“界”BEYOND PERCEPTION。

界，即是界限，也是界面。是互为对立却又紧密相连的两个世界。在声音与影像之间，在自然与感官之间，不局限于单一的感知，进行一场突破自我边界的实验。

在本次展览中，日本电子音乐创作方面领军人物和视觉艺术家池田亮司（Ryoji Ikeda）展览将在西岸油罐艺术中心1号罐展出；2号罐则迎来即将代表法国参加2019年威尼斯双年展的艺术家劳瑞·普罗沃斯特（Laure Prouvost）。由 Arthub 策展人乐大豆策划的“大自然小自然”（Naturalunnatural）群展也将同场呈现。此外，在3号罐，艺术家吕思斯将为开幕派对呈现特别演出。本次活动不仅是上海油罐艺术中心首次面向公众开放，同时也作为上海双年展2019的特别项目之一。

 

《大自然小自然》
在未来，我们该如何被铭记？

文/乐大豆

 

此次展览我受 NOWNESS 之邀，借展览的形式来探索存在于自然、持续性、美与矫饰之间的脆弱裂隙。展览标题中的大自然-小自然指的是科学进程已经将自然带领到了一个异常复杂的矛盾世界，展览中的作品也想要回应这样的问题：我们在做什么？我们如何与自然互动？生态系统是如何被构建及被保护的？自然美是如何与人造方式相妥协或者被人造方式所提升的？

群展邀请到的艺术家们在上海油罐空间惊艳的新场域内展开了与之相呼应的阐释。这场展览也是一次反映美作为毫无争议的人类品质的旅程，把观者带入到了感性与必然性的世界之中。同时它也是一次探索世界上自然美的脆弱性的旅程，因自然美已经被污染损坏，变成了被随意塑造与捏造的存在，而人类在全面科技发展的大潮之下不断挑战自然，留给未来和后人的是一块危险的领地。这样的过程及其冒险行为虽然本身也是美的，但在这个层面上，却也是危险、恐怖及灾难性的。

但从另一个角度来说，此展览并不是要谴责或者批判，相反，它是一次利用回收当下并塑造未来的形式向美致敬。其中的图像，无论是基于事实的抑或是虚构的，向人们诉说着人们是如何记住与被记住的。他们展示了人们想要征服时间、空间和客观存在的欲望。身体的感觉、感官的愉悦以轻松的方式带我们进入到了惊奇世界之中。

展览以吴季璁的作品开篇，他于1981年生于台北，作品关注在创作及解读图像时所使用的手段。在《小品之六-菊》（2017）之中，吴季璁的灵感来自于对绘画的缅怀，它令人震惊的美感在这里不知怎的被一种失落感与负罪感遮蔽，好像创造这样一种美的事物是一次对艺术与其颠覆性的背叛。这种令人震惊的美感，在现实中以凝固的图像呈现，承担着开启展览的责任，为整个展览奠定了基调。

第二个房间带来的是 Zeitguised 的作品。该团体于2001年成立于柏林，组员包括Jamie Raap 与Henrik Mauler. 该团体是创作艺术及数字设计的工作室，主要创作以计算机算法生成的视觉项目（包括商业和独立项目）。作品《漂浮废料&海洋垃圾：单模块》（2016）把日常所见的塑料椅作为当代设计的经典。视频中的树干，作为这个塑料世界中的唯一自然物，反衬出这些塑料椅子仿佛缺乏生命力的浮尸。一大团像云朵一样扭动的经典椅子的聚合体，仿佛是漂浮废料与海洋垃圾在海浪中扭动；是永恒动态算法形态的诗歌。

他们的第二部作品是《鸟》（2016），与前一部作品的内容形成具有讽刺意味的互相映射，以抽象形态停于树枝上的鸟幻化成来自其自身经验世界的不同形态与材质，或自然或人造的自然：鸟的身体转变为家鸟、蛋、树叶、骨头等。人类的非自然构建物（椅子）所具有的美与流动性在这里与鸟（被艺术家以非自然方式操作）形成了一对讽刺的寄生物、美的事物，以及此情此境椅子所代表的标志性事物，但它们仍然是人类不可持续性冒险行为中显露出的危险遗迹。

Frederik Heyman, 生于1984年，作品总在融合多种媒体的媒介中找到了平衡。在这部作品中，他使用了前沿的3D 扫描技术，在 Nowness 最新的系列《美的定义》中对 Isabelle Huppert, Kim Peers 和 Michèle Lamy 使用了虚拟防腐。这件作品展现在 Zeitguised 作品的对面，紧扣展览的副标题：你想以怎样的方式被永远铭记？

对于这个问题，Heyman 的答案是制造一个数码纪念物：这是将我们投射进遥远的未来，被后人铭记的方式——一切皆如我们所愿。利用前沿的三维扫描技术，他创造了凝固的瞬间，显现出来的是数码式“守灵”，会在我们的肉身死去后继续存在，并被奇幻的自然、鲜花、树木、水等包围。由塑料所构成的生命形式看起来如此地不自然，但是却又痛苦地吸引着我们。

第三个房间展出的是 Éponine Momenceau 的作品，她生于1985年，精心地勾勒出她诗意而又深沉的艺术作品，使得她能够在当代艺术、暗房以及展览空间内产出颇为丰富的作品。她的作品《此刻时间无限》（2016）是一部循环而又催眠的作品，展现的是昆虫群在亚马逊雨林中的光线里飞行运动。

这种运动引起了一种视幻觉，这是一种通常人们在南美卡皮木的作用下才会有的一种现象，这种致幻植物在亚马逊的印第安部落中被认为有治疗效果。视频配合的是巴赫的《大键琴协奏曲（为两台大键琴而作）BWV 1060 慢板》，研究发现这部曲子的催眠效果因为其节奏及和谐调性与疗愈及构造属性相关。这种人造效果从作品中抽离出来，与一旁房间Zeitguised 和吴季璁的作品共鸣，把展览的主题带入了形而上的暗讽维度，在这里，生、死、爱、树木、动物、观者只是宇宙存在的无限时间中的一颗尘埃。

巴赫的音乐普遍具有这样的效果，而这部慢板则特别具有“致敬爱”的特性。

Tomás Saraceno, 于1973年生于阿根廷，目前工作生活在柏林。他此次带来的作品作为展览的尾声，把主题带到了宇宙的高度。在作品《太阳节奏的政治：宇宙悬浮》（The Politics of Solar Rhythms-Cosmic Levitation, 2018）之中，我们看到了陌生的世界，探索并模仿了宇宙天体的运动，仿佛看到了星系的形成，然而，这样的模拟效果却把宏观的视角引入到了围观的尘埃世界，空间的尘埃在声波的作用下悬浮。至此，最后的房间把观者带到了旅途的终点，静谧的微小/巨大比例的世界之中，小自然且又大自然，把观者留在了宇宙创世的海岸上：不安且充满恐惧，人性被带回到万物创世之初的神秘空间之中，被创造出的非凡景象惊艳到沉默。（译/卜生）

 

关于 NOWNESS

NOWNESS是一家全球领先的创意生活短片平台，注重发掘叙事中的独特创意，拥抱日常点滴中的新奇与不凡。内容涉猎设计、时尚、人文、音乐、美食、建筑、旅行及诸多领域，以独特的审美情趣和呈现方式，为你提供极富新意的顶尖原创，激发日常生活中的灵感与思考。NOWNESS 由 Dazed Media 和路威酩轩（LVMH）联合创立于2010年。曾三次获得 Webby Awards 文化类奖项。2017年，中国领先的独立传媒公司现代传播集团以多数控股收购了NOWNESS，并与 Dazed Media 合资打造了一家全球性的出版公司 Modern Dazed。目前的团队成员包括：创意总监兼Dazed创始人 Jefferson Hack，编辑总监 Bunny Kinney 以及中国创意总监叶晓薇。

 

关于上海油罐艺术中心

上海油罐艺术中心由当代艺术收藏家乔志兵创办，是集合各式各样的展览空间、公园绿地、广场、书店、教育中心和餐厅等功能于一体的艺术中心。项目建筑面积1万平方米，整体占地面积6万平方米。预计于2019年对外开放。上海油罐艺术中心为公众提供亲近与感受当代艺术、感受艺术与自然、艺术与城市的平台，将成为新的公共文化活动及艺术核心区域。