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Wu Chi-Tsung received the ‘Liu Kuo Sung Ink Art Award 2019’
吳季璁獲頒首屆「劉國松水墨藝術大獎」

Liu Kuo Song and Wu Chi-Tsung, credit: Sylvia Lee

Wu Chi-Tsung approaches ink art with experimental techniques of new media art while consistently paying tribute to the traditions, which not only deepens the aesthetics of ink art but broadens it by his unique contemporary style. Therefore, his work has won the favor of the majority of the jury and became the winner of the first “Liu Kuo Sung Ink Art Award” in 2019.

The Ink Society and the Liu Kuo Sung Archives are pleased to present the inaugural Liu Kuo Sung Ink Art Award. The Award recognizes outstanding achievement in the creation of contemporary ink art in the Greater China region.

We are most grateful for the Observers and Jurists. For more information, see: http://www.inksociety.org/award/

Observers:

Shang Hui Raymond Tang Wang Huangsheng Wu Hongliang Philip Wu

Members of the Jury:

Liu Kuo Sung Lesley Ma Pi Daojian David Pong Chun Yee Jason Wang

劉國松水墨獎展場

首屆「劉國松水墨藝術獎」得主吳季璁，1981年出生於台北；1990年代末至2000年代初，他在台北藝術大學就學期間，正是水墨創作在台灣藝壇瀕臨式微的時期。吳季璁雖然更多地遊走在西畫和新媒體藝術的範疇，對於水墨藝術及其創作卻也多有觀察與參與。將傳統水墨藝術及其美感轉化為各種具有當代特色的表現，而不拘泥於筆墨作為媒介的思考，這是吳季璁創作的一大特色。透過影像的媒介與成像技術，吳季璁以光、影為操作對象，持續與水墨繪畫進行一種別具個人特色的另類對話。2012年之前，他開始將傳統氫版攝影的藍曬技法與宣紙作結合，發展成《皴法習作》系列，並以掛軸的形製裝裱。塗了感光藥劑的宣紙，在光的曝曬下用手將紙張不斷揉皺，以製造出曝光後的皴法效果，揉皺的氰版紙張記錄了當下光影明暗，水洗顯影後呈現赭黃到湛藍的色調，其紋理宛如山巒絕壁。此系列發展至2016年，藝術家使用層疊拼貼的技法，將相紙裱貼於畫布上，畫面尺幅延伸擴大，成為《氰山集》系列。雖然宣紙上的氰色顯影狀極抽象，吳季璁最終完成的畫面，風格上卻給人自然風景——尤其是中國山水繪畫——的聯想。此次參加決賽的作品即出自此系列。

吳季璁從新媒體藝術的技法實驗出發，多年以來持續與水墨藝術傳統對話，非儘深化其美感，亦拓寬其美學，展現了獨特的當代風貌。因此獲得多數決審委員們的青睞，成為2019年首屆「劉國松水墨藝術獎」得主。

香港水墨協會與劉國松文獻庫很榮幸能夠主持此次劉國松水墨藝術獎的開幕儀式。此獎將會表彰大中華地區內現代水墨藝術中的傑出成就。

我們十分感謝提名觀察員與評審委員。詳情請瀏覽：http://www.inksociety.org/award/

觀察員：

尚輝鄧民亮王璜生吳洪亮吳超然

評審委員：

劉國松馬唯中皮道坚龐俊怡王嘉驥

吳季璁提名人、藝術史學者吳超然撰寫提名理由如下：

『吳季璁畢業於國立台北藝術大學。他在2003年的時候，就以《鐵絲網系列》獲得台北獎。在這件作品之中，他以簡單的機械裝置推動一小片置於光學鏡頭前的鐵絲網，然後透過燈光的投影在牆面上呈現出一個有如山水意象的畫面─從模糊到清晰，然後反覆這個過程。從大學時代開始，吳季璁對於中國山水畫或東方意象（images）始終保持高度的關懷與興趣。雖然，他選擇以油畫組畢業，但是近十幾年來的作品雖然不以正式的水墨作品從事創作，但水墨的內在精神與幽微美感，始終是他的核心關懷之一。

2003年的《鐵絲網系列》是在實質上放棄了「筆」也捨掉了「墨」，但最終獲得一個投影在牆面上的（不斷變動中的）山水影像。雖然吳季璁的機械裝置非常低科技而簡單，但《鐵絲網系列》所及的創作理念卻極為複雜：（1）在邏輯上，這件作品會把劉國松當年所主張的「革中鋒的命」推展到「革筆墨的命」，甚至完全捨棄「筆墨」（2）不斷變動的焦距所造成的山水意象投影，也連帶促使觀者會去思考西方從15世紀之後發明透視法，以及19世紀發明攝影術對於繪畫所造成的深遠影響。約從2012年開始，吳季璁開始利用藍曬法（blue prints）來創作他的《皴法習作》與《氰山集系列》。在這兩個系列中，他先把宣紙揉出皺紋，再塗抹上感光劑然後拿到戶外利用陽光自然曝曬；感光劑的多寡以及曝曬時間的長短就會在宣紙上產生深淺不一的藍白相間的山水。較早期的《皴法習作》呈現的藍白相間、帶有紋理的畫面；《氰山集系列》則開始利用拼貼與後製的方式，增添畫面更為複雜的肌里與細膩的局部。吳季璁的重要性並不在於他的紙上作品看似劉國松在1960年代的嘗試。他的思考脈絡是：當「筆墨論辨」似乎走到了一個歷史瓶頸時，如何在當代視覺文化的脈絡裡，以新的手法以和觀看方式來討論東方美學裡的幽微。在新媒體與影像盛行的時代裡，吳季璁的《氰山集系列》，從西方攝影史的角度而言，是使用一種最“傳統”的顯影方式來製作山水意象：斑駁的紋理、無法精準掌握的曝光效果、後製表貼的宣紙，都賦予了吳季璁作品一個新的向度。可以說，對照於傳統所強調的用筆與用墨，吳季璁的《皴法習作》與《氰山集系列》在這個時代，展現了另一種當代水墨經驗的探索。』*

*文字由吳超然老師授權刊載

INTERVIEW BY PHOTOFAIR SHANGHAI: APPLYING TRADITIONAL PRACTICES TO CONTEMPORARY PHOTOGRAPHY
影像上海藝術博覽會專訪《在當代攝影中實踐傳統技法》

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.

Wu Chi-Tsung photography work, Cyano-Collage 061, 2019, 205 x 205 cm

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.

Wu Chi-Tsung set design, Off the Map, 2013

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.

Wu Chi-Tsung installation work, Wire V, 2018

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.

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……

Wu Chi-Tsung video work, Still Life 007 – Daffodil, 2018, 00:14:41

“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：

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。
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。
「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。
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。

More Information

Original Website

2019 Photofair Shanghai exhibition info

Photofair Shanghai, Sep 19 – 22, Shanghai Exhibition Center, China
影像上海藝術博覽會，9/19-22，上海展覽中心，中國

New works of the Cyano-collage Series will be presented in Photofair Shanghai 2019.

Photofair Shanghai 2019 | Sean Kelly Gallery | D24

Public Open | Sep 21, 12 – 7pm, Sep 22, 11am – 6pm

Collector Preview | Sep 19, 2 -7pm; Sep 21, 11am -12pm*

VIP Preview | Sep 20 12 – 6pm*

VIP Night | Sep 20, 6 – 9pm*

Collector Hour | Sep 21,11 – 12pm*

* By invitation only

Artists |Alec Soth, Julian Charrière, Mariko Mori, Marina Abramović, Jose Dávila, Wu Chi-Tsung

Artist Talk | Sep 21 5pm, participants: Ying Kwok (independent curator), Lindsay Taylor (Curator, University of Salford Art Collection), Sarah Fisher (director, Open Eye Liverpool), Lu Yang (artist), and Wu Chi-Tsung (artist)

Venue | Shanghai Exhibition Centre, 1000 Yan’an Road, Shanghai, China

For our inaugural appearance at Photo Shanghai, Sean Kelly is pleased to present a carefully curated booth drawn from our internationally acclaimed roster of artists, each of whom works with photography in non-traditional ways. Our presentation includes works by Marina Abramović, who is represented by a stunning self-portrait depicting the artist’s face covered in gold leaf; Julian Charrière, whose images of nuclear testing sites have been exposed to radioactive soil gathered from the locations where his images were taken; Jose Dávila, who appropriates images of famous artworks from other sources, which he then physically alters by cutting out and removing the focal point of the image; Mariko Mori, who creates computer generated photo paintings based on drawings she made standing in front of the ocean on Okinawa Island; Alec Soth, whose captivating multi-layered photograph of Monika is in fact a double exposed image; and Wu Chi-Tsung, whose process includes manipulating light sensitive cyanotype paper to create images of jagged mountain peaks that refer to currents in both traditional Chinese art and western art history.

Please also visit the Spotlight section of the fair which features Marina Abramović’s legendary series, ‘The Lovers’, being exhibited for the first time in mainland China.

For ticket

吳季璁《氰山集》系列新作將在2019影像上海藝術博覽會展出

影像上海藝術博覽會 2019 | 尚凱利畫廊｜D24

公眾開放｜ 2019年9月20日 – 22日

藏家特展｜ 9月19日 2 – 7 pm，9月21日11am – 12pm*

貴賓特展｜ 9月20日 12 – 6 pm*

貴賓之夜｜9月20日 6 – 9 pm*

* 僅限邀請

參展藝術家｜艾力克・索斯（Alec Soth）、何塞・達維拉（Jose Dávila）、朱利安・夏利耶（Julian Charrière）、森萬里子（Mariko Mori）、瑪莉娜·阿布拉莫維奇（Marina Abramović）、吳季璁

藝術家對談｜9/21 5pm，與談人：Lindsay Taylor（索爾福德大學策展人）、Sarah Fisher（利物浦Open Eye Liverpool畫廊總監）、郭瑛（獨立策展人）、陸揚（藝術家）、吳季璁（藝術家）

地點｜上海展覽中心，上海市中心静安区延安中路1000号，中國

Sean Kelly 畫廊為上海影像藝術博覽會的首次亮相帶來了精心策劃的展位，展出來自畫廊旗下國際知名藝術家們非傳統方式的攝影作品。

瑪莉那・阿布拉莫維奇將帶來一件美麗的藝術家肖像代表作，細膩展現其由金箔覆蓋的臉龐。朱利安・夏利耶關於核子試驗場的作品，使用採集自其拍攝地點的放射性土壤進行曝光。何塞・達維拉挪用著名藝術品的影像，透過物理性的剪切手法去除影像中的視覺重點。森萬里子以電腦運算製作的摄影绘画作品，源自于她在冲绳時看著海灘所绘制的無數画作。艾力克・索斯充滿魅力的多層次照片《莫妮卡》實際上是雙重曝光的影像。吳季璁結合皴法習作的氰版直接攝影，將塗布感光藥劑的宣紙揉皺後曝曬於陽光下，記錄紙張當下的光影明暗，以實驗攝影的手法重新詮釋東方文化中的山水意像。

在展會的『焦點』板塊，特別呈獻瑪莉那・阿布拉莫維奇的傳奇作《情人》，為該系列作品在中國的首次展出，歡迎前往參觀。

購票請按

Open Studios, Sep 6 , Lange Nacht der Bilder 2019, Berlin
開放工作室，9/6，圖像長夜，柏林

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.

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。

Kunstfest Weimar 2019, Sep 5-7, E-Werk, Germany
威瑪藝術節，9/5-7，E-Werk，德國

photo credit: Sylvia Lee

LIGHT INTERDICTION, Kunstfest Weimar 2019

Dates | Sep 5-7, 2019

Curator | Chun-Chi Wang

Preview | Sep 5, 6 P.M.

Artist talk | Sep 7, 13:30 P.M.

Venue |E-Werk,AM KIRSCHBERG 4, 99423, Weimar, Germany

In cooperation with the Idolon studio headed by the Taiwanese curator Chun-chi WANG, the Kunstfest Weimar presents four installations that highlight the innovative power and relevance of Taiwan’s current art and performance scene. The first piece «E-Werk Weimar No. 1» by the artist TAO Ya-Lun confronts the viewer with an unsettling 3D borderline experience. His works often feature diverse forms which can range from video, sound and kinetic installations to light shows and shadow play. Most of his pieces are based on virtual reality and adapted to the specific venue where they are presented. Fujui WANG’s sound installation «Hollow Noise» is comprised of several directional loud speakers which produce carefully focused ultrasonic waves. His method creates the impression of a sonic wind blowing from various directions. The result is an absolutely new and surprising acoustic experience. On the stage of the E-Werk, WU Chi-Tsung presents the European premiere of his light installation «DUST». By means of optical tricks, the artist reflects normal ambient dust through the light of a projector, thereby making it visible to the naked eye. The «air» suddenly gains a structure of its own. The performance in this production is the work of the Taipeh-Paris resident artist, performer and musician Liping TING. «Poésie d’action» is how she describes her multidisciplinary approach. She will enliven the installation environment in the two halls of the E-Werk with a three-hour-long performance.

On September 7th, the artist will be delivering an artist talk on ‘The crossover between visual art and performance art in Taiwan’ with Thomas Bruns, manager of the KNM Berlin, and Liping Ting, Taiwan-born artist on performance art, and with curator Chun-Chi Wang as moderator.

For tickets and more visiting information, please click here

photo credit: Sylvia Lee

2019威瑪藝術節，《光之禁區》

日期 | 2019年9月5-7日

策展人 | 王俊琪

預展 | 9月5日晚6時

藝術家對談 | 9月7日13時30分

地點 |E-Werk,AM KIRSCHBERG 4, 99423，威瑪，德國

威瑪藝術節與歐亞藝術網絡組織（Idolon studio）合作，聚焦台灣裝置與舞台藝術，呈現展覽《光之禁區》。其中，吳季璁裝置作品《灰塵》將在E-Werk的舞台上呈現。作品運用巧妙的影像效果，用投影機鏡頭的光源照射灰塵，令平日無法察覺之物變得顯而易見，使觀者透過影像媒體，重新發現和觀注生活週遭的外在世界，這將是該作品在歐洲的首次亮相。

9月7日，藝術家將與柏林新音樂室內樂團（KNM Berlin）經理Thomas Bruns以及表演藝術家丁麗萍以「台灣近況：視覺與表演藝術的跨界合作」為題進行對談，對談將由策展人王俊琪主持。

購票及更多信息，請點擊這裡

On Site Installation 現場照

Lingering in Nature, Aug 31 – Oct 12, Giessen New Art Association, Germany
吳季璁個展《Lingering in Nature》，8/31-10/12，基森Giessen New Art Association，德國

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.

《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。

Installation View 展覽現場

photo credit: Sylvia Lee

Abstract By Nature, Jun 28 – Aug 2, Sean Kelly New York, USA
自然抽象，6/28-8/2，尚凱利畫廊，紐約

‘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.

《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。

Installation View 展覽現場

Artist Talk on ’A Wanderer between Heaven and Earth: Yu Peng and his LIfe Work’, Jun 15, Taipei Fine Arts Museum
藝術家座談：「于彭－行者．天上．人間，筆墨精神的柳暗花明」，6/15，台北市立美術館

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

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。

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。

Crystal City 003 in M+ Collection, Hong Kong
《水晶城市003》於香港M+博物館典藏

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。

Cyano-Collage 50 in Post Vidai Collection, Vietnam
《氰山集之五十》於Post Vidai典藏，越南

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。

Photo London, May 16-19, Somerset House
Photo London攝影藝術博覽會，5/16-19，倫敦

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.

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。

Installation View 展覽現場

Art Basel in Hong Kong, Mar 29-31, Convention & Exhibition Center
香港巴塞爾藝博會，3/29-31，香港會議展覽中心

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.

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。

Installation View 博覽會現場

LIGHTSCAPES: RE-ENVISIONING THE SHANSHUIHUA, Feb7 – Nov10, CHINESE AMERICAN MUSEUM, LA, USA
光之景：山水畫的當代想象，2/7-11/10，洛杉磯華美博物館，美國

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.

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’, Dec 18-20, MAK7 Studio, Taipei
吳季璁個展《東橋西照 ECHO》，1/18-20，MAK7 Studio，台北

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.’

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

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。」

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

NEWS

WU CHI-TSUNG INTERVIEWED BY Mickey Huang, Taiwan
吳季璁接受黃子佼主持「創藝多瑙河」節目採訪

Video 2019-02-01 author

Wu Chi-Tsung was interviewed by Mickey Huang on Taiwanese TV station BLTV. In the interview, he reviewed on his latest solo exhibition ‘ECHO’ held in Taipei, and discussed about his observasions on the international art world and art market.

Watch the full video

*Interviewed in Chinese

吳季璁受邀接受知名主持人黃子佼於人間衛視的「創意多瑙河」節目專訪。訪談中，吳季璁回顧了他一月在台北舉辦的個展「東橋西照」，並講述了他對於國際藝術市場與藝術創作趨勢的觀察。

點擊連結觀賞完整訪談

Taipei Dangdai Art Fair, Jan 17-20, Taipei Nangang Exhibition Center
台北當代藝術博覽會，1/17-20，南港展覽館

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.

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, Oct 22 – Dec 15, MoT+++, Ho Chi Minh City
藝術家駐村計畫，10/22-12/15，MoT+++，胡志明市

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.

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。

naturalunnatural, Nov 8 – 11, Tank Shanghai, China
界 BEYOND PERCEPTION，11/8-11，上海西岸油罐藝術中心，中國

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.

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。

Poetic Utterance, Oct 6 – Nov 30, InArt Space, Tainan
詩意的製造，10/6-11/30，加力畫廊，台南

Invited by curator Lih-Huei Lai, Wu Chi-Tsung work Still Life 006 – Chrysanthemum, Wrinkled Texture 55, and Crystal City 007 will be showcased in Poetic Utterance at InArt Space, Tainan, Taiwan.

Poetic Utterance

Date：2018/10/6 (Sat.)- 11/30 (Fri.)
Tea Party：2018/10/6 (Sat.) 15:00
Curator：Lih-Huei Lai
Venue：InArt Sapce, No.315, You’ai St., West Central Dist., Tainan City 700, Taiwan

受邀自策展人賴麗惠，吳季璁作品《小品之六－菊》、《皴法習作55》、《水晶城市007》參與台南加力畫廊「詩意的製造」展覽。

詩意的製造

參展藝術家：袁廣鳴、徐瑞憲、林俊廷、吳季璁、姚仲涵
展覽時間：2018年10月6日-11月30日（10月6日開幕茶會）
策展人：賴麗惠
地點：加力畫廊，台南市中西區友愛街315號，台灣

德國19世紀古典浪漫派詩人荷爾德林（Hölderlin）在《在柔媚的湛藍中》的詩句：「……人充滿勞積, 然而仍詩意地棲居在這片大地上……」。棲居意旨人類的存在狀態，而詩意則是詩人以一種藝術形式對現實或想像的描述與感受的表達。袁廣鳴的錄像作品〈棲居如詩〉Dwelling之命名即擷取自此詩句，詩人以語言文字的形式製造詩意，而藝術家隨著時代科技的演變以各種媒材形式創造所欲表達的內在與詩性。〈棲居如詩〉畫面裡客廳在沉靜的水中，物件細微而緩慢的漂浮，突如其來的快速爆炸讓所有家具物件破碎，在水裡緩慢地翻覆上揚，看似已走向毀滅卻又突如其來快速回復到原來的靜置狀態，毀滅與再生的輪迴，無論如何藝術家都要朝著詩意的方向追尋。

詩人作家以語言文字創造出人類日常疲憊循環生存狀態下賴以喘息的片斷詩意時光，在〈作家的船〉Writer’s Vessel中，象徵古典文學的羽毛筆透過馬達的帶動在腳踏車輪上緩慢移動書寫著，徐瑞憲在冷硬的金屬機械的媒材上賦與輕柔軟性的羽毛，生命也在不斷循環的狀態下書寫出一種古典詩意與對自由的嚮往。而這似與〈棲居如詩〉呼應著，試圖尋找一種詩意自由的生活狀態，然而卻陷在不斷的循環或圓周中，看似安靜卻隱藏著憂鬱與孤獨的情緒。

遠觀如東方傳統水墨畫的〈皴法習作〉Wrinkled Texture是吳季璁以現代西方攝影氰版顯影技術，在刻意揉皺的宣紙上製造中國傳統繪畫皴法的效果，呈現出中國水墨意境及山水風景之氣勢。吳季璁的作品不論是錄像〈小品系列〉、裝置作品〈水晶城市〉或〈皴法系列〉等等都在思考東西方美學哲思及媒材運用及並融的可能性，遊走在光影、明暗、虛實之間的詩意呈現。
對於東方傳統繪畫意境的鍾情，卻又嘗試以不同於古典繪畫形式的媒材探索，也在林俊廷的作品上明顯可見，其〈造象〉Word to World仍維持其一貫風格，螢幕上呈現的是中國傳統山水風景動畫，結合現代流行的QR Code掃描，輸入的中文字在畫面上即產生對應的圖像，與作品產生互動，扣緊當代科技媒體運用的潮流。

眼所見，耳所聞，在人腦中自然形成一種想像或意境，是立即性的抽象性感受，姚仲涵在〈EN〉(環境)中探索聲音與視覺之間的關係，將聲音視覺化，或反之視覺聲音化，畫面有如空間中的懸浮物、水滴或黑夜星空或抽象不明，與電腦合成音樂產生一種節奏性的旋律。姚仲涵作品中的重要元素日光燈與聲響，是其不斷摸索在環境中創造一種抽離現實性的的電子虛幻空間。
「詩意」可能是一種自然的呈現，或是一種創造，「詩意的製造」忽略當代藝術或現存環境的沉重課題諸如環境、政治、宗教、種族或性別等等，回歸到藝術的純粹原始性，在混亂不安的生存狀態中，試圖製造一個詩意的精神存在，理性與感性的融合，藉以呼應法國17世紀天才數學家、物理學家、哲學家與散文家帕斯卡（Pascal）在《思想錄》中說道：「……人應該詩意地活在這片土地上，這是人類的追求理想，詩意是一種偉大的發現……」。

Flowers of Immense Charm – A Masterpiece Exhibition by Four Major Museums, 2018 Oct 6 – 2019 Feb 10, National Museum of Fine Art, Taichung
花之禮讚—四大美術館聯合大展，2018/10/6-2019/2/10，國立台灣美術館，台中

Wu Chi Tsung video work Still Life 005 – Cherry will be showcased in Flowers of Immense Charm – A Masterpiece Exhibition by Four Major Museums at National Museum of Fine Art, Taichung

Flowers of Immense Charm – A Masterpiece Exhibition by Four Major Museums
Date: 2018 Oct 6 – 2019 Feb 10
Participant Museums: National Palace Museum, Tokyo Fuji Art Museum, CHIMEI Museum, National Taiwan Museum of Fine Arts
Curator: Hsiao Chong-Ray
Venue: National Museum of Fine Art, 2, sec. 1, Wu Chuan W. Rd., Taichung 403 Taiwan

Under the auspices of the Ministry of Culture and Taichung City Government, Flowers of Immense Charm – A Masterpiece Exhibition by Four Major Museums is co-organized by the National Palace Museum, Tokyo Fuji Art Museum, CHIMEI Museum, and National Taiwan Museum of Fine Arts, and is expressly organized during the same time as the Taichung World Flora Exposition. This is a cultural event with Prof. Hsiao Chong-Ray serving as the exhibition’s chief curator; curators from the four museums also execute integrations and analyses. They have chosen the widely loved “flowers” as the theme of the exhibition, exploring different meanings and characteristics embodied by flowers that are depicted in artworks from different cultures. This is an exhibition that is suitable for people of all ages, and is also one that holds profound academic value.

A range of artworks of diverse styles is presented under the vivid and vibrant overarching floral theme, with the metaphors and profound meanings of flowers conveyed by the artworks examined. With a medley of artistic styles presented, different nationalities, cultures, and philosophical realizations about nature and life are also recounted, forming an epitome of human history and values encompassing different cultures and across different eras, which is profoundly etched with the prolifically rich image of flowers.

On view in the exhibition are select artworks from three major museums from northern, central, and southern Taiwan and also the Tokyo Fuji Art Museum. The transnational exchange and inter-museum collaboration are aimed at showcasing four different cultural contexts, worldviews, and value systems that have originated from Taiwan, China, Japan, and the West.

Based on the notable features of the four museums’ collections, this collaborative exhibition is categorized into the following: The National Palace Museum will be showing a selection of ceramics, objects, calligraphies, paintings, poems, and Chinese painting manuals; Western sculptures, oil paintings, and furniture from the 17th century and onwards will be presented by the CHIMEI Museum; the Tokyo Fuji Art Museum has selected a collection of screens, calligraphies and paintings from the Edo period; and the National Taiwan Museum of Fine Arts will present a range of artworks including oil, gouache, and watercolor paintings created during the New Art Movement in Taiwan’s Japanese colonial period to contemporary multimedia creations, which include digital images and installations.

The artworks on view in this exhibition demonstrate a wide range of genre and temporal dimension, showcasing artworks of different expressions, including objects, paintings, sculptures, spatial installations, new media art, and more. The artworks span across a millennium, extending from the 11th century to the year 2017.

In addition to the select artworks from the four museums’ collections, artworks by 20 Taiwanese contemporary artists are also presented in the exhibition, with the objective of highlighting Taiwan’s diverse cultural and art features. Moreover, in the midst of Asia’s symbiotic cultural development aligned with the rest of the world, a cultural perspective that defines Taiwan’s subjectivity and how art is interpreted is also constructed.

The chief curator Prof. Hsiao Chong-Ray believes that: on the whole, the different museum collections also highlight the ethnic characteristics of different cultures: from the collections of Chinese royalty, the works exhibited by the National Palace Museum reveal the artistry of skilled craftsmanship and reflect the scientific understanding and human restraint in governance for the welfare of the people. In contrast, the commercialism of Japan since the Edo Period reveals the sense of resignation toward life’s limitations among Japan’s upper classes as well as provides a glimpse into the rich and self-sufficient lives of the ordinary people; especially in the numerous folded screens with the change of seasons as its theme, and using the “pair” or “composite” technique in form, to reveal the deep-seated aesthetic consciousness and character of the Japanese people. Meanwhile, Western classicism, specifically the artistic character since the rococo period, combines the mythological imagination of Greek culture, not only in an eternal tug of war between the finite and the infinite, but also reflecting the life attitudes of optimism, pragmatism and practical of the people in the Western world.

As for the role of the National Taiwan Museum of Fine Arts, it is the abundant expression of the interweaving, stimulating diversity of cultures, with the elegance and subtlety of the heavy color painting from Japan, the depth and agility of Chinese brush and ink renderings, as well as the bold attempt and soaring imagination of Western culture.

Our hope is for the artworks and activities arranged for the exhibition to encourage the general public to actively take part in cultural events. Besides appreciating the union of art and lifestyle aesthetics, through the various symbolisms expressed through flowers, we hope that the audience could also enjoy a sense of elevated spirituality and to gain more epiphanies about life through art appreciation.

吳季璁影像作品《小品之五櫻》，於花之禮讚—四大美術館聯合大展，國立台灣美術館展出。

花之禮讚—四大美術館聯合大展
時間：2018/10/6-2019/2/10
參與博物館：國立故宮博物院、東京富士美術館、奇美博物館與國立臺灣美術館
策展人：蕭瓊瑞
地點：國立台灣美術館，台灣臺中市西區五權西路一段2號

「花之禮讚—四大美術館聯合大展」由文化部及臺中市政府指導，國立故宮博物院、東京富士美術館、奇美博物館與國立臺灣美術館共同合作主辦，特別規劃於臺中花博期間展出。本展透過總策展人蕭瓊瑞教授的擘劃，以及四館策展人的統整、詮釋，選擇大眾喜愛的「花卉」為主題，探討不同文化中有關「花卉」在藝術創作中的意象與特質，是一場老少咸宜，同時又具有深度學術論述基礎的展覽。

本展以「花卉」作為繽紛鮮明的主題定位，藉由作品多樣風貌的呈現，縱觀「花」在藝術創作中傳遞的隱喻與深意，展現多樣的藝術風采，亦闡述不同民族、文化對於自然與生命的哲思體悟。而「花」亦以它萬般富饒的形象，深刻地刻畫不同文化與時代下，人類歷史與價值的縮影。

本次展覽，精選臺灣北、中、南三地重要博物館／美術館，以及日本東京富士美術館典藏精品，透過跨國交流與館際之間的合作，企圖展現臺灣、華夏、日本與西洋四種不同文化脈絡的世界觀與價值觀。基於四館各自的收藏特色，本次的聯合展出，也界定四館的展品方向分別為：故宮以中國宋代以後的陶瓷、器物、書畫及詩箋畫譜為主；奇美以西洋17世紀以後的雕塑、油畫、家具為主；富士美術館展出江戶時代以後的屏風、書畫；國美館則以日治時期的新美術運動作品（油畫、膠彩、水彩）至當代多媒材的創作（含數位影像、裝置）為內容。

此次展出作品類型及時間向度十分多元：包含器物、繪畫、雕塑、空間裝置、新媒體藝術等不同藝術形式表顯手法，年代則從11世紀一直到2017年，橫跨約1000年的跨距。除四館典藏精品外，本展並特別邀請20組臺灣當代藝術家作品，以突顯臺灣文化與藝術的多元風貌，同時在亞洲與全球文化的共榮發展中，建構主體定位與藝術詮釋觀點的文化視野。

總策展人蕭瓊瑞教授認為：總體而言，不同的館藏也凸顯了不同文化的族群特性：來自中國皇家的收藏，故宮的展品顯示了巧工巧匠的技藝，也反映了深具經世濟民的科學理知與人性節制。相對地，日本江戶時代以來的商業氣息，既可看見日本上層社會在華美中慨嘆生命有限的無奈，也可窺見庶民浮世生活的豐美與自足；尤其許多屏風，是以季節遞嬗為主題，形式上採「雙幅」或「組合」的手法，呈顯日本人深層的審美意識與特徵。而西洋古典，尤其從洛可可以降的藝術特質，結合了希臘文化的神話想像，無不是在有限與無限間的永恆拉扯，也映現了西方人與天爭的樂觀積極性格和務實、實用的生命態度。至於國美館的部份，則是多元文化交織、激盪下的豐美表現，有來自日本重彩畫的典雅、含蓄，有中國水墨暈章的深沈、靈動，也有西方文化的飛揚想像與大膽嘗試。

期盼藉由本展所提供的藝術精品及相關活動規劃，能鼓勵一般大眾對文化活動的積極參與，除體會藝術與生活美學的結合之外，也能透過「花卉」的各種寓意提升心靈感受，從藝術欣賞之中獲得更多對於生命的體驗。

Language of Flowers, Oct 6 – Apr 28 2019, Asia University Museum of Modern Art, Taichung
花語花博，10/6-2019 4/28，亞洲大學現代美術館，台中

Still Life 006 – Chrysanthemum and Still Life 002 – Orchid will be showcased in Language of Flowers at Asia University Museum of Modern Art at Taichung, Taiwan.

Language of Flowers

Date: Oct 6 – Apr 28 2019

Venue: Asia University Museum of Modern Art, Taichung

Artist: Yayoi Kusama, Zao Wou-Ki, Yuan Jai, Chunya Zhou, Walasse Ting, Lee Ming Wei, Claude Monet, Zhang Daqian, Sanyu, Wu Chi-Tsung and more

The Taichung World Floral Exposition begins on November 3rd, 2018 and ends on April 24th, 2019. Through the fragile beauty of flowers, the exposition aims to remind citizens of our innate connection to nature as well as the importance of environmental conservation. This event, certified by the International Association of Horticultural Producers (AIPH), is expected to bring many visitors to the Taichung area, in which our museum is also located at. The Asia University Museum of Modern Art lies in the heart of Taichung’s Wufeng District. In the west of Wufeng, the lands are plain and flat with fertile soil, perfect for agricultural grown; to its east are slopes suitable for growing fruit trees. Nick-named “Garden University”, Asia University is famous for its beautiful campus and landscape, where many flowers and trees bloom and flourish. Hence, the Asia University’s Museum of Modern Art would like to use its locality of agriculture to promote art in the theme of flowers relating to the Taichung World Floral Exposition. With the exhibition Language of Flowers, we aim to explore the fruitful links between art and nature through the different cultural and symbolic meanings that flowers represent.

《小品之六菊》與《小品之二蘭》將於台中亞洲⼤大學現代美術館群展「花語花博」展出。

花語花博

展期：10/6-2019 4/28

地點：亞洲⼤學現代美術館，台中

藝術家：草間彌⽣︑趙無極、周春芽、蘇孟鴻、丁雄泉、李明維、張大謙、常玉、吳季璁等多位藝術家。

2018 台中世界花卉博覽會將於年底盛⼤開幕。這場獲得國際園藝⽣生產者協會(AIPH) 認證授權的盛會將從 2018 年 11 ⽉ 3 ⽇展⾄至 2019 年 4 ⽉月 24 ⽇。活動⽬的不但是喚起民眾對於環境保護議題的關懷重視，更是希望⼈們能透過花博重新探討、反思⾃⾝與⼤自然的連結。這場所有台灣人共襄盛舉的博覽會將吸引全台各地的民眾⾛訪，⽽同樣位於台中的亞洲⼤學現代美術館，希望共同慶祝並紀錄這場盛事。亞洲⼤學現代美術館位於台中市霧峰區，霧峰西側為烏溪之沖積平原，地形平坦且土壤肥沃，非常適宜進⾏農業；這裡種植豐富、多樣的花卉，是許多藝術家創作的靈感基地。亞洲⼤學另名為「花園大學」，校園四季都看得到樹與花。亞洲大學現代美術館希望能利用當地的資源來推廣美學教育，透過新展《花語花博》，帶領參觀者探索各種花朵的藝術意義及其代表性、了解各類花種在不同⽂化裡具有的象徵意義。《花語花博》的呈現重點將會是帶領民眾透過本⼟與國際藝術家的作品認識花博，欣賞藝術設計的多元⼿法、瞭解東⽅與西⽅對花語的詮釋，創造出⼀個能讓全民藉由藝術觀賞花博的空間。

Focused Movement, Aug 18-Sep 29, Double Square Gallery, Taipei
專注的動作，8/18-9/19，双方藝廊，台北

Wu Chi-Tsung’s Wire V will be showcased in Focused Movement, a group show at Double square Gallery, Taipei, Taiwan

Focused Movement

Participating artists：Liam Morgan, Wu Chi-Tsung, Yu Shih-Fu, Shyu Ruey-Shiann, Chen Shu-Chiang, Hsiao Sheng-Chien, Sunil Gawde

Exhibition date：2018/08/18 – 9/29

Opening：2018/08/18 15:00

Exhibition venue：双方藝廊Double Square Gallery

Curator：Michael Wu

Double Square Gallery presents the group exhibition, Focused Movement, from August 18 to September 29. The exhibition, curated by Michael Wu, features seven artists from Taiwan and abroad, including Liam Morgan (Canada), Wu Chi-Tsung, Yu Shih-Fu, Shyu Ruey-Shiann, Chen Shu-Chiang, Hsiao Sheng-Chien and Sunil Gawde (India). The artworks on view all demonstrate the element of mechanized movement and use mechanical components, in various artistic forms, such as dynamic machinery, sound, and light installation; these mechanized artworks reveal how the artists respond to the reality in a society characterized by digital technology.

Since the 60s, artists have been using camera, computer graphics, and interactive sensory technology more and more frequently, employing computer programs that made it relatively easier to control and manipulate these media while sometimes incorporating various portable electronic devices into the display of artworks. These new possibilities opened up a fresh space for creation, exhibition and the presence of artworks. Today, the perception offered by the virtual world has blurred the distinction between the real and the virtual, and art has gravitated towards virtual/augmented reality. The presence of artworks seems to be cross the boundary between reality and virtuality more freely. When new media art has made tremendous progress in the virtual realm, Focused Movement, on the other hand, features artworks that aim to lead viewers back to the physical world. By demonstrating the “substantial” spirit with a more elevated level of poetic expression in a semi-analogous way, the exhibition unveils the unique place held by new media art in the physical world. The technologies for observation and documentation have been progressing every day. The so-called new media that the public was familiar with in the past included a wide range of industrial materials, readymade objects, and computer software, which have already become classic in contemporary art along with the progress of technological development and the change of time. Undeniably, however, the combination of movements created by these material objects and the concepts illustrated by the artists continues to work in a dedicated and sincere manner, capturing audiences’ attention. In the exhibition, the artworks that make use of industrial, daily and natural objects are based on the artists’ personal cultural background as well as their contemplation on society, politics, environment and the self. In their individual ways, they use the materials and the means of sculpture and mechanized installation to express themselves or create an inner landscape that imitates nature, transforming the materials and giving them new meanings.

Focused Movement is an aesthetic experiment originating from the collision between tradition and technology. It demonstrates how the seven artists have responded to the impacts from the rapid development of technological media; it also reflects the rich possibilities of expression that have unveiled by the physical world and have been overlooked in the pursuit of technological development today. As our definition of reality evolves, the exhibition is a collective statement of how artists re-evaluate the real world that they inhabit.

吳季璁作品《鐵絲網五》將於台北双方藝廊群展「專注的動作」展出。

專注的動作

展覽日期：2018/08/18 – 9/29

展覽地點：双方藝廊Double Square Gallery

展覽開幕：2018/08/18 15:00
藝術家：利安．摩根(Liam Morgan)、吳季璁、盂施甫、徐瑞憲、陳淑強、蕭聖健、蘇尼爾．高帝(Sunil Gawde)

策展人：吳中平

「專注的動作」聯展將於8月18日至9月29日在双方藝廊展出，邀請七位國內外藝術家，包含、利安．摩根（加拿大）、吳季璁、盂施甫、徐瑞憲、陳淑強、蕭聖健，及蘇尼爾．高帝（印度），由策展人吳中平策畫，本次參展藝術家的創作皆包括動力元素並使用機械零件，作品分別以機械動力、聲音及光影裝置等多面向的藝術形式呈現，探討在數位科技的社會，藝術家如何回應現實中的動力創作。

自從六○年代以來，藝術家越來越頻繁地使用攝影機，電腦繪圖，互動感應器等技術；運用相較於早期更方便操控的軟體程式來操作修飾這些媒體，展出方式還可輕鬆結合各類型攜帶式電子裝置。種種都為創作、展示和作品的存在打開全新的領域。如今在虛擬世界中的感知已足以比擬真實，藝術也走向虛擬/擴增實境，作品存在的領域在虛實間也更加自由地移動。當新媒體藝術在「虛」的領域大幅躍進，此次「專注的動作」所展出作品帶領觀者回到物理世界，以一種相較下近乎類比的方式將「實」的精神與詩意表現手法也精進到更高的層次，展現新媒體藝術存在於物理世界之中的特殊位置。觀察和記錄的技術日新月異，過往大眾所認知的新媒體包含了各種工業媒材、現成物、電腦軟體，在時代與科技的演化種種也從新媒體轉變成當代中的經典，但無可否認的是這些現實物件的動作結合藝術家賦予的理念，以一種專注並真誠的方式永不停歇的運轉，仍深深吸引觀眾。展覽中這些使用工業、日常、自然物件等特殊媒材進行創作的作品建構於藝術家對自身成長的文化背景，以及對社會、政治、環境、及自我等等議題的思考之上，以各自的方式將媒材透過手工雕塑及動力裝置來表達自我，又或營造出擬仿自然的內心風景，將媒材重新轉換並賦予意義。

「專注的動作」一展，是一場關於傳統與科技之間彼此衝撞下所迸發出的美學實驗，集結七位藝術家，藉由此次展覽，希望大家來看看藝術家們在科技媒材如此迅速地發展下，對他們產生了什麼樣的衝擊，也反映出當今，為了追求科技發展而相對被冷落的物理世界，仍有許多可以表現的可能性。在這個對於真實的定義正在演化之際，藝術家要如何去回顧自己存在的現實世界。

Artist Talk: How Contemporary is Ink? The Weight of Tradition, Mar 29, Art Basel in Hong Kong
藝術家座談：水墨是否當代？傳統的重量，3/29，香港巴塞爾藝博會

Wu Chi-Tsung was invited to join the artist talk, How Contemporary is Ink? The Weight of Tradition, at Art Basel in Hong Kong.

How does ink art find its creative and critical potential in the context of a globalized art world? Four artists from Hong Kong, mainland China, and Taiwan will discuss the role of ink in their work, and how they consider its value—and weight—in contemporary artmaking.

Artist｜Peng Wei, Hung Fai, Hu Xiaoyuan, Wu Chi-Tsung
Moderated by Lesley Ma, Curator, Ink Art, M+, Hong Kong

More information for Wu Chi-Tsung’s solo at Art Basel in Hong Kong

吳季璁受邀參加「水墨是否當代？傳統的重量」藝術家座談，由香港巴塞爾藝博會舉辦，M+策展人馬唯中主持。

在全球化之下，水墨是否仍具有創造性與發展潛力？四位來自香港、中國、台灣的藝術家將會一同分享，思索當代水墨藝術的價值。

藝術家｜彭薇、熊輝、胡曉媛、吳季璁
主持人｜馬唯中，M+策展人

更多吳季璁香港巴塞爾藝博會個展訊息

PRESENCE: A Window into Chinese Contemporary Art, Feb 9 – Jun 3, St George’s Hall, UK
中國當代藝術之窗，2/9 – 6/3，聖喬治大廳，英國

PRESENCE – A Window into Chinese Contemporary Art

Artists｜aaajiao, Li Binyuan, Suki Chan, Chou YuCheng, Luke Ching, Cao Fei, Han Feng, Chen Hangfeng, Kong Chun Hei, Wang Ningde, susan pui san lok, Ma Qiusha, Tian Taiquan, Wu ChiTsung, Annie Lai Kuen Wan, Yan Xing, Lu Xinjian, Sun Xun, Chen Ching Yuan

Dates｜9 February – 3 June 2018

Venue｜The vaults, St. George’s Hall, Liverpool

Work on display｜Wrinkled Texture 027

The University of Salford is delighted to present PRESENCE: A Window into Chinese Contemporary Art
in Liverpool as part of the 2018 China Dream season.
This exhibition is the first time that the University’s New Collection of Chinese Contemporary Art has been shown in its entirety. The collection has been developed since 2013, mainly in partnership with the Centre for Chinese Contemporary Art (CFCCA). It is a broad collection with a variety of themes in a number of different media. The artists range from emerging through to established, and come from mainland China, Taiwan, Hong Kong and the diaspora. What links these works is the artists’ relationship with Northwest England and how, in different ways, they each reflect the world that we live in. The curator, Lindsay Taylor, hopes that this exhibition provides visitors with a window into contemporary Chinese culture, and that the collection continues to grow through new and existing partnerships for the benefit of future generations of audiences.

中國當代藝術之窗

藝術家｜徐文愷、厉槟源、陳淑雲、周育正、程展緯、曹斐、韓楓、陳航峰、鄺鎮禧、駱佩珊・蘇珊、王寧德、馬秋莎、田太權、吳季璁、尹麗娟、鄢醒、陸新建、孫遜、陳敬元

展期｜2018 2/9 – 6/3

地點｜聖喬治大廳，利物浦，英國

展出作品｜皴法習作027

索爾福德大學很高興為您帶來利物浦2018年中國夢文化計劃的一部分：中國當代藝術之窗。這次展覽是大學第一次全面展示一系列中國當代藝術的收藏。自2013年主要與中國當代藝術中心（CFCCA）合作。這系列的收藏收集了廣泛的作品。有來自中國大陸、台灣、香港和海外新興和知名的藝術家。這些作品聯繫了藝術家與英格蘭西北部的關係，以及和他們以不同的方式反映出所居住的世界。希望這個展覽能為參觀者提供一個機會去接觸和了解中國當代文化，以及將這些收藏提供給未來幾代的觀眾觀賞。

WU CHI-TSUNG SOLO EXHIBITION AT ART BASEL IN HONG KONG 2018, MAR 27 – MAR 31
吳季璁個展於香港巴塞爾藝術展，3/27 – 3/31

Wu Chi Tsung Solo Exhibition at Art Basel in Hong Kong 2018

Booth｜3D22 Galerie du Monde

Private View (by invitation only)｜March 27 – 28
Vernissage｜March 28, 2018, 5pm to 9pm
Public Days｜ March 29, 1pm to 9pm; March 30, 1pm to 8pm; March 31, 11am to 6pm

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

The solo project at Art Basel Hong Kong 2018 (Booth 3D22) by the Taiwanese conceptual artist Wu Chi-Tsung, whose works are based on the tradition of shan shui, the expressive brush and ink landscape painting technique which dates back to the 10th and 11th centuries.

The experimental project is site-specific and includes a large-scale projection titled Wire V, a Still Life video and his signature Cyano-Collage works. The wire series originated in 2003, and is based on the structure of the Magic Lantern slide projection work, through 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); to explore how images change the way we see and imagine the outside world. Every single piece of this series of work provides different angles into this proposition.

In Wire V, an episcope (Opaque Projector) is used as the imaging principle. The strong light illuminates the mesh wire, and is directed through a large camera lens focusing the image, which is then projected as an exquisite image. With the rapid development of digital technology, the requirement for image resolution continues to increase, from photography, video equipment to display devices. Format from full HD, 2K, 4K or even 8K in the future, exponentially increases every few years. In addition to the promotion of the commercial market, I am curious about the deeper desires that drive the endless pursuit of reproduction far beyond what the body can sense. Or we just change a way in which to pursue a space that is feasible, hopeful, visitable and livable.

Cyano-Collage Series is inspired by the texturing technique (cun-fa) which is often used in Chinese landscape (shan shui) painting. The method involves covering the rice paper in a photosensitive solution before continually crumbling it whilst it is exposed to direct sunlight, to create the effect of light and shadow on the paper.

Cyanotype and plain Xuan paper are added in multiple irregular layers to create the collage. The resulting experimental photography montages are re-interpretations of the concept of Chinese landscape painting; the artworks resembling mountain ranges and tumultuous blue seas.

The video work – Still Life 006 – Chrysanthemum shows the artist extending his examination of traditional Chinese landscape painting and moving images to describe the fluidity of state, intersections, and ambiguities.

Cyano-Collage 024, 2018, Cyanotype photography, Xuan paper, acrylic gel,180 x 360 cm

《氰山集之二十四》，2018，氰版、宣紙、壓克力膠，180 x 360 cm

吳季璁個展於巴塞爾藝術展

展位｜3D22 世界畫廊，香港

貴賓預展｜3月27日至3月28日
開幕之夜｜3月28日下午5 時至9 時
公眾開放日｜3月29日下午1 時至9 時，3月30日下午1 時至8 時，3月31日上午11 時至下午6 時

地點｜香港會議展覽中心，香港灣仔港灣道1號

台灣概念藝術家吳季璁在巴塞爾藝術展香港展會 (展位3D22) 以傳統中國山水畫為基礎的個人實驗項目。展覽作品為場地特定，當中包含一件特別製作的大移動影像裝置作品 — 《鐵絲網五》；以及一幀《小品》視頻和數張全新《氰山集系列》的氰版攝影拼貼作品。

此系列攝影作品為傳統中國山水畫「皴法」技法的重新詮釋。運用氰版攝影作品的原理將塗佈感光藥劑的宣紙揉皺後曝曬於陽光下，記錄紙張在曝光後所產生的視覺效果。氰版攝影佐以作為留白的空白宣紙層層拼貼；這實驗性的作品視覺上仿若峻嶺深山和洶湧藍海，建構出宛如山水又似風景畫的攝影蒙太奇。

Wire V, 2018, Metal, glass, motor, Dimensions variable

《鐵絲網五》，2018，金屬、玻璃、馬達，尺寸可變

鐵絲網系列開始於2003年，以基本的幻燈投影（Magic Lantern）為架構，透過機械控制的反覆調焦，將一片平凡的鐵絲網轉換為充滿山水意境的動態影像，借此探討影像如何改變了觀看，和想像外在世界的方式。系列中的每件作品，各自由不同的角度切入這個命題。鐵絲網五中，使用實物投影（Opaque Projector）的成像原理，將強光照射在鐵絲網上，透過大型相機的鏡頭聚焦成像，投射出鉅細靡遺的影像。隨著數位技術的快速發展，對於影像解析度（Image
resolution）的要求不斷提升，從攝影、錄影器材到顯示設備，格式由full HD、2K、4K、甚至到未來的8K，每隔幾年就以倍數成長，除了商業市場的推動，驅使人類不停追求再現(Repre-sentation)的極致，早已遠超過身體所能感知的真實。又或許我們只是換了個方式，追尋那片可行、可望、可遊、可居的一方天地。

錄像《小品》作品以探討傳統中國山水繪畫與流動影像之間的關係，其試圖描述其中流變不定、交錯與曖昧的狀態。

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