Wu Chi-Tsung is invited to participate “Esctasies Teresa,” a group show in Berlin, displaying a site-specific Crystal City and recent Cyano-Collage Series works.

Esctasies Teresa
A Group show at the ALTE MÜNZE curated by Julius Studio

Opening: Mar 24, 5-10pm
Finissage: Mar 31, 6-10pm
Opening time: Tue – Thr 4-7pm
Venue: ALTE MÜNZE, Molkenmarkt 2, 10179 Berlin, Germany

Artist:
Erik Andersen
Gabriel Beretti
Davide Gennarino
Zoe Goldstein
Miriam Lenk
Olag Schirm
Zuzanna Skiba
Selou Sowe
Saverio Tonoli Adamo
Juan Varela
Wu Chi-Tsung

The Light Between The Mountain and The Sea

Date｜DEC 10 – Jan 14, 2017

Venue｜Tamsui Customs Wharf, No.259, Tamsui Dist., New Taipei City 251, Taiwan

Work on display｜Crystal City – Project at Tamsui Customs Wharf

「拾光」新北市公共藝術展

展期｜12/16 – 1/14, 2017

地點｜淡水海關碼頭，新北市淡水區中正路259號

展出作品｜水晶城市－淡水海關碼頭計劃

駐足於淡水海關碼頭前遙想那段淡水的金色時光，過往歷史與當代發展不斷層疊上去的人文厚度，宛如觀音山與淡水河間的吉光片羽。106年12月16日至107年1月14日於淡水海關碼頭園區舉辦的「拾光-2017新北市公共藝術展」，邀請國內外展歷豐富的藝術家吳季璁與莊志維，以淡水在地的自然特色與城市意象創現地製作藝術裝置，透過「光」的藝術創作，讓新北市北端的冬夜很藝術。

藝術家吳季璁現地製作的《水晶城市—淡水海關碼頭計劃》，表現淡水城鎮從古至今的發展。在海關碼頭洋樓2樓的木地板上，堆疊出一個個宛如晶體成長的透明盒，軌道上的燈光就像時間靜默地流動於空間中，無限蔓延擴張著透明城市，閃著虹光的天空，隨著四季變化的自然風景，在藝術家的巧手下，投影出另一個無比真實的世界。

如果說洋樓是淡水歷史的時光膠囊，中正路側的野趣草坪則是海關碼頭的畫布。435駐村藝術家莊志維近年以戶外雷射裝置點亮不同場域的夜間神祕氛圍，特別為海關碼頭所量身定做的《裝置微光計劃—海關碼頭》，翠綠的雷射光束從海關碼頭倉庫建築上漫溢而過野趣草坪至中正路，隨著風動雨落而律動雷射光海，呼應著倉庫另一側緩悠起伏的淡水河面。另一件《森林裡的洋流》則是帶領觀眾想像這個喧鬧的都市是一片海洋，泛著光環的圓圈像是人與人之間流動的關係，也是人與空間互動的關係，在月夜下化做海流，歡迎大家到海關碼頭來欣賞三組拾光藝術創作，體驗與日間不同的一場藝術之旅。

《水晶城市008》，2017，軌道、馬達、HID、塑膠，尺寸可變
Crystal City008, 2017, Track, motor, HID, plastic, Dimensions variable

Far from East－Wu Chi-Tsung Solo Exhibition
Venue｜Künstlerhaus Bethanien, Berlin (Kottbusser Straße 10. 10999 Berlin)
Date｜Nov. 16 – Dec. 10, 2017
Reception｜Nov. 16, 2017. 7pm

Wu Chi-Tsung has participated in the artist-in-residency program co-organized by Taiwan’s Ministry of Culture and the Künstlerhaus Bethanien in Berlin, Germany. From November 16^th to December 10^th, 2017, the program will present his solo exhibition “Far From East” at Berlin, showcasing his recent works, including installations, photography, and videos.

In Wu Chi-Tsung’s early works, he utilized media art to discuss the fundamentals of images and seeing. In recent years, he expanded his research field, traversing through the field of culture and art from East to West, as well as integrating traditional aesthetics and contemporary artistic concepts. In his dialectics and diverse way of practices, his artworks nonetheless preserved the sensibility and romance of an oriental literatus.

The exhibition begins with “Crystal City,” giving the audiences a glimpse of the artist’s point of view. Under the radiating light, the sharp and clear shadows of the ordinary plastic boxes became distinct, projecting a view resembling a concrete jungle of skyscrapers. In this artwork, Wu Chi-Tsung observes the ambiguous boundary between reality and fantasy, questioning as the cyber space took a major part in our daily lives, then what is real, and what is illusory?

“Wrinkled-Texture” and “Cyano-Collage” redefine the junction of photography and painting. The photography series “Wrinkled-Texture” is inspired by the “texturing method”, which is the core technique of Chinese literati painting. Cultivating the technique and the spirit of calligraphy, artists draw down a representational depiction of mountains and stones, which serve as the projection of his inner-thoughts. In “Wrinkled Texture”, Wu utilized cyanotype techniques to apply a photosensitive emulsion on Chinese rice papers, and then exposed the hand-wrinkled papers under the sunlight. After washing off extra emulsion, the shades and the patterns of the wrinkled papers were documented. The complete imagery resembles Chinese landscape – Shan Shui, which Wu substitutes ink and brush with photogram. “Cyano-Collage” inherits the cyanotype photography “Wrinkled-Texture.” The exposed rice papers were collaged into mountains, allowing the artist to further probe into the aesthetics of traditional paintings.

Lastly, the artwork “Still-Life 006 – Chrysanthemum” translates the traditional cut-branch flower painting into a time based moving image. As a video installation, the piece is projected on a hanging scroll, suggesting an outlying and ephemeral scenery that is akin to a vaguely fleeting memory. “Still-Life” series is originated from the artist’s awe to contemporary art and his nostalgia to traditional art.

Given the dominance role of European and American culture in globalization, contemporary art has been rapidly expanding, revolutionizing and innovating. However, it is disconnected to local traditional cultural contexts, increasing the disappearance of unique regional arts and aesthetics. Raised under traditional art cultivation, Wu Chi-Tsung is deeply aware of such disconnection. In his recent artworks, Wu has been finding the possible balance between Eastern and Western cultures, as well as traditional and contemporary art.

The term “Far East” is a Eurocentric geographical concept. Yet, in a globalized epoch, Far East is no longer far away, and the East is no longer east.

吳季璁個展「Far from East」
地點｜柏林貝塔寧藝術村，Kottbusser Straße 10. 10999 Berlin, Germany
時間｜11/16 – 12/10
開幕酒會｜11/16  pm7

吳季璁參與德國貝塔寧藝術村與台灣文化部合作的駐村計劃，將在2017年11月16日至12月10日於柏林舉辦個展《Far from East》，展出其近期創作，包括裝置、攝影與錄像。

吳季璁的創作早期由媒體藝術切入，探討影像與觀看的本質，近年來積極拓展其研究範疇，橫跨東西方文化藝術，作品融合傳統美學與當代藝術語言，在觀念性的辯證與多元的表現形式中，依舊保有東方文人式的感性與浪漫。

展覽以《水晶城市》作為開端，帶領觀眾進入藝術家的視閾。日常生活中平凡的塑膠包裝盒在強烈光源照射下，銳利清晰的影子比物件本身更加強烈真實，映照出彷彿高樓林立的城市景象。在此作品中，吳季璁敏銳地觀察到當代生活中虛擬與真實之間的模糊界線，當網路世界（Cyber space）成為我們的日常生活空間時，熟為真實？孰為幻象？

《皴法習作》與《氰山集》則重新定義影像與繪畫的交界。《皴法習作》系列攝影作品，發想自水墨畫中的「皴法」概念。皴法是傳統中國文人繪畫中的核心技法，以書法的筆墨精神，對山石紋理概括描繪，畫家藉此投射個人內心的山水景物，寄情其中。《皴法習作》運用古老的氰版技術（ Cyanotype ），以無相機攝影（ Photogram）的手法替代筆墨，將感光藥劑塗佈於宣紙上，乾燥後在陽光下曝光，而後水洗定影記錄下皺摺紋理的光影變化，成像宛如山水景致。而《氰山集》延續《皴法習作》的氰版直接攝影，將曝曬過後的紙張以蒙太奇（Montage）的手法拼貼成叢山萬嶺的景象，進一步探究傳統繪畫的美學。

最後，作品《小品之六 菊》將傳統折枝花卉的繪畫形式，翻譯成具時間性的動態影像，以錄像裝置的形式呈現，投影在懸浮的空白卷軸上，悠遠飄妙的意境，宛如逐漸消散的模糊記憶。小品系列源自-藝術家對於當代藝術的喟嘆，與對傳統藝術的緬懷。

伴隨著全球化，當代藝術在歐美強勢文化的主導下快速擴張，不斷地顛覆與創新，卻也斷裂於各地的傳統文化脈絡，加速許多區域性特有的藝術與美學的消逝。成長於傳統的藝術養成，吳季璁特別有感于此斷裂，近年的創作，不斷地在東西方文化，傳統與當代藝術之間，尋求兼容平衡的可能。

遠東（Far East）是以歐洲為中心的地理觀念，對於東亞區域的總稱。然而在這全球化的時代，遙遠的東方早已不再遙遠，卻也早已不再東方。

Work on display｜Cyano-Collage 012
Year｜2017
Medium｜Cyanotype, paper, acrylic gel
Size｜75 cm x 175 cm
Donated by the artist 

‘WISDOM and NATURE‘, a traveling exhibition which is in honor and celebration of nature and ancestral wisdom and held by Le Ciel Foundation and Phillips, culminates in a Fundraising auction on 29 November in New York including Wu Chi-Tsung’s latest Cyano-Collage piece.

Inspired by the beauty of our planet and the wisdom of its people, The show captures the natural splendor of both humanity and the Earth through 40 contemporary artworks. All of the participating artists’ pieces vibrate with this theme and connect to nature in different mediums.

The artists participating in the exhibition include:

Claudia Andujar, Gilles Bensimon, Hugo Burnand, Freddie Child-Villiers, Wu Chi-Tsung, Tinko Czetwertynski, Odyssée Dao, Pierre de Vallombreuse, Anne de Vandière, Alinka Echeverría, Alain Ernoult, Eliane Fattal, Esther Giles, Murray Fredericks, Michael Flomen, Adam Fuss, Justin Brice Guariglia, Caroline Halley des Fontaines, Béatrice Helg, Aranka Israni, Alexander Khimushin, Daniel Kukla, Timo Lieber, Charles March, Denise Milan, Karma Milopp, Cristina Mittermeier, Beth Moon, Ernesto Neto, Sidney Regis, Tamsin Relly, Stuart Rome, Rolf Sachs, Priscilla Telmon, Janaina Tschape,  David Yarrow, and Zuiryu.

Fundraising Auction
29 November 7:30pm EDT
Phillips Auction House｜450 Park Avenue, New York (map)

Viewing Dates
London Exhibition
4 – 8 September
30 Berkeley Square, London (map)

Paris Exhibition
18 – 22 September
46 Rue Du Bac, Paris (map)

New York Exhibition
27 – 29 November
Phillips Auction House｜450 Park Avenue, New York (map)

吳季璁作品將於 WISDOM and NATURE 義賣會

展出作品｜氰山集之十二
年份｜2017
媒材｜氰版, 宣紙, 壓克力膠
尺寸｜75 cm x 175 cm
藝術家捐贈

「Wisdom and Nature」巡展由Le Cie Foundation和Phillips聯合舉辦，旨在向大自然和祖傳智慧致敬，展示40件不同媒材的當代藝術作品。並於11月29日在紐約舉行義賣會，其中包含吳季璁最新的氰山集系列作品。

參展藝術家｜Claudia Andujar, Gilles Bensimon, Hugo Burnand, Freddie Child-Villiers, Wu Chi-Tsung, Tinko Czetwertynski, Odyssée Dao, Pierre de Vallombreuse, Anne de Vandière, Alinka Echeverría, Alain Ernoult, Eliane Fattal, Esther Giles, Murray Fredericks, Michael Flomen, Adam Fuss, Justin Brice Guariglia, Caroline Halley des Fontaines, Béatrice Helg, Aranka Israni, Alexander Khimushin, Daniel Kukla, Timo Lieber, Charles March, Denise Milan, Karma Milopp, Cristina Mittermeier, Beth Moon, Ernesto Neto, Sidney Regis, Tamsin Relly, Stuart Rome, Rolf Sachs, Priscilla Telmon, Janaina Tschape,  David Yarrow, and Zuiryu.

義賣會
29 November 7:30pm EDT
Phillips Auction House｜450 Park Avenue, New York (map)

預展日期
London Exhibition
4 – 8 September
30 Berkeley Square, London (map)

Paris Exhibition
18 – 22 September
46 Rue Du Bac, Paris (map)

New York Exhibition
27 – 29 November
Phillips Auction House｜450 Park Avenue, New York (map)

Passing
2017
Motor, found objects, HID
Dimensions variable

Wu Chi-Tsung and artist Chen Shu-Chiang will participate in Suzu 2017: Oku-Noto Triennale, Japan, presenting an on-site installation work. 

OKU-NOTO TRIENNALESUZU 2017

Date: 2017 Sep 3 – Oct 22

Venue: Suzu City, Ishikawa, Japan

吳季璁將與藝術家陳淑強合作，參與日本奧能登國際藝術祭，展出大型現地製作裝置作品。

奧能登國際藝術祭

時間：2017年9月3日 – 10月22日

地點：日本奥能登珠洲市

展出作品

汲往
2017
馬達、現成物、HID
尺寸可變

2017年9月3日起至10月22日，奧能登珠洲市將舉行為期50天的“奧能登國際藝術節”。珠洲和日本列島不同，黑潮（暖流）與親潮（寒流）在此碰撞，由大陸吹來的季風導致了海水降雨。以日本海為舞台，從海上交通昌盛期起，作為北前船暫靠的中繼基地，珠洲因此興盛一時，匯集了來自日本各地的生活文化，在祭奠上使用的Kiriko（巨型燈籠，又名Hikiyama）和Yobare（在自家用高級料理款待近鄰）等風俗流傳至今。

奧能登國際藝術節旨在發掘出珠洲當地·生活·居民的潛在魅力。藝術家們將和珠洲市民一起，共同打造迄今為止從未有過的，傳統文化與最先端的美術完美融合的新型藝術節。

“TAIWAN VIDEA” 2017 Selection in Europe will display Wu Chi-Tsung’s Landscape In The Mist 001.

“TAIWAN VIDEA” 2017 Selection
The Taiwanese Avant-garde Video Screening Project
Curated by Yunnia Yang

Touring Schedule:

1. July 19 (Wed.), 2017 8:00pm
Republic of Macedonia: Museum of Contemporary Art, Skopje

2. July 28 (Fri.), 2017 8:00pm
Croatia: Galerija AŽ Atelieri Žitnjak, Zagreb, GalleryAŽ

3. August 1(Tue.), 2017 8:00pm
Slovenia: SCCA-Ljubliana Center for Contemporary Arts

4. August 16, 19-20, 2017
Germany: art space “Rosalux” , Berlin
Opening and Curator’s talk: August 16 (Wed.) 7:00pm
Exhibition time:
August 16 (Wed.): 7 pm – open end
August 19 (Sat.) : 2 pm – 6 pm
August 20(Wed.): 2 pm – 6 pm

Film art is an important artistic expression in the contemporary visual culture. The charms of images dominate the lifestyle and way of thinking of our new generation. Among the Taiwanese contemporary arts, video art and experimental films enrich the visual aesthetics and symbolic meanings with their own critical character, originality and diversity. The internationally-awarded creative videos from Taiwan might become a fleeting glimpse of beauty. The curatorial project 《TAIWAN VIDEA》 is to converge the creative energies and aesthetic features of film art, including video art, performance art, experimental films and animations, digital animations, etc. The depth of these videos refers to many facets of human beings’ living conditions: the alert about the consequence of human desire challenging God with technology and civilization (Lin Peychwen’s “Making of Eve Clone I”), criticizing the desire law of chasing after the ‘Progress’ deteriorating humanity (Huang Zan-Lun’s “Double”); revealing the beautiful lies constructed by the authorities (Chen I-Chun’s “ The Piggy Song”), the seriousness of the collective consciousness manipulated by the contemporary media (Zhang Xu-Zhan’s “Ritual of Cathode Ray Tube”); a nutrition taken as a metonymy to criticize politicians devouring people’s future dreams with empty promises (Wang Ding-Yeh’s “Beef-Wonderful Promises”), analogizing the images of the New Year’s Eve fireworks and a candle as a metaphor of the contradiction between the celebration of a country’s future and the sacrifice of martyrs (Ho Wei-Ming’s “Over My Dead Country”); the danger and paranoia of overexpanding self-consciousness (Wu Tzu-An’s “Disease of Manifestation”), the spatial imagination of an individual searching for the freedom of his body and mind (Pu Shuai-Cheng’s “Secret Plane-Immense Floating”); the intimacy and mystery of cultural encounter breaking the cultural stereotypes (Chang Huei-Ming ‘s “Tough Town”), questioning about simulated scenery in everyday life (Tsui Kuang-Yu’s “ Invisible City: Taiparis York”);with a new way of seeing to explore aesthetic possibilities of representing the oriental landscape painting (Wu Chi-Tsung’s “Landscape in the Mist 001”), Leviathan-like monstrous image composited from a dozen footages filmed at an open night market to show the danger of consumption (Jawshing Arthur Liou’s “Insatiable”) . The 12 creative videos from Taiwan will subvert the international audience’s impressions on the Taiwanese culture and arts, crossing over the boundaries of fine arts and pop culture. The issues of 《TAIWAN VIDEA》 are not only related to Taiwan itself, but also to the contemporary problems in the world. Creative thinking with universal value is the fundamental necessity of avant-garde images with subversive power.

Duration: 90 minutes

1. Lin Peychwen, Making of Eve Clone I, 2016, 9′

2. Huang Zan-Lun, Double, 2015, 12’55”

3. Chen I-Chun, The Piggy Song, 2013, 8’7”

4. Zhang Xu Zhan, Ritual of Cthode Ray Tube, 2011-2013, 5′

5. Wang Ding-Yeh, Beef-Wonderful Promises, 2011, 4’42”

6. Ho Wei-Ming, Over My Dead Country, 2013, 11’11”

7. Wu Tzu-An, Disease of Manifestation, 2011, 9′

8. Pu Shuai-Cheng, Secret Plane-Immense Floating, 2011, 5’31”

9. Chang Huei-Ming, Tough Town, 2015, 9′

10.Tsui Kuang-Yu, Invisible City: Taiparis York, 2008, 5’10”

11. Wu Chi-Tsung, Landscape in the Mist 001, 2012, 09’15”

12. Jawshing Arthur Liou (Director), Rachel Weaver (Sound composition), Insatiable, 2010, 10′

TAIWAN VIDEA 2017 Selection from Yunnia Yang’s curatorial projects:
1. The Apocalyptic Sensibility: The New Media Art in Taiwan(WRO Media Art Biennale 2013, Wroclaw, Poland; Taipei Fine Art Museum 2015)
2. TAIWAN VIDEA (Asolo Art Film Festival 2015, Italy)
3. Taiwan Videa2.0: Cultural Encounter (Asolo Art Film Festival 2016, Italy)

《Taiwan Videa》2017 Selection – 臺灣錄像巡映歐陸交流計畫，將展出吳季璁作品《煙林圖之一》。

《Taiwan Videa》2017 Selection
臺灣錄像巡映歐陸交流計畫
策展人：楊衍畇

歐陸巡映行程：

1. July 19 (Wed.), 2017 8:00pm 馬其頓當代藝術館，斯科普耶，馬其頓共和國

2. July 28 (Fri.), 2017 8:00pm, Galerija AŽ Atelieri Žitnjak，克羅埃西亞，札格列布市

3. August 1 (Tue.), 2017 8:00pm  SCCA當代藝術中心-盧布里亞納，斯洛維尼亞，盧布里亞納市

4. August 16, 19-20, 2017 “Rosalux”藝術空間 ，柏林，德國
Opening and Curator’s talk: August 16 (Wed.) 7:00pm
Exhibition time:
August 16 (Wed.): 7 pm – open end
August 19 (Sat.) : 2 pm – 6 pm
August 20(Wed.): 2 pm – 6 pm

影像藝術是當代視覺文化極為重要的主題，而影像的魅力主導了新世代生活型態與思考方式，台灣當代藝術中錄像藝術與實驗影像的批判性、原創性與多元性豐富了影像美學與象徵意涵，而在國際與台灣各大影展獲獎的創意影像作品驚艷一時，《TAIWAN VIDEA》台灣前衛影像展即是匯聚上述影像的創意能量與美學特色，精選自策展人於2013-2016年間所規劃《末日感性：臺灣新媒體藝術展》、《TAIWAN VIDEA》、《TAIWAN VIDEA2.0:文化秘遇》三策展計畫中12部臺灣前衛影像作品，包含錄像藝術、行為藝術、實驗影像、實驗動畫、數位動畫、MV動畫等類型，影像深度觸及當代人類生存議題：警示人類慾望以科技文明挑戰上帝的後果(林珮淳「夏娃克隆創造計畫I」)， 批判追求「進步」的慾望法則消弭人性(黃贊倫「副本」);揭露當權者所建構美麗的謊言 (陳依純「曲水流豬」)， 當代媒體操控集體意識的嚴重性(張徐展「陰極射線管的神秘儀式」)， 食物轉喻諷刺政治巧語吞噬人民的美夢人生(王鼎曄「牛肉-美好諾言」)，以類比跨年煙火與燭火的影像隱喻國運歡慶與烈士犧牲的矛盾性(何尉民「Over my dead country」)，自我意識過度擴張的危險偏執(吳梓安「宣言癖」)，個體尋求身體意識自由的空間想像(蒲帥成「秘密平面計畫-浩瀚飄浮」) ，以文化秘遇破除刻板印象（張暉明「Tough Town」），質疑日常生活中擬態景致(崔廣宇「看不見的城市：台巴黎約克」)，以新的觀看方式擴展與再現東方山水美學的可能性(吳季璁「煙林圖之一」)，以臺灣夜市所攝取的無數影像形成似巨蟒的形象顯示消費危機（劉肇興「未央」）。12部台灣創意影像作品將顛覆觀者對台灣文化藝術的印象，跨越了純藝術與流行文化的界限，議題非僅與台灣相關更與全球當代問題接軌，普世價值的創作思維正是具有顛覆力量的前衛影像所必要的基礎。

巡映作品（全長90分鐘）

1.夏娃克隆創造計畫I.林珮淳.2016年.9分鐘

2.副本.黃贊倫. 2015年.12分55秒

3.曲水流豬.陳依純.2013 年. 8分7秒

4.陰極射線管的神秘儀式.張徐展.2011-2013年.5分鐘

5.牛肉-美好諾言. 王鼎曄.2011年.4分42秒

6.Over My Dead Country. 何尉民.2013年.11分11秒

7.宣言癖.吳梓安.2011年.9分鐘

8.秘密平面計畫- 浩瀚漂浮. 蒲帥成.2011年.5分31秒

9.Tough Town.張暉明.2015年.9分鐘

10.隱形的城市: 台巴黎. 約克.崔廣宇.2008年.5分10秒

11.煙林圖之一.吳季璁.2012年.9分15秒

12.未央.劉肇興(導演).Rachel Weaver (聲音創作).2010年.10分鐘

《TAIWAN VIDEA》2017 Selection 精選自策展人楊衍畇以下當代藝術策展計畫：
1.《末日感性：臺灣新媒體藝術展》(2013波蘭WRO媒體藝術雙年展. 2015台北市立美術館）
2.《TAIWAN VIDEA》台灣前衛影像展（2015義大利阿索洛國際藝術電影節）
3.《TAIWAN VIDEA2.0:文化秘遇》台灣前衛影像展（2016義大利阿索洛國際藝術電影節）

Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan at National Taiwan Museum of Fine Arts will display Wu Chi-Tsung’s WireIV, Still Life 05 – Cherry and Cyano-Collage 008.

Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan

Date: 2017 Jul 8 – Oct 8
Venue: Taiwan Museum of Fine Arts, Taichung, Taiwan
Curator: Wu Chao-Jen

Ink painting is an important form of painting that represents the Oriental traditions. Originated in China, ink painting was later introduced to Japan, Korea, and Chinese-speaking regions in southeast Asia. Ink painting uses paintbrush, ink, paper, and silk as media, and has formed a system of its own in the domain of art. After the Tang dynasty, Chinese ink painting was divided into the”Northern School” and “Southern School.”  The “Southern School” emphasizes intriguing brushstrokes and rhythmic use of ink; it focuses on bone method or the way of using the brush to create vitality and spirit, fusing poetry, calligraphy, and painting together. It is closely related to traditional Chinese literati philosophy. However, “literati painting” overemphasizes refined literati tastes, which has also affected the development of ink painting. After the 18th century, ink painting was introduced to Taiwan by government officials stationing in Taiwan, scholars and tutors, and traditional painters; famous artists from the period included LIN Chao-Ying, LIN Chueh, and HSIEH Kuan-Chiao. Although these artists were commonly referred to as the “Min-practice” because they inherited the wild and leisurely ink painting style of the southern Zhe school of painting, they nonetheless gave rise to the beginning of the heritage, transformation, and development of ink painting in Taiwan.

In late 19th century, “Western painting” and “Toyoga ( Eastern painting or gouache painting),” which originated from the meticulous heavy color techniques of the Chinese “Northern School,” were introduced to Taiwan during Japanese colonization. With the aid of “Taiten ( Taiwan Fine Arts Exhibition)” and “Futen (Taiwan Governor-General Art Exhibition),” many Taiwanese traditional ink artists switched path to creating “Gouache painting,” becoming the unique “local color” of the new southern territories propagated by the Japanese colonial government. Japanese colonial system fell as WWII came to an end in 1945, and in 1946, Taiwan Provincial Administrative Executive Office organized the “Taiwan Provincial Fine Arts Exhibition ( Provincial Exhibition).” In 1949, the Nationalist government moved to Taipei, and many renowned Chinese ink artists came to Taiwan and lectured at institutes or tutored at own studios, leading to the “Debate over the Orthodoxy of National Painting” in the 1950s. It was not until the establishment of the “Gouache Painting” category by the Provincial Exhibition in 1983 that gouache painting could finally break the shackles of the orthodoxy of National Painting, yet the term “National Painting” was only gradually replaced by “ink painting” in the 1980s.

Hence, every major political or historical event has triggered social and art and cultural developments, and are all intertwined. Politically, Taiwan was under martial law from 1949 to 1987; and during this highly sensitive period of authoritative rule, Taiwanese art  communities experienced the “Debate over the Orthodoxy of National Painting” in the 1950s, the emergence of modern art groups in the 1960s, the debate of nativist realism in literature and art during the 1970s, and establishment of National Institute of the Arts ( now National Taipei University of the Arts) in 1982 and the Department of Fine Arts at Tunghai University in 1983; together, the art and literature communities challenged and gradually dismantled the authoritative system. Taiwanese art professionals fearlessly broke the political shackles during the martial law period, and boldly challenged the past political taboos after the lifting of martial law in 1987, which enabled ink art and other forms of art to thrive and prosper, constructing a splendid and vibrant new look for ink art.

2017 marks the 30th anniversary of the lifting of martial law, and National Taiwan Museum of Fine Arts has specially invited Professor WU Chao-jen to curate a special exhibition entitled “Memories Overlapped and Interwoven: Post-Martial Law Period Ink Painting in Taiwan,” adopting the perspectives of art history and temporal axes to examine the course of development of ink painting in Taiwan since the lifting of martial law in 1987. The exhibition features five major themes: 1. Aesthetics of Brush and Ink; 2. Abstract Expression of Ink and Wash; 3. Ink – Environment – Society; 4. Ink – Video – Installation; and 5. Putting an End to the Debate over the Orthodoxy of National Painting. The five themes showcase interrelated contents while featuring independent displays. Through different themes and aspects, the curator reexamines the intertwined relation between Taiwanese ink painting and politics, highlighting the diverse creative visions inspired by artists’ life experiences facing the overlapping and interweaving of historical memories, explores the vibrant ambitions of artists who strive to break historical restrictions of ink painting, and combs  through the interwoven historical relationship between Taiwanese ink painting and gouache painting.

“Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan” features works of diverse categories and media, including ink and wash painting, meticulous heavy color painting, gouache painting, installation, video, and animation; in terms of style and expression, all the works manifest artists’ realizations and sentiments of life, social and cultural concerns, dialectics on history and reality, and the depth and breadth of ink art exploration, exhibiting vibrant creative energy and dynamics. Through interpretation of and dialogues with exciting works of 24 artists from different generations, this exhibition aims to investigate the intertwined relation between Taiwanese ink painting and politics, and present artists’ diverse creative visions inspired by overlapped and interwoven historical memories, as well as the splendid and exciting new look of ink art constructed on such visions, concretely, and in details, presenting and explaining the course of development of Taiwanese ink painting from the lifting of martial law up to the present time.

國立台灣美術館記憶的交織與重疊─後解嚴臺灣水墨群展，將展出吳季璁作品《小品之五 櫻》、《鐵絲網IV》、《氰山集八》

記憶的交織與重疊─後解嚴臺灣水墨

時間：2017 07.8 – 10.8
地點：國立台灣美術館 201-202展覽室
策展人：吳超然

藝術家：于彭、王怡然、李茂成、李君毅、李明則、李重重、李義弘、吳季璁、林鉅、姚瑞中、洪根深、倪再沁、袁旃、許雨仁、陳念慈、彭偉新、彭康隆、曾建穎、華建強、黃致陽、楊世芝、楚戈、潘信華、蘇煌盛

水墨畫是代表東方傳統的重要繪畫形式，源自中國並傳播至日本、韓國及南洋華語地區等國家，水墨畫以毛筆、墨、紙、絹等為媒材，在美術領域中自成體系。中國繪畫自唐代後分為「北宗」、「南宗」兩系統，「南宗」創作講究筆趣、墨韻；重視骨法用筆，營造氣韻生動，詩、書、畫融合之意境，與中國的傳統文人思想密不可分，然而「文人畫」過度崇尚文人雅興亦影響水墨畫之發展。18世紀後水墨畫隨著清代寓臺官員、文人教席及傳統畫師流傳至臺灣，時有林朝英、林覺、謝琯橋等名家，雖因沿襲自中國南方福建浙派之狂放野逸水墨風格而被慣稱為「閩習」，卻也開啟水墨藝術在臺灣傳承、變革與發展的扉頁。

19世紀末日本殖民臺灣引入「西洋畫」及源自中國「北宗」工筆重彩繪畫技法之「東洋畫」（膠彩畫），在「臺展」、「府展」的推波助瀾下，眾多臺灣傳統水墨畫家都改習「東洋畫」，成為日本殖民政府標榜南方新領土的獨特「地域色彩」。1945年二戰結束日本在臺殖民體制，1946年國民政府行政長官公署舉辦「臺灣省全省美術展覽會」（省展），1949年國民政府遷都臺北，許多中國水墨名家隨之來臺擔任教席或開班授業，乃至有1950年代的「正統國畫之爭」。直至1983年「省展」成立「膠彩畫部」，「膠彩畫」乃揮別正統國畫名稱牽絆，然「國畫」一詞仍到1980年代才逐漸由「水墨畫」所取代。

由此可見，每每發生重大的政治或歷史事件，總會牽動社會與文化藝術的發展，彼此相互纏繞。在政治上，臺灣於1949-1987年戒嚴，在高威權敏感的戒嚴時期，而美術界則歷經了1950年代的「正統國畫之爭」、1960年代現代美術繪畫團體興起，1970年代文學及美術的「鄉土寫實」論戰、1982年國立藝術學院（今國立臺北藝術大學）與1983年東海大學美術系等相繼成立，共同經歷過藝文界對威權體制的挑戰與逐步拆解過程。臺灣的藝文工作者，在戒嚴期間無畏地衝破政治上的禁錮，乃至1987年解嚴後對過去政治禁忌的勇於顛覆，使水墨與其他藝術呈百花齊放之勢，建構出繽紛的新水墨藝術風貌。

2007年適逢臺灣解嚴30年，國立臺灣美術館特別委請吳超然教授策劃「記憶的交織與重疊─後解嚴臺灣水墨」特展，著眼以藝術史為觀點、時間為軸線，爬梳自1987年解嚴迄今，臺灣水墨的發展脈絡。本展以五大主題為軸：一、筆墨美學；二、水墨的抽象表現；三、水墨‧環境‧社會；四、水墨‧影像‧裝置；五、告別正統國畫之爭。五個主題內容彼此關連，展示手法卻各自獨立，策展人透過不同主題面向切入，重新檢視臺灣水墨藝術與政治的糾結關係，彰顯創作者的生命經驗，面對歷史記憶的交織與重疊，所激發出的多元創作視野，探索藝術家在水墨領域中，突破歷史框限的旺盛企圖，並梳理臺灣水墨與膠彩之間的糾結歷史關係。

「記憶的交織與重疊─後解嚴臺灣水墨」展出作品類別與媒材紛呈，有水墨、工筆重彩、膠彩、裝置、錄像及動畫等，在風格表現上，在在彰顯藝術家對生命的感悟與觸動、社會人文關懷、歷史與現實的思辨，及水墨藝術探索的深度與廣度，展現出旺盛的創作活力與動能。本展企圖透過24位不同世代藝術家精彩作品的演繹與對話，檢視解嚴後臺灣水墨藝術與政治的糾纏關係，呈顯創作者在歷史記憶交織下，迸發出的多重視野，以及以此所建構出的繽紛多彩的水墨藝術新貌，具體而微地闡述解嚴迄今的臺灣水墨的發展脈絡。

Mandala of Ink Art at Kaohsiung Fine Arts Museum will display Wu Chi-Tsung’s Landscape In The Mist 001 and Still Life 02 – Orchid.

Mandala of Ink Art

Date: 2017 Jun 24 – Oct 29
Venue: Kaohsiung Fine Arts Museum, Kaoshiung, Taiwan

What is contemporary? How to define ink art? Each person has different answers to these questions. This exhibition is an attempt to present the cotemporary facets of ink art through the most inclusive and open-minded observation as possible, transcending all literal definitions of contemporariness or ink art. Drawing references from the concept of “mandala”, this exhibition is composed of four themes: “Form” (material), “Meaning” (spirituality), “Void” (contrast between void and solid) and “Space” (spatial structure). They are the four quadrants in the mandala of this exhibition to have a systematic review of the development of contemporary ink art in this new century. The theme at the center of the mandala is Chi, which means “energy of the universe”. In the exhibition, it provides an experimental territory representing the subjective spirit of new-generation artists and the perspectives of ink art in southern Taiwan. By asking questions not asked before and serving as an interdisciplinary and multimedia platform, this exhibition aspires to discover another round of paradigm-shifting possibilities for the future of ink art.

高雄市立美術館水墨曼陀羅群展，將展出吳季璁錄像作品《煙林圖之一》以及《小品之二 蘭》。

水墨曼陀羅

Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia at MOCA Yinchuan will display Wu Chi-Tsung’s Cyano-Collage Series, Wrinkled Texture Series and Landscape In The Mist 002.

Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia

Date: 2017 Jun18- Aug20
Curator: Chia-Chi Jason Wang
Venue: MOCA Yinchuan, Yinchuan, China

The exhibition “Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia ” which is curated by Mr. Cha Chi Jason WANG will be put on display at Museum of Contemporary Art Yinchuan during June 18th to August 20th 2017. 27artists which from China and other countries and regions will demonstrate their artistic works by various mediums, including installations, paintings and video works.

It is equally crucial how the artists deal with the problematics of ink art. Through the use of heterogeneous materials, concepts, and formal techniques, how the artists achieve conceptual transformation creatively. Besides denoting interchange between Eastern and Western cultures, “Crisscrossing East and West” as the theme of the exhibition also calls for broader visions and insights to widen the realm of ink art.

Stones from other hills may serve to polish the jade of this one. From diversity to pluralism, artists who come from different backgrounds and traditions are invited to gather here in Mainland China, specifically at the MOCA Yinchuan to reflect upon the works of one another. It is hoped that through such encounters, intertextuality as well as intertextual relationships can be established to help enhance the aesthetic remaking of contemporary ink culture.

銀川當代美術館聲東擊西－東亞水墨藝術的當代再造聯展，將展出吳季璁《煙林圖之二》、《氰山集》、《皴法習作》等五件錄像與平面作品。

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“The urge to create visions…”1929–2017

27th May – 17th September 2017
Museum of Contemporary Sculpture
Curator: Grzegorz Musiał
Coordinator: Leszek Golec
Work on Display: Crystal City 007

Participants: Elias Crespin, Carlos Cruz-Diez, Wojciech Fangor, Paweł Grobelny, Mikołaj Grospierre, Bethan Huws, Kimsooja, Lin Yi, Michał Martychowiec, Laszlo Moholy-Nagy, Jesus Rafael Soto, Franciszka and Stefan Themerson, Ludwig Wilding, Chi Tsung Wu

The international exhibition organized in cooperation with the Signum Foundation includes the works of outstanding artists of historical avant-garde and contemporary artists. The exhibition will be the highlight of the summer season 2017.

The title of the exhibition refers to Stefan Themerson’s essay from 1936, published in 1937 in the second edition of the avant-garde magazine ‘f.a.’ (artistic film). Themerson mainly discusses in it the problems of artistic film, which is one of the media in this exhibition, however, the visual experiences connected with movement, light, time and space are also interesting for artists working outside the realm of film.

The presentation has the form of collage and is happening simultaneously on several levels of experimenting with the widely understood visuality. It is a record of the past and present dreams about this amazing experience.

Historical and contemporary artists taking part in the exhibition engage in media dialogue, going beyond  linear narrations.

Chronologically, the exhibition opens with László Moholy-Nagy’s film Ein Lichtspiel schwarz weiss grau from 1930, shot with the use of a light modulator, kinetic sculpture on which the artist had been working since 1922. In the context of the film, several installations of contemporary artists will be shown: Bethan Hus will present White, Grey, Black from 2016 and Wu Chi-Tsung will present Crystal City 007 from 2015. Beside a series of Stefan Themerson’s abstract black-and-white  photograms, you will see Yi-Chun Lin’s large format pictures, made with the use of state-of-the-art electronic equipment. Spatial pictures of Jesus Rafael Soto from the first half of the 60s, inspired by Pierre Boulez’ music, lead a dialogue with Michał Martychowiec’s video, which is a visual variation on Soto’s iconic work, Penetrables, created in 2010 at the Palazzo Dona in Venice.

The series of photographs titled The Sun Unfolded made in 2008 by Korean artist Kimssoja is a contemporary reflection on Wojciech Fangor’s op-art paintings from the 1960s.

Carlos Cruz-Diez’s light work Chromosaturation is an installation that will take over the whole space of the Chapel Gallery. The artist is going to create in this space an artificial environment, produced as a result of merging of three colours: blue, red and green, which will eventually create a monochromatic situation. This visual experiment causes disorders in the retina accustomed to simultaneous reading of a wide range of colours.

Another work, happening on several time-space planes is the installation Tattarrattat from 2010, produced as an in-situ project at the Palazzo Dona in Venice. In Orońsko it will be presented in the historical interiors of Józef Brandt’s palace, as a form of game with the viewers and their habits.

The motto of the exhibition is Michał Martchowiec’s neon work How Far Can You See from 2013.

Stefan Themerson ended his historical essay with a statement-question: “The new avant-garde will come. I know what I would like from it. I would like it to make what I would like to see. And I would like to see clear, rational, common-sense, visual statements. But what it should do is not at all what I want to see. It should do what its own need to create visions will force it to do”.

波蘭雕塑中心“The urge to create visions…” 1929–2017聯展將展出吳季璁作品《水晶城市007》。

空場空場藝術聚落於2014年由一群藝術家號召成立，以創作工作室為主軸，集合一群台灣當代藝術家、藝術策展、文字與戲劇、音樂、舞蹈等工作者，創造一個自然交流、創作、討論、聚會、合作的平台，4/29公眾開放日讓您一舉揭開神秘藝術家工作室面貌。

此外，空場也邀請到〈Artist in the World〉計畫藝術家André Smits駐村，並在Open Studio當天下午兩點與空場的藝術家們進行對談。晚間七點給力電影院 Gelivable Cinema NO.10 “Art in and out of the Studio”將放映「工作室之內與之外的藝術」特別選集，內容有關表演、行為藝術與錄像藝術對藝術從物件製造到更加過程導向的藝術實踐。
開放工作室參觀完後，晚上八點於The LAB Space 實演場將由蝴蝶效應劇團演出洛基恐怖秀 The Rocky Horror Picture Show，歡迎前往欣賞。

日期｜2017 4.29 10:00-24:00
地點｜空場藝術聚落 北投路一段9號 3樓

Limitless Landscapes

Curator
HU Yung-Fen

Artists
WU Chi-Tsung, LIN shukai, KAO Yating, CHEN Wan-Jen, LIAO shin-Yu, Ava HSUEH, HSIEH Mu-Chi

Exhibition Dates
18 March – 30 April 2017

Venue
Art Influence Gallery
No. 3, Lane 90, Section 1, Anhe Rd, Da’an District, Taipei City, 106

It was only 500 years ago that landscape paintings became a new form of western artwork. In other words, the landscape painting is the first proof of liberation and progressiveness in human civilization. Nowadays, “landscape paintings” continue to arouse specific stereotypes today. People tend to think of landscape paintings as depictions of mountains and rivers, grass, and trees, or various natural phenomena such as thunders and lightning, tornados, clouds, rain, or fogs, and different traces of human activity, such as paths and architecture. This categorization spread to Taiwan and still used today, proof of landscape painting, which has transformed into a typed form, seeping into the art education in Taiwan and stiffening the concept through systematic art education.

The concept behind “Limitless Landscapes” is to present the “landscape painting,” this classic and precious painting category that was originally limitless and filled with charming quality but has gradually become stiff and lacking in imagination. This exhibition is a declaration and attempt of revitalization and extension.

The word “limitless” was inspired by extreme sports. As we all know, extreme sports refer to a group of dangerous sports activities that require skills and physical strength. The “extreme” in extreme sports is linked to the concept of limitations. Therefore, my own interpretation of the word “limitless” extends to the borders of possibility: re-extending, re-exploring, repeatedly trying and developing all possibilities.

This may not be a logical or trendy title, but it is a theme with rich meaning and forever deserves investigation, classic and contemporary at the same time. This opening exhibition curated for Art Influence and the seven participating artists elaborate the multivariate creative interpretations of “landscape” in contemporary Taiwanese art.

極限風景

策展人
胡永芬

藝術家
吳季璁、林書楷、高雅婷、陳萬仁、廖心瑜、薛保瑕、謝牧岐

展期
2017.03.18－04.30

地點
心動藝術空間
臺北市大安區安和路一段90巷3號 (捷運信義安和站 1 號出口)

座談
3／26（日）15：00 與談人：廖仁義老師 藝術家：高雅婷、謝牧岐、林書楷
4／23（日）15：00 與談人：蕭瓊瑞老師 藝術家：薛保瑕、吳季璁、廖心瑜、陳萬仁

「風景畫」成為一個新的西洋畫種，只不過是近五百年來的事，也就是說，這是人類文明史上一個解放的、進步的產物與證據。不過時至今日，「風景畫」卻形成了某些既定的刻板印象，不外乎各種地貌特徵如山海江河、各種地表生物如草原林樹、各種自然現象如雷電捲雲雨霧，以及各種人類活動的痕跡如路徑建築等等。所謂的「風景畫」作為一種類型化款式，已經完全滲入台灣系統美術教育，異常僵固了。

「極限風景」的思考，就是將原本具有無限可能，卻莫名走上一種僵化且逐漸缺乏想像的「風景畫」這個珍貴的古典繪畫品種，在今日此時重新激活、延展它的一種宣示與嘗試。

「極限」二字挪用了「極限運動」一詞裡的「極限」字義，「極限運動」本泛指各種危險性比較高、技巧性以及體能的需求也特別高的運動項目，兩字在這裡有著近乎於「極端性」的意涵。本展挪借以詮釋的概念，則是將「極限」的語意再延伸到對於一種可能性之邊界盡其所能的再延展、再探索、再嘗試、再開拓……，極盡所能的。

這或許不是一個合乎時潮的、流行的題目，卻是一個豐饒厚重、永遠值得開拓的題目。既古典、也當代。因此，「極限風景」這個展覽邀請了七位藝術家，來勾繪台灣當代創作者在「風景」這個概念下多元多樣的創作。

Wu Chi-Tsung Solo Exhibition: Inwardscape 

Press Preview
Wednesday 15 February 2017, 4:00-6:00pm

Opening Reception
Wednesday 15 February 2017, 6:00-8:30pm

Exhibition Dates
16 February – 14 March 2017

Venue
Galerie du Monde
108 Ruttonjee Center, 11 Duddell Street, Central, Hong Kong

Galerie du Monde will be presenting the first solo exhibition of work by Taiwanese artist, Wu Chi-Tsung (b. 1981, Taipei, Taiwan), in Hong Kong. The exhibition will run from 16 February to 14 March, 2017. With a passion for the interpretation and production of images, Wu has been working across the mediums of photography, video, and installation, to create artworks which challenge our perceptions of our physical and natural worlds. The upcoming exhibition will present a diverse range of artworks from various series, representing ten years of development in the artist’s work. Brand new works on display will include Wu’s Drapery Studies series (2014-2017), never seen before by the public, as well as recent video works. Also on display will be the artist’s renowned Cyanotype works and a large scale, site-specific installation Crystal City 007.

Crystal City 007 (2015), which is regarded as characteristic of the artist’s Crystal City series and was previously shown at the International Ink Art Biennale of Shenzhen in 2016, is the artist’s term for the virtual world which is made up of electronic equipment, networks, programs, media and information. Wu will project a variable shadow cityscape onto the gallery walls: the projection alters the landscape and results in the constant changing of the shapes and shadows of the work.

The new series, Drapery Studies (2014-2017), explores the notions of body, volume and texture, inspired by the drapery of classical Greek and Roman sculpture. In this way, the artist links traditional western art forms to the idealistic and poetic concept of space in oriental culture. Via his work, Wu attempts to study the relationships between materials and techniques. Wu creates the artworks by wrinkling linen, then painting it with multiple layers of rabbit-skin glue and using Gesso to fix the shape, before finally painting it with oil paint or toner. The work is a hybrid of painting, sculpture and installation, which Wu sees as an experimental mix and exploration of techniques used in both Chinese landscape painting and traditional Western art forms. The new series builds on the artist’s Wrinkled Texture series. The three works on display will be shown to the public for the first time.

Cyanotype photographic artworks from the artist’s Cyano-Collage series (2016-2017) will be presented as part of the exhibition. This series is inspired by the texturing technique (cun-fa) which is often used in Chinese landscape painting (Shan Shui). 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. 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 two videos Landscape in the Mist (2012) and Still Life (2016) show Wu extending his examination of traditional Chinese landscape painting and moving images in an attempt to describe the fluidity of state, intersections, and ambiguities.

‘Galerie du Monde is delighted to host Wu’s first solo exhibition in Hong Kong and to collaborate closely  with the artist on such an ambitious and innovative selection of works. We are proud to present work by this talented young Taiwanese artist, who beautifully and thoughtfully explores the intersection between traditional Chinese painting with new art forms and mediums in his works’

— Fred Scholle, Founder & Chairman, Galerie du Monde

「吳季璁個展－憬」

傳媒預展
2017年2月15日（星期三），下午4時至6時

開幕酒會
2017年2月15日（星期三），晚上6時至8時30分

展覽日期
2017年2月16日至3月14日

地點
Galerie du Monde 世界畫廊
中環都爹利街11號律敦治中心108號

世界畫廊（Galerie du Monde）呈獻台灣藝術家吳季璁（1981年生於台灣台北）的首次香港個展《憬》，展期自2017年2月16日至3月14日。吳季璁熱衷於對影像的解讀與創作，其作品透過不同的媒材如攝影、錄像與裝置，挑戰觀者對真實及自然世界的固有概念。《憬》以豐富的創作系列全面介紹藝術家十年中的藝術發展脈絡。世界畫廊（Galerie du Monde）首次呈獻吳季璁從未公開展出過的全新作品系列《布紋習作》（2014-2017年）、近期錄像作品。同時展出的亦有藝術家具標誌性的氰版攝影作品，以及大型場地特定裝置作品《水晶城市007》。

《水晶城市007》（2015年）作為吳季璁《水晶城市》系列中最為代表性的作品，曾於2016年深圳國際水墨雙年展展出。藝術家以「水晶城市」描繪一個由電子設備、網絡、程式、媒體及資訊所構築的虛擬世界。吳季璁的裝置作品將持續改變光源，透過在畫廊牆壁上投映其「城市」的形狀及影子，建構出透明的城市縮影。

全新創作的《布紋習作》系列（2014-2017年）靈感源自希臘及羅馬雕塑上常見的衣紋，探討傳統西方藝術形式中的體感、量感及質感，進而連結東方文化中唯心而詩意的空間觀念。藝術家旨在探討材料與技法之間的關係。吳季璁用麻布隨機拉出布紋皺摺，塗佈多層兔皮膠及石膏粉固定其造型，再填上油畫顏料或色粉。藝術家順應布面自然產生的紋理，逐步發展其空間意境，最終作品介乎於油畫、雕塑與裝置之間，是東方山水精神與西方藝術形式的整合實驗。《布紋習作》系列是延續「皴法習作」的實驗結果，三件作品均為首次向公眾展出。

《憬》亦呈獻藝術家標誌性的氰版攝影作品《氰山集》系列（2016-2017年）。此系列攝影作品為傳統中國山水畫「皴法」技法的重新詮釋。其氰版攝影作品的原理是將塗佈感光藥劑的宣紙揉皺後曝曬於陽光下，記錄紙張在曝光下的視覺效果。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。

同時展出藝術家的錄像作品《煙林圖》（2012年）與《小品》（2016年）, 這些作品深刻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。

「世界畫廊（Galerie du Monde）欣然呈獻吳季璁首次香港個展，與藝術家密切合作展出一系列極具規模並創新的作品。我們非常榮幸展出這位優秀年輕台灣藝術家，他對於傳統中國繪畫與嶄新藝術形式及媒材的聯結與探索細緻入微、美輪美奐。」

——世界畫廊（Galerie du Monde）創始人蘇法烈（Fred Scholle）

Press release for download 下載新聞稿
English | 繁體中文 | 简体中文

“Untitled”, Wu Chi-Tsung, photography, 2012
《無題》, 吳季璁, 攝影, 2012

The Lost Diary of Beijing

Artists
Cai Dongdong, Iida Yuko, Huang Yuxing, Ni Jun, Pang Kuan, Peng Lei, Tang Meng, Tong Tianqing, Wang Yifan, Wen Ling, Wu Chi-Tsung, and Zhang Hui

Time
2016.11.19 – 2016.12.23

Venue
Star Gallery, Beijing (C5 Qikeshu Creative Park. No.55 Banjieta Road, Chaoyang District, Beijing,China 100016)

In Chinese, 京畿 ( Jing-ji ) means a country’s capital and its environs, and here it refers to Beijing, the capital of People’s Republic of China, as well as its vicinity. The exhibition will be featuring works from 12 artists, including Cai Dongdong, Iida Yuko, Huang Yuxing, Ni Jun, Pang Kuan, Peng Lei, Tang Meng, Tong Tianqing, Wang Yifan, Wen Ling, Wu Chi-Tsung, and Zhang Hui, who have various connections with Beijing. They were so close to the city that most of them either were born here or have stayed for a long time. Homing its artists, so to speak, the exhibition will take the audience into a dream journey to the memories, realities and fantasies of Beijing.

「京畿梦华录」

藝術家: 蔡东东、饭田祐子、黄宇兴、倪军、庞宽、彭磊、唐猛、仝天庆、王一凡、温凌、吴季璁、张晖

展期: 2016.11.19 – 2016.12.23

地點: 星空间, 北京 (中国 北京市朝阳区半截塔村路55号七棵树创意园C5100016)

“京畿”原指“国都及其附近的地区”，在本次展览中则特指中华人民共和国的首都北京及周边。该展将汇集蔡东东、饭田祐子、黄宇兴、倪军、庞宽、彭磊、唐猛、仝天庆、王一凡、温凌、吴季璁、张晖等12位艺术家的作品，参展艺术家的个人经历也大多与北京这座城市有着千丝万缕的瓜葛，甚至半数以上就出生并常驻于此。因而，“京畿梦华录”即是一次以“本地”艺术家为主场的，围绕着北京的记忆、现实与猜想展开的一次梦幻之旅。

Time
2. 9. 2016 – 27. 11. 2016

Venue
Jeonbuk Museum of Art, South Korea

Artists
Korea / 김기라_김남현_김영봉_박경종
박성수_박재연_박종찬_씬 킴_안지산_유목연
윤성필_이가립_정희정_조혜진_홍남기
China / Lu-Yang_Nut Brothers(Ren Zheng Wang)
Bangladesh / Urmi(Farzana Ahmed)
India / Mansoor Ali_Parag Sonarghare_Reshma Nair
Indonesia / Rudy Atjeh(Rudy Dharmawan)
Darbotz(Darma Adhitia)_Wukir Suryadi
Japan / Kumpei Miyata
Malaysia / Chang Yoong Chia_Justin Lim
Mongolia / Enkhbold Togmidshiirev
Myanmar / Nge Lay(Hlaing Yu Par Wint)
Nepal / Sheelasha Rajbhandari
Philippines / Aze Ong(Ramirez Azenith Elaine)_Dexter Fernandez
Taiwan / Wu Chi-Tsung
Thailand / Sai (Wannaphon Chimbanchong)
Vietnam / Manh Hung Nguyen_Cam Xanhs(Thanh Ha Tran Thi)

Asia Young 36 is an international exhibition that advocates the avant garde-ness, dynamism, and experimental nature of art. The exhibition is opening doors for 36 young artists from 14 Asian countries to use their art and fulfill their potential. It sheds light on various social issues plaguing Asia today with modern art. Meanwhile, the five day international exchange workshop gives participants a chance to share a wide spectrum of problems in Asia. Key figures in the art world including artists, curators, and critics interact with one another to build a consensus at the workshop and offer new values and discourse that the Korean art world must aim for. Jeonbuk Museum of Art expects the international exhibition and the workshop to become a hub of modern art in Asia. Also, the event is a special exhibition worth noting as a specialization strategy for stimulating local art and public or national art galleries.

전시기간

2016-09-02 ~ 2016-11-27

전시장소

전북도립미술관 본관 

<아시아 청년 36>은 아시아의 전위성, 역동성, 실험성을 표방한 국제전. 아시아 14개국 36명 청년미술가의 힘과 가능성을 열고 있다. 현재의 아시아가 담고 있는 다양한 사회 문제들을 현대미술로 들추어낸다.
한편으로 4박 5일간의 국제교류 워크숍을 통해 아시아 속에 있는 다양한 스펙트럼의 지역 문제들을 공유한다. 워크숍을 통해 미술가, 미술관장, 평론가 등 미술계 주요 인사들이 교류하고 공감하면서 한국미술이 지향해야 할 새로운 가치와 담론을 제시할 것이다.
국제전과 워크숍을 통해 전북도립미술관은 아시아현대미술의 허브로 작용할 것을 기대한다. 또한, 지역 미술 활성화와 국공립미술관의 특성화 전략의 하나로도 주목할 만한 특별전이다.

Ink Gene
Curator: Chang Li-Hao
Artists: Chen Chun-Hao, Hsu Yunghsu, Lin Chuan-Chu, Peng Hung-Chih, Tseng Yong-Ning,  Wu Chi-Tsung, Yao Jui-Chung
Time: July 16, 2016 – August 21, 2016
Venue: Double Square Gallery (No.28, Lane 770, Beian Road, Taipei 104, Taiwan)

双方藝廊將於7月16日展出「近墨者」（Ink Gene），由策展人張禮豪策劃，集結七位優秀台灣當代藝術家陳浚豪、徐永旭、林銓居、彭弘智、曾雍甯、吳季璁及姚瑞中，展覽至8月21日。策展人認為一個人無論來自那個國家、地區與種族，縱然一生未曾履足他地，體內基因卻可能比我們所能想像的走得更遠，覆蓋的地理幅員更廣闊，時間的跨度也更加悠久。
台灣自古以來吸納多元且豐富的文化，尤其在數百年來在漢化程度較高的影響下，中國傳統美學確然已成為台灣創作者無可迴避的課題。策展人觀察從九○年代的解嚴後，此一正統遭遇到諸多外來衝擊，也促使了此一文化基因產生突變，舉凡從題材、思想、媒材等方面，陸續出現對於水墨的深刻反思與挑戰。「近墨者」即是在此思想脈絡底下生成，集結七位不同世代的台灣藝術家，他們各自在正視身繫此一水墨基因事實之際，檢視當代與傳統間交錯、曖昧與流變不定的狀態，進而共同譜唱出時而悠越激昂、時而含蓄靜謐，近墨而多彩的當代風流。

The exhibition will be exhibiting Wu’s installation work – Wire IV.

展覽將展出吳季璁裝置作品 《鐵絲網四》。

吳季璁工作室開放，現場提供畫冊、文件供翻閱，歡迎參觀！
Chi-Tsung Wu Studio will be open. Welcome to visit!

成立於2014年的空場藝術聚落，以藝術家工作室為主體，透過不同領域的交融共生，發展出展覽、表演、論壇、駐村等多形式的跨領域實踐。

新成員加入 空場持續茁壯中
空場藝術聚落於2016年3月迎接獨立策展人王咏琳擔任首任藝術總監。曾獲數位藝術評論獎，藝術評論常見於各大藝術雜誌的王咏琳，近年透過策展實踐為台灣當前藝術生態開啟許多反思和想像的空間。過往多由成員共同生產活動的空場，將借助獨立策展人豐富的國際經驗和優秀的整合能力，將多元而開放的特色，以更具主題性的方式，呈現給觀眾。除藝術總監外，工作室成員也有楊弘瑜、柯良志、林仕杰等藝術家加入。

開放工作室藝術家名單：
Tim Budden、二拍子、大腸王、王咏琳、王鼎曄、王璽安、朱駿騰、吳季璁、吳宜曄、吳虹霏、阮義忠、阮璽、岩切澪、林仕杰、施彥君、柯良志、洪司丞、洪翎、徐國良、粟田經弘、草字頭、高雅婷、郭奕臣、陳美蘭、陳振丁、葉佳蓉、楊弘瑜、蔡宜儒、蝴蝶效應劇團、鄭君殿、鄭柏潔

Time：
2016年4月9日
14:30-17:00 藝術家工作室導覽 （朱駿騰、洪翎、鄭君殿、吳季璁、柯良志、郭奕臣、洪司丞、鄭柏潔、蔡宜儒、阮璽、駐村藝術家Andrew Amanda）

2016年4月10日
14:30-17:00 藝術家工作室導覽（王璽安、高雅婷、吳宜曄、Tim Budden、王鼎曄、楊弘瑜、陳振丁、施彥君、陳美蘭、大腸王、蝴蝶效應劇團）

Address：空場藝術聚落 台北市北投區北投路一段九號3樓

Exhibition Date: March.18 – April.3, 2016
Open Hour: Tue-Fri 13pm-18pm. Sat-Sun 11am-20pm
Opening: 19pm, March.18, 2016
Venue: MONA Inner Spaces – ul.Gwarna 7/100, 61-702 Poznań

Curator: Yipei LEE
Coordinator: Mat Bieczynski, Max Skorwider, Kornelia Drozdek
Exhibition Artists: Wu Chi-Tsung, Zhang En-Man, Huang Po-Chih, Ariel Kuo, Catalina Africa, Agus Suwage, Tromarama, Wong Lip Chin, Tuan Mami, Sutthirat Supaparinya

【Introduction】
The Project A Touch for the Now – Artyści z Tajwanu i Azji Południowej is a transmission platform, which would highlight the connection between Asia (Southeast Asia) and Europe (East Europe, fields that are intertwined inside of contemporary art theories and practices, witnessed by many artists and artworks in the global vision. And it will be an open communication between older imagination and newer path with contemporary art in Poland.

【緣起】
本展覽「A Touch for the Now – Artyści z Tajwanu i Azji Południowej 觸見今日 – 台灣與東南亞當代藝術聯展」作為一個資訊轉換站，將呈現亞洲藝術家們在當代藝術的交匯中，從亞洲（東南亞）出發，透過親身經歷或是親眼目睹，連接西方歐洲（東歐與其他地區）當代藝術視野的延伸。期許本展覽不僅打開台灣與亞洲東南亞地區跟東歐對話機會，瞭解亞洲今日的動向，更能從立足亞洲的角度放眼歐洲，建立平等與公開討論藝術的新路徑。