Perspective Video 001 錄影001 HDV 1440 x 1080i 00;06;07;11 2008
Perspective Photo 001 攝影 001 Lambda雷射輸出 DF超亮麗相紙 60 cm x 90 cm 2008Perspective Photo 002 攝影 002 Lambda雷射輸出 DF超亮麗相紙 60 cm x 90 cm 2008Perspective Photo 003 攝影 003 Lambda雷射輸出 DF超亮麗相紙 60 cm x 90 cm 2008Perspective Photo 004 攝影 004 Lambda雷射輸出 DF超亮麗相紙 60 cm x 90 cm 2008Perspective Photo 005 攝影 005 Lambda雷射輸出 DF超亮麗相紙 60 cm x 90 cm 2008
The central locus of my creative work has always been a discussion as to the real nature of images; how they are produced, perceived by viewers and the impact they have. However, the way in which this is executed has never been particularly disciplined or scientific, resembling something more akin to a game. Sometimes I experiment with just one part, or exchange some of the elements to see what changes that causes in the creation of images and whether there is anything of interest hidden inside.
A great deal of the depth of illusion created by pictures or images comes from the single point of perspective. In other words, all straight lines not parallel to the picture disappear into some point in the distance, almost as though space is being sucked into a bottomless hole. It was this view point that made me wonder what the viewable world would be like if there was no point of disappearance.
Young Taiwanese artist Wu Chi-Tsung is one of eight short-listed artists for the Artes Mundi Prize (Arts of the World) awarded by the National Museum, Cardiff, UK, the largest international prize awarded to an individual artist. This is the second year for the prestigious award and the first time for a Taiwanese artist to be nominated.
Wu, whose work is noteworthy for its exploration of imagery via video, photography and mechanical instal-lation, is currently exhibiting his art for the first time in the UK at the Artes Mundi exhibition that ends on May 7.
The eight selected artists — from India, Finland, South America, Europe and Taiwan — are regarded as having made significant contributions to the world’s understanding about the human condition. The prize will be awarded to one of the selected artists on March 31. words by Susan Kendzulak resource: Taipei Times
Artes Mundi 2 Selectors Deepak Ananth, independent curator and lecturer in Art History at the Ecole des Beaux-Arts in Caen, France Ivo Mesquita, Curator for Projeto Octógono, Pinacoteca do Estado, São Paulo, Brazil and Visting Professor, Center for Curatorial Studies, Bard College, New York, USA
Artes Mundi 2 Judges Paolo Colombo, Curator of MAXXI, Museo Nazionale delle Arti del XXI Secolo, Rome, Italy Thelma Golden, Deputy Director, Exhibitions and Programs, The Studio Museum, Harlem, USA Gerardo Mosquera, independent curator and art critic, based in Havana, Cuba Jenni Spencer-Davies, Curator, Glynn Vivian Art Gallery, Swansea, Wales
I truly believe that photographing is an instant., not for how fast the shutter can be, but the thin layer of images. No matter where the layer attaches to, films, paper or screens, it always looks like sort of slice.
All I try to say is, if spending a day on a photo, the day becomes an instant.
Drawing my face with a flashlight for a couple minutes, then shooting with B shutter in the darkroom.
The idea of a “blurred face ” appeals to me deeply. I tried to grab or sketch my face through the light and images in the passage of time and motion, but it was such a mission impossible.
Wu Chi-Tsung was invited to “World Stage Design 2013”, Royal Welsh College of Music and Drama, Cardiff, UK (2013) for the set design work of “Off the map.”
2013年 吳季璁所設計《身體輿圖》舞台入圍英國世界劇場設計展
Profoundly poetic and of hypnotic beauty, the performance Off the Map creates a space for contemplation in which viewers are invited to get away from their sense of time and reality for a while and get in touch with their inner self.
In a setting reminiscent of the immaterial light of dawn and every so often changing into sky, clouds, sea, or night, the female body is moving slowly, precisely and steadily. There is a constant whisper mapping perhaps her inner monologue – probably what motivates her body to go “off the map”. Her body: embodying all the history of Far-Eastern physicality and its characteristic profound spirituality; yet, a contemporary body in a mediated environment. A body vulnerable yet vigorous, incorporating all the fragility of the human in a fluid, ever-changing post-industrial world: a metaphor for the human condition today.
