【2015原創基地節】 12/4～12/20，週日至週四10:00～18:00，週五至週六10:00～20:00 松山文創園區（臺北市光復南路133號，請由菸廠路進入園區） 02-2765-1388 【2015 Taipei Original Festival】 Dec. 4 – Dec. 20. Sunday to Thursday 10:00 – 18:00, Friday to Saturday 10:00 – 20:00 Songshan Cultural and Creative Park (No. 133, Guangfu S Rd, Xinyi District, Taipei City, 110. Please enter via Yanchang Rd.) Tel 02-2765-1388 將展出吳季璁 《水晶城市 – 004》。延續2013-14年英國巡迴個展時的嘗試，開放觀眾入內參與互動，可以隨意拆除和建設每個人想像中的城市。 Chi-Tsung Wu will participate in the exhibition with artwork Crystal City – 004. Continuing the attempt made during his solo shows in UK in 2013-14, people are encouraged to enter the artwork to destroy or to construct an imaginary city by re-placing the boxes. 『創作者•故事』，遇見不平凡的自己！ 一場「堅持，不放棄」的創作歷程，刻劃屬於你的人生故事！ 第四年的松山文創園區原創基地節，以『創作者•故事』為策展主題，期待透過策畫概念，以創作者們的創作歷程為文本，以「故事線」的敘事手法，將創作者如何以起初的夢想與感動，持守著創作的信念與執著，使他們在無數次的挫折裡，決定「堅持、不放棄」，終將開啟一條專屬自己的創作之路，而這些創作者們的故事，又何嘗不是你我生命的寫照？在本次主題展區中，將如小說章節般娓娓道來每個篇章邀請你一起走一趟創作者的旅程，遇見專屬於你我的人生故事！ 活動期間全園區將進行多項展覽及表演等活動，包含主題展區、戶外活動、創意市集、音樂表演及講座等，集結所有創作者的原創爆發力，致力為創作者發聲，一起說一場關於創作者們的動人故事。     參考網址：www.originalfestival.org

Wu Chi-Tsung participates in the exhibition with the work Landscape In The Mist 吳季璁作品煙林圖參展《TAIWAN VIDEA》臺灣前衛影像展   “TAIWAN VIDEA” The Taiwanese Avant-garde Video Exhibition Curator: Yunnia Yang Artists: Tsui Kuang-Yu, Pu Shuai-Cheng, Wu Tzu-An, Wang Ding-Yeh, Zhang Xu Zhan, Wang Deng-Yu, Rau Kao, Chang Huei-Ming, Chen I-Chun, Wu Chi-Tsung, Chiang Iuan-Hau, Christian Rizzo, Huang Zan-Lun, and Ho Wei-Ming 2015.11.05 21:30PM Eleonora Duse Theatre in Asolo, Italy Close to the internationally contemporary art city Venice, the mountain town Asolo in the Northern Italy holds Asolo Art Film Festival, the oldest art film festival in the world. Founded in 1973, this film festival is famed for its special feature of Art and Artists’ Biographies. The ancient Asolo inspired the Old Masters such as Giorgione, Andrea Palladio, Paolo Veronese, Antonio Canova with its Arcadian paysage. As Venice Biennale is always the spotlight of contemporary art, the annual Asolo Art Film Festival is the conflux of art video creativeness and interdisciplinary art energies, as well as the encouragements of young video artists and the achievements of international cultural exchanges. The 34th edition of Asolo Art Film Festival will take place from October 30 till November 7 in 2015. The focal theme will be “BRICS Art”, including the curatorial projects of art films and performances from Brazil, Russia, India, China, Brazil and South Africa. The Taiwanese curator Yunnia Yang is invited by the 34th Asolo Art Film Festival with her curatorial projects-《TAIWAN VIDEA》The Taiwanese Avant-Garde Video exhibition,《Imagining Crisis》The International Creative Video Exhibition. The former infuses the features of criticism, originality and diversity from the Taiwanese video art and experimental videos. These 13 videos have been awarded in the national and international film festivals, including video art, performance art, experimental videos, experimental animations, digital animations, MV animations, etc. The artists Tsui Kuang-Yu, Pu Shuai-Cheng, Wu Tzu-An, Wang Ding-Yeh, Zhang Xu Zhan, Wang Deng-Yu, Rau Kao, Chang Huei-Ming, Chen I-Chun, Wu Chi-Tsung, Chiang Iuan-Hau, Christian Rizzo, Huang Zan-Lun, and Ho Wei-Ming will subvert viewers’ given impressions on the Taiwanese culture and arts, crossing over the boundaries between fine art and popular culture. The issues of 《TAIWAN VIDEA》are only concerned about Taiwan, but…

  「島嶼製造，溢遊地景」 展期：2015/10/17-11/28 開幕：10/17 (六)   3:00pm  座談會：4:00~5:00pm 臻品藝術中心  台中市西區忠誠街35號   04-23233215   Manufactured Island．Drifting Landscape 17.10.2015-28.11.2015 Opening: 10/17 (六)   3:00pm  Artists Talk: 4:00~5:00pm Galerie Pierre Address: No. 35, Zhongcheng St, West District, Taichung City, 403 Tel: 04-23233215   策展人：陳宣誠 ＋ 蘇孟宗 展出藝術家：王柏仁、王曉華＋黃贊倫、林峰毅、任大賢、 吳季璁、吳雅筑、許旆誠、郭弘坤、陳明德、劉克峰、劉崇聖、鄭乘騏、戴翰泓 去年臻品藝術中心首度將週年大型策畫展，交由橫跨建築與藝術領域的劉克峰老師進行策畫，對於從事建築26年的關係企業龍寶建設和經營當代藝術25年的臻品藝術中心，能讓建築與藝術在展覽空間中接軌，是難得的一種展演形式。臻品藝術中心負責人也是龍寶建設董事長張麗莉表示「藝術融合在建築中已是密不可分的關係，現在很多建設公司紛紛成立藝術中心，或者，也都邀請專業團隊量身打造建築的公共藝術。但是，能讓建築的觀念或形式走入當代藝術的展演中，卻是比較少見的。」 今年延續建築與藝術展演，邀請建築師陳宣誠及蘇孟宗聯合為臻品策劃「島嶼製造，溢遊地景」的展覽，共邀請14位建築師與藝術家共同參與。展覽形式與媒材非常豐富，有平面作品、裝置、行動裝置、影像等，策展人將臻品空間分為13個展覽區域，讓參展者在分配的空間中進行創作思考。透過創作者自身的經驗和空間概念以及擅長的表演形式，在空間中製造出不同的視覺和互動效果。   藝術家吳季璁將展出全新創作《水晶城市007》以全新的機構裝置，呈現藝術家口中不可見的世界—由電子設備、程式、網絡、媒體和訊息所構築，宛如晶體成長，依著內在規律與邏輯組構而衍生、無盡蔓延擴張。透明又輕盈，不可見又毫無量感，燈光沿著半弧形軌道緩緩投影出虛擬城市的光影，那是我們精神的寓所，另一個無比真實的世界。    

時間: 2015/09/26 – 2015/11/15 地點: 台北市立美術館地下樓E展覽室 東歐最大規模的新媒體藝術節「波蘭媒體藝術雙年展」(WRO Media Art Biennale) 2013年以「創新價值」(Pioneering Values)國際徵件，策展人楊衍畇以「末日感性」主題回應創新非必然是前衛的領航者，反思科技對於人的生命意義與影響更為重要，主辦單位從1500多件作品中精選出吳季璁的「水晶城市002」與林珮淳的「夏娃克隆啟示錄」、「夏娃克隆肖像」於波蘭展出，吳季璁以「水晶城市002」榮獲波蘭媒體藝術雙年展首獎- 藝術雜誌評論與編輯大獎(WRO 2013 Award- Award of Critics and Editors of Art Magazines)。「末日感性：臺灣新媒體藝術」波蘭返國展將呈現「末日感性」策展意念的全貌，林珮淳、吳季璁、黃贊倫、黃致傑、陳依純、張徐展六位藝術家以新感性思維看待科技文明，處於消費主義與媒體社會影響的我們將會有更深刻的感受與省思。   Date: 2015/09/26 – 2015/11/15 Venue: Taipei Fine Art Museum Gallery E To celebrate the 50th anniversary of the birth of electronic art, the 15th WRO Media Art Biennale takes ‘Pioneering Values’ as the focal theme of the international competition. Among 1500 works in the open call, the Taiwanese artists Chi-Tsung Wu ’s ‘Crystal City 002’ and Pey-Chwen Lin’s ‘ The Revelation of Eve Clone Revelation’, ‘The Portrait of Eve Clone’ are selected with the curatorial concept ‘ The Apocalyptic Sensibility’ of the Taiwanese curator Yunnia Yang. She responds to ‘Pioneering Values’ that being innovative is not necessarily an avant-garde pioneer, it is more crucial to introspect the meanings and the influences that technology brings human beings. The Homecoming Exhibition from WRO Media Art Biennale 2013 ‘The Apocalyptic Sensibility: The New Media Art from Taiwan’ will give a complete picture of the curatorial philosophy ‘ The Apocalyptic Sensibility’ with the works of the six Taiwanese artists: Pey-Chwen Lin, Chi-Tsung Wu,  Zan-Lun Huang, Scottie Chih-Chieh Huang, I-Chun Chen, and Zhang Xu Zhan. They look into the technologized civilization with new sensibilities so that we will have deeper perceptions and contemplations about the consumerism and the media society which we live in.   資料來源: http://www.tfam.museum/

Jing Shen. The act of painting in contemporary China explores – from an innovative point of view – the emergence of themes and methods that are typical of classical Chinese art in the work of twenty artists from three different generations.  In Chinese culture, painting holds an exceptional position. One need look no further than the fact that, in China, writing is painting. And vice versa. For artists, critics, curators, collectors and the audience, painting is and has always been a privileged device to reflect on and understand the world and art. It is a means that still gives rise – with well-thought awareness – to broad and deeply meaningful reflections and outcomes. Its influence is such pervasive that it emerges and makes itself visible not only on canvas or paper, but also in installations, performances, sculptures, videos and digital works. Therefore, Jing Shen – The act of painting in contemporary China is not – or not only – an exhibition of paintings, but rather an exhibition on the relationship of painting with other media; on its fundamental role within a cultural universe. The curators’ view on the exhibition – the originality of its approach – entails going beyond the interpretation according to which Chinese contemporary art is a reflection of its Western counterpart – and origin. Jing Shen argues that classical Chinese art – not only painting, but also ceramics and woodblock printing, for instance – already contains the ingredients and nutrients of thoughts, attitudes and shapes that represent the richness of contemporary Chinese art. The dialogue with the West and with other worlds (let us not forget our marginality within the cultural geography of China) enriches this osmosis between the past and the present, this continuity – which is sometimes difficult – but never replaces it.‘Jing Shen’ means ‘awareness of the gesture’, but also ‘inner strength’. It refers to the moment preceding the pictorial act in classical painting – also of Buddhist or Taoist tradition. It is the climax of a preliminary work that occurs before facing the creation of an image. An idea and a practice that emphasise…

Interview with the artist Chi-Tsung Wu in the framework of the exhibition Phantom of Civilization.    2015年5月16日－9月6日 策展人｜鄭慧華、凱文・穆蘭 Kevin Muhlen 開幕｜2015.5.16（Sat） 展期｜2015.5.16 – 9.6 地點｜盧森堡卡西諾當代藝術中心（Casino Luxembourg — Forum d’art contemporain） 開幕演出｜王福瑞 ：超傳波 Hyper Transmission 盧森堡卡西諾當代藝術中心（Casino Luxembourg – Forum d’art contemporain）與台北立方計劃空間合作策劃的展覽〈文明幻魅〉（Phantom of Civilization），將於2015年5月16日於盧森堡開幕。本展邀請藝術家袁廣鳴、王福瑞和吳季璁，共同展出八件聲音及影像代表作品。聲音藝術家王福瑞亦將於開幕當天於卡西諾當代藝術中心進行現場聲音演出。 〈文明幻魅〉的策劃歷時超過兩年，自卡西諾當代藝術中心（Casino）總監凱文‧穆蘭文於2012年底拜訪台灣之後，便與立方空間展開雙向交流策展計劃，第一階段成果為由穆蘭所策展的〈渾沌（UNGROUND）〉：加斯特·布歇（Gast Bouschet）＋娜丁‧希爾伯（Nadine Hilbert）影像裝置展，該展於2014年9月已於立方空間展出，策展人、藝術家及聲音設計/藝術家史帝芬‧歐馬利（Stephen O’Mally）亦於開幕之際來台。 2015年〈文明幻魅〉展為此交流計劃的第二階段，將引介三位台灣傑出藝術家至盧森堡展出。本展主題〈文明幻魅〉，意圖通過三位藝術家近十年來的創作對當代文明進行深刻的經驗檢視與思索。長期以來，袁廣鳴、吳季璁和王福瑞各以不同的媒介而開創出獨特的藝術表達語彙，他們的作品看似各自獨立，卻可以對於我們所身處的文明世界及其現代性在不同層面引發交互對話。自1990年代起至今，他們的創造力仍然高度活躍，並累積了成熟的技術和內涵的深度；這一代的創作者在時代的氛圍與鼓勵下陸續開始實驗科技媒介，通過影像、聲響、機械裝置來探索現代人的新感官經驗，並以此帶領觀者思考現代的生活特質。〈文明幻魅〉展覽，將呈現其對現代文明──關於人工/自然、物質/心靈、現實/想像之間的哲思和辯證。 盧森堡卡西諾當代藝術中心與立方計劃空間雙方基於對世界藝術的持續前沿研究與共識，期冀通過此交流計劃深化文化間的相互瞭解與連繫。本交流計劃由盧森堡文化部、台灣文化部（駐法國臺灣文化中心），及台北市文化局贊助。 — 16.5 — 6.9.2015 PHANTOM OF CIVILIZATION ARTIST(S): FUJUI WANG, CHI-TSUNG WU, GOANG-MING YUAN CURATOR(S): AMY CHENG, KEVIN MUHLEN The exhibition Phantom of Civilization presents the work of three artists from Taiwan: Fujui Wang, Chi-Tsung Wu, Goang-Ming Yuan. Using different media such as installations, sound and video, they create landscapes that reflect different aspects of contemporary civilization – a civilization caught between tradition and technology, between ostensible beauty and hidden threats, between solitary contemplation and the hustle and bustle of big city life, between 0 and 1.   Fujui Wang (born 1969) uses sound to explore the world in which we live. Drawing on his experiments with noise, he samples environmental sounds – often sounds that are inaudible to the human ear – which he then materializes through his work. Capturing the electromagnetic field that surrounds us, his installation at Casino Luxembourg invites visitors to experience the density and vastness of the “charged” environment in which their daily lives unfold.     Chi-Tsung Wu (born 1981) creates installations that immerse visitors in dream-like landscapes and meditative environments steeped in Chinese culture and pictorial tradition, while simultaneously confronting them with panoramic views of cities in constant evolution. While his work alludes to his origins and cultural (and spiritual) heritage, it never disregards the reality of the contemporary world in which he lives. Wu’s gaze moves back and forth between the permanence of traditional Chinese landscapes (he studied Shan shui, a particular form of Chinese landscape painting) and the transience of constantly changing cities. Oscillating between tradition and technology, his works reflect the ambiguous nature of his own personality and of society as a whole.     Goang-Ming Yuan (born 1965) creates visually immersive video installations in which the reality of the images is counterbalanced by untypical camera movements that imbue his films with…

  [Date] 4/25 18：22 ～ 4/26 4：56 [Place] Reine Building [Participation fee] FREE Wire Ⅰ, Crystal City 002, Wu Chi-Tsung Installations on the streets   The structure of projector is similar to that of a slide projector.The greatest difference is that the imaging magnifier in front will constantly move back and forth.With the changing focal length,the image keeps disappearing and reappearing. The small wire netting of some 10 sq. cm. form a strong contrast with the image being projected. To me,it is like an allegory about media: the development of media constantly changes our way of seeing the world and our attitude towards reality.The projector modifies the image of the wire netting and creates a new space for the projection of meaning.           日期 4/25 18：22 ～ 4/26 4：56 地點 Reine Building 免費入場  展出吳季璁作品鐵絲網I以及水晶城市002  投影器的結構大致與幻燈機相同，最大的差別在於前方的成像放大鏡反覆的前後運動，在1­0公分的範圍內不斷改變焦距，而被投影物(即鐵絲網)位於焦點上而清晰的位置亦隨之改­變，好像不停的在來回搜尋、徘徊般，在焦距變化中，影像幻滅、消逝、被穿透，而又重生­、再現。