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…

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……」。

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….

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。

    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…

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   St. Teresa of Avila, mystic and reformer of Catholic spirituality, lived and worked during the Siglo de Oro, a period marked by major historical events and profound transformations. At the age of 62, Teresa wrote what is considered her masterpiece, ‘The Inner Castle’, in which she refers to the seven inner dwellings, an itinerary of the soul’s personal and spiritual growth. Inspired by her intimate writings and her room in Avila ́s Carmelite monastery, the exhibition adapts and reinvents the ecstasies of Teresa, evoking and grounding them in the vaults of the Alte Münze. We are first welcomed to the underground space in the twin rooms, resonant with unseen voices and coloured light. Immersed in humidity, plants imprisoned and attached to the machines sing along with colourful geothermal material. With their heavy metal doors, brass locks and hidden iron mesh gates, diverse scenarios are protected in the three vaults, where the treasures of time passed were once stored. Scraps of sculpture and recycled tunics, masks and ambiguous material occupy the dark interstices and in- between spaces of these heavily fortified compartments. In the central vault is collected the volatile material of the landscape and its constituent elements, where the quality of lightness accumulates. Facing this triad of monumental safes and looking into the dark corridor, five niches preserve a sample of interior objects that refer to immobility. Guided by the green smell of lubricating oils, we then enter the machinery room with its complex interweaving of old pipes running along the wall and the ceiling, which become the canvas for a light installation. In this place,…