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,…