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REPORTED BY DFUN Magazine: Poems about shadow
《DFUN》雜誌專訪：堆疊轉換，一首影的空間詩

2020-08-26 author

Poems about shadow | Interview with artist Wu Chi-Tsung Recently, Wu Chi-Tsung was interview by the DFUN magazine, a magazine featuring design, architecture, fashion and art based in Taiwan. The report features Wu Chi-Tsung’s unique aesthetic in his works featuring light and shadow, and how the artist has been using them to transform the exhibition space into a poetic world. The report was published on the 2020 Spring issue of the magazine. The report introduces Wu Chi-Tsung’s exploration of working on various media as an international artist traveling among his studios in Taipei, Berlin and Saigon. Next, Wu Chi-Tsung shares his experience in the installation Edge of Light that he cooperated with Chen Shu-Chiang. Scaled 30 meters long and 10 meters wide, it took great effort to have the work installed in an abandoned train garage. By doing this, the artists have created an immersive experience for the audience allowing them to fully appreciate the magic of light and shadows. In the end, speaking of the relationship of light and shadow, Wu Chi-Tsung states that ‘light is the fundamental fact for us to perceive the world, and shadow metaphorizes or visualizes the substantiality of materials’. 堆疊轉換一首影的空間詩｜藝術家吳季璁 TEXT=Zoe Kang PHOTO=吳季璁工作室前言觀看他的作品，彷彿穿越山水、沈浸於一首首由光影譜寫而成的詩當中；平靜內斂，卻又耐人尋味。許多看似當代的手法之下，只要在細細探究過後，便會發覺其中蘊藏的東西方傳統美學能量；他便是如此擅長以帶有新意的藝術形式，重新為我們展現其獨樹一幟的新美學風格。「光是我們能看到世界的基礎，影則是體現、隱喻物質和現象的存在。」－吳季璁畢業於國立台北藝術大學美術系之後，到世界各地參與藝術駐村計畫的吳季璁，向來擅長發掘平凡物件的可能性，並從日常材料及生活現象出發進行創作；如今，他的作品涵蓋攝影、錄像、裝置、繪畫與舞台設計，持續以多種媒材讓人們得以從不同角度參與新媒體藝術的多變性。對他而言，不預設媒材的使用類別，更能夠自由廣泛地跨越標籤進行實驗，讓每一件作品自然地發展到合適它的藝術形式，而這部分從他在創作媒材的使用脈絡中，便可略知一二。從小接受繪畫訓練的吳季璁，繪畫成為他早期最重要的藝術思考方式，後來因擔心技術性過強的訓練成為創作包袱，便改以「錄像」作為創作的主要媒介，持續為自身的藝術注入不同的能量與新意。「繪畫、錄像、接著是（光影）裝置，再到攝影，可以說是從平面性的媒材，慢慢嘗試到動態的影像、時間性（Time-based）的媒體；當回到處理攝影的時候，反而讓我銜接回繪畫的思考方式，有點像是從新媒體的角度重新與繪畫、平面結合。」吳季璁補充說道。多元媒材創作不設限吳季璁除了透過不同媒材的使用經驗，展開自身的藝術創作思維之外，常駐於不同國家城市也是讓他持續獲得靈感的方式之一。目前，他將臺北視為工作的主要製作基地，但他在德國柏林、越南胡志明市也都設有工作室；「柏林在過去二十年來一直是世界各地藝術家最聚集與活躍的地方，能夠接觸到各種文化藝術的養分，並且擁有相對合理低廉的物價，柏林工作室對我來說像是個Lab（實驗室），令我能夠專注去思考和嘗試新的東西。越南則是我目前最感興趣的新興藝術世界，我很期待觀察一個新的藝術社群如何慢慢成形。」融合東西方傳統與現當代藝術的形式，再轉換出充滿詩意的想像空間，同樣也是吳季璁的藝術創作範疇。在2006年完成的裝置作品《灰塵》上，便是以東方特有的空間觀和宇宙觀，引領觀者以超越身體侷限的視角去理解、想像外在世界。他於螢幕前方架設一台攝影機，讓其正對投影機鏡頭的光源，並對焦在空間中央，拍攝訊號傳回至投影機中時，便形成一個光線和電子訊號的現場即時循環。當投影機前的一腳架遮斷射入攝影機的光線時，在適當的位置和角度下，空間中的灰塵粒子將會反射投影機的光線；如同月亮反射太陽，以此帶領著觀者將視角放到灰塵的世界，看到另外一層宇宙。沈浸式的光影環境體驗空間在光影的堆疊之下，擁有了不同以往的生命力；同時，參與作品的方式也從觀看，而開始擴展至身體經驗。在與藝術家陳淑強一起合作的《極光邊境》作品中，吳季璁搭建了一面約30米長、10米寬的螢幕，在一個比籃球場還要大的廢棄火車維修廠房，使用維修廠房既有的物件與設備進行搭設，營造一處獨特的沈浸式光影環境體驗。此次作品最大的挑戰是，場內每個物件都非常巨大、非常重，每次搬動一個東西幾乎都需要十幾個人合力，或是動用重型器械，光是火車馬達的線圈就超過一人高，重量也超過一噸；後來使用堆高機時，反而因為承載過重而翹起來，最後只好十幾個人坐在堆高機上壓住機身，才能搬動線圈。儘管過程艱辛，但對吳季璁而言依然是滿載而歸的體驗，「這樣的尺度感可以把日常熟悉的物件放大到遠大於身體的尺度，令光影本身變成沈浸式的環境，不僅對布展有很大挑戰，在想像上也有很強的刺激。」影賦予的光之意義儘管經常能在吳季璁的作品當中看見光與影的微妙關係、感受光影變幻所帶來的感官衝擊，然而，他卻認為自身的創作並不侷限於光影，「影像」才是他始終真正感興趣的部分。「藉由影像能最容易地去談論觀看這件事，並記錄下觀看的方式、視角；而在處理影像及思考觀看本質的過程中，很直接地會處理到光，這是一個自然的過程。」最後，當問到自身是如何看待光影時，他更以一段話精闢說道，「『光』與『影』的關係有點像『虛』與『實』的差異；光是虛的，而影賦予了它意義、符號和想像的空間。」

Time and Light in Wu Chi-Tsung’s Art
吳季璁作品中的「時」與「光」

2020-08-05 author

Recently, Wu Chi-Tsung was invited by Sean Kelly Gallery to shoot a short video named In the Studio. In this abstract yet frank video, Wu Chi-Tsung presents a poetic dance with one of his favorite materials – light. Employing long-exposures, he is visualising the battles and joys in search of inspiration as he follows the guidance of a beam of light in his once pitch-dark studio. Let there be light. For Wu Chi-Tsung, light is the catalyst in his art, and time devoted in his darkroom allows beauty to gently appear. British video artist David Hall coined the term ‘time-based art’ in 1972, which refers to the art forms that require a certain amount of time to be fully revealed. While the concept was devised with traditional art forms such as paintings and sculptures in mind, and also emphasized the duration of time and the scale in space, Wu Chi-Tsung tends to interpret it in a reversed way. He deliberately uses time as a tool to blur the boundary between new media art and traditional art and to redefine moving and still images. The necessity of long exposure is shared in most of Wu Chi-Tsung’s still works, such as the Cyano-Collage Series, the Wrinkled Texture Series, and the Long Time Exposed Landscape. Therefore, these works all contain a considerable scale of time and momentum. They have become a living fossil in which a complete time axis is fused together. In Chinese, the phrase that represents a long period of time is Shiguang (時光), which is a combination of the words for Time (時) and Light (光). The considerable time that Wu Chi-Tsung spends battling with, adapting to, and coping with time and light is a key feature of his works. He tends to focus on simple techniques and daily objects, still he devotes himself to research time and light and applying his learnings to the original material and turning it into something completely different from, and even opposite to, commonplace perceptions. As one of the furthest-developed works so far, the Cyano-Collage Series demands a large amount of ‘exposed paper’ for paper-reading and collage. As hours of sunlight reacts with the cyanotype chemistry on the Xuan paper, the ordinary wrinkles…

Wu Chi-Tsung presents a short video as was invited by Sean Kelly Gallery
應尚凱利畫廊之邀，吳季璁呈現短片《在工作室》

2020-05-28 author

Wu Chi-Tsung shares his daily musings about working and staying motivated during this difficult time from his studio in Taipei, Taiwan as he participates in the #inthestudio program launched by @seankellyny. In this abstract yet frank video, Wu Chi-Tsung presents a poetic duet dance with one of his favorite material, the light. Together they’ve challenged the boundary between moving and static images. Once again, Chi-Tsung explores how joyful and imaginative the relationship between an artist and his studio could be. 受尚凱利畫廊發起的#inthestudio項目之邀，吳季璁通過影像與觀眾分享了他日常工作的靈感源泉，以及他在這段特殊時期在台北工作室的生活。這段抽象而坦誠的影像堪稱吳季璁與光共同呈現的雙人舞，而光一直是他在創作中最喜愛的媒材之一。「他們」共同挑戰了動態影像與靜態圖像之間的界限。影片中，吳季璁將工作室稱為「所有故事的起源」，並分享了他在創作中從迷茫無措到不斷嘗試再至捕獲靈感的過程。藉此，吳季璁又一次思考了藝術家及其工作室之間建立愉悅、動態、相互激發的關係的可能性。

Reported by Artco: HOW ARTISTS ARE DEALING WITH THE PANDEMIC
《今藝術》報道：藝術家的防疫策略

2020-05-15 author

HOW ARTISTS ARE DEALING WITH THE PANDEMIC: INTERVIEWS WITH WU CHI-TSUNG AND HSI SHIH-PIN AT THEIR STUDIOS Recently, Wu Chi-Tsung was interviewed by Artco on ‘how artists are dealing with the pandemic’. He shares that the studio is taking this opportunity to optimize the administrative and production management, as well as start reserving materials and equipment in advance in case there will be a further lockdown in Taiwan. Also, Wu Chi-Tsung is grateful that his studio has been in a healthy financial status thanks to the help and suggestions of their accountant, which ensured the normal operation studio during the special time. Besides, Wu Chi-Tsung also stressed the importance of health to an artist. He has been working out in his studio during the closure of public gyms. 藝術家的防疫策略——吳季璁與席時斌工作室專訪吳季璁工作室三樓工作現場除了全面戴口罩，同時保持社交距離。全球化以來世界沒有任何一個時刻如同今日般隔絕。世界各國幾乎都處於封閉邊界的情況，商業貿易陷入停頓，各個企業在力圖生存的同時，也為了生命的存續而採取作業分流與居家工作的模式，全方位的影響令每個人都無法置身事外。視覺藝術產業面對的，除了全球各博覽會、拍賣會紛紛取消與延遲，美術館、基金會、畫廊等相關營利非營利場所的展覽也紛紛無限期延後。在交易趨緩甚或停滯，藝術家複合收入減少（比如授課、演講等），英國藝術家馬修．伯羅斯（Matthew Burrows）在Instagram發起了自救計畫，邀請藝術家展售單件售價在英鎊200元以內的作品，標誌計劃標籤#artistsupportpledge（藝術家支持誓言），並承諾成功售出1,000英鎊作品後，會花200英鎊購買其它藝術家的作品。伯羅斯的想法是希望藝術家以互助的方式，同心協力共度難關。並認為作品要夠便宜，才能「以慷慨創造慷慨」。整個活動也採用自主、開放性的參與，並在契約精神下約束藝術家實踐「誓言」。受伯羅斯啟發，台灣藝術家王建揚則在臉書平台開啟台灣版，以「藝起加油」為題響應。活動在短時間內聚集了大量的作品與人潮，堪為台灣藝術市場少見的現象。然而或許也正因為中心化的操作，讓質疑聲浪也隨之排山倒海而來。無論如何，「疫情之下藝術家如何自處？」，成為藝術產業關注的話題。為此，我們特別採訪了擁有正式工作室，近期在國際與亞洲穩定成長的藝術家吳季璁與席時斌，邀請他們與我們分享各自工作室在疫情下的因應之道。空閒是種救贖——那些想做未做的從2017年開始成立工作室以來，吳季璁經歷了不少波折。期間曾因廠商施工不良，導致工作室蒙受巨大損失，不得不輾轉搬遷，直到第三次才搬到今日位於大龍峒的空間。然而這幾年，吳季璁無論在美術館或博覽會的展覽都很持續固定安排，有時反而因為供不應求而呈現不斷在趕製作品的狀態。工作室的壓力一直是「如何解決眼前的緊急項目」。也因此，疫情的突然來臨，雖然導致上半年的展覽全部取消，下半年的展覽則還狀態未明，但對工作室而言，反而多了喘息的機會，得以好好整理過往一直沒時間處理的事務。想做還沒做的從硬體上的工作區域重整，將使用上不順手、空間利用不理想的地方重新設計，到軟體上的資料庫重整、備份與作品製作流程優化。從製作過程、作品記錄、展覽紀錄……各樣形式的所有檔案到底要如何存檔、歸檔？可以最有效的搜尋、提取？吳季璁與工作室夥伴花了一個多月重新架構、整理，對吳季璁而言，「這是超級重要的一步」，可以讓本來就運作還不錯的工作室進一步系統最佳化。而吳季璁工作室經理朱莉安也表示，疫情對工作室的影響就目前看來其實正面多過負面。除了讓工作室得以好好重新整頓規劃，過去幾年吳季璁其實都忙於眼前的展覽計畫，而沒有充裕的時間沉潛新的作品。「這對藝術家不大健康。」因此原就計畫在今年減少展覽計畫的工作室，反而獲得了一段完整的休息時間。同樣獲得喘息的，還有本來預計在六月份推出個展的席時斌。「其實畫廊本來很緊張我的進度，我自己也很緊張，但現在就是無限推延。」約莫兩年辦一次個展，席時斌一直有很穩定的市場支持。因此對席時斌而言，每次辦展對自己或對畫廊而言都很重要。如果此刻辦展風險太大，那麼稍微停頓一下，專心於創作，反而是比較理想的狀態。由於作品特性，席時斌的展覽一旦進入製作期就是金錢快速燃燒的時間，「所以現在我會把思考時間拉長，主要放在紙上、模型作業」。多餘的時間就用來研究新項目，比如立體書的結構等，探索如何將其與作品結合，開啟下一個可能的創作階段。體質好，衝擊小藝術家工作室就是一個中小企業疫情衝擊下，人們第一個想到的便是金流的衝擊，這也是文化部紓困方案緊急在第一季便推出的原因。不過吳季璁與席時斌工作室對此卻都顯得較不擔憂，甚至目前最主要的創作工作，都還是消化去年的訂購與委託製作。另一方面，念過兩年應用數學的席時斌其實一直很喜歡會計的工作，也很習慣以整體社會的狀態來思考藝術與經濟系統的連動，因此工作室的財務、金流也一直控制得宜。「我最大的損失衝擊反而是我的投資。」對席時斌而言，藝術產業、藝術家本來就不是每個月擁有固定收入的族群，他們的收入從來就是複合型以及來自作品販售。然而，作品沒被交易並不影響其作為資產的存在，因此若真要論「損失」，其實來自無法提列虧損，業績下滑、沒賺到的部分。因為習慣用企業的角度思考工作室的營運，面對疫情衝擊，席時斌的態度也傾向以商業運作的模式來因應。比如延後作品實際製作的時間，減少金流壓力，一如部分餐廳、店家的預防性歇業；工作室原計畫補充的人力則先遇缺不補，以減少開支，維持固定成本在自己與全職助理2個人力與工作室租金等基本開銷。將藝術家放在「生產者」的角色，席時斌認為：「藝術產業真正受影響最大的可能不是藝術家，而是裝裱、沖洗、運輸等周邊產業。」當然他也認為，如果疫情繼續，六、七月開始藝術家們應該要注意違約率與違約金的問題，風險大的案子也應盡量保守以對。相較於席時斌個人對會計觀念的嫻熟，吳季璁工作室則有賴盡責的工作室經理與合作的會計人員。吳季璁說工作室很幸運地在成立之初就被教導正確的金流觀念，並從其獲得許多經營管理的建議，「事實上，最早發現我們問題的常常是他。」比如工作室曾經花費過多金錢在材料實驗，但如果前期的研究與樣品足夠就能避免不必要的浪費。年度會計會議便是逐項檢視哪裡提升、降低，獲利比例的差異等，同時確保工作室擁有足夠的儲備金。朱莉安也表示，會計帶給大家最大的觀念是：不會因為今天製作的是單一件的藝術品而改變原則，它的架構依舊是企業的經營與運作，也因此遇到危機時不會那麼快產生影響。吳季璁更認為：「我們常常把創作者放到太高的位置，以為藝術行政只是做雜務，這是不對的。營運管理最核心的部分與知識跟藝術創作完全不一樣，這是創作人很需要的部分，但也是他們最大的盲點。可是藝術圈卻常常不重視，甚至搞錯重點。」因此吳季璁也希望能以自己的經驗建立一個足以分享給其他藝術工作者的模式，減少不必要的冤枉路。財務槓桿低、預備金充足、維持組織在一個足夠靈活但不過度龐大的規模，成為吳季璁與席時斌工作室在疫情衝擊下穩定的基礎。一如一場瘟疫讓我們看見各國行政系統的弱點，或許疫情也只是讓我們可以清晰檢視藝術家各自藝術體質、經濟體質的引爆點而已。配合政府防疫對策，吳季璁工作室準備了充足的防疫物品。死亡才是藝術家事業最大的風險雖然身邊好友常取笑之所以愛運動的吳季璁是因為「怕死」，但藝術家的生命確實才是藝術家生涯志業中最有價值的資產。面對此次疫情，席時斌不斷在觀察、思考企業對「風險控管」一事的想法與作為，不禁表示：我們常常計算很多風險，但我們都忽略了藝術家有一個其它企業沒有的特點，就是一旦藝術家死亡、無法再製作新作品，就只有「剩餘價值」。因此藝術家其實是個高風險職業，而最大的風險就在藝術家本身，所以避險要素其實是：避險自己。尤其成熟的藝術家大部分都在35、40歲以上，若同時考量罹病的死亡機率等，真的「不要出來辦個展覽就過世了」。也因此，席時斌認為毋須過度在意展覽被取消，某方面而言，主動取消都可以說是一種風險控制。也因為思考到藝術家消亡所衍生出的後續財產處理等問題，席時斌表示近期已約好律師，想把遺囑的訂定、物權的後續使用等，趁機理解清楚，不要造成繼承者的負擔，或自己還要擔心他們是否會被騙等。因為脊椎曾經受過傷，吳季璁一直保有運動的習慣，不管是慢跑、重訓、體操等，疫情影響下，因為避免再進出人群密集的健身房，也在工作室兼住家的空間裡安裝了單槓，讓自己維持運動的狀態。除了非必要的會議跟聚會都取消，進出工作室的人員也都盡量單純化並予以管制，防疫措施完全依據勞動部、衛福部公布的中小企業防疫準則施行，彈性上班時段、每日清潔消毒環境……，並著手規劃一旦疫情惡化，如何分裝各自的工作，採行遠端工作的模式。隨著可以回去柏林的時間變少，吳季璁也將位於柏林的公寓退租，僅留下工作室，並將節省下來的費用拿來聘雇另一位兼職的助理。「口罩國家隊給了我很大的啟發。」因為過往工作室常常耗費許多時間處理大型博覽會期間龐大的工作量與挑戰，但這些廠商卻能迅速投入這麼多人力與資源應對危機，中衛的「七三法則」令吳季璁重新反省工作室的運作，並希望藉由每週工作三天、拉高單位時薪，來提高彼此工作的效率與品質，同時提升應對突發狀況的儲備彈性。對於未來，很久沒在台灣待那麼久的時間，吳季璁開始有一些對作品的新想法，預計接下來將逐步著手嘗試。席時斌也認為經濟上自己並不擔心，未來還是會把能量保留在個展與中、大型的製作上。也因為過去的節奏太快速，「我是否在精神面、深度上可以做更多的探索？」因此想把投資放在開發自己與新作品上。思考自己的定位，審慎評估各自的優勢與劣勢。時間，或許才是成熟藝術家對自己最好的紓困。文/ 朱貽安載於《典藏．今藝術&投資》雜誌2020年5月刊

Insider: A Virtual Visit to Wu Chi-Tsung’s Taipei Studio
第一現場:在線參訪吳季璁台北工作室

2020-05-06 author

On May 4th, Wu Chi-Tsung was invited by Taipei Dangdai and held a virtual tour that allows audiences to have a close look at his Taipei studio. The live stream program is part of the ‘Taipei Connections’, a digital platform launched by Taipei Dangdai in partnership with Ocula aiming to nurture ongoing connections between the Taiwanese arts community and galleries at this time of limited travel and in-person meetings. Bringing together a diverse mix of galleries from Taipei Dangdai’s latest edition, the inaugural Taipei Connections will showcase a series of richly contextualized artworks for the public to explore. During the 55-minutes-long live stream, Wu Chi-Tsung and Taipei Dangdai Co-Directer Robin Peckham showed people around his studio and talked about Wu Chi-Tsung’s internationally-minded prospects of the studio. 直播回顧 5月4日，吳季璁受台北當代的邀請，通過直播帶領觀眾在線參訪台北工作室。本次直播是台北當代與線上藝術平台Ocula合作呈現的新數位計劃「Taipei Connections」的一部分。這一線上平台不僅為畫廊提供機會與區域內乃至全球藏家進行互動,更呼應台北當代構建開放性平台的使命以突破傳統分享藝術及創意的藝博會模式。台北當代聯合總監岳鴻飛(Robin Peckham)表示:「我們與 Ocula 合作開展的線上項目希望能為畫廊在台北藝術周之外的時間也能繼續提供平台,為其加深聯結和重新聯結台灣的收藏家群體。儘管親身會面所帶來的效果無可替代,但我們想藉由這個時刻再次思考如何作為橋樑去聯結畫廊和藏家,共度時艱。」

Wu Chi-Tsung Opens a New Studio in Saigon, Vietnam
吳季璁新工作室於越南西貢成立

2020-05-01 author

Recently, Wu Chi-Tsung has set up a new studio in collaboration with Vietnamese artist Cam Xanh in Saigon, Vietnam as a significant step of his internationally-minded exploration. Speaking of his third studio after Taipei and Berlin, Wu Chi-Tsung says, ‘I’m curious about the early stage of an art world, such as in Vietnam, everything happens and develops rapidly. I am grateful to witness and be part of this great historical moment as a member of this intimate and energetic community.’ Chi-Tsung met Cam Xanh in Korea in 2016 on the Asia Young 36 exhibition and was later invited by her for an artist residency in MoT+++ which she co-founded. During the residency, the space was presented as superimposition and coincidence of the two sites – Wu Chi-Tsung’s studio and a public art space – that opens to the public and enable the viewers to see the working progress. This year, inspired by this experience, Wu Chi-Tsung’s Taipei Studio managed a residency program for Italian artist Saverio Tonoli and conducted their collaborated event. Lately, Saverio Toloni is now resides at A. Farm Saigon, an international artist-in-residency space established by Cam Xanh and run by MoT+++ and San Art teams. Shooting scene of the Still Life Series in 2019《小品系列》2019年拍攝現場 Besides, Wu Chi-Tsung relates to the context of postcolonial criticism and self-reflection towards its cultural identity in Vietnamese art. Last year, Wu Chi-Tsung shot new Still Life Series in Vietnam inspired by local culture and nature. Among them, the Still Life 012 — Buttercup tree was collected by the Nguyen Art Foundation. Wu Chi-Tsung’s Wire V is now on view in the group exhibition Password 0~1 at the studio. Due to the restrictions during the pandemic, please contact [email protected] for visiting details and to make appointments. Moreover, please visit the online +1 trash to see more MoT+++ collections. The Cyano-collage 50 created during Wu Chi-Tsung’s residency is now collected by Post Vidai吳季璁於駐村期間創作的《氰山集之五十》已於Post Vidai典藏近日，吳季璁與越南藝術家Cam Xanh合作的新工作室落腳越南西貢，繼台北與柏林之後，進一步拓展了其藝術世界的國際版圖。吳季璁表示，「我一直很感興趣藝術世界究竟如何發展成型，而越南正處於這樣快速成長的階段，藝術社群緊密而且充滿活力，很高興有機會參與其中，見證歷史。」吳季璁與Cam Xanh於2016年共同參加韓國Asia Young 36展覽時相識。2018年，在Cam Xanh的邀請下，吳季璁在其參與創辦的MoT+++空間中進行了為期三個月的駐村，並同時向公眾開放展示。這種將工作環境與展覽空間的並置的做法挑戰了「白盒子」的傳統語境，令觀眾能夠近身了解藝術家本人及其工作過程，並加強了藝術家與觀眾之間的交流。受到這次難忘經歷的啟發，今年，吳季璁在台北工作室邀請意大利藝術家薩維里奧・托諾利進行駐地創作，並共同合作呈現展覽《易時易地》。其後，薩維里奧前往越南A. Farm繼續其亞洲駐村計畫。A. Farm亦是Cam Xanh主持的藝術空間，並由MoT+++與San Art團隊經營。 Wu Chi-Tsung and Cam Xanh with MoT+++ team at Wu Chi-Tsung studio in Taipei吳季璁、Cam Xanh與其他友人於台北工作室此外，越南藝術中的後殖民批判與關於文化主體的思考令吳季璁深有共鳴。去年，他受當地文化與自然的啟發，在此拍攝了《小品系列》的新作，其中，《小品之十二彎子木》於越南獨立藝術收藏機構Nguyen Foundation典藏。吳季璁作品《鐵絲網五》現於越南工作室群展《Password 0~1》中展出。由於疫情發展持續變化，參觀請聯絡[email protected] 以獲取相關資訊並進行預約，亦可至+1 Trash瀏覽MoT+++的更多作品。

TWO OF WORKS OF THE ‘STILL LIFE SERIES’ WERE COLLECTED BY THE Nguyen Art Foundation
《小品》系列作品於越南Nguyen Art Foundation典藏

2020-04-30 author

Wu Chi-Tsung’s video installation works Still Life 007 – Daffodil and Still Life 012 – Buttercup Tree were recently collected by the Nguyen Art Foundation. Established in 2018, the Nguyen Art Foundation was born from a desire to better serve the artistic community of Vietnam. It was founded by Quynh Nguyen, under the advisory of Cam Xanh (pseudonym of Thanh Tran Ha), artist and founder of MoT+++. Since its conception, the foundation has worked to build an alternative infrastructure for the arts in Vietnam, and construct the base for what it hopes will form Vietnam’s first museum of contemporary art. The foundation aims to expand the possibilities for contemporary art in Vietnam by facilitating global exchange that enriches not only individual practices, but engages the overall growth of the Vietnamese art scene. The Still Life 012 – Buttercup Tree was shot during Wu Chi-Tsung’s residency at MoT+++ in 2019, and was inspired by the local culture and nature of Vietnam. 吳季璁錄影裝置作品《小品之七水仙》《小品之十二彎子木》日前被越南Nguyen Art Foundation典藏。 Nguyen Art Foundation成立於2018年，由MoT +++藝術家兼創始人Cam Xanh（Thanh Tran Ha的藝名）協助創立。自成立以來，基金會一直致力提供越南當代藝術創作的替代空間，並希望未來在此基礎上建立越南第一座當代藝術博物館。本次被典藏的兩件作品中，《小品之十二彎子木》是吳季璁2019年在MoT+++駐村期間完成，記錄了藝術家對於越南自然文化的觀察與啟發。

Wu Chi-Tsung x Saverio Tonoli: We both found our inspirations from the other side of the world
吳季璁與薩維里奧・托諾利：我們都從世界的另一邊汲取靈感

2020-03-12 author

Wu Chi-Tsung x Saverio Tonoli We both found our inspirations from the other side of the world Installation view of “Beyond the Now, Away from Here” in Wu Chi-Tsung Studio T= Saverio Tonoli W = Wu Chi-Tsung How did you know each other? T: We met in an opening studio event, 2017 in Künstlerhaus Bethanien, Berlin, Germany. Walking through the studios, Chi-Tsung’s work caught my eye immediately as I was looking for someone who also uses Xuan paper like I do. Paper became our main topic for the rest of the night. The rest came spontaneously: we kept in touch, visited each other’s studio and did a project in Berlin together. We already had the idea of this residency program since 2018, and finally managed to execute it now. W: From the very beginning, we were talking about Xuan paper. Every time I visit Saverio, I always bring a different kind of Xuan paper for him to test the material, and eventually I came up with the idea to invite him to Taiwan so that he could have a period of time to research more about Xuan paper. I learned that the title of this exhibition ‘Beyond the Now, Away from Here’ comes up from your discussion. How would you two interpret it? T: Both of us revisit traditional techniques in our art practice. Other than works on paper, I developed a variation of the Fresco – mural painting, making it more simple to paint and install and at the same time to enhance its freedom of movement. This gave us the input to to transform the studio space through our artworks and question the “here and now”, working on time and space. W: We hope to present a detached experience to the audiences that merge the culture of Europe and Asia, and art practices of classic and contemporary. Our idea is to combine all the things to have a new dialogue. (To Chi-Tsung) Is this the first time you open your studio to the public for an exhibition? W: We would like to take the opportunity of the Taipei Dangdai Art Fair…

Group exhibition 3E14 in Galerie du Monde, Hong Kong
世界畫廊群展《3E14》於香港開幕

2020-03-10 author

Cyano-Collage 077 is on display in Galerie du Monde, Hong Kong Date Mar 5 – Apr 18, 2020Artists Fong Chung-Ray, Michael Müller, Wesley Tongson, Juan Uslé, Wang Gongyi, Wu Chi-Tsung, Stella ZhangArt Basel Online Viewing Room: Mar 18 – 25, 2020，click here to view Venue 108 Ruttonjee Centre, 11 Duddell Street, Central, Hong Kong The exhibition showcases a diverse group of seven abstract artists, in exploration of the artistic dialogue between the East and the West in the postwar era and the growing acuteness of cross-cultural exchange. Covering multiple generations from the 1960s to the present, Galerie du Monde presents the exchange between Euro-American abstraction and East Asian art and philosophy, featuring the pioneer ink artist from Taiwan’s Fifth Moon Group – Fong Chung-Ray, lyrical abstract painters – Juan Uslé from Spain and Wang Gongyi from China; conceptual artists – Michael Müller from Germany and Stella Zhang from China; and young Taiwanese multimedia artist – Wu Chi-Tsung. This time, Chi-Tsung’s most recent exploration of the Cyano-Collage Series, the Cyano-Collage 77, will be debuted, in which he challenged himself again to render the composition in round. Embracing the aesthetics of both traditional Chinese still life painting and the Tondo (circular art) that peaked in 15th Century Renaissance Italy, it adventurously broadened the possibilities of the series with its deft interpretation of the East-West nexus. Besides, the Cyano-Collage 77 represented by Galerie du Monde is also on view at Art Basel Hong Kong 2020 Online Viewing Room till Mar 25. 日期 2020年3月5日至4月18日參展藝術家馮鐘睿、邁克爾・穆勒、唐家偉、胡安・烏斯雷、王公懿、吳季璁、張爽巴塞爾藝術展網上展廳： 2020年3月18日至25日，點擊進入地點香港中環都爹利街11號律敦治中心108號展覽將呈現七位抽象藝術家的作品，探索東西方戰後藝術的交流、融合與發展。展出藝術家風格各異，活躍時期從二十世紀六十年代至今不等，其中包括台灣五月畫會先鋒水墨藝術家馮鐘睿，兩位抒情抽象派畫家——西班牙藝術家胡安・烏斯雷與中國藝術家王公懿；兩位概念藝術家——來自德國的邁克爾・穆勒和來自中國的張爽；以及台灣年輕的新媒體藝術家吳季璁等。此次，吳季璁新作《氰山集之七十七》將首次展出。圓形構圖挑戰了藝術家已有的創作語言，進而將東方美學與15世紀意大利文藝復興時期盛行一時的「Tondo」（圓形畫）相結合，為《氰山集系列》在消弭時代限制、融合東西美學上的探索拓展了新的可能性。同時，《氰山集之七十七》由世界畫廊代理，於巴塞爾藝術展網上展廳展出，為各地觀眾提供身臨其境的觀看體驗，線上展覽從即日起開放至3月25日。

Wu Chi-Tsung participates in the Taipei Dangdai Art Fair 2020
吳季璁參展台北當代藝術博覽會

2020-01-10 author

Booth of Sean Kelly Gallery in Taipei Dangdai, Booth of Galerie du Monde in Taipei Dangdai, VIP Preview: Jan 16, 2 pm – 5 pm Public Days: Jan 17 – 19 Venue: Taipei Nangang Exhibition Center, Hall 1 (4 Floor) Sean Kelly Gallery｜Booth D05 Galerie du Monde｜Booth A04 Wu Chi-Tsung’s work will be presented in Taipei Dangdai Art Fair 2020 by Sean Kelly Gallery and Galerie du Monde. During this time, Sean Kelly Gallery will present a debut of a Still Life Series and the Cyano-Collage Series, and Galerie du Monde will show the latest work of the Wrinkled Texture Series and the Cyano-Collage Series. 貴賓預展：1.16 下午2點至5點公眾開放： 1.17 － 1.19 地點：台北南港展覽館，一館4樓尚凱利藝廊｜D05展位世界畫廊｜A04展位台北當代藝術博覽會期間，吳季璁作品將由尚凱利藝廊與世界畫廊代理展出。尚凱利畫廊將呈現《小品系列》新作與《氰山集系列》，而世界畫廊將攜吳季璁《皴法習作系列》新作與《氰山集系列》亮相。

Wu Chi-Tsung studio Presents an Exhibition ‘Beyond the Now, Away from Here’ for resident artist Saverio Tonoli
薩維里奧・托諾利與吳季璁合作展覽《易時易地》

2020-01-02 author

Work of Saverio Tonoli in Taipei. Using the hemp paper of Fenko Catalysis Chamber, photo credit: Sylvia Lee and Saverio Tonoli Opening Party: Jan 17, 8:30 pm – midnight Public Open: Jan 17 – Jan 19 Venue: No. 34, Ln. 223, Sec. 3, Chongqing N. Rd., Datong Dist, Taipei City 103 (Wu Chi-Tsung Studio)Paper & Conservation Consultancy: Fenko Catalysis Chamber Wu Chi-Tsung Studio is delighted to present “Beyond the Now, Away from Here”, a collaboration between our Artist-in-Residence Saverio Tonoli and Wu Chi-Tsung. In the exhibition, Saverio will be showing his new artworks created during the three-month residency. The title pays tribute to the shared interest of the two artists that merges the aesthetics of the East and the West and reinterprets traditional and contemporary art forms. “What if art came into being differently…?” The exhibition allows the audiences to rethink the nature of materials such as Xuan paper, ink, fresco and cyanotype, to consider its origin, and to discover the possibilities of fusing styles and cultures. Differ from typical white-cube exhibition spaces, the exhibition takes place at Wu Chi-Tsung studio where both artists work. Sketches, materials and artworks are scattered around the studio from the ground floor to the rooftop providing a vertical journey that shows the artists’ experiment and working process to the public. The exhibition marks the first artist residency program hosted by an artist studio in Taiwan. Wu Chi-Tsung introduces that ‘Taiwan is an ideal entrance to east Asia for international artists and audiences because it combines multiple cultural influences of the region while being easily accessed. Moreover, as an artist studio, we tend to possess higher flexibility in hosting another artist. I hope that it could open up more possibilities and contribute to the diversity of the art world in Taiwan’. During his residency, Saverio has been working on his poetic imagery between painting and sculptures, testing local Xuan papers, with the expertise of Fenko Catalysis Chamber, by generating comprehensive solutions to the relationship between Tonoli’s needs and exclusive preservation paper materials for storing protection. Along with the creation of special plasters for his fresco paintings….

Critique on Galarie Magazine: 9 Must-See Artworks in Art Basel’s New Meridians Sector in Miami Beach
《畫廊》雜誌評論：巴塞爾邁阿密展會「藝匯經線」展區9件不容錯過的藝術佳作

2020-01-02 author

9 Must-See Artworks in Art Basel’s New Meridians Sector in Miami Beach Dedicated to monumental, museum-worthy installations, videos, and paintings, the inaugural Meridians section is not to be missed by PAUL LASTER NOVEMBER 29, 2019 Cyano-Collage 064, 300 x 600 cm, presented in Art Basel Miami Fair Art fairs need to continuously stay fresh, even Art Basel in Miami Beach, which has a reputation for being the art world’s favorite party. Looking to add a bit of zest to its exhibition program, this year the fair is inaugurating its new Meridians sector to present large-scale works and performances in the refurbished Miami Beach Convention Center’s 60,000 square-foot Grand Ballroom. “From what I’ve observed in the past, the curatorial and museum crowd has gotten tired of coming to Miami for only booth presentations, but by bringing more of a curatorial edge to it, I’m hearing that curators are more excited to attend this year,” Ben Strauss-Malcolm, a director at Pace, which has two artists—Adam Pendleton and Fred Wilson—in the show, tells Galerie. Presenting 34 large-scale sculptures, paintings, installations, performances, and film and video projections by an international group of established and emerging artists, the projects were chosen by a selection committee and have been organized by the show’s curator, Magalí Arriola, the director of Mexico City’s Museo Tamayo. With a focus on artists and works from the Americas—although its somewhat broader in this initial year because not as many galleries applied—the show addresses issue of race, gender and immigration, which are topics that are floating around the greater art world.“Many of the works are content-loaded, which is an exciting part of it,” Arriola shared by phone from Miami, where she was already working on the installation. “I’m happy with the space and layout and the individual projects. I believe these bigger works give viewers a chance to grasp what’s behind the artists’ proposals. There are overarching themes that echo between the varied works, which makes the whole section quite compelling.” Chi-Tsung Wu’s Cyano-Collage 064Sean Kelly To create this sublime blue mountainous landscape, artist Chi-Tsung Wu employs age-old methods in the most innovative of ways, combining a…