Wu Chi-Tsung’s solo exhibition ‘ECHO’ A reflection of rational inquiry and perceptual poetry Date｜Jan 18, 2019 (Fri) – Jan 20, 2019 (Sun) Opening hours｜Jan 18 17:00-19:00；Jan 19 & 20 17:00-22:00 Location｜MAK7 Studio, 2F., No.133, Sec. 3, Nangang Rd., Nangang Dist., Taipei As a collage of sheet iron, concrete, and colorful posters brimming with unique and strong Taiwanese character, a glimpse of the exhibition site itself located in a film studio hidden in an industrial district inhabited by a driving school would have started the visitor’s journey of an unusual cultural experience. Taiwanese artist Wu Chi-Tsung’s solo exhibition ‘ECHO’ curated by Wu Chi-Tsung Studio and Galerie du Monde, a Hong Kong-based gallery of contemporary art, will be open to public from January 18th to 20th 2019 in parallel with Taipei Dangdai. The exhibition is a reflection of oriental aesthetics in the shape of contemporary art, presenting a new horizon in the spectrum of worldwide art practice. The philosophy of Wu Chi-Tsung’s work is a fusion of conceptual approach of experimental contemporary art language and visual language from the cultivation of classical eastern aesthetics. The ‘ECHO’ refers to the mirroring culture between the East and the West. Hence, the eastern tradition and their pursuit of the intangibility is contrasted with the contemporary language and the depiction of the solid world of the West throughout the exhibition. ‘Trained by both eastern and western traditional art academia yet focusing on contemporary media and conceptual art, I always reflect on the difference between eastern and western culture, as well as the contradiction between traditional art and contemporary art. It is a shame to witness the decay of traditional cultures and aesthetics that are exclusive to eastern cultures,’ says Wu Chi-Tsung, ‘as a result, I fuse and accommodate new and old, the West and the East in my recent works. The multicultural environment in Taiwan has nourished me. Living in an era that pursuits the zeitgeist, I’d rather be fascinated by those that are timeless. It is the light, the base of visual sense, that illuminates the tangible world as well as the invisible spiritual field…

Presented by Galerie du Monde, Wu Chi-Tsung’s new Cyano-Collage and Still Life works showcase at Taipei Dangdai Art Fair.   Galerie du Monde at Taipei Dangdai Art Fair｜Booth C03 VIP Preview｜Jan 17 2-5 pm Vernissage｜Jan 17 5-9 pm VIP Only Access｜Jan 18-20, 11-12 am Public Days｜Jan 18, 12-8 pm; Jan 19, 12-7 pm; Jan 20 12-5 pm Venue｜Taipei Nangang Exhibition Center, Hall one, 4F, Jingmao 2nd Rd., Nangang Dist., Taipei City, Taiwan Artists｜Fong Chung-Ray, Kwok Hon Sum, Wu Chi-Tsung and Crystal Liu   Galerie du Monde will feature four contemporary ink artists, Fong Chung-Ray and Kwok Hon Sum, representing the early period in the development of contemporary ink painting based on traditional cultural tenets and standards; Wu Chi-Tsung and Crystal Liu, representing the current innovation of ink related contemporary paintings who stretch boundaries of ink art playing with new media and unusual materials. Exhibiting the work of these four important artists at Taipei Dangdai will provide the audience with an in depth experience in the growth and evolution of the movement of contemporary ink painting from the 1970s to the present.     吳季璁《氰山集》與《小品》系列新作參展台北當代藝術博覽會   世界畫廊｜C03展位 VIP 預展｜ 1/17 2-5 pm 開幕｜1/17 5-9 pm VIP開放｜1/18-20, 11-12 am 公眾開放｜1/18, 12-8 pm; 1/19, 12-7 pm; 1/20 12-5 pm 地點｜南港展覽館一棟四樓， 台北市南港區經貿二路1號 藝術家｜馮鍾睿、郭漢深、吳季璁、Crystal Liu   世界畫廊將於首屆台北當代藝術博覽會呈現四位當代水墨藝術家，為觀衆展示由七十年代至今當代水墨運動的成長和演變歷程。馮鍾睿和郭漢深，以傳統文化和素養為基礎，代表了當代水墨藝術的早期發展；而吳季璁和Crystal Liu則代表了當代繪畫的創新，突破水墨藝術與新媒體和非傳統媒介結合的界限，擴大了當代水墨語法的可能性。    

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,…

The Light Between The Mountain and The Sea Date｜DEC 10 – Jan 14, 2017 Venue｜Tamsui Customs Wharf, No.259, Tamsui Dist., New Taipei City 251, Taiwan Work on display｜Crystal City – Project at Tamsui Customs Wharf 「拾光」新北市公共藝術展 展期｜12/16 – 1/14, 2017 地點｜淡水海關碼頭，新北市淡水區中正路259號 展出作品｜水晶城市－淡水海關碼頭計劃 駐足於淡水海關碼頭前遙想那段淡水的金色時光，過往歷史與當代發展不斷層疊上去的人文厚度，宛如觀音山與淡水河間的吉光片羽。106年12月16日至107年1月14日於淡水海關碼頭園區舉辦的「拾光-2017新北市公共藝術展」，邀請國內外展歷豐富的藝術家吳季璁與莊志維，以淡水在地的自然特色與城市意象創現地製作藝術裝置，透過「光」的藝術創作，讓新北市北端的冬夜很藝術。 藝術家吳季璁現地製作的《水晶城市—淡水海關碼頭計劃》，表現淡水城鎮從古至今的發展。在海關碼頭洋樓2樓的木地板上，堆疊出一個個宛如晶體成長的透明盒，軌道上的燈光就像時間靜默地流動於空間中，無限蔓延擴張著透明城市，閃著虹光的天空，隨著四季變化的自然風景，在藝術家的巧手下，投影出另一個無比真實的世界。 如果說洋樓是淡水歷史的時光膠囊，中正路側的野趣草坪則是海關碼頭的畫布。435駐村藝術家莊志維近年以戶外雷射裝置點亮不同場域的夜間神祕氛圍，特別為海關碼頭所量身定做的《裝置微光計劃—海關碼頭》，翠綠的雷射光束從海關碼頭倉庫建築上漫溢而過野趣草坪至中正路，隨著風動雨落而律動雷射光海，呼應著倉庫另一側緩悠起伏的淡水河面。另一件《森林裡的洋流》則是帶領觀眾想像這個喧鬧的都市是一片海洋，泛著光環的圓圈像是人與人之間流動的關係，也是人與空間互動的關係，在月夜下化做海流，歡迎大家到海關碼頭來欣賞三組拾光藝術創作，體驗與日間不同的一場藝術之旅。

《水晶城市008》，2017，軌道、馬達、HID、塑膠，尺寸可變 Crystal City008, 2017, Track, motor, HID, plastic, Dimensions variable   Far from East－Wu Chi-Tsung Solo Exhibition Venue｜Künstlerhaus Bethanien, Berlin (Kottbusser Straße 10. 10999 Berlin) Date｜Nov. 16 – Dec. 10, 2017 Reception｜Nov. 16, 2017. 7pm   Wu Chi-Tsung has participated in the artist-in-residency program co-organized by Taiwan’s Ministry of Culture and the Künstlerhaus Bethanien in Berlin, Germany. From November 16th to December 10th, 2017, the program will present his solo exhibition “Far From East” at Berlin, showcasing his recent works, including installations, photography, and videos. In Wu Chi-Tsung’s early works, he utilized media art to discuss the fundamentals of images and seeing. In recent years, he expanded his research field, traversing through the field of culture and art from East to West, as well as integrating traditional aesthetics and contemporary artistic concepts. In his dialectics and diverse way of practices, his artworks nonetheless preserved the sensibility and romance of an oriental literatus. The exhibition begins with “Crystal City,” giving the audiences a glimpse of the artist’s point of view. Under the radiating light, the sharp and clear shadows of the ordinary plastic boxes became distinct, projecting a view resembling a concrete jungle of skyscrapers. In this artwork, Wu Chi-Tsung observes the ambiguous boundary between reality and fantasy, questioning as the cyber space took a major part in our daily lives, then what is real, and what is illusory? “Wrinkled-Texture” and “Cyano-Collage” redefine the junction of photography and painting. The photography series “Wrinkled-Texture” is inspired by the “texturing method”, which is the core technique of Chinese literati painting. Cultivating the technique and the spirit of calligraphy, artists draw down a representational depiction of mountains and stones, which serve as the projection of his inner-thoughts. In “Wrinkled Texture”, Wu utilized cyanotype techniques to apply a photosensitive emulsion on Chinese rice papers, and then exposed the hand-wrinkled papers under the sunlight. After washing off extra emulsion, the shades and the patterns of the wrinkled papers were documented. The complete imagery resembles Chinese landscape – Shan Shui, which Wu substitutes ink and brush with photogram. “Cyano-Collage” inherits the cyanotype photography “Wrinkled-Texture.” The exposed rice…

  Work on display｜Cyano-Collage 012 Year｜2017 Medium｜Cyanotype, paper, acrylic gel Size｜75 cm x 175 cm Donated by the artist    ‘WISDOM and NATURE‘, a traveling exhibition which is in honor and celebration of nature and ancestral wisdom and held by Le Ciel Foundation and Phillips, culminates in a Fundraising auction on 29 November in New York including Wu Chi-Tsung’s latest Cyano-Collage piece. Inspired by the beauty of our planet and the wisdom of its people, The show captures the natural splendor of both humanity and the Earth through 40 contemporary artworks. All of the participating artists’ pieces vibrate with this theme and connect to nature in different mediums.   The artists participating in the exhibition include: Claudia Andujar, Gilles Bensimon, Hugo Burnand, Freddie Child-Villiers, Wu Chi-Tsung, Tinko Czetwertynski, Odyssée Dao, Pierre de Vallombreuse, Anne de Vandière, Alinka Echeverría, Alain Ernoult, Eliane Fattal, Esther Giles, Murray Fredericks, Michael Flomen, Adam Fuss, Justin Brice Guariglia, Caroline Halley des Fontaines, Béatrice Helg, Aranka Israni, Alexander Khimushin, Daniel Kukla, Timo Lieber, Charles March, Denise Milan, Karma Milopp, Cristina Mittermeier, Beth Moon, Ernesto Neto, Sidney Regis, Tamsin Relly, Stuart Rome, Rolf Sachs, Priscilla Telmon, Janaina Tschape,  David Yarrow, and Zuiryu.   Fundraising Auction 29 November 7:30pm EDT Phillips Auction House｜450 Park Avenue, New York (map) Viewing Dates London Exhibition 4 – 8 September 30 Berkeley Square, London (map) Paris Exhibition 18 – 22 September 46 Rue Du Bac, Paris (map) New York Exhibition 27 – 29 November Phillips Auction House｜450 Park Avenue, New York (map)     吳季璁作品將於 WISDOM and NATURE 義賣會 展出作品｜氰山集之十二 年份｜2017 媒材｜氰版, 宣紙, 壓克力膠 尺寸｜75 cm x 175 cm 藝術家捐贈   「Wisdom and Nature」巡展由Le Cie Foundation和Phillips聯合舉辦，旨在向大自然和祖傳智慧致敬，展示40件不同媒材的當代藝術作品。並於11月29日在紐約舉行義賣會，其中包含吳季璁最新的氰山集系列作品。 參展藝術家｜Claudia Andujar, Gilles Bensimon, Hugo Burnand, Freddie Child-Villiers, Wu Chi-Tsung, Tinko Czetwertynski, Odyssée Dao, Pierre de Vallombreuse, Anne de Vandière, Alinka Echeverría, Alain Ernoult, Eliane Fattal, Esther Giles, Murray Fredericks, Michael Flomen, Adam Fuss, Justin Brice Guariglia, Caroline Halley des Fontaines, Béatrice Helg, Aranka Israni, Alexander Khimushin, Daniel Kukla, Timo Lieber, Charles March, Denise Milan, Karma Milopp, Cristina Mittermeier, Beth Moon, Ernesto Neto, Sidney Regis, Tamsin Relly, Stuart Rome, Rolf Sachs, Priscilla Telmon, Janaina Tschape,  David Yarrow, and Zuiryu.   義賣會 29 November 7:30pm EDT Phillips Auction House｜450 Park Avenue,…

Passing 2017 Motor, found objects, HID Dimensions variable Wu Chi-Tsung and artist Chen Shu-Chiang will participate in Suzu 2017: Oku-Noto Triennale, Japan, presenting an on-site installation work.    OKU-NOTO TRIENNALESUZU 2017 Date: 2017 Sep 3 – Oct 22 Venue: Suzu City, Ishikawa, Japan   We are pleased to announce that “SUZU 2017: Oku-Noto Triennale” will be held for 50 days from 3 September to 22 October 2017 in Suzu City, Ishikawa Prefecture. The city of Suzu is located at the unique juncture where the warm current (kuroshio) and cold current (oyashio) in the Sea of Japan meet and seasonal winds from the continent laden with moisture. Suzu flourished as an important port when maritime trade across the Sea of Japan was active, including kitamae-bune, the freight ships of the Edo-period. It is also a place where different cultures across Japan have been accumulated as represented by local festival and remains as a source of Japanese culture as still seen in Kiriko and Yobare. “SUZU 2017: Oku-Noto Triennale” aims to be an unprecedented festival in which participating artists can rediscover the charm of the place, its patterns of life and its people, while engaging locals and supporters from elsewhere. Let us jointly create an art festival where traditional culture resonates with contemporary art.   吳季璁將與藝術家陳淑強合作，參與日本奧能登國際藝術祭，展出大型現地製作裝置作品。   奧能登國際藝術祭 時間：2017年9月3日 – 10月22日 地點：日本奥能登珠洲市 展出作品 汲往 2017 馬達、現成物、HID 尺寸可變   2017年9月3日起至10月22日，奧能登珠洲市將舉行為期50天的“奧能登國際藝術節”。珠洲和日本列島不同，黑潮（暖流）與親潮（寒流）在此碰撞，由大陸吹來的季風導致了海水降雨。以日本海為舞台，從海上交通昌盛期起，作為北前船暫靠的中繼基地，珠洲因此興盛一時，匯集了來自日本各地的生活文化，在祭奠上使用的Kiriko（巨型燈籠，又名Hikiyama）和Yobare（在自家用高級料理款待近鄰）等風俗流傳至今。 奧能登國際藝術節旨在發掘出珠洲當地·生活·居民的潛在魅力。藝術家們將和珠洲市民一起，共同打造迄今為止從未有過的，傳統文化與最先端的美術完美融合的新型藝術節。

    “TAIWAN VIDEA” 2017 Selection in Europe will display Wu Chi-Tsung’s Landscape In The Mist 001.   “TAIWAN VIDEA” 2017 Selection The Taiwanese Avant-garde Video Screening Project Curated by Yunnia Yang   Touring Schedule: 1. July 19 (Wed.), 2017 8:00pm Republic of Macedonia: Museum of Contemporary Art, Skopje 2. July 28 (Fri.), 2017 8:00pm Croatia: Galerija AŽ Atelieri Žitnjak, Zagreb, GalleryAŽ 3. August 1(Tue.), 2017 8:00pm Slovenia: SCCA-Ljubliana Center for Contemporary Arts 4. August 16, 19-20, 2017 Germany: art space “Rosalux” , Berlin Opening and Curator’s talk: August 16 (Wed.) 7:00pm Exhibition time: August 16 (Wed.): 7 pm – open end August 19 (Sat.) : 2 pm – 6 pm August 20(Wed.): 2 pm – 6 pm   Film art is an important artistic expression in the contemporary visual culture. The charms of images dominate the lifestyle and way of thinking of our new generation. Among the Taiwanese contemporary arts, video art and experimental films enrich the visual aesthetics and symbolic meanings with their own critical character, originality and diversity. The internationally-awarded creative videos from Taiwan might become a fleeting glimpse of beauty. The curatorial project 《TAIWAN VIDEA》 is to converge the creative energies and aesthetic features of film art, including video art, performance art, experimental films and animations, digital animations, etc. The depth of these videos refers to many facets of human beings’ living conditions: the alert about the consequence of human desire challenging God with technology and civilization (Lin Peychwen’s “Making of Eve Clone I”), criticizing the desire law of chasing after the ‘Progress’ deteriorating humanity (Huang Zan-Lun’s “Double”); revealing the beautiful lies constructed by the authorities (Chen I-Chun’s “ The Piggy Song”), the seriousness of the collective consciousness manipulated by the contemporary media (Zhang Xu-Zhan’s “Ritual of Cathode Ray Tube”); a nutrition taken as a metonymy to criticize politicians devouring people’s future dreams with empty promises (Wang Ding-Yeh’s “Beef-Wonderful Promises”), analogizing the images of the New Year’s Eve fireworks and a candle as a metaphor of the contradiction between the celebration of a country’s future and the sacrifice of martyrs (Ho Wei-Ming’s “Over My Dead Country”); the danger and…

  Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan at National Taiwan Museum of Fine Arts will display Wu Chi-Tsung’s WireIV, Still Life 05 – Cherry and Cyano-Collage 008. Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan Date: 2017 Jul 8 – Oct 8 Venue: Taiwan Museum of Fine Arts, Taichung, Taiwan Curator: Wu Chao-Jen   Ink painting is an important form of painting that represents the Oriental traditions. Originated in China, ink painting was later introduced to Japan, Korea, and Chinese-speaking regions in southeast Asia. Ink painting uses paintbrush, ink, paper, and silk as media, and has formed a system of its own in the domain of art. After the Tang dynasty, Chinese ink painting was divided into the”Northern School” and “Southern School.”  The “Southern School” emphasizes intriguing brushstrokes and rhythmic use of ink; it focuses on bone method or the way of using the brush to create vitality and spirit, fusing poetry, calligraphy, and painting together. It is closely related to traditional Chinese literati philosophy. However, “literati painting” overemphasizes refined literati tastes, which has also affected the development of ink painting. After the 18th century, ink painting was introduced to Taiwan by government officials stationing in Taiwan, scholars and tutors, and traditional painters; famous artists from the period included LIN Chao-Ying, LIN Chueh, and HSIEH Kuan-Chiao. Although these artists were commonly referred to as the “Min-practice” because they inherited the wild and leisurely ink painting style of the southern Zhe school of painting, they nonetheless gave rise to the beginning of the heritage, transformation, and development of ink painting in Taiwan. In late 19th century, “Western painting” and “Toyoga ( Eastern painting or gouache painting),” which originated from the meticulous heavy color techniques of the Chinese “Northern School,” were introduced to Taiwan during Japanese colonization. With the aid of “Taiten ( Taiwan Fine Arts Exhibition)” and “Futen (Taiwan Governor-General Art Exhibition),” many Taiwanese traditional ink artists switched path to creating “Gouache painting,” becoming the unique “local color” of the new southern territories propagated by the Japanese colonial government. Japanese colonial system fell as WWII…

  Mandala of Ink Art at Kaohsiung Fine Arts Museum will display Wu Chi-Tsung’s Landscape In The Mist 001 and Still Life 02 – Orchid.   Mandala of Ink Art Date: 2017 Jun 24 – Oct 29 Venue: Kaohsiung Fine Arts Museum, Kaoshiung, Taiwan   What is contemporary? How to define ink art? Each person has different answers to these questions. This exhibition is an attempt to present the cotemporary facets of ink art through the most inclusive and open-minded observation as possible, transcending all literal definitions of contemporariness or ink art. Drawing references from the concept of “mandala”, this exhibition is composed of four themes: “Form” (material), “Meaning” (spirituality), “Void” (contrast between void and solid) and “Space” (spatial structure). They are the four quadrants in the mandala of this exhibition to have a systematic review of the development of contemporary ink art in this new century. The theme at the center of the mandala is Chi, which means “energy of the universe”. In the exhibition, it provides an experimental territory representing the subjective spirit of new-generation artists and the perspectives of ink art in southern Taiwan. By asking questions not asked before and serving as an interdisciplinary and multimedia platform, this exhibition aspires to discover another round of paradigm-shifting possibilities for the future of ink art.       高雄市立美術館水墨曼陀羅群展，將展出吳季璁錄像作品《煙林圖之一》以及《小品之二 蘭》。   水墨曼陀羅 時間：2017.06.24 – 10.29 地點：高雄市立美術館 201-203展覽室 藝術家：王天德、石忘塵、江盈臻、吳季璁、李明啟、李品墨、林俊廷、林壽宇、林銓居、柯偉國、柯懷晴、洪上翔、洪根深、胡軍軍、孫浩、徐冰、徐累、袁旃、許雨仁、陳劭彥、陳幸婉、陳松志、陳浚豪、陳穎蓁、曾偉豪、曾霆羽、華建強、黃千倫、黃法誠、黃柏皓、楊景堯、廖敏君、劉丹、留白、劉國松、蔡文汀、蔡旻芸、蔡國強   何為當代？又該如何定義水墨？言人人殊，本展覽捨棄作字面的定義，試圖用最大化的包容與開放去觀察、去呈現，具現水墨藝術的當下現象。展覽藉曼陀羅的概念，由 ｢形‧意‧空‧間｣四個主題形成四個方位，亦即透過｢材質｣、｢精神性｣、｢虛／實｣、｢空間｣等四個面向梳理當代水墨藝術在新世紀發展的脈絡；曼陀羅的軸心區—｢輪圓｣，主題為｢炁｣，是｢宇宙能量｣之意，它是新生代的實驗場域，表現新生代及南方水墨觀點的主體性精神。本展覽希冀不僅扮演新的提問者角色，也秉持平台、跨界、多媒的理想信念，為水墨藝術的未來提供另一輪翻轉的可能。   指導單位：文化部、高雄市政府文化局 主辦單位：高雄市立美術館 協辦單位：財團法人原住民族文化事業基金會 統籌：館長李玉玲 策展團隊：洪根深、蔡文汀、吳慧芳

  Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia at MOCA Yinchuan will display Wu Chi-Tsung’s Cyano-Collage Series, Wrinkled Texture Series and Landscape In The Mist 002.   Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia Date: 2017 Jun18- Aug20 Curator: Chia-Chi Jason Wang Venue: MOCA Yinchuan, Yinchuan, China   The exhibition “Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia ” which is curated by Mr. Cha Chi Jason WANG will be put on display at Museum of Contemporary Art Yinchuan during June 18th to August 20th 2017. 27artists which from China and other countries and regions will demonstrate their artistic works by various mediums, including installations, paintings and video works. It is equally crucial how the artists deal with the problematics of ink art. Through the use of heterogeneous materials, concepts, and formal techniques, how the artists achieve conceptual transformation creatively. Besides denoting interchange between Eastern and Western cultures, “Crisscrossing East and West” as the theme of the exhibition also calls for broader visions and insights to widen the realm of ink art. Stones from other hills may serve to polish the jade of this one. From diversity to pluralism, artists who come from different backgrounds and traditions are invited to gather here in Mainland China, specifically at the MOCA Yinchuan to reflect upon the works of one another. It is hoped that through such encounters, intertextuality as well as intertextual relationships can be established to help enhance the aesthetic remaking of contemporary ink culture.     銀川當代美術館聲東擊西－東亞水墨藝術的當代再造聯展，將展出吳季璁《煙林圖之二》、《氰山集》、《皴法習作》等五件錄像與平面作品。 聲東擊西－東亞水墨藝術的當代再造 时间：2017.06.18 – 2017.08.20 地点：银川当代美术馆 策展人：王嘉骥   参展艺术家： 安美子（韩国）、张相宜（韩国）、黄致阳（台湾）、郑光熙（韩国）、江大海（中国大陆）、金浩得（韩国）、上原木吕（日本）、李茂成（台湾）、李义弘（台湾）、梁铨（中国大陆）、林延（中国大陆）、三濑夏之介（日本）、潘信华（台湾）、邱黯雄（中国大陆）、任戬（中国大陆） 、尚扬（中国大陆）、藤原志保（日本）、宋陵（中国大陆）、屠宏涛（中国大陆）、王天德（中国大陆）、王雅慧（台湾）、吴季璁（台湾）、徐冰（中国大陆）、徐累（中国大陆）、严善錞（中国大陆）、杨世芝（台湾）、余友涵（中国大陆）   银川当代美术馆将于2017年6月18日至2017年8月20日呈现“声东击西—东亚水墨艺术的当代再造”展览，由王嘉骥策展，邀约来自中国及东亚其他国家和地区的27位艺术家，通过装置、绘画、视频等形式，将展出总数超过120组件的代表作，呈现不局限以水墨纸绢作为素材的创作。 此次展览所使用的“声东击西”一词，除了是在东、西方文化交会的层面上，反思水墨艺术于当代再造的可能之外，也期待艺术家籍由异质性的物质、观念与形式手段，能够激荡出多重的诠释及创作上的可能。透过“再造”，希望透过东亚几个地区的部分艺术家创作，进行对照式的观察与展览呈现，重视起艺术家创作的问题意识与观念转化，唤醒更多艺术家省视和思考水墨文化在历经西潮强势且持续的侵袭与冲击之后，演变至今的美学面貌及文化意义。 他山之石可以为错，借由多元性的展陈，也许是文化背景上的迥然不同、历史命运上的似曾相识，或是个人创作方法上的刻意立异，来自各地的艺术家在中国大陆齐聚一堂，借由银川当代美术馆独特的空间，可以彼此观照，互为文本，为水墨文化提供具有当代意义的美学再造契机。   主办单位：银川当代美术馆 赞助单位：宁夏民生文化艺术教育基金会    

/ “The urge to create visions…”1929–2017 27th May – 17th September 2017 Museum of Contemporary Sculpture Curator: Grzegorz Musiał Coordinator: Leszek Golec Work on Display: Crystal City 007 Participants: Elias Crespin, Carlos Cruz-Diez, Wojciech Fangor, Paweł Grobelny, Mikołaj Grospierre, Bethan Huws, Kimsooja, Lin Yi, Michał Martychowiec, Laszlo Moholy-Nagy, Jesus Rafael Soto, Franciszka and Stefan Themerson, Ludwig Wilding, Chi Tsung Wu The international exhibition organized in cooperation with the Signum Foundation includes the works of outstanding artists of historical avant-garde and contemporary artists. The exhibition will be the highlight of the summer season 2017. The title of the exhibition refers to Stefan Themerson’s essay from 1936, published in 1937 in the second edition of the avant-garde magazine ‘f.a.’ (artistic film). Themerson mainly discusses in it the problems of artistic film, which is one of the media in this exhibition, however, the visual experiences connected with movement, light, time and space are also interesting for artists working outside the realm of film. The presentation has the form of collage and is happening simultaneously on several levels of experimenting with the widely understood visuality. It is a record of the past and present dreams about this amazing experience. Historical and contemporary artists taking part in the exhibition engage in media dialogue, going beyond  linear narrations. Chronologically, the exhibition opens with László Moholy-Nagy’s film Ein Lichtspiel schwarz weiss grau from 1930, shot with the use of a light modulator, kinetic sculpture on which the artist had been working since 1922. In the context of the film, several installations of contemporary artists will be shown: Bethan Hus will present White, Grey, Black from 2016 and Wu Chi-Tsung will present Crystal City 007 from 2015. Beside a series of Stefan Themerson’s abstract black-and-white  photograms, you will see Yi-Chun Lin’s large format pictures, made with the use of state-of-the-art electronic equipment. Spatial pictures of Jesus Rafael Soto from the first half of the 60s, inspired by Pierre Boulez’ music, lead a dialogue with Michał Martychowiec’s video, which is a visual variation on Soto’s iconic work, Penetrables, created in 2010 at the Palazzo Dona in Venice. The series of photographs titled The Sun Unfolded made in 2008 by Korean…

  空場空場藝術聚落於2014年由一群藝術家號召成立，以創作工作室為主軸，集合一群台灣當代藝術家、藝術策展、文字與戲劇、音樂、舞蹈等工作者，創造一個自然交流、創作、討論、聚會、合作的平台，4/29公眾開放日讓您一舉揭開神秘藝術家工作室面貌。 此外，空場也邀請到〈Artist in the World〉計畫藝術家André Smits駐村，並在Open Studio當天下午兩點與空場的藝術家們進行對談。晚間七點給力電影院 Gelivable Cinema NO.10 “Art in and out of the Studio”將放映「工作室之內與之外的藝術」特別選集，內容有關表演、行為藝術與錄像藝術對藝術從物件製造到更加過程導向的藝術實踐。 開放工作室參觀完後，晚上八點於The LAB Space 實演場將由蝴蝶效應劇團演出洛基恐怖秀 The Rocky Horror Picture Show，歡迎前往欣賞。   日期｜2017 4.29 10:00-24:00 地點｜空場藝術聚落 北投路一段9號 3樓

Limitless Landscapes Curator HU Yung-Fen Artists WU Chi-Tsung, LIN shukai, KAO Yating, CHEN Wan-Jen, LIAO shin-Yu, Ava HSUEH, HSIEH Mu-Chi Exhibition Dates 18 March – 30 April 2017 Venue Art Influence Gallery No. 3, Lane 90, Section 1, Anhe Rd, Da’an District, Taipei City, 106 It was only 500 years ago that landscape paintings became a new form of western artwork. In other words, the landscape painting is the first proof of liberation and progressiveness in human civilization. Nowadays, “landscape paintings” continue to arouse specific stereotypes today. People tend to think of landscape paintings as depictions of mountains and rivers, grass, and trees, or various natural phenomena such as thunders and lightning, tornados, clouds, rain, or fogs, and different traces of human activity, such as paths and architecture. This categorization spread to Taiwan and still used today, proof of landscape painting, which has transformed into a typed form, seeping into the art education in Taiwan and stiffening the concept through systematic art education. The concept behind “Limitless Landscapes” is to present the “landscape painting,” this classic and precious painting category that was originally limitless and filled with charming quality but has gradually become stiff and lacking in imagination. This exhibition is a declaration and attempt of revitalization and extension. The word “limitless” was inspired by extreme sports. As we all know, extreme sports refer to a group of dangerous sports activities that require skills and physical strength. The “extreme” in extreme sports is linked to the concept of limitations. Therefore, my own interpretation of the word “limitless” extends to the borders of possibility: re-extending, re-exploring, repeatedly trying and developing all possibilities. This may not be a logical or trendy title, but it is a theme with rich meaning and forever deserves investigation, classic and contemporary at the same time. This opening exhibition curated for Art Influence and the seven participating artists elaborate the multivariate creative interpretations of “landscape” in contemporary Taiwanese art. 極限風景 策展人 胡永芬 藝術家 吳季璁、林書楷、高雅婷、陳萬仁、廖心瑜、薛保瑕、謝牧岐 展期 2017.03.18－04.30 地點 心動藝術空間 臺北市大安區安和路一段90巷3號 (捷運信義安和站 1 號出口) 座談 3／26（日）15：00 與談人：廖仁義老師 藝術家：高雅婷、謝牧岐、林書楷 4／23（日）15：00 與談人：蕭瓊瑞老師 藝術家：薛保瑕、吳季璁、廖心瑜、陳萬仁 「風景畫」成為一個新的西洋畫種，只不過是近五百年來的事，也就是說，這是人類文明史上一個解放的、進步的產物與證據。不過時至今日，「風景畫」卻形成了某些既定的刻板印象，不外乎各種地貌特徵如山海江河、各種地表生物如草原林樹、各種自然現象如雷電捲雲雨霧，以及各種人類活動的痕跡如路徑建築等等。所謂的「風景畫」作為一種類型化款式，已經完全滲入台灣系統美術教育，異常僵固了。 「極限風景」的思考，就是將原本具有無限可能，卻莫名走上一種僵化且逐漸缺乏想像的「風景畫」這個珍貴的古典繪畫品種，在今日此時重新激活、延展它的一種宣示與嘗試。 「極限」二字挪用了「極限運動」一詞裡的「極限」字義，「極限運動」本泛指各種危險性比較高、技巧性以及體能的需求也特別高的運動項目，兩字在這裡有著近乎於「極端性」的意涵。本展挪借以詮釋的概念，則是將「極限」的語意再延伸到對於一種可能性之邊界盡其所能的再延展、再探索、再嘗試、再開拓……，極盡所能的。 這或許不是一個合乎時潮的、流行的題目，卻是一個豐饒厚重、永遠值得開拓的題目。既古典、也當代。因此，「極限風景」這個展覽邀請了七位藝術家，來勾繪台灣當代創作者在「風景」這個概念下多元多樣的創作。

Wu Chi-Tsung Solo Exhibition: Inwardscape  Press PreviewWednesday 15 February 2017, 4:00-6:00pm Opening ReceptionWednesday 15 February 2017, 6:00-8:30pm Exhibition Dates 16 February – 14 March 2017 VenueGalerie du Monde108 Ruttonjee Center, 11 Duddell Street, Central, Hong Kong Galerie du Monde will be presenting the first solo exhibition of work by Taiwanese artist, Wu Chi-Tsung (b. 1981, Taipei, Taiwan), in Hong Kong. The exhibition will run from 16 February to 14 March, 2017. With a passion for the interpretation and production of images, Wu has been working across the mediums of photography, video, and installation, to create artworks which challenge our perceptions of our physical and natural worlds. The upcoming exhibition will present a diverse range of artworks from various series, representing ten years of development in the artist’s work. Brand new works on display will include Wu’s Drapery Studies series (2014-2017), never seen before by the public, as well as recent video works. Also on display will be the artist’s renowned Cyanotype works and a large scale, site-specific installation Crystal City 007. Crystal City 007 (2015), which is regarded as characteristic of the artist’s Crystal City series and was previously shown at the International Ink Art Biennale of Shenzhen in 2016, is the artist’s term for the virtual world which is made up of electronic equipment, networks, programs, media and information. Wu will project a variable shadow cityscape onto the gallery walls: the projection alters the landscape and results in the constant changing of the shapes and shadows of the work. The new series, Drapery Studies (2014-2017), explores the notions of body, volume and texture, inspired by the drapery of classical Greek and Roman sculpture. In this way, the artist links traditional western art forms to the idealistic and poetic concept of space in oriental culture. Via his work, Wu attempts to study the relationships between materials and techniques. Wu creates the artworks by wrinkling linen, then painting it with multiple layers of rabbit-skin glue and using Gesso to fix the shape, before finally painting it with oil paint or toner. The work is a hybrid of painting, sculpture and installation,…

The Lost Diary of Beijing Artists Cai Dongdong, Iida Yuko, Huang Yuxing, Ni Jun, Pang Kuan, Peng Lei, Tang Meng, Tong Tianqing, Wang Yifan, Wen Ling, Wu Chi-Tsung, and Zhang Hui Time 2016.11.19 – 2016.12.23 Venue Star Gallery, Beijing (C5 Qikeshu Creative Park. No.55 Banjieta Road, Chaoyang District, Beijing,China 100016) In Chinese, 京畿 ( Jing-ji ) means a country’s capital and its environs, and here it refers to Beijing, the capital of People’s Republic of China, as well as its vicinity. The exhibition will be featuring works from 12 artists, including Cai Dongdong, Iida Yuko, Huang Yuxing, Ni Jun, Pang Kuan, Peng Lei, Tang Meng, Tong Tianqing, Wang Yifan, Wen Ling, Wu Chi-Tsung, and Zhang Hui, who have various connections with Beijing. They were so close to the city that most of them either were born here or have stayed for a long time. Homing its artists, so to speak, the exhibition will take the audience into a dream journey to the memories, realities and fantasies of Beijing.   「京畿梦华录」 藝術家: 蔡东东、饭田祐子、黄宇兴、倪军、庞宽、彭磊、唐猛、仝天庆、王一凡、温凌、吴季璁、张晖 展期: 2016.11.19 – 2016.12.23 地點: 星空间, 北京 (中国 北京市朝阳区半截塔村路55号七棵树创意园C5100016) “京畿”原指“国都及其附近的地区”，在本次展览中则特指中华人民共和国的首都北京及周边。该展将汇集蔡东东、饭田祐子、黄宇兴、倪军、庞宽、彭磊、唐猛、仝天庆、王一凡、温凌、吴季璁、张晖等12位艺术家的作品，参展艺术家的个人经历也大多与北京这座城市有着千丝万缕的瓜葛，甚至半数以上就出生并常驻于此。因而，“京畿梦华录”即是一次以“本地”艺术家为主场的，围绕着北京的记忆、现实与猜想展开的一次梦幻之旅。

Time 2. 9. 2016 – 27. 11. 2016 Venue Jeonbuk Museum of Art, South Korea Artists Korea / 김기라_김남현_김영봉_박경종 박성수_박재연_박종찬_씬 킴_안지산_유목연 윤성필_이가립_정희정_조혜진_홍남기 China / Lu-Yang_Nut Brothers(Ren Zheng Wang) Bangladesh / Urmi(Farzana Ahmed) India / Mansoor Ali_Parag Sonarghare_Reshma Nair Indonesia / Rudy Atjeh(Rudy Dharmawan) Darbotz(Darma Adhitia)_Wukir Suryadi Japan / Kumpei Miyata Malaysia / Chang Yoong Chia_Justin Lim Mongolia / Enkhbold Togmidshiirev Myanmar / Nge Lay(Hlaing Yu Par Wint) Nepal / Sheelasha Rajbhandari Philippines / Aze Ong(Ramirez Azenith Elaine)_Dexter Fernandez Taiwan / Wu Chi-Tsung Thailand / Sai (Wannaphon Chimbanchong) Vietnam / Manh Hung Nguyen_Cam Xanhs(Thanh Ha Tran Thi)   Asia Young 36 is an international exhibition that advocates the avant garde-ness, dynamism, and experimental nature of art. The exhibition is opening doors for 36 young artists from 14 Asian countries to use their art and fulfill their potential. It sheds light on various social issues plaguing Asia today with modern art. Meanwhile, the five day international exchange workshop gives participants a chance to share a wide spectrum of problems in Asia. Key figures in the art world including artists, curators, and critics interact with one another to build a consensus at the workshop and offer new values and discourse that the Korean art world must aim for. Jeonbuk Museum of Art expects the international exhibition and the workshop to become a hub of modern art in Asia. Also, the event is a special exhibition worth noting as a specialization strategy for stimulating local art and public or national art galleries.     전시기간 2016-09-02 ~ 2016-11-27 전시장소 전북도립미술관 본관  <아시아 청년 36>은 아시아의 전위성, 역동성, 실험성을 표방한 국제전. 아시아 14개국 36명 청년미술가의 힘과 가능성을 열고 있다. 현재의 아시아가 담고 있는 다양한 사회 문제들을 현대미술로 들추어낸다. 한편으로 4박 5일간의 국제교류 워크숍을 통해 아시아 속에 있는 다양한 스펙트럼의 지역 문제들을 공유한다. 워크숍을 통해 미술가, 미술관장, 평론가 등 미술계 주요 인사들이 교류하고 공감하면서 한국미술이 지향해야 할 새로운 가치와 담론을 제시할 것이다. 국제전과 워크숍을 통해 전북도립미술관은 아시아현대미술의 허브로 작용할 것을 기대한다. 또한, 지역 미술 활성화와 국공립미술관의 특성화 전략의 하나로도 주목할 만한 특별전이다.