Ink Gene Curator: Chang Li-Hao Artists: Chen Chun-Hao, Hsu Yunghsu, Lin Chuan-Chu, Peng Hung-Chih, Tseng Yong-Ning,  Wu Chi-Tsung, Yao Jui-Chung Time: July 16, 2016 – August 21, 2016 Venue: Double Square Gallery (No.28, Lane 770, Beian Road, Taipei 104, Taiwan)   双方藝廊將於7月16日展出「近墨者」（Ink Gene），由策展人張禮豪策劃，集結七位優秀台灣當代藝術家陳浚豪、徐永旭、林銓居、彭弘智、曾雍甯、吳季璁及姚瑞中，展覽至8月21日。策展人認為一個人無論來自那個國家、地區與種族，縱然一生未曾履足他地，體內基因卻可能比我們所能想像的走得更遠，覆蓋的地理幅員更廣闊，時間的跨度也更加悠久。 台灣自古以來吸納多元且豐富的文化，尤其在數百年來在漢化程度較高的影響下，中國傳統美學確然已成為台灣創作者無可迴避的課題。策展人觀察從九○年代的解嚴後，此一正統遭遇到諸多外來衝擊，也促使了此一文化基因產生突變，舉凡從題材、思想、媒材等方面，陸續出現對於水墨的深刻反思與挑戰。「近墨者」即是在此思想脈絡底下生成，集結七位不同世代的台灣藝術家，他們各自在正視身繫此一水墨基因事實之際，檢視當代與傳統間交錯、曖昧與流變不定的狀態，進而共同譜唱出時而悠越激昂、時而含蓄靜謐，近墨而多彩的當代風流。  

The exhibition will be exhibiting Wu’s installation work – Wire IV. 展覽將展出吳季璁裝置作品 《鐵絲網四》。 展览时间： 2016-04-30 – 2016-07-31 展览城市： 上海 – 上海 展览地点： 上海二十一世纪民生美术馆 策 展 人： 姜节泓、马克•纳什 主办单位： 上海二十一世纪民生美术馆（M21） 展览介绍 由上海二十一世纪民生美术馆（M21）主办，姜节泓、马克.纳什联合策展的“真实的假像”将于2016年4月29日在M21开幕。作为M21的年度群展，展览包含来自亚洲、欧美、中东、大洋洲、非洲等地区的16个国家的30多位艺术家。其40余组件参展作品由影像、装置、摄影和绘画组成。  

成立於2014年的空場藝術聚落，以藝術家工作室為主體，透過不同領域的交融共生，發展出展覽、表演、論壇、駐村等多形式的跨領域實踐。 新成員加入 空場持續茁壯中 空場藝術聚落於2016年3月迎接獨立策展人王咏琳擔任首任藝術總監。曾獲數位藝術評論獎，藝術評論常見於各大藝術雜誌的王咏琳，近年透過策展實踐為台灣當前藝術生態開啟許多反思和想像的空間。過往多由成員共同生產活動的空場，將借助獨立策展人豐富的國際經驗和優秀的整合能力，將多元而開放的特色，以更具主題性的方式，呈現給觀眾。除藝術總監外，工作室成員也有楊弘瑜、柯良志、林仕杰等藝術家加入。 開放工作室藝術家名單： Tim Budden、二拍子、大腸王、王咏琳、王鼎曄、王璽安、朱駿騰、吳季璁、吳宜曄、吳虹霏、阮義忠、阮璽、岩切澪、林仕杰、施彥君、柯良志、洪司丞、洪翎、徐國良、粟田經弘、草字頭、高雅婷、郭奕臣、陳美蘭、陳振丁、葉佳蓉、楊弘瑜、蔡宜儒、蝴蝶效應劇團、鄭君殿、鄭柏潔 Time： 2016年4月9日 14:30-17:00 藝術家工作室導覽 （朱駿騰、洪翎、鄭君殿、吳季璁、柯良志、郭奕臣、洪司丞、鄭柏潔、蔡宜儒、阮璽、駐村藝術家Andrew Amanda） 2016年4月10日 14:30-17:00 藝術家工作室導覽（王璽安、高雅婷、吳宜曄、Tim Budden、王鼎曄、楊弘瑜、陳振丁、施彥君、陳美蘭、大腸王、蝴蝶效應劇團） Address：空場藝術聚落 台北市北投區北投路一段九號3樓

  Exhibition Date: March.18 – April.3, 2016 Open Hour: Tue-Fri 13pm-18pm. Sat-Sun 11am-20pm Opening: 19pm, March.18, 2016 Venue: MONA Inner Spaces – ul.Gwarna 7/100, 61-702 Poznań Curator: Yipei LEE Coordinator: Mat Bieczynski, Max Skorwider, Kornelia Drozdek Exhibition Artists: Wu Chi-Tsung, Zhang En-Man, Huang Po-Chih, Ariel Kuo, Catalina Africa, Agus Suwage, Tromarama, Wong Lip Chin, Tuan Mami, Sutthirat Supaparinya 【Introduction】 The Project A Touch for the Now – Artyści z Tajwanu i Azji Południowej is a transmission platform, which would highlight the connection between Asia (Southeast Asia) and Europe (East Europe, fields that are intertwined inside of contemporary art theories and practices, witnessed by many artists and artworks in the global vision. And it will be an open communication between older imagination and newer path with contemporary art in Poland. 【緣起】 本展覽「A Touch for the Now – Artyści z Tajwanu i Azji Południowej 觸見今日 – 台灣與東南亞當代藝術聯展」作為一個資訊轉換站，將呈現亞洲藝術家們在當代藝術的交匯中，從亞洲（東南亞）出發，透過親身經歷或是親眼目睹，連接西方歐洲（東歐與其他地區）當代藝術視野的延伸。期許本展覽不僅打開台灣與亞洲東南亞地區跟東歐對話機會，瞭解亞洲今日的動向，更能從立足亞洲的角度放眼歐洲，建立平等與公開討論藝術的新路徑。

  吳季璁將展出《皴法習作》新作 「第九屆深圳國際水墨雙年展」包括由魯虹策劃的「新中國畫VS新水墨畫」主題展、陳君策劃的「墨海新境」特別展和楊曉洋、游江策劃的「鵬城墨韻」組成，特邀80餘位海內外著名藝術家參展，展出作品約300餘件；第八屆深圳水墨論壇則圍繞本屆雙年展主題，設立“新中國畫的過去、現在與將來”和“新水墨畫的過去、現在與將來”兩場專題討論會，由魯虹擔任學術主持，另邀請16位著名學者與會，分別針對論壇專題進行深入探討。 第九届深圳國際水墨雙年展：墨海新境 展期：2016年3月25日(五) – 4月24日(日) 地點：中國深圳畫院   The new artworks of Wrinkled Texture Series will be presenting during the exhibition. The 9th International Ink Art Biennial of Shenzhen includes “New Chinese painting VS new Chinese ink painting” theme exhibition curated by Hong Lu, “sea of ink new territory” special exhibition curated by Chen Jun ,and “Pengcheng ink rhyme “composition planned by Yang Yang and Jiang Yu. More than 80 well-known artists overseas are invited, and about 300 pieces of works are on display. The 9th International Ink Art Biennale of Shenzhen 25, Mar. – 24, Apr. Shenzhen Art Institute, Shenzhen, China  

  Due to the severe earthquake in Taiwan on Feb 6, 2016, many historical architecture were impact and damaged. In order to show the care and to help, Polymer runs an art charity event which call for artists to donate works for the sale. All income goes directly into cultural heritage restoration in Tainan. For the event, Wu, Chi-Tsung donates a new video artwork – Still Life 05 – Cherry and the work will be exhibited in UP26 charity exhibition at Polymer gallery. UP26 Earthquake Relief Charity Event Feb 27 – Feb 28, 2016 Polymer (3F, No.9, Section 1, Beitou Road, Taipei 112) 因應2月6日台灣所發生的地震，空場舉辦「UP26 震在藝起‧賑災義賣會」義賣活動。 吳季璁捐贈新作 – 小品之五 櫻 AP版，作品將於義賣展覽中展出。 義賣活動所得將全數捐助「台南市政府社會局社會救助金專戶0206震災—指定古蹟與歷史建物重建修繕 」災區古蹟重建之用。 義賣時間：2016/2/27、28 11:00-19:00 義賣地點：空場藝術聚落 （台北市北投區北投路1段9號3樓）  

Beyond the Frame: New Media Arts from Taiwan Long Beach Museum of Art 2300 East Ocean Boulevard Long Beach, CA 90803 USA Thurs: 11AM to 8PM Fri-Sun: 11AM to 5PM Phone: (562) 439-2119 March 11, 2016 – May 29, 2016 The Long Beach Museum of Art is honored to present Beyond the Frame: New Media Arts from Taiwan, an innovative exhibition featuring new media artists who continually evolve their creative practice with rapid advances in media technology. The exhibition includes the works of six Taiwanese artists: Daniel Lee, Shyu Ruey-Shiann, Lin Jiun-Ting, Tseng Wei-Hao, Wu Chi-Tsung, and Yao Chung-Han. These artists navigate the line between artistic tradition and modern technology conceptually as well as in form and medium. The exhibition includes works created with new technologies, including video art, virtual art, interactive art, and robotics. source Long Beach Museum of Art

Still Life 01-Pine, 2009, Single-Channel Video (FullHD), color, 3 min. 19 sec. 26. 《小品之一 松》2009年、シングルチャンネル・ビデオ（フルHD）、カラー、3’19″26 廣島市現代美術館 第49屆錄像計劃：吳季璁 展出作品 《小品之一 松》 2016年2月2日（火）～ 3月6日（日） Hiroshima City Museum of Contemporary Art Video Art Program: Wu Chi-Tsung February 2-March 6, 2016 A lone tree stands shrouded in fog. The scene has a mysterious effect on the viewer: it is nostalgic, seeming to call up memories from the distant past, though leaving us with the feeling that we have never seen it before. In this work, Wu seeks to fuse the techniques of traditional Western painting with those of Eastern painting. Western landscape painting, which relies on perspective, and East Asian painting, which cannot capture a subject through visual analysis and composition alone, may appear to be diametrically opposed in essence, but this video work fuses the two without any clear sense of the boundary that ought to separate them. The viewer can sense the latent commonalities and connections between different cultures, but at the same time, is made aware of the degree to which biases and preconceptions affect our visual perceptions. What our eyes perceived as a scene of sublime beauty from the vast natural world is actually a small bonsai tree amid artificially generated mist. Here, the boundary separating natural from artificial becomes as indistinct as that between East and West. Wu Chi-Tsung Born in 1981, in Taipei, Taiwan, where he now lives and works. Studied painting and sculpture at the Department of Fine Arts, Taipei National University of the Arts. He participated in numerous group exhibitions including at “Roppongi Art Night 2015″ (Tokyo, Japan) in 2015. Solo exhibitions at the IT Park Gallery (Taipei, Taiwan) in 2004 and 2009, the CFCCA (Manchester, UK) in 2013, the Site gallery, (Sheffield, UK) in 2014 and others. He received the Taipei Arts Award in 2003 and the Award of Critics and Editors of Art Magazines (“WRO Media Art Biannual”, Wroclaw, Poland) in 2013.   霧の中に立つ一本の木。遠い記憶を呼び起こすような懐かしい景色のようであり、初めて目にした風景でもあるかのような不思議な感覚を抱かせます。 ウーがこの作品を通して試みようとしたのは、伝統的な西洋絵画と東洋絵画の融合です。遠近法を用いる西洋の風景画と、対象を構図のみでは捉えない東洋的絵画の本質は対極に位置するようにも思えますが、両者を融合させた映像の中にその境界線を見出すことはできません。異なる文化の潜在的な共通点や繋がりを感じるとともに、先入観や思い込みがいかに視覚に影響を及ぼしているのかという事実にも気づかされます。雄大で美しい自然の景色と眼が捉えたものは、実は人工的に発生させた霧と小さな盆栽です。自然と人工物の境界もまた、東洋と西洋の境界のように曖昧になっていきます。 吳季璁（ウー・ジーツォン） 1981年台北生まれ、同地在住。2004年国立台北藝術大学、美術学院、学士号取得。2015年「六本木アートナイト2015」（東京）など多数のグループ展に参加。2004年、2009年IT Park ギャラリー（台北、台湾）、2013年CFCCA（マンチェスター、イギリス）、2014年サイトギャラリー（シェフィールド、イギリス）などで個展を開催。2003年台北美術賞（台北、台湾）受賞。2013年WROメディアアート・ビエンナーレ金賞（ヴロツワフ、ポーランド）受賞。 video art program: www.hiroshima-moca.jp/en/exhibition/video49/

【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。