Still Life 012 – Buttercup Tree and Still Life 014 – Yellow Mai Flower, both acquired by Santa Barbara Museum of Art, are now on view in the group exhibition Mediated Nature of the museum till December. In an exhibition review in Santa Barbara Independent, it is stated that  the works have “challenged our media consumption habits at a different level.”  “Chi-Tsung enacts a faux-pas in an entertainment landscape where plants are mere mute extras meant to signify exoticism. His shots linger on a stationary plant for more than six minutes. In his work, the medium of video is camouflaged as painting. Although celebrating the mundane can be an oversubscribed concept, the elaborate care in Chi-Tsung’s work — the crispness of the colors, the subtle mist-like atmosphere enveloping the plants — bends time. The viewer wonders, ‘Have I been watching this flower for six minutes or 20’? When the medium changes, so does the message. Chi-Tsung’s “Still Life 012 — Buttercup Tree” carves new depths within our experience of mundanity. A shivering leaf becomes a noteworthy event, and mist traveling slowly along a plant’s wet roots becomes an erotic experience.” 吳季璁的兩件錄像作品《小品之十二 彎子木》和《小品之十四 黃梅》被美國聖塔巴巴拉美術館收藏，並將於美術館群展《媒介化的自然》中展出至十二月。當地媒體《Santa Barbara Independent》對該展覽的展評稱《小品》系列影像作品從不同角度挑戰了人們的媒介使用習慣。 「他戲謔般地設置出了一個人工造景，身處其中的植物不過是無聲渲染著東方情懷的臨時演員，鏡頭就這樣在靜止的植物上停留了六分鐘有餘。在這間作品中，影像媒介被偽裝成了繪畫。雖然作品也許並未刻意落腳於對於平凡的讚美，但是其中卻充滿著精緻的細節，那清晰的色彩、籠罩著植物的氤氳煙霧均模糊了時間的概念。令觀眾不僅疑惑，『我看了這朵花多長時間了？是6分鐘還是20分鐘？』 當媒介改變時，其傳遞的信息也隨之改變。季璁的《小品之十二 彎子木》為我們的日常經驗帶來新的感知可能：一片顫抖的樹葉成為令人注目的焦點，而沿著植物的濕潤根部慢慢遊移的水霧則為畫面增添了調情意味的氛圍。」 Written by 文/ Halim Madi  

In a recent article featuring the rise of water-themed art in the Financial Times, Wu Chi-Tsung’s Cyano-Collage Series was introduced in detail as a supporting argument for the potential cultural and philosophical depth of Art of this theme.  It was stated that Wu Chi-Tsung didn’t originally intend his cyanotypes to be about water. He began the works with mountains in mind, but soon saw that his photographic blue spaces resembled tumultuous waves. As the series grew he began to explore ways the works could be interpreted as traditional Shanshui paintings, ocean views and natural landscapes.  Chi-Tsung shares that “I was thinking I could try the possibilities of combining earlier techniques and materials, and hoping I could work with Xuan paper.” Regarding the production process that is direct and analogue, “I’m basically like a farmer,” he laughs, “it’s physical. I crumble the paper, I feel the paper. When the humidity is different it affects the paper. If it’s drier, it’s harder. If it’s more humid, it’s softer. There are lots of coincidences that I cannot control. That’s the best part.”  The writer continued to state that the results are abstract but appear like seascapes. “I cannot say if [the work] is concrete or abstract,” Wu adds. “Chinese landscapes never really represent specific mountains. An artist draws their own interpretation of the scene.” Chi-Tsung’s works are growing ever larger: his recent show at Sean Kelly in New York included a triptych of pieces reaching up to 9m high. The works also reflect the artist’s love of rock climbing in Taipei – “facing a giant wall every day and a sea wave just behind me”. Similarly, his aim is to immerse the viewer in the space. 在《金融時報》近期一篇關於聚焦於「水」的當代藝術的報道中，《氰山集》系列被詳盡介紹以表現該主題作品在文化廣度與哲學深度上的潛力。 報道中介紹道，《氰山集》系列的最初靈感來源於山景而非水景，但藝術家很快就意識到作品的藍色畫面亦形似波濤洶湧的海浪。隨著系列的發展，他挖掘出其多樣解讀的可能性：它們既可以是一幅山水畫、海景也可能是其他自然風景。 吳季璁分享道，「我想嘗試結合早期的技術與材料，並希望能夠使用宣紙來創作」。而談及其直接而手動的創作過程——而談及他在戶外，與化學藥劑與紫外線共同創作的過程——「我就像一個農民」，他笑著說。他創造性地在宣紙塗佈感光藥劑，將其揉皺後曝光兩小時，再將每張相紙在水中清洗，清洗時長取決於他期望達到的效果，最長可達一小時。「這是個物理性的過程。在揉皺紙張時，我能夠感知到它們的狀態。紙張在不同的濕度下會呈現不同質感，在乾燥氣候中會偏硬、空氣潮濕時則柔軟。（製作過程）充滿了偶然與巧合，是我無從控制的，而這正是最有趣的部分」。 作者評論稱這些作品是抽象的，但看起來又仿若海景。「我不願斷言（作品）是具體的還是抽象的」，季璁補充說，「傳統山水畫從來不描繪具體的山，（它們只是）藝術家對於風景的個人性的欣賞與解讀」。季璁在不斷挑戰作品的尺幅，在他最近於紐約尚凱利畫廊舉辦的個展中，最大的一幅寬達9米。對他而言，創作這件作品的體驗與他熱愛的攀岩是相通的，都是「每天面對一堵巨墻，身後就是海浪」。他希望觀眾在欣賞作品時也能夠擁有同樣的沉浸體驗。 Written by/ 文 Francesca Gavin  

Wu Chi-Tsung’s solo exhibition jing-atmospheres was listed in the Editor’s Pick by Artnet News. Each week, the website search for the most exciting and thought-provoking shows, screenings, and events, both digitally and in-person in the New York area. Here are editor Sarah Cascone’s introduction to the exhibition: In his first show at Sean Kelly, Wu Chi-Tsung presents his “Cyano-Collage” series, which reinterprets he traditional ink and brush landscapes of Chinese shan shui paintings—which translates to “mountain-water-pictures”—through the lens of experimental photography. The artist crumples up cyanotype paper that has a photosensitive coating, exposes it to sunlight, and mounts it on aluminum to create collaged images that recall mountainous landscapes. 在Artnet於11月2日發表的「本週最佳展覽」推薦版塊中，個展《境》亦被評價為最「激動人心、引人深思」的展覽。網站編輯Sarah Cascone的推薦詞如下： 「在吳季璁於尚凱利畫廊的首秀中，他展示了其《氰山集》系列作品，這一系列通過實驗影像重新詮釋了中國傳統繪畫中使用水墨演繹的山水意象。藝術家將塗佈藥劑的氰版宣紙揉皺、在陽光下曝曬、並將之拼貼至鋁板上，形成令人聯想至山水的圖像。」  

Wu Chi-Tsung Is Drawing Global Notice for Revamping Chinese Landscape Painting With Video, Light, and a Big Dose of Chance The Taiwanese artist hopes his journey to the international stage might be an inspiration for other young artists from Asia. When the artist Wu Chi-Tsung decided to take a leap of faith and seek representation outside his native Taiwan five years ago, he might have only hoped that it was the start of a global adventure. His travels have since taken him to Hong Kong, Berlin and now the U.S., where the 40-year-old has his first solo show this week at Sean Kelly Gallery in New York. Wu sees the exhibition as a major breakthrough not only for his own career but also, possibly, for other Asian artists of his generation. “I really hope this journey, one that has been full of trial and error in finding a way out, can inspire more young artists to go out to find opportunities, to see this big world,” Wu told Artnet News, speaking on a video call from the New York gallery where he was putting the final touches on his exhibition “Wu Chi-Tsung: jing-atmospheres“, opening on November 4. The embrace of the unknown not only forms the basis of Wu’s philosophy towards his life, but his artistic practice as well. From the production process to the final outcome, his work is often full of surprises, even to the artist himself. Take his well-known Cyano-Collage series, for example. They might look like traditional Chinese ink landscape paintings from afar, but on closer inspection, the works are an amazing illusion created using cyanotypes on Xuan paper, which is treated with a photosensitive coating and then exposed in the sunlight. The paper is crumpled, forming wrinkles and cracks. Each piece is an experiment, and when they are all put together, they form a collaged image that might resemble a mountain, or sometimes glaciers, or stormy seas. “Most artists have a strong ego. We try to control our work,” Wu said. “But the more you try to control it, the more likely you lose the possibility. Sometimes, we should…

Bustling back and forth over cities across the world, Wu Chi-Tsung dexterously shuttled through the art world,  as if it was a natural practice.  This day we came to Wu Chi-Tsung’s new studio in Tamsui, Taipei. Apart from here, he also has studios in Yuanshan in Taipei, Berlin, and  Ho Chi Minh City. These studios scattered around the world are not only for practical needs but also for Wu Chi-Tsung’s strategy of observing the world.  A studio space that can accommodate museum level presentation  “This is the most well-equipped space I have ever had. It’s like working in an art museum.” Wu Chi-Tsung sat in a corner of his new studio, and the sunlight fell through the large glass windows and landed on his shoulders. This new studio is located in the residential area of Danhai New Town. Facing a wide, neat street, it locates on the first floor with high ceilings. Here, Wu Chi-Tsung drives a scissor lift,  ascending and descending in the spacious space, busy making two huge  “Cyano-Collage Series” to be exhibited at Sean Kelly Gallery in  New York. This will be his first solo exhibition in New York– his new studio coming out of a need for this work.  The main exhibition hall of Sean Kelly Gallery in New York is the size of a  basketball court. Two large works are required, which are difficult to be accommodated in his old Yuanshan studio. “In Yuanshan, when you want to see the complete composition of  the work, you have to open the iron rolling door on the first floor and retreat  across the road.” One of the new “Cyano-Collage Series” scales three meters by nine meters in size. “It is unlikely that I would create works larger than this anymore. We have already challenged the limits of the new space by creating it” While standing in front of the large “Cyano-Collage Series” work, people would feel as if they are in a real mountain, and would almost lose control to dive in.  A studio is different from an art gallery. It is a place where the artist…

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  

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。」  

IN FOCUS: Wu Chi-Tsung | Applying Traditional Practices to Contemporary Photography Taiwanese ‘on-the-radar’ artist Wu Chi-Tsung speaks to PHOTOFAIRS ahead of the Shanghai fair this month, where he will be exhibiting his fascinating works with Sean Kelly Gallery (New York & Taipei). Interestingly, Chi-Tsung clarifies during the interview that he does not identify as a ‘photographer’, instead, he merges and unifies his extensive knowledge of multiple mediums to create dynamic, tactile-looking, and memorable artworks. The dilemma, the artist states, of distinctly categorizing art forms (such as painting, photography and contemporary dance), results in a ‘trapped’ mindset, thus limiting the potential for artists to develop and challenge themselves. PHOTOFAIRS, as a world-class art fair, aim to promote artists such as Wu Chi-Tsung, who are pushing the boundaries of photography and posing the question of how should photography be defined. With an impressive portfolio including set-design, ink painting and video works, Chi-Tsung proudly represents what it means to be a contemporary artist in the 21st Century. We speak to the artist about breaking down barriers between mediums, the importance of preserving traditional methods and an exclusive step-by-step feature on how he creates the renowned ‘Cyano-Collage’ series… “Sometimes it worries me that we have abandoned too many valued experiences and methods in traditional art as we transform too resolutely.” PHOTOFAIRS: Your works display an exciting range of artistic mediums, such as painting, set design and photography. What is your thought process when deciding which medium to use for a project? What comes first, the idea and theme behind a project or the desire to use a specific medium? WU CHI-TSUNG: Either way could be possible. Generally speaking, whenever I conceive a new project in any form, the language of painting is always my archetype. Every artist has his/her mentality, and painting is mine. For instance, the idea of ‘randomness’ from the eastern painting tradition (which partly is due to the nature of ink paints) is deeply rooted in me when I create my video installations and photography, like the Cyano-Collage series. I also imagine my art world via the spirit of paintings. Part of PHOTOFAIRS’ objective is to…