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 papers were collaged into mountains, allowing the artist to further probe into the aesthetics of traditional paintings.
Lastly, the artwork “Still-Life 006 – Chrysanthemum” translates the traditional cut-branch flower painting into a time based moving image. As a video installation, the piece is projected on a hanging scroll, suggesting an outlying and ephemeral scenery that is akin to a vaguely fleeting memory. “Still-Life” series is originated from the artist’s awe to contemporary art and his nostalgia to traditional art.
Given the dominance role of European and American culture in globalization, contemporary art has been rapidly expanding, revolutionizing and innovating. However, it is disconnected to local traditional cultural contexts, increasing the disappearance of unique regional arts and aesthetics. Raised under traditional art cultivation, Wu Chi-Tsung is deeply aware of such disconnection. In his recent artworks, Wu has been finding the possible balance between Eastern and Western cultures, as well as traditional and contemporary art.
The term “Far East” is a Eurocentric geographical concept. Yet, in a globalized epoch, Far East is no longer far away, and the East is no longer east.
Grantee: Wu Chi-Tsung
Inspired by Japanese conceptual artist On Kawara, NTCH Artist-in-Residence Baboo teams up with visual artist CHOU Yu-cheng for this third installment of the director's Visual Art and Theater series. Set in a transitional time and space, the production re-investigates the geography in our daily lives. By incorporating important current events, personal experience, and collective memory, Caged Time presents a juxtaposition of reality and recreations, scenery and spectacles, changing sites and fluidity of relationships, to construct this landscape narrative of a parking garage.
Grantee: Liao Baboo
After the performance on TED Taipei in May, 2017, Sauniaw Tjuveljevelj, inheritor of Paiwan ancient songs et expert of nose flute, will re-cooperate in Kei Zemihwng with Pisui Ciyo, Tayan theatre artist and the Taishin Performing Arts award winner, also with the participation of Mexican musician Iván Flores, theatre actresses, Lu Shiau-Han, Zhang Peng-Yu, Wang Shin-Ying, and Huang Ren-Jun as video designer.
Based on the profound purity of ancient vibration songs, Kei Zemihwng will share with spectators, through body, vocal and image creations, the core of oral culture：“Meeting” between “you” and “me”, the irreplaceable presence.
Employing “spectrum of light” as the theme, this exhibition addresses LGBTQ community’s rich history and its appeals for peace, love and diversity with rainbow as its symbol. On the one hand, the spectrum of colors can be seen in a rainbow, a phenomenon caused by the refraction of white light. Rainbow and light are two sides of the same coin, implying that this exhibition is not about the binary opposition between light and darkness, but as diverse and inclusive as the spectrum in terms of its artistic expression and exploration of LGBTQ issues. On the other hand, light is the everlasting source of energy for the creatures on Earth. It treats and nurtures all living organisms fairly and equally, and promises them growth, hope, and kindness. Based on their similar backgrounds in culture, language, geographical location and ethnicity, 22 artists from Taiwan, China, Hong Kong and Singapore are showcased in the exhibition with a total of 51 artworks. The exhibition represents the life stories and related issues of the post-war Chinese LGBTQ community as the artworks on view touch upon a profusion of subject matters such as identity, equality, exploitation by mass media, social predicaments, comments on individuals/groups, human desire, as well as life and death.
PAN Hsinhua was born in Taimili of Taitung County in 1966. He graduated from the Department of Fine Arts at the National Institute of the Arts (currently known as Taipei National University of the Arts) in 1991 and held a teaching position at Taipei National University of the Arts as an assistant professor between 2011 and 2015. The exhibition “Arcadia Curiosities – Pan Hsinhua Solo Exhibition” at Asia Art Center is Pan Hsinhua’s third exhibition in 2017; Pan Hsinhua was invited to exhibit in “Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia” curated by Chia-Chi Wang at Yinchuan Museum of Contemporary Art, as well as “Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan”, the grand exhibition at National Taiwan Museum of Fine Arts curated by Chao-Jen Wu.
As far as contemporary ink art in Taiwan, China, Hong Kong, Japan and Korea, or even considering the art development in the period since the lifting of martial law in Taiwan, Pan Hsinhua has become an irreplaceable force for his uniquely brilliant artistic language.
Grantee: Pan Hsin-Hua