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Installation view of “Meeting Point”

《交匯點》展 覽現場

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Meeting Point Char wei Tsai and Chi-Tsung Wu Jenny Yen Chen Lee, Curator

Meeting Point brings together two Taiwanese artists, Charwei Tsai and Chi-Tsung Wu, to the gallery space of Edouard Malingue in Hong Kong, a location across the Taiwan Strait, where mixed cultures constantly encounter the daily lives of the local population.

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Charwei Tsai and Chi-Tsung Wu were both born in the early

felt uneasy. She then lit the incense on a mirror reflecting the

1980s when Taiwan was experiencing a period of drastic

sky as an offering to the city. As the burning incense slowly

political reform and rapid economic growth. Taiwan and

transformed the text to ash, it revealed the familiar skyline

Hong Kong, along with South Korea and Singapore, were

of Hong Kong overlooked from the Kowloon side. The work

countries of post-war economic growth referred to as ‘Tiger’

encourages a moment of contemplation on the spiritual

economies. Taiwan, situated in East Asia in the Pacific Ocean,

significance of the sacred text while the physical form of the

due to its location and complex history, forms a unique

text turned into ash.

cultural mix with influences from China and Japan as well as the island’s indigenous tribes originating from the Pacific

In Tsai’s body of work, she inscribes the Heart Sutra on

Islands. General improvement in the standard of living as

natural and ephemeral objects such as mushrooms,

well as affluent cultural influences aided in shaping a new

tofu, lotus leaves and an olive tree to evoke a new way

kind of aesthetic appreciation and exploration. Although Tsai

of understanding the immaterial and transient nature of

and Wu were educated in different contexts - Tsai received a

life, allowing us to better comprehend and reflect on our

Western education whereas Wu attended a local Taiwanese

impermanent state of being. Tsai constantly explores art as

school - their works are both immersed in Chinese culture

a method of meditation and a tool for spiritual and social

and Eastern philosophy. This exhibition underlies the very

practice. In addition to Tsai’s interest in Buddhist philosophy,

meeting point of their artistic practices: a sensibility towards

she also explores rituals in other religions: in Alba’s

the poetic aesthetics of the East.

Pilgrimage and Baptism, for example, she explores the notion of rituals in Catholicism.

Tsai’s new work entitled Incense Mantra, an extension of Tsai’s mantra series, was created upon the occasion of this

Tsai’s creative process is often spontaneous. Her process

exhibition which includes four chronological photographs

is an experiment of realising a state of mind, capturing an

and a video, made in collaboration with Tibetan filmmaker

unknown momentum in its most optimistic measure. The

Tsering Tashi Gyalthang. The project was inspired by the

sparks in her work successfully transform visual text into

history of Hong Kong as the “Fragrant Harbour,” known for

conceptual meditation.

transporting large amounts of incense produced by locally grown sandalwood to Suzhou and Hangzhou. Tsai sourced

Wu’s practice reflects on our perception of the physical

a large piece of incense from a local store on Queen’s Road

and natural world, and the mechanisms involved in

West and hand-inscribed the Heart Sutra on it. Tsai had

the transformation of images. In Wu’s body of work, he

memorised the Heart Sutra, a seminal Buddhist text, as a

constantly challenges himself by exploring unknown

child and would sometimes recite it in her head when she

possibilities of known materials and techniques. Through

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exploring different mediums, Wu creates a personal

representations between illusion and reality. In observing

interpretation and connection between the self and the

Wu’s oeuvres, his works may seem logically planned but

world he inhabits. Wu finds answers to his questions through

the artist also embraces elements of uncertainty that occur

hands-on experiments and realises the images from his head

during the process, allowing unexpected factors to step in

through creating the actual physical work.

and direct the outcome of the work.

In this exhibition, Wu has created an extension of new works

Tsai and Wu meet in a city where mixed cultures continue

from his Wrinkled-Texture series. Inspired by the texturing

to merge. In this exhibition, we will see how Chinese

method techniques of traditional Chinese landscape

culture and Eastern philosophy have evolved with a unique

painting called cun-fa, which are extensively applied

interpretation stemming from the personal perceptions of

to depict the dimensions of mountains, stones and skies

both artists. Whether their works originate from spontaneous

through light ink strokes, Wu intended to create alternative

moments or rational deliberations, they both invite elements

possibilities by combining a material rooted in the East,

of unexpectedness and let the flow of creativity take the

rice paper, and the Western technique of Cyanotype with

lead in forming the actual work. Tsai and Wu hereby come

painting techniques from traditional Chinese aesthetics.

together in the gallery space, engaging in a unique dialogue on how concepts are translated into visuals and vice versa.

By crumpling rice paper coated with photosensitive solution

Their way of interpreting the visual sensation conditions

(combination of potassium ferricyanide and potassium

us for a new kind of perspective towards an exceptional

ferricyanide) used in Cyanotype techniques and exposing

aesthetic experience.

the receptive surface under sunlight, Wu converts sunlight into an ideological image of subliminal beauty, creating an image that resembles various possible subjects such as a Chinese landscape painting, glacier or satellite photo. By not being able to control the exact outcome of the exposed Cyanotype, Wu challenges the aesthetic of the “known,” creating an image that is neither a photograph nor painting, or a photograph without using a camera and a painting without the use of a brush. Wu’s work often revolves around themes of time, light and visual perception with intimate links to memory, creating 9


交匯點 蔡佳葳、吳季璁 香港雙人展 策展人李晏禎

展覽《交匯點》將台灣藝術家蔡佳葳、吳季璁邀集到 馬凌畫廊,位於香港——台灣海峽對岸這樣一個混種 文化與當地生活水乳交融的城市。

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蔡佳葳、吳季璁兩人生於1980年初,當時台灣經歷一連串劇烈政

吳季璁的創作則反映了我們對物理與自然世界的認知,以及影像

治改革與快速經濟成長。台灣、香港、韓國和新加坡因經濟成長

轉化過程所牽涉的機制。在作品中,他不斷挑戰自己,探索已知

而被稱為「亞洲四小龍」。台灣,坐落於太平洋的東亞,地理位

物質與技巧背後隱藏的未知可能性。透過不同媒介,他創造出自

置和複雜歷史形成獨特混種文化,中國、日本文化,以及台灣本

己與所居住的世界之間,專屬於他的詮釋方式與連結。透過親身

島上源於太平洋島嶼的原住民文化,互相交匯融合。生活水準提

實驗,以及創造實體作品來將腦海中的影像具體化,吳季璁找到

升與豐沛文化內涵,創造了美學欣賞與探索的全新方式。雖然蔡

自身問題的解答。

佳葳和吳季璁有著不同教育背景——蔡佳葳接受西方教育,吳季 璁則在台灣當地學校就學——他們的作品都浸淫在中國文化與東

此展中,吳季璁的作品為《皴法習作系列》的延伸。受到傳統中

方哲學中。此展見證兩人藝術實踐的交匯點:一種涵納東方詩意

國山水畫技巧「皴法」的啓發,也就是大量應用於山巒、石頭與

美學的特殊感受。

天空的淡墨筆法,吳季璁結合東方的宣紙、西方的沖印技術「藍 晒法」,與傳統中國美學繪畫技巧,試圖創造新的可能。

此展展出蔡佳葳的全新作品,《咒語系列》的延伸— —《香咒》, 包括四張攝影照片及一段錄像作品,為蔡佳葳和西藏電影製作人

他將感光材料塗在宣紙上,放在陽光下曝曬,經水洗程序讓紙張

Tsering Tashi Gyalthang 聯合製作。此作品的靈感來自香港歷

的皺摺紋理顯像。結果,在他的巧手下,陽光的痕跡在紙上呈現

史與她的別稱「香江」:因為生產檀香並大量運送至蘇杭而命

如中國山水畫、冰河或衛星照片的美景。由於不能準確控制冷色

名。蔡佳葳於香港中環皇后大道西取得一大塊檀香,在檀香上用

調紙在曝曬下的結果,吳季璁挑戰對「已知事物」的審美觀,創

中國書法刻上《般若波羅蜜多心經》。蔡佳葳自幼早已熟記《心

建一個既非畫又非照片的圖像;或者可以說,他創造了一張不是

經》,有時惶惑不安便在心中默念。她點燃刻寫《心經》的檀

透過相機鏡頭而成形的照片,或是一張沒有使用畫筆的圖畫。

香,並放在一面映照著天空的鏡子之上,奉獻給這座城市。當香 炷緩慢地將經文化成灰燼,鏡子也映照出從九龍這頭遙望香港的

吳季璁的作品經常圍繞著時空、光、視覺感知和記憶的親密連

天際線。當有形的檀香燃燒,將經文化為無形的同時,《 香咒》也

接,創造出錯覺與現實之間的圖像。他的作品乍看可能經過縝密

誘發了那神聖經文背後,其精神意義為人們所帶來的片刻冥想。

的邏輯計劃,但他也欣然接受在過程中出現的不確定元素,讓出 人意表的因子介入,主導作品成形。

在蔡佳葳的作品中,她經常將《心經》刻寫在自然或無常的物體 上,如香菇、豆腐、蓮花葉或橄欖樹,以尋求一個新方式來理解生

蔡佳葳和吳季璁在香港這樣一個文化混種交融的城市相遇。此展

命本質的微不足道與轉瞬即逝,讓觀者更能領悟並思索生命的無

中我們將目睹兩個藝術家的個人認知所衍生的獨特詮釋下,中國

常。她經常將藝術當作沉思的途徑,並用藝術來進行精神與社 會

文化與東方哲學如何進化。不論他們的作品源於自發性的片刻或

實 踐 。 除 了 對 佛 教 哲 理 感 興 趣 之 外 , 她 也 探 索 其 他 宗 教 儀 式,如

是理性的深思,兩者皆運用不可預測性的元素,導入創意之流,

作品《阿爾芭的朝聖之旅》、《受洗》都探討天主教儀式的概念。

成為作品完成的終極能量。兩位藝術家齊聚在馬凌畫廊,以作品 展開一段特殊對話,探究概念和視覺兩者間如何轉化。他們對於

蔡佳葳的創作過程經常是自發性的。這個過程是種實驗,她企圖

視覺感受的獨特解讀方式,開啓了美學經驗的全新觀點。

實踐一種心理狀態,抓住最具爆發性的未知能量。她作品中的火 花,成功地將視覺文字轉化成概念性的冥想。 11


Char wei Tsai 蔡佳葳


Incense Mantra I (in collaboration with Tsering Tashi Gyalthang) 2013 | Photograph | 66 x 150 cm | Edition of 3

香咒 I (與 Tsering Tashi Gyalthang 合作) 2013 | 照片 | 66 x 150 公分 | 共 3版 14


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Incense Mantra II (in collaboration with Tsering Tashi Gyalthang) 2013 | Photograph | 66 x 150 cm | Edition of 3 香咒 II (與 Tsering Tashi Gyalthang 合作) 2013 | 照片 | 66 x 150 公分 | 共 3版 16


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Incense Mantra III (in collaboration with Tsering Tashi Gyalthang) 2013 | Photograph | 66 x 150 cm | Edition of 3 香咒 III (與 Tsering Tashi Gyalthang 合作) 2013 | 照片 | 66 x 150 公分 | 共 3版 18


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Incense Mantra IV (in collaboration with Tsering Tashi Gyalthang) 2013 | Photograph | 66 x 150 cm | Edition of 3

香咒 IV (與 Tsering Tashi Gyalthang 合作) 2013 | 照片 | 66 x 150 公分 | 共 3版 20


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Installation view of “Meeting Point”

《交匯點》展 覽現場

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Incense Mantra (in collaboration with Tsering Tashi Gyalthang) 2013 | Video | 8 minutes | Edition of 5

香咒 (與 Tsering Tashi Gyalthang 合作) 2013 | 錄像 | 8 分鐘 | 共 5版 24


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A Dedication to the Victims of the Tsunami of March 11, 2011 - Turbo Marmoratus II

2013 | A Pair of Seashells | 15 x 3 x 8 cm, 8.5 x 8 x 2.5 cm; 15 x 16 x 11 cm, 8 x 9 x 2.8 cm

獻 給311海 嘯受難 者 — 夜 光 蠑 螺 I I 2013 | 貝殻一對 | 15 x 3 x 8 公分 , 8.5 x 8 x 2.5 公分 ; 15 x 16 x 11 公分 , 8 x 9 x 2.8 公分 26


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A Pilgrimage through Light & Spells

2012 | Artist’s Book | 270g, 21 x 30 cm | Edition of 60

《透過光與咒語的朝聖》 2012 | 藝術家專集 | 270克 , 21 x 30 公分 | 共 60版 28


Artist’s book printed using lithography, handwritten with accordion binding and thin bamboo cover accompanied by a booklet with an interview, held in a wooden box (published by Idem, Paris in English, Chinese, and French) 由 巴 黎 版 畫 店 Idem出 版 的 藝 術 家 專 集 ; 手風琴式訂裝,竹蓋封面,並付有藝術家專訪 (以英文、中文、法文編寫)

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Artist working at Atelier Idem, Paris

藝術家在巴黎 Idem 出版社的工作照 30


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Installation view of “Meeting Point”

《交匯點》展 覽現場

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Early Works by Charwei Tsai 蔡佳葳早期作品

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Tofu Mantra

2005 | Video with sound | 2 minutes

豆 腐咒 2005 | 數位有聲錄像 | 2 分鐘

Collection of Mori Art Museum, Japan 日本森美術館之收藏作品

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Olive Mantra

2006 | Installation | Hydra School Project, Bratsera Hotel, Hydra, Greece

橄欖咒 2006 | 裝置作品 | Hydra School Project, Bratsera Hotel, 九頭蛇島, 希臘 38


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Etrangère II

2007 | Photograph | 112 x 76 cm

外人 II 2007 | 照片 | 112 x 76 公分 40


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Circle

2009 | Video | 40 seconds

圓圈 2009 | 錄像 | 40 秒 42

Commissioned by Fondation Cartier Collection of Queensland Art Gallery, Brisbane and Yokohama Museum of Art, Japan 由卡地亞基金會委託之作品 布里斯本昆士蘭美術館及日本橫濱美術館之收藏作品


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Sky Mantra

2009 | HD video with sound | 20 minutes

天空 經 2009 | 高畫質數位有聲錄像 | 20 分鐘 45


Ah

2011 | HD video with sound | 5 minutes

Ah

2011 | 高畫質數位有聲錄像 | 5 分鐘 46


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Bonsai Series III

2011 | Hand-Inscribed Lithograph | 26 x 31 cm | lyrics of love

盆 栽 系列 I I I 2011 | 手寫於版畫 | 26 x 31 公分 | 情歌歌詞 48


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Lanyu VII (in collaboration with Tsering Tashi Gyalthang)

2012 | Hand Inscribed Photograph | 120 x 150 cm

蘭 嶼 V I I (與 Tsering Tashi Gyalthang 合作) 2012 | 手寫於相紙 | 120 x 150 公分 51


Hair Dance

2012 | HD Video with Sound | 4 minutes

頭髮舞 2012 | 高畫質數位有聲錄像 | 4 分鐘 52


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Shi Na Paradna

2012 | HD Video with Sound | 4 minutes

招魂 2012 | 高畫質數位有聲錄像 | 4 分鐘 54


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Catalogue Essay - Meeting Point Melissa Lee

O Sariputra, the characteristics of the void are not created, not annihilated, not impure, not pure, not increasing, not decreasing. – Heart Sutra (English translation)

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What is the significance of inscription onto the universe?

the origins of the very naming of Hong Kong—as centuries

In Meeting Point, Charwei Tsai and Chi-Tsung Wu explore

ago the city traded on being a regional supplier of incense

the nature of transience in the impermanent human ties

for the rest of Asia. The very “Hong” in Hong Kong is the

to our culture and the micro / macroscopic universe. Both

Cantonese word for “Fragant” and thus, the city’s nickname

artists explore and interrogate this question through their

“Fragant Harbour”.

practice converting cultural traditions into new mediums in the current Edouard Malingue Gallery exhibition with a

There is a rich textural aspect to the Incense Mantra

series of new works. Tsai paints the ancient Buddhist text of

photographs as the thick smouldering quality of the incense

Heart Sutra, a cultural cornerstone of East Asian culture for

ash transforms the photograph into a grainy landscape with

centuries on perishable organic natural objects. Reaching

multiple depths and plains. In particular, Incense Mantra III

back and referencing centuries of tradition, Chi-Tsung Wu

photograph shows the moment in which the incense has

acknowledges his classical Chinese painting background by

burned midway between ash and text and thus unrolled a

mimicking the texturing techniques of traditional Cun-Fa

voluminous rich quality of lushness that speaks of jagged

in his work but adding a contemporary twist by using a

plains and uneven grounds evoked in the landscape. The

Cyanotype photo printing process rather than traditional

words of Heart Sutra are delicately etched and yet languidly

Chinese ink. Both artists are interested in themes of

extinguished at different stages in the four photographs.

impermanence, balance, and distilled harmony found in

The slowly dissipation of the Heart Sutra words in Tsai’s

multiple universes, both large and small.

photographs evoke the impermanence and sublime emptiness of Buddhist existence. “Emptiness” here and in

Tsai’s work, in collaboration with Tibetan filmmaker, Tsering

Buddhist mythology refers not to the common Western

Tashi Gyalthang, consists of a series of chronological

conception of “lacking”, but instead to the Buddhist term

photographs and a single multi-media video. Incense Mantra

Sunyata, evolving from the concept that nothing in this

is inspired by locally sourced incense grown in the rare trees

world has ultimate substantiality— including the human.

of Hong Kong’s Koon Wing Chan, less than two kilometres

All objects and beings become transient and impermanent.

away from the Mainland Chinese region. The photographs

The second stanza of Heart Sutra explains that: one is “not

and captured video of slowly diminishing ash evokes

created, not annihilated, not increasing or decreasing”.1

everything from the burning of incense at temples, to the

Incense Mantra’s gradual obliteration of these words by

fragrant wood used in herbal teas and Chinese medicine

fire further emphasises the message of transience and

for healing properties. The use of local incense also evokes

impermanent existence.

1

Heart Sutra. Trans English. USA Shaolin Temple official website. http://www.usashaolintemple.org/chanbuddhism-heartsutratranslation/

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Tsai’s photographs reveal a three dimensional pictorial

works include Lotus Mantra presented at the inaugural

quality to the work. The series of four Incense Mantra

Singapore Biennial, as well as A Dedication to the Victims of

photographs reveal particular phases in the life of the

the Tsunami of March 11, 2011 - Turbo Marmoratus, in which

incense as it slowly burns to ash. From almost completely

Tsai invited local participants to write the Heart Sutra on

intact (Mantra I), to half-extinguished (Mantra II), three-

permeable seashells.

quarters smouldered (Mantra III) to ashes (Mantra IV). Tsai’s work involves the process of precisely inscribing ancient

This inscription of language onto nature becomes a citation

language engraved on nature—a text with a subject that

imposed upon the natural creating a distinction between

involves the very theme of impermanence, and illusory

the cultural and the native. Tsai’s inscription of Buddhist

objects and illusions. The inscription is made in traceable

dialogue in nature reveals the hidden universe of balance—

materials reinforcing a sense of the ephemeral to the works.

the Heart Sutra is one of the oldest texts of Buddhism—

Tsai’s A Pilgrimage through Light & Spells, a book project

revealing the ‘Heart of the Perfection of Transcendent

published by Idem printmaking shop in Paris (also part of

Wisdom.’ One of the major themes of Heart Sutra explaining

the exhibition) reveals and recommits to her fascination with

the concept of impermanence central to the use of Chinese

language and inscription.

calligraphy that Tsai writes on natural materials—wood, seashells, mushrooms, and now incense. The writing of a

Incense Mantra is a further continuation of Tsai’s regular

text of impermanence on nature reveals the transitory and

oeuvre of work that involves a ‘Mantra Series’ site specific

evolving transformation of nature and life itself.

in each of its iterations. Tsai’s previous mantra installations include Mushroom Mantra presented in the 6th Asia Pacific

Continuing the theme of reinventing cultural languages and

Triennial (2009) where Venerable Elders from the Buddhist

traditions, Chi-Tsung Wu re-conceives traditional Chinese

Light Association were invited to inscribe the Heart Sutra

landscapes on Cyanotype processed paper. Moving away

in ink on the mushrooms conveying themes of growth,

from the often used Chinese scroll calligraphy work, Wu

decomposition and decay. Olive Mantra, another related

reveals to us hidden landscapes by using precise mechanical

work located on Hydra Island Greece, inscribes the Heart

and technological fascinations. Wu’s Cyanotype technique

Sutra on an olive tree, a flora species of special significance

of processing paper is most commonly used in architectural

to Judeo-Christian religion. As the olive tree grows, as

blueprint drawings as it creates a photographic printing

does the inscribed Buddhist text evolve with the tree and

process giving a cyan-blue print, which he artfully crinkles

eventually disappear in keeping with the theme of transitory

and leaves in the sun for 10-20 minutes. Delving from both

inscriptions. Each ‘mantra’ installation engages with local

his architectural school training as well as his classic Chinese

organic materials related to the region. Other comparable

painting background, Wu plays on the traditional Chinese 59


landscape painting technique of Cun-Fa, ironically using

hills. This early work embodies similar themes to his current

these techniques in an unconventional way by crumpling

Wrinkled Texture works in that they allow us to imagine

the traditional rice paper used to imprint Cyanotype and

natural landscapes through the use and intervention of

exposing it under sunlight. The sunlight directly records

technological man-made mediums. Dust (2006) continues

light onto the Cyanotype paper, drawing from a historical

this theme of revealing invisible landscapes. A projector and

1830s concept of photography used in reproducing notes

lights are placed in a room recording the dust that swirls

and diagrams. The action of light on different sections

into space with people’s entrance and exit into the space. Wu

of the paper creates a silhouette effect, which Wu utilises

has commented that he is interested in the Buddhist idea of

with beautiful transformative results. The sunlight beaming

infinite worlds—the smallest world universe as a speck of

directly onto the Cyanotype rice paper creates a wrinkled

dust, the largest world being the universe— with the human

texture that is unfurled when the paper process is finished.

world existing somewhere in between. Wu’s artistic process

Wu’s crinkled landscape reveals hidden mountains and

and work is to capture these worlds for us to envision in our

unexpected craggy plains where the light white clouds of

own lives.

untouched ink also reveal a pillowy whiteness and delicate immutability. Revealing both mountain and water landscape

Meeting Point refers to a number of different collaborations

simultaneously and yet also neither, challenges our views

and meetings. It is a meeting of minds—both artists are

of the universe. It is strangely fitting that the natural

preoccupied with themes involving the reinvention of

intervention of sunlight is necessary in order to reveal this

cultural heritage, organicity, and hidden universes. It is also

artificially hidden landscape. This method and concept

a chance for the Hong Kong public to meet these Taiwanese

embraces a kind of studied randomness in his work, which

artists for the first time together. The show in its entirety

he embraces as a recurring theme in his artistic process.

revolves centrally around themes of nature and our human relationship to natural surroundings. As curator Jenny Yen

Wu’s 2003 work Wire I reveals the presence of minute

Chen Lee states, both artists meet in ‘a sensibility towards

undiscovered universes in our world. A projector with a

the poetic aesthetics of the East.’

moveable lens is fixed in front of an ordinary piece of wire mesh. The projection created by the shadow of the mesh and the dust in the air reveals the revolving universe of shadow and light play transforming the hidden knowledge of his work. The ghostly landscape reveal an invisible world within our own that is strangely similar in which we can identify recognisable shapes—mist covered mountains and 60


展覽手冊藝評 —《交匯點》 李林嘉敏

舍利子。是諸法空相。不生不滅。不垢不淨。不增不減。

——《心經》

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試圖在宇宙間題字銘文的意義何在?在展覽《交匯點》中,藝術

經文被香火緩慢燃燒殆盡,便見證了「無常」的本質。

家蔡佳葳、吳季璁探索人類短暫生命中的「無常」本質,與我們 的文化與微觀/宏觀宇宙的相對關係。此次馬凌畫廊展出兩人一

蔡佳葳的攝影作品透著一股立體而如畫般的質感。《 香咒》系列呈

系列全新作品,見證他們透過藝術創作將文化傳統轉換為全新

現香炷從起始到被火燃盡的生命階段,從香炷幾乎完整無缺的

媒介,來探討「無常」議題。蔡佳葳將數百年來東亞文化的基

《香咒 I 》,到燒了一半的《 香咒 II》,到燃盡四分之三的《 香

石——佛教經典《心經》——刻畫在易腐爛的有機自然物體上。

咒 III》,最後只剩餘灰的《 香咒 IV》。蔡佳葳的作品將古代語

吳季璁則回溯過千年的傳統,呼應自己中國山水畫的教育背景,

言— — 一 部探討無常、虛幻物體和錯覺的經文——銘刻在大自然

藉由摹仿古法技巧「皴法」來創作,但不用水墨而是加入現代元

物體上。她將文字刻在有跡可尋的物質上,正好呼應作品所傳達

素的西方沖印技術「藍晒法」。兩位藝術家都對無常、平衡以及

「轉瞬即逝」的概念。在她由巴黎歷史版畫店Idem出版的書

多重宇宙空間的和諧等題材感到興趣。

《透過光與咒語的朝聖》(同 時於此展展出),見證了她對語言與 銘刻的迷戀。

蔡佳葳和西藏電影製作人Tsering Tashi Gyalthang聯手創作,作 品《香咒》為一系列按照時間順序排列的攝影照片,以及一段多

《香咒 》是蔡佳葳《咒 語系列》的延伸。之前的《咒 語》裝 置作品

媒體錄像。《 香咒》的靈感來自距離中國大陸邊界不到兩公里的一

包括2009年在亞太當代藝術三年展上展出的《蘑菇咒 》,她邀請

處香港小農村,由檀香樹農詹官恩(音譯: Koon Wing Chan)

佛光會長老將《 心 經》抄寫在蘑菇上,傳達生長、分解與腐敗的概

種植的檀香樹。攝影與錄像作品呈現緩慢消逝的檀香煙霧,讓人

念 。 另 一 裝 置 作 品《 橄 欖 咒 》位 於 希 臘 的 九 頭 蛇 島 , 蔡 佳 葳 將

彷彿見到廟宇間燃燒的香炷,或令人想起具有療癒功效的藥草茶

《心經》抄寫在對猶太 — 基督教而言,別具深遠意義的橄欖樹

與中藥裡所使用的檀香木。使用當地檀香,也喚起香港命 名 的 由

上。當橄欖樹漸漸生長,經文也將隨之慢慢演化而終將消逝,再

來——數百年前,香港曾是全亞洲的檀香供應地。

度驗證「無常」本質。每個《咒 語系列》的 裝置作品,媒介都是與

「香」是粵語中「芬芳」的意思,所以才有了「香港」這個名字。

當地相關的有機物質。其他作品包括於首次新加坡雙年展展出的 《蓮花咒 》,以 及《僅獻給2011年3月11日海嘯罹難者 — 夜光蠑

《香咒》的照片呈現豐富厚實的質感,檀香燃燒後剩下的厚厚灰

螺》,此作邀請當地居民將《 心 經》抄寫在海貝上。

燼將畫面變成一幅充滿顆粒感、高低起伏的風景。特別是《香 咒 III》這張照片中,檀香燃燒到一半,餘灰與經文交錯,層層疊

將文字銘刻在有機物體上,成為加諸大自然的引證,藉之點出文

疊,彷彿崎嶇乖張的地表景觀。在四張照片中,眼見《 心 經》經文

化與原生物種間的不同。蔡佳葳將佛教經文刻畫於大自然,找尋

精巧地刻畫在檀香上,但又在不同階段中被火燃燒、吞噬、消滅。經

隱藏在背後的宇宙平衡,而《 心 經》為佛教最古老的經典之一,也

文的緩慢消逝,反映佛陀無常又崇高的虛無存在。「空」,在這裡

彰顯超然智慧的真髓。《 心 經》中解釋「無常」與中國書法關係的

與佛教神話中,指的並非西方常理中「匱乏」的概念,而是佛教

片段,蔡佳葳則將之抄寫在有機物質上,如木頭、海貝、蘑菇,

用語「空性」之意,意指世上一切皆會消逝,包括人類在內。

到如今的檀香。將闡述「無常」的文字加諸自然,她揭露了轉瞬

任何物體與生命皆轉瞬即逝,一切無常。第二段《心經》解釋:

即逝與不斷演變的自然界與生命本質。

「是諸法空相。不生不滅。不垢不淨。不增不減。」《 香咒》中,

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另一邊廂, 吳季璁藉由西方沖印技術「藍 晒法」,延續「再造文

者進出空間所揚起的灰塵動向。吳季璁曾說,他對佛教所謂

化語言與傳統」的主題,在紙上重建中國山水景觀。拋棄常用的

「大千世界」的概念十分感興趣 — — 最小的世界是一粒沙,最大

中國書法捲軸,吳季璁藉由精準的匠法與技術,將肉眼本來看不

的世界則是宇宙——而人類世界則存於兩者之間。吳季璁的創作

見的景致全部彰顯。他所使用的「藍 晒法」,通常用於建築藍圖的

見證了這些世界的縮影,並將這些世界重現於觀者的眼前與想像

繪製。這個方式產生一種感光的印刷過程,導致青藍色的印刷效

之中。

果,然後吳季璁將紙弄皺,讓它在陽光下曝曬十到二十分鐘。從 建築學與中國繪畫的背景出發,吳季璁玩的是傳統中國山水畫技

《交匯點》意指不同的合作與會面,它指的是心智上的相遇——

巧「皴 法」。以非傳統的方式運用這古老的技法,他將感光材料塗

而兩位藝術家都同時對重建文化底蘊、有機性、隱形宇宙的題材

在宣紙上,放在陽光下曝曬。陽光直接將光的痕跡記錄在冷色調

感到興趣。此展也提供香港大眾一個和台灣藝術家首度交流的機

紙上,呼應1830年代用來複製筆記與圖表的攝影沖洗概念。光的

會。此展主題圍繞著自然,以及人類與自然環境的關係。誠如策

痕跡在宣紙上呈現不同層次的剪影,而吳季璁將這些剪影幻化成

展人李晏禎所言,兩位藝術家相遇的情狀正是一種傾向東方詩意

驚異之美。當印刷過程完畢,可見塗有感光材料的宣紙在陽光直

美學的特殊感受。

接曝曬後,產生皺摺的質感。在吳季璁的手下,皺摺的宣紙幻化 為起伏的地表景觀。原本隱蔽不見的山巒、出人意表的崎嶇平原 全部浮現,而感光材料未接觸到的宣紙表面,則呈現細膩柔軟的 潔白與教人玩味的不可變性。作品呈現似山水又非山水的畫面, 讓觀者重新審視自身對宇宙的觀點。為了彰顯這巧妙隱晦的人為 地表景觀 ,陽光的自然介入變得必要。這樣的方式與概念呼應 了一種經過細細解讀的隨機性。而吳季璁將之變為自身藝術創作 裡,不斷重複出現的主題。

吳季璁2003年的作品《 鐵 絲 網 I 》,呈現這個世界中隱蔽、未被 發掘的細微宇宙。利用一部具可移動式鏡頭的投影機,吳季璁將 它置放在一片毫不起眼的鐵絲網前。鐵絲網的陰影與空氣中的浮 塵,投射出光與影不斷輪迴的宇宙。鬼魅般的景觀,呈現實體世 界中肉眼看不見的隱形宇宙,一股奇異的熟悉感,卻讓觀者辨識 出如雲霧飄渺的山巒輪廓。這個早期作品,其實早已透露類似 如今《皴 法習 作系列》的主題意識,因為透過機械與人造媒介的 使用與介入,這些作品都將想像的自然山水景觀投映在觀者眼 簾。2006年作品《 灰 塵》持 續探索這個主題,企圖彰顯隱形的地 表景觀。吳季璁將投影機與燈置放在房間內,記錄空氣中隨著觀

63


Chi-Tsung Wu 吳季璁


Wrinkled Texture 005

2012 | Photograph, cyanotype, rice paper | Image: 53 x 88 cm; overall: 110 x 92 cm

皺法習作之五 2012 | 攝影、氰版、宣紙 | 圖: 53 x 88 公分 , 整幅: 110 x 92 公分 66


67


Wrinkled Texture 015

2013 | Photograph, cyanotype, rice paper, mounted on board | Image: 152 x 112 cm

皺法習作之十五 2013 | 攝影、氰版、宣紙 裱於板上 | 152 x 112 公分 68


69


Installation view of “Meeting Point”

《交匯點》展 覽現場

70


71


Wrinkled Texture 014

2013 | Photograph, cyanotype, rice paper | Image: 134 x 42 cm; overall: 210 x 48 cm

皺法習作之十四 2013 | 攝影、氰版、宣紙 | 圖: 134 x 42 公分 ; 整幅: 210 x 48 公分 72


73


Wrinkled Texture 016

2013 | Photograph, cyanotype, rice paper, mounted on board | Image: 83 x 142 cm 74


皺法習作之十六 2013 | 攝影、氰版、宣紙 裱於板上 | 83 x 142 公分 75


Installation view of “Meeting Point”

《交匯點》展 覽現場

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77


Inter view with Char wei Tsai & Chi-Tsung Wu Jenny Yen Chen Lee

u This is the third time that the two of you have a dual

Taiwan allows the local audience to relate to our works more

exhibition together, the previous times being in Toulouse and Tokyo. How do you feel about this show; do you think it’s similar or different from your previous encounters; is having this exhibition in Hong Kong particularly different from having it in some other location?

directly. For example, in my work, the traditions of ancestor worship and praying with incense in Taoist and Buddhist temples, as well as that of Chinese calligraphy, are customs that are very familiar to the local Hong Kong people. Regarding Chi-Tsung’s works, the viewers may easily relate

TSAI (Charwei Tsai): Chi-Tsung and I are both from Taiwan

them to traditional Chinese landscape paintings.

and were born only six months apart. In addition to these dual exhibitions, we have been included in many group

WU (Chi-Tsung Wu): In addition to the three dual exhibitions

shows together, mostly those with a focus on Taiwanese

mentioned, our work has been included many times

contemporary art. Besides Toulouse and Tokyo that were

together in other group exhibitions. Every different

mentioned, we have also been in the same exhibitions in

combination of works has resulted in a very distinct

Mumbai, Budapest, Herzliya, Shanghai, Taipei, and now in

discussion. For instance, this time, we are both showing

Hong Kong. Our works come together well because we share

photographic works. In Charwei’s work we see incense

similar topics of interest and a sense of minimal aesthetics.

sticks covered with hand-written scriptures slowly

While we both play with accident and control, our execution

burning, symbolising material transformation and spiritual

processes are quite the opposite. He perfects being in

continuation. In particular, I like the last photograph; in the

control and completes a work by allowing room for accident.

foreground we see bits and pieces of the scripture amongst

I work more intuitively with accidents as the main element.

the remains of burnt incense, which strikes a contrast with

Chi-Tsung spends a lot of time in his studio testing his

the blurred city landscape of Hong Kong in the background.

works until they reach a level that he is satisfied with before

It provoked a lot of reflection about my own existence. In my

presenting them. I often work more site-specifically and with

work, I tried to mix traditional Chinese landscape painting

materials that I source locally.

with photographic experimentation. I took into account the process of formation of the images and made certain

The geographic and cultural proximity of Hong Kong to

imaginations about photography itself. Of course, we share 79


contemporary art as a medium. But beyond that, we

aesthetics, Hong Kong cinema, Taiwanese pop music,

share an interest in discussing art and cultural traditions.

bonsais, tea ceremony, tribal dance, herbal medicine, Tai

We execute these interests, however, in completely different

Chi, mountains, sea, typhoon, earthquakes are all part of the

ways; our works look like contrasting images of idealism and

diverse cultural and geographical composition of Taiwan

utilitarianism. Hong Kong is similarly culturally diversified;

that I am heavily influenced by.

traditional Chinese culture as well as a modern Western metropolitan lifestyle exists. This duality corresponds to

WU: I think this is the cultural reality of Taiwan and East Asia

our works.

in general. Traditionally, we have been deeply affected by Chinese culture. This said, since the 19th century, we have been continuously challenged by European and American

u Your practices are drawn from both Chinese culture and

Eastern philosophy; how do you perceive these? What were some of the factors and reasons that led to this exploration? Are there any experiences or people in your life that may have inspired you?

cultures as well as modernisation. In particular, Taiwan’s complex historical and political background has added to its diversity. Personally, I started learning art at a young age. Calligraphy, ink, sketching, watercolour, sculpture, and later modern and contemporary art, all became my natural

TSAI: For my generation, the cultural divide between

resources for making art.

the East and the West is becoming less and less relevant. Many artists today are travelling back and forth between different continents. I would say, more specifically, that my work is deeply rooted in Taiwanese culture based on the mix of influences coming from the Chinese mainland before the Cultural Revolution as well as from Japan, the US, and the indigenous tribes of Taiwan. Zen Buddhism, Tibetan Buddhism, Taoism, Shamanism, traditional Chinese calligraphy, Chinese landscape paintings, Japanese 80

u Your works carry a poetic aesthetic of the East; is it something

that came to you naturally or something that you purposely created to give a certain effect or meaning? TSAI: As I have spent most time outside of my home country, it is easier for me to fantasise about the culture of my birthplace. Therefore, I tend to work more directly with


local materials. However, I do not intentionally place an

u Charwei, you’ve been transcribing the Heart Sutra onto

emphasis on Eastern elements. For example, I write the

ephemeral objects; how does it feel to transcribe by hand the Heart Sutra onto an element such as incense, which is used abundantly in Buddhist rituals as an object of offering and in direct attachment to the exhibition location, Hong Kong? When the object’s ephemeral state requires a human act, that of lighting it, what is the significance of the act and how do you see the relationship with it in your work?

Heart Sutra in Chinese because I have learnt it in Chinese since I was little and I am able to write it on natural materials easier than in English since the characters make sense in any directions, whether vertical or horizontal. Besides the Mantra series, I have also made many works written in English and sometimes in French depending on the context of the work. Conceptually, the works have quite a mix of influences as well. For example, I mostly work with new media such as video, photography or performance and it is hard to say if it is Western or Eastern. WU: Perhaps due to the diversity in Taiwanese culture, as well as the influences of Eastern and Western art, my work has always naturally consisted of two dimensions: one is the poetic language or ambience, which may be an influence from the tradition and aesthetics of Eastern art; the other is the conceptual investigation regarding imagery and methods of presentation, perhaps it is inspired by media art. And regarding the relationship between personality and thought process, I have always been searching for some sort of cohesion and balance between the two.

TSAI: In Incense Mantra, the act of lighting the incense is a ritual with a purpose of initiating a mental and physical transformation. As I learn more about rituals, I discover that they are more than “just” superstitions, they usually carry practical functions as well. Natural elements are often introduced for various purposes; for example, fire for transformation, water for purification, metal for protection, and wood for construction, etc. It is very easy to misinterpret a ritual and use it for the wrong reasons because most are often based on a whole other value system that we are not accustomed to. Therefore, I find a ritual helpful when I have some understanding of its purpose and use it as a way for the mind to enter a state of higher awareness. For example, when I lit the incense to begin this work, I prayed for Hong Kong and its people.

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u Chi-Tsung, your works revolve around the themes of time,

history, they have been destined to transform. Transformation

light and how visual perception links to memory and images. What’s the correlation between your Wrinkled-Texture series and these concepts?

in my work is important as a way to illustrate impermanence.

WU: In my Wrinkled-Texture series, the main inspiration was to bring photography back to the basic idea of “recording light” (the picture of light). I thought of photography from the point of view of painting; I set aside the tools and technicalities of photography and tried to capture a random and uncontrollable moment of change. Indeed, it sounds like an anti-photographical experiment.

u I have noticed that the two of you contemplate different

states of transformation – Charwei observes how the physical state of the text (Heart Sutra) transcends into spiritual form while Chi-Tsung focuses on the process of transforming images. How do you define or interpret this notion of transformation in your works?

WU: My creative path has always been evolving around “images”, because images are bodies which reflect how humans perceive, interpret and imagine about the world, it includes many interesting thought processes; but we normally only use images as a medium of recording, in turn we don’t notice many ideas that are hidden behind. Therefore, the changes seen in my work mainly investigates about this issue, and the possibility of its negligence.

u Both of your works introduce an “act” of performance into

your photographs. By “act” I mean Charwei meditating and hand inscribing the Heart Sutra on to incense and Chi-Tsung exposing the paper under sunlight and adjusting the angle to ensure optimum exposure. How do you see the relationship of these “acts” in your work?

TSAI: In this work, the incense, a recognisable object, slowly

TSAI: When I start a project, I try to increase my level of

burns into a pile of ashes, and as the ashes crumble, Hong

awareness in mind. I try to focus on my writing and its

Kong’s celebrated skyline reveals itself in the background.

relationship with the object that I am writing on. The better

Cairo, Babylon, Athens, Baghdad, Damascus, Rome, Lucknow,

I can focus, the greater the spirituality will show through the

Mysore, Angkor Wat, Xi’an, etc. were all cities that were once

object. Meanwhile, my writing naturally flows better and

as glamorous as Hong Kong is today. However, throughout

turns out to be more refined. Sometimes when I am rushing

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to complete a project, I feel like the rush takes away from the

then putting it in an exhibition. My works turn out to be

meaning of the work. Except the artist him/herself, very few

more site-specific because of this. I am not sure how my

people can measure the genuineness of a work, therefore, I

practice would have turned out if I had started as more

must stay true to my mind.

of a studio artist. Another factor is that I started out by working mostly with museums or other non-profit spaces

WU: I am very interested by randomness and uncontrollability

before working with commercial galleries. I found it very

in the process of creation. I think this is the most mesmerising

helpful to begin working as an artist in this way because

quality of art. In my Wrinkled-Texture series, how the paper

the production as well as the conceptual development of

crumples, the state of the sun, and the way papers transform

my work were well supported by the museums so I never

in the process of exposure, are all not really controllable. One

had to consider the commercial aspects of my work while

cannot predict the final image until you finish washing the

making it. I remember that when I first started working with

cyanotype paper. If photography usually operates on the

commercial galleries I found it was a headache to have to

proficient and precise control of its mechanisms, this series

worry about how to preserve the works, which were mostly

of work does just the opposite. The whole process is about

about the ephemeral and how to make them archival

seeking randomness and uncertainty.

for collections. Now I am learning to find ways to strike a balance and to turn the preservation of the works into art forms of their own. For example, in recent years, I have

u Your exposure to the international art scene came at a rather

early stage in your careers as artists; has it had an effect on the way you shape your work? TSAI: I often wonder about this question because since the first time I exhibited was at a foundation institution. Since then, I have always been invited to make artworks for exhibitions instead of just creating something at a studio

been exploring photography and video more in depth than before, so that the result of capturing the ephemeral is not just for documentation, but rather it takes on its own artistic form. WU: Perhaps this makes me more aware of the uniqueness and differences of my own culture.

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u The contemporary art scene is predominated by the West;

discussing contemporary art in Europe and America. At the

do you ever feel the need to raise a voice from the East in your works? Have you ever sought to embed any sort of identity or symbols from your culture that carry special meanings?

same time, the contemporary art world in the West has been

TSAI: I have been living and working half in the West and half in the East, so I never felt the dominance of the art world by either. Nowadays, many younger generation artists from the West, such as from the US or Europe or Australia, wish

absorbing talented artists from all around the world. This is a natural process of exchange. I think the West benefits from its comprehensive structure, an institutionalised and complete commercial and academic system. Its high technical level and the network involved can hardly be matched in other parts of the world.

to gain, on the contrary, more diverse life experiences by living in Asia or Latin America or Africa. I feel like there are advantages to both, to living in larger cities where there are well-established structures for the arts or to be living in more remote places where there are richer subject matters that are less elitist. I never felt that there is a need to raise a voice from the East in particular. Asian artists, especially in recent decades, are very well represented internationally. I have never made a work to emphasise a particular culture, it just comes naturally as I am more influenced by certain cultures than others. WU: I guess this isn’t something we do on purpose. Contemporary art in Asia and some developing third world countries have benefitted from a wider worldview and have diversified their local culture by studying, learning and

84

u “To photograph is to appropriate the thing photographed”. It

is a sentence by Susan Sontag from her book On Photography (1977). If we apply this sentence to your work, what would be the “thing” that you wish to appropriate in accordance with the quoted sentence? TSAI: People often ask me which do I consider as the final work of art, whether it’s the performative act of writing on a perishable object, or the object that I write on, or the photograph or video that I appropriate from the object. I see each stage of the work as its own work as well as part of a body of work. Thus it is important for me that the photograph or video work of the object is not merely documentation, but each stands on its own. For example, in the case of the Incense Mantra, the act of writing the mantra with a clear mind on the incense, the photographs


that capture the moments of the scripted incense burning into ashes, and the time lapse video of the action of burning, each expresses its unique artistic forms, yet each is part of the same body of work. Metaphorically speaking, the mind, body, and speech of a person, exists both as its own entity as well as part of the same person. WU: “Photography is to be possessed by the photographed”. This focuses on the representation of truth in photography and explores its hidden desires. The Wrinkled-texture series reflects upon the limitations of photography nowadays, such as the predetermined digital system, the actual limitations of the seemingly limitless, the flood of images by mass media, the overuse of technicalities etc. In my “photographic” work, I tried to “document light”. My real objects were merely a series of random occurrences and coincidences.

85


與蔡佳葳、吳季璁訪談 李晏禎

u 這是你們倆第三次舉辦雙人聯展,對上兩次分別在圖盧茲和東京, 將 影 像 產 生 的 過 程 亦 納 入 思 考 , 對 攝 影 提 出 不 同 的 想 像 。 兩 人 相

你怎樣看這次聯展呢?它和上兩次有分別嗎?在香港舉辦展覽,和 其他地方相比,有甚麼區別?

似的部分,也許在於當代的藝術形式語言,卻根植於對藝術、文 化傳統的探討,而路徑卻截然不同,像是一組唯心與唯物的有趣 對照。香港是一個文化非常多元混雜的地方,並存者中國傳統文

蔡(蔡 佳 葳): 季 璁 和 我 都 來 自 台 灣 , 年 齡 相 距 不 過 六 個 月 。 除 了

化與西方的都市生活形態,正好和我們兩人作品中的語境相呼應。

雙人聯展,我們也一同參與其他聯展,大部分是關於台灣當代藝 術的。除了你所說的圖盧茲和東京聯展外,我們也曾在孟買、布 達佩斯、荷茲利亞、上海、台北聯展碰面,這次來到香港。我們

u 你們的作品都從中國文化和東方哲學中取材。你們怎樣看這些元

的作品適合聯合展覽,因為我們對相近的議題感興趣,作品風格

素呢?甚麼驅使你們這樣取材?是不是特定的人或經驗啟發你們討 論這些課題呢?

也比較簡約。雖然我們都愛運用隨機和控制,我們的創作過程卻 挺相反的。我比較着重作品的隨機性,不太在意如何掌控作品的 結果;季璁則花相當的時間在工作室裡做實驗,直至作品達到他心

蔡 : 在我們這一代,東西文化分野變得越來越小。很多藝術家也穿

目中的水平,才向人展示。我的作品經常是場域特定的,所用的

梭於不同的國度。我的作品特別受台灣文化影響,也就是文革前的

物料大都來自當地。很多時候,我的創作實驗會演變成最後的作品。

中國大陸、日本、美國和台灣原居民文化的混合體。同時,佛教禪 宗、藏傳佛教、道教、黃教、中國傳統書法、中國山水畫、日本美

由於香港和台灣在地域和文化上相近,觀眾比較容易跟我們的作

學、香港電影、台灣流行音樂、盆栽、茶道、民俗舞、傳統草藥、太

品產生共鳴。例如,在我的作品中,祭祀祖先、在道教和佛教廟

極、山、海、颱風、地震全都是台灣多元文化和地理的組成部分,

宇裡燃點檀香祈求和中國傳統書法也是本地觀眾熟悉的元素。在

對我影響很深。

季璁的作品中,觀眾很容易能夠聯想到中國傳統山水畫。 吳:也許來自於台灣的多元文化,和東西方藝術的影響,我的創 吳(吳 季 璁): 除 了 三 次 的 雙 個 展 , 還 有 多 次 聯 展 , 我 們 的 作 品 也

作一直自然並存著兩個面向:一則是詩意的語言或氛圍,可能來

被安排在相同的空間。我覺得每次不同的作品組合,都會帶出很

自東方藝術傳統與美學的影響;一則是關於影像和觀看方式的概

不一樣的討論,比如這次兩人皆是展岀攝影系列作品,佳葳作品

念性思考,或許是受到媒體藝術的啓發。而個人性格和思考方式

中寫滿經文的線香,緩慢燃燒,隱喻某種物質的轉換與精神性的

的關係,我一直在其中尋求著某種融合和平衡。

延續;我特別喜愛最後一張照片中,近景廢墟般的香灰殘留著經 文,對應遠方模糊的香港城市景觀,給人對於自身存在的諸多省 思。我的作品中,試圖聯結傳統山水的概念,與直接攝影的實驗,

86

u 你們的作品都帶有東方詩意。這是自然形成的,還是你們為了營

造特定效果或意義,特意加到作品中?


蔡:由於我大部分時間都花在國外,我比較容易會對自己出生地

才能夠明白儀式的好處,同時利用它把精神提升到更高的層面。例

的 文 化 充 滿 憧 憬 。 因 此 , 我 傾 向 直 接 從 本 地 事 物 中 取 材 。 不 過 , 如,在我開始創作這件作品的時候,我點燃了檀香,並替香港和它 我並不特意強調東方元素。例如,我選擇用中文書寫心經,是因

的居民祈禱。

為我年少時是用中文學習心經的。相對於英文,我更容易能夠把 中文字寫在自然物料上,因為中文是無論橫向和縱向書寫也可以 的。除了經典系列,因應環境和作品,我也會在創作中運用英文 和法文。在概念上,作品也受多方面影響。例如,我的作品多屬

u 季璁,你的作品通常環繞時間、燈光、視覺等課題,以及它們跟回

憶和影像之間的關係。這次的《皴法習作》跟這些課題有甚麼關係?

新媒體創作,例如錄像、攝影、表演等,這些都很難明確歸類為 東或西方元素。

吳:在皴法習作中,主要的想法是將攝影回歸到紀錄光線(光畫) 這個最根本的概念,以繪畫的觀點去想像攝影,去除了工具與技

吳:我想這是台灣以及東亞區域的文化現實,傳統上受到中國文 化影響深遠,19世紀開始至今,持續面對著歐美文化、現代化的

術性操作的層面,轉而試圖捕捉一種隨機與不可控制的變化,像 是一個反攝影的攝影實驗。

衝擊,而台灣複雜的歷史、政治因素,又更為多元。個人方面, 我本身從小學習藝術,從書法、水墨到素描、水彩、雕塑等,爾 後接觸現/當代藝術,而這些都很自然的成為我的創作養分。

u 我發現,雖然你們兩人也着重探討不同形式的轉化,佳葳較著重

把物質(心經的書寫版)轉化為精神層面,而季璁則著重影像的轉 換。你們如何界定和解讀你們在作品中使用的轉化呢?

佳葳,你曾在多種無常的物質上書寫心經,包括今次選用的檀香。 蔡 : 在 這 件 作 品 中 , 檀 香 是 一 件 大 家 都 認 識 的 物 品 , 慢 慢 化 成 灰 檀香是佛教儀式常用的祭祀物品,尤其是在今次的展覽地點—香港。 燼。同時,香港聞名的天際線在背景中慢慢呈現。開羅、巴比倫、 你怎樣看這種創作經驗?當物品的消逝需要人為的誘因,也就是點燃 雅典、巴格達、大馬士革、勒克瑙都曾經跟今天的香港一樣繁華,不 檀香,你認為這種誘因的重要性為何?這跟你的作品又有甚麼關係呢? 過,在歷史的洪流中,它們注定會轉變。轉變是我展示無常的方式。

u

蔡:在《香咒》中,點燃檀香是一個啟發思考與物質轉換的儀式。在 我研究儀式的過程中,我發現許多宗教儀式不只是迷信“而已”,通

吳:我的創作主軸一直環繞著影像,因為影像中體現出了人類如

常它們還有一些實用的功能。儀式中採用的自然物質帶有很多功能, 何 觀 看 、 理 解 、 和 想 像 外 在 世 界 , 包 含 許 多 有 趣 的 思 考 方 式 ; 但 例如火誘發物質轉化,水有淨化功效,鋼鐵有保護作用,木材能用作

我們通常只單純的把影像媒體當作紀錄工具,視而不見隱藏它背

建設等等。我們很容易錯誤解讀儀式,因為它們往往建基於一套我

後的許多思考,所以我作品中的轉換,主要就是為了探討這個部

們不熟悉的價值系統上。因此,當我理解儀式背後的價值系統,我

分,及其被忽略的可能性。

87


u 你們的作品都包含某種行為元素。佳葳的作品中,冥想與手寫心

創作很有幫助。由於美術館在理念和執行上都非常支持我的創作,

經是一種行為。季璁則把紙張曝曬於陽光下,並調節角度來尋找最 佳的曝光效果。你們認為這些行動對作品有甚麼意義呢?

因此我從來不需要考慮作品的商業性。剛開始跟商業畫廊合作時, 我發現如何保存作品,讓它們容易收藏是一件很讓人頭疼的事, 因為我的創作大都是有關無常的。現在,我學著去平衡這些需要,

蔡:當我開始創作一件作品時,我會盡量提升自己的精神狀態。我 嘗試專注在書寫、以及它和用作書寫的物質的關係上。我的專注力 越強,作品自然就越能夠呈現出它的精神性。同時,我的書寫也 自

並把保存作品本身轉化成一種藝術形式。例如,在過去幾年,我 嘗試更深入地探討相片與錄像。鏡頭下展現的無常並不單單是存 檔,而是另一種獨特的藝術形式。

然變得比較細膩。當我趕著完成作品,我總覺得創作變得沒有意義。 除了藝術家本人,很少人能夠衡量作品的真誠與否,因此,我必須

吳:也許更讓我意識到自身文化的特殊性與差異性。

守護好自己的意念。

吳:我非常感興趣於創作中的隨機與不可控制,這是藝術中最迷

u 現在的當代藝術圈子由西方主導,你們對於自己的作品作為東方

人的部分。皴法習作的創作過程、紙張的皺褶變化、陽光的狀態

代表有甚麼感想?你們有沒有嘗試在作品中加入代表自己文化或身 份的記號?

以及曝光過程中對紙張的調整塑形,都無法真正控制其變化,而

最終的影像直到水洗前完全無法預知。如果一般的攝影是架構在 熟練而精準的技術控制上,這系列攝影追求的卻是反其道而行, 蔡:我在東西方工作和生活的時間各佔一半,因此我從來不覺得 藝術圈子被它們其中一個主導。現今很多西方年輕一代的藝術家, 整個行為和過程正是在追尋某種隨機與不可知。 比如來自美國、歐洲或澳洲的朋友,都希望透過在亞洲、拉丁美 洲和非洲生活獲得更豐富的人生經驗。我覺得在基建完善的大城 u 在你的藝術家生涯中,你很早就獲得國際展出機會。這對你的作

品有甚麼影響呢?

市中生活,和在較偏遠但題材豐富和相對沒有那麼精英主義的小 城市生活各有好處。我從不覺得需要特意替東方發聲。尤其在過 去幾十年,亞洲藝術家在國際舞台上有足夠的機會。我從來不為

蔡:這是我經常思考的問題。我第一次展覽是在一個基金會中舉

了強調某種文化而創作,作品的特質是自然流露的,那是由於我對

辦。從此,我經常獲邀為展覽創作特定的作品,而不是在工作室

特定文化的共鳴較強,僅此而已。我認為,東西的分野或文化身

先做好的作品再在展覽中展示。因此,我的作品的場域特定性較

份對今天的藝術家來說,意義不大。

強。我也不肯定如果我從畫廊展覽作為創作的起步,作品會不會 有所不同。另一點是,我開始的時候大都是跟博物館和非盈利機 構合作,其後才與商業畫廊合作。作為藝術家,我認為這對我的 88

吳:我想並非刻意為之,亞洲以及諸多開發中和第三世界國家的


當代藝術,因為對於歐美現當代藝術的研究、吸收與討論,有時

這 系 列 作 品 中 的"拍 攝",是 最 本 質 的 紀 錄 光 線 , 而 真 正 的"對 象

反而呈現出更為開闊的世界觀,與在地文化融合出的多樣性,而

物",只不過是一連串的隨機與巧合。

歐美當代藝術世界也一直積極的吸收世界各地優秀的藝術家,這 本來就是自然而然的交流過程。我以為歐美在當代藝術領域的主 要優勢在於系統的健全與制度化、完整的商業機制、學術研究展 覽機制等等,其中的技術與網絡,或許才是是其他區域的藝術發 展難以企及的。

u“ 攝 影 是 改 變 被 攝 影 事 物 ” 。 這 是 蘇 珊 · 桑 塔 格 在 《 關 於 攝 影 》 一書中說的。套用這個說法,你們在作品中嘗試改變的是什麼呢?

蔡:人們經常問我是如何取決一件已完成的藝術品,是在易腐的 有機物上書寫,還是寫滿了書法的有機物;抑或是記錄其創作過 程的相片或錄像?在我而言,創作一件作品的每個階段自身既是一 件獨立作品,也是整件作品本身的一部份。因此,不能僅為紀錄 而拍攝,而是能令其創作過程和作品連成一體,成為一件獨立作 品,這意義顯得尤其重要。例如在《香咒》中,心無雜念地在檀 香上抄寫心經、捕捉檀香在燃燒至化為灰燼之頃刻照片、以至記 下檀香燃燒過程的縮時錄像作品,均各自展現出其獨特的藝術形 式,而又同時屬於整件藝術品的一部份。就仿似一個人的思想、身 體及言語表述,其實既是獨立的實體,亦是屬於一個人的一部份。

吳:「攝影是對被拍攝物的佔有」,是著眼於攝影再現現實的觀 點,探討其隱藏的欲望;而《皴法習作》正是反思現今攝影創作 的侷限性,如:套裝的數位系統、看似無限可能其實極其封閉侷 限、影像泛濫的大量複製傳播、過於技術性的操作......等等。在

89


Early Works by Chi-Tsung Wu 吳季璁早期作品


Rain

2002 | Single-channel video | Approx. 13 minutes

雨景 2002 | 單頻道錄影 | 約13分鐘 92


93


Wire I

2003 | Installation (metal, glass, acrylic) | Variable dimensions

鐵絲網 I 2003 | 裝置作品 (金屬、玻璃、壓克力) | 尺寸視場地大小而定 94


95


96


Dust

2006 | Installation | Variable dimensions

灰塵 2006 | 裝置作品 | 尺寸視場地大小而定 97


98


Wire IV

2009 | Metal, glass, motor | Variable dimensions [projector: 40 (L) x 16 (W) x 24 (H) cm]

鐵絲網 IV 2009 | 金屬、玻璃、發動機 | 視場地大小而定 [投影機: 40 (長 ) x 16 (闊 ) x 24 (高 ) 公分 ] 99


Crystal City 001— Wander

2009 | Installation (track, motor, LED, plastic containers) |900 (L) x 500 (W) x 400 (H) cm

水晶 城市 0 01—漫 遊 2009 | 裝置作品 (軌道、發動機、 LED、塑膠容器) | 900 (長 ) x 500 (闊 ) x 400 (高 ) 公分 100


101


102


Landscape in the Mist 001

2012 | Single-channel video (1920 x 1080i Full HD Mpeg 2) | 9 minutes 15 seconds

煙 林圖之一 2012 | 單頻道錄影 (1920 x 1080i Full HD MPEG 2) | 9分鐘 15秒

103


Landscape in the Mist 002

2012 | Single-channel video (1920 x 1080i Full HD Mpeg 2) | 11 minutes 35 seconds

煙 林圖之二 2012 | 單頻道錄影 (1920 x 1080i Full HD MPEG 2) | 11分鐘 35秒 104


105


Biography 撅交風


Charwei Tsai

Born in Taipei, Taiwan 1981

TKG+, Hong Kong, China

Lives and works in Paris and Taipei

“L’Ombre des Sens: Charwei Tsai et Chi-Tsung Wu”, Maison Salvan, Labège, France

Solo Presentation, TKG+, ART HK 12: Hong Kong

Education

International Art Fair - Asia One, Hong Kong, China “A Pilgrimage Through Light & Spells”, Galerie Mor

2010

Charpentier, Paris, France

Graduated from Post-graduate Research Programme La Seine, L’Ecole Nationale Supérieure des Beaux-Arts, Paris, France

2011 “Thoughtforms”, curated by Veeranganakumari Solanki, The Guild, Mumbai, India

2002

“Elemental Light”, TKG+, Taipei, Taiwan

Graduated from Rhode Island School of Design, USA

“Gone!”, Atelier 7, Paris, France

Bachelor of Fine Arts, Industrial Design and

“My Nature”, curated by David Rosenberg, Deyrolle,

Certificate in Art & Architecture History

Paris, France “Ah! A Tapestry of Sacred Music”, The Tunnel, The Esplanade, Singapore

Solo Exhibitions 2009 2013

“Between Thoughts and Words”, Casas Riegner Gallery,

“Meeting Point: Dual Solo Show of Charwei Tsai and

Bogota, Colombia

Chi-Tsung Wu”, curated by Jenny Lee, Edouard Malingue

“Water, Earth and Air”, Sherman Contemporary Art

Gallery, Hong Kong, China

Foundation, Sydney, Australia

“Project Stage”, Art Stage Singapore, TKG+,

“Baptism”, L’Eglise Saint Séverin, Paris, France

Sands Expo and Convention Center, Marina Bay

“Charwei Tsai: Transience”, Osage Gallery, Hong Kong, China

Sands, Singapore 2008 2012

“7 Ideas in 7 Days”, Gallery Sora / Taka Ishii Gallery,

“A Dedication to the Sea”, Espace Culturel Louis

Tokyo, Japan

Vuitton, Singapore

“Hydra School Project”, CIGE Art Fair, Beijing, China

“Asia One”, ART HK 12: Hong Kong International Art Fair, 108


Group Exhibitions

“ART HK 12: Hong Kong International Art Fair”, presented by The Guild, Hong Kong, China

2013

“Art Fair Tokyo: Discover Asia”, TKG+, Tokyo, Japan

“Colombian Art Auction for a Cause”, Benefit Auction by

“Trading Futures”, curated by Meiya Chang and Pauline Yao,

Colombia Connection, Fundación Casa de la Madre y el Niño y

Taipei Contemporary Art Center, Taipei, Taiwan

Fundación Kidsave, Bogota, Colombia

“Nomad Store - An Exploration of Young Chinese Creativity -

“Installation Contemporary”, Sydney Contemporary, curated by

Art, Fashion, Publishing”, presented by Triple Major, Beijing,

Aaron Seeto, Edouard Malingue Gallery, Sydney, Australia

China; ISIS Gallery, London; London Newcastle Project Space,

“Little Water”, Dojima River Biennale 2013, curated by

London, UK

Rudy Tseng, Dojima River Forum, Osaka, Japan

“India Art Fair”, New Delhi, India

“Parkett – 220 Artists Editions & Collaborations +5”,

“Discreet Charm of The Bourgeoisie: Contemporary Visions on

Taipei Fine Arts Museum, Taipei, Taiwan

China”, curated by Davide Quadrio, Rudy Tseng and Jenny

“Sharjah Biennial”, curated by Yuko Hasegawa, Sharjah,

Lee, Yi & C. Contemporary Art, Taipei, Taiwan

United Arab Emirates

“Now Ink”, curated by Arthub Asia (Dafne Ayas, Qiu Zhijie,

“India Art Fair”, The Guild, New Delhi, India

and Davide Quadrio), Shanghai Contemporary 2012, TKG+,

“ARCO Madrid”, Galerie Mor Charpentier, Madrid, Spain

Shanghai, China

“Market Forces: The Friction of Opposites”, curated by

“Eattopia – Taiwan International Video Art Exhibition”,

Joselina Cruz, Ark Fongsmut, Lee Daehyung, Qiu Zhijie and

Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

Alia Swastika, Osage Kwun Tong, Hong Kong, China Sovereign Asian Art Prize Finalists, The Rotunda,

2011

Exchange Square, Hong Kong, China

“Thinking Cool”, TKG+, Taipei, Taiwan “Project Room”, curated by Ursula Davila-Villa and Gonzalo

2012

Pedraza, Ch.ACO, Santiago, Chile

“Asia Art Archive Annual Fundraiser 2012”,

“Buddha’s Trace”, in collaboration with Rhurtriennale,

Sotheby’s Hong Kong, Hong Kong, China

Kunstmuseum Bochum, Bochum, Germany

“LOOP: A TKG+ Screening”, TKG+, Taipei, Taiwan

“Arrival – Searching for Now”, Ruhrtriennale, Jahrhunderthalle

“Phantoms of Asia”, curated by Mami Kataoka and

Bochum, Germany

Allison Harding, Asian Art Museum, San Francisco, USA

“Art Taipei”, TKG+, Taipei, Taiwan

“Boundaries on the Move: Taiwan - Israel, A Cross - Culture

“Our Magic Hour”, Yokohama Triennale, Yokohama, Japan

Dialogue”, Herzliya Museum of Contemporary Art,

“Eattopia – 2nd Taiwan International Video Art Exhibition”,

Herzliya, Israel

Taitung Art Museum, Taiwan 109


“Art HK 11: Hong Kong International Art Fair”, Osage Gallery,

Today Art Museum, Beijing, China

Hong Kong, China

“Graouw”, Galerie Intuiti, Paris, France

“Physical Video”, Gallery of Modern Art, Brisbane, Australia

“The Seven Day Weekend”, Museum of L’École Nationale

“Silent Significance”, LMD Gallery, Paris, France

Supérieure des Beaux-Arts, Paris, France

“Art Dubai”, The Guild, Dubai, United Arab Emirates

“CIRCA Puerto Rico 10”, Galeria Casas Riegner, Puerto Rico

“ARCO Madrid”, Galerie Mor-Charpentier, Madrid, Spain

“The Tradition of the New”, Sakshi Gallery, Mumbai, India

“Myth <-> Reality Constructing Cult-u’re”, curated by Veerangana Solanki, The Guild, Mumbai, India

2009

“Dust on the Mirror”, Institute of Contemporary Art,

”Perpetual Dialogue”, Andrea Rosen Gallery, New York, USA

LASALLE, Singapore

“6th Asia Pacific Triennial of Contemporary Art”, Queensland Art Gallery, Brisbane, Australia

2010

“Art Taipei 2009”, Osage Gallery (Hong Kong), Taipei, Taiwan

“Carnet d’Inspiration, Musée d’Art Moderne de la Ville de

“Beautifully Banal”, Smack Mellon, New York, USA

Paris”, Paris, France

“Art HK 09: Hong Kong International Art Fair”, Osage Gallery,

“Taiwan Calling”, Ludwig Museum, Museum of

Hong Kong, China

Contemporary Art, Budapest, Hungary

“Taiwan.Doc”, Museum of L’École Nationale Supérieure des

“Tentative Expansion of a Parisian Place (5 Drawing

Beaux-Arts, Paris, France

Exercises)”, Galerie Mor Charpentier, Paris, France

“THE LA LA”, LASALLE College of the Arts, Singapore

“2nd Taiwan International Video Art Exhibition”, Hong-Gah

“Circle”, Fondation Cartier, Paris, France (Online Project)

Museum, Taipei, Taiwan “Dust on the Mirror”, Djanogly Gallery, University of

2008

Nottingham, Nottingham, UK

“Space by Federico Herrero”, San Jose, Costa Rica

“Mantras, Moqueries, Monstres et Mutations”, curated by

“NADA Art Fair”, Gallery Sora, Miami, USA

David Rosenberg, Galerie Martine et Thibault de la Châtre,

“Nature Fragile”, Museum of Hunting and Nature, Paris, France

Paris, France

“Traces of the Sacred”, curated by Jean de Loisy, Centre

“Forum Biennale”, curated by Manray Hsu, Taipei

Georges Pompidou, Paris, France

Contemporary Art Center, Taipei, Taiwan “Emerging Asian Artists”, Art Gwangju, Gwangju, Korea

2007

“Art HK 10: Hong Kong International Art Fair”, Osage Gallery,

“EAT/ART, Video screening/food/reading at Monkey Town”,

Hong Kong, China

New York, USA

“Reshaping History: Chinese Art from 2000-2009”,

“Frolic: Humor and Mischief in New Taiwanese Art”,

110


2X13 Gallery, New York, USA

Nominations

“21 Cities at Once Performed”, Conflux Festival, New York, USA “Animamix Biennale”, curated by Victoria Lu, Shanghai MoCA,

2007

Shanghai, China

First place (jury and public votes), Public Art Competition,

“Destroy Athens Biennale”, Bettina, Athens, Greece

National Chung Cheng University, Chia-yi, Taiwan

“Thermocline of Art: New Asian Waves”, curated by Peter Weibel and Wonil Rhee, ZKM Center for Art and Media, Karlsruhe, Germany

Collections

“Étrangère”, Transversal, Restaurant du Musée d’art Contemporain du Val-de-Marne, Paris, France

Asian Art Museum of San Francisco, San Francisco, USA

“How Far Would You Go For Love?”, Fondation Cartier, Paris,

DSL Collection, Paris, France

France (Online Project)

Mori Art Museum, Tokyo, Japan Queensland Art Gallery | Gallery of Modern Art,

2006

Brisbane, Australia

“Belief: First Singapore Biennale”, Singapore

Sherman Contemporary Art Foundation, Sydney, Australia

“Summer Hot”, Taipei Economic and Cultural Center,

Yokohama Museum of Art, Yokohama, Japan

New York, USA “PostER”, curated by Dimitrios Antonitsis, Hydra Old High School, Hydra Island, Greece 2005 J’en Rêve, curated by Hervé Chandès, Fondation Cartier, Paris, France

111


蔡佳葳

1981 生於臺灣

「初光」,TKG+耿畫廊,台北,台灣

現於台北、巴黎居住及工作

「前往!」,Atelier 7,巴黎,法國 「My Nature」,德羅標本店,巴黎,法國 「啊!」,The Tunnel,The Esplanade,新加坡

學歷

2009 2010

「在語言和想像之間」,卡薩斯雷哥尼爾畫廊,波哥大,哥倫比亞

賽納河計劃,國立高等美術學院, 巴黎,法國

「蔡佳葳 :海洋、大地、天空」,沙曼當代藝術基金會,悉尼,澳洲 「洗禮」,Saint Severin天主教教堂,巴黎,法國

2002

「蔡佳葳:無常」,奧沙畫廊,香港,中國

藝術學士,工業設計及藝術建築史,羅得島設計學院,美國

2008 個人展覽

「七天七個主意」,Gallery Sora,東京,日本 「海德拉學校計劃」,中國北京中藝博國際畫廊博覽會,北京,中國

2013 「交匯點: 蔡佳葳、吳季璁 香港雙人展」,李晏禎策展, 馬凌畫廊,香港

群展展覽

藝術登陸新加坡博覽會,項目舞台,新加坡濱海灣金沙 會展中心,新加坡

2013 哥倫比亞連結籌款拍賣會,卡薩德拉馬德雷厄爾尼諾基金會,

2012 「誌海」,Espace Culturel Louis Vuitton,新加坡 「香港國際藝術展Art HK 12 - Asia One」,香港,中國 「透過光與咒語的朝聖」,Galerie Mor Charpentier, 巴黎,法國 「蔡佳葳&吳季璁:感官之影A L’Ombre des Sens」,薩 凡屋, 拉培基,法國

波哥大,哥倫比亞 「裝置當代」,悉尼當代,Aaron Seeto策展,馬凌畫廊, 悉尼,澳洲 「Little Water」堂島川雙年展,曾文泉策展,堂島川論壇, 大阪,日本 「帕克特 x 藝術家 — 220件合作計畫 + 5」,台北市立美術館, 台北,台灣 「市場作業:對立面的磨合」,Joselina Cruz、Ark Fongsmut、

2011 「思維形式」,Veeranganakumari Solanki 策展, The Guild 畫廊,孟買,印度

112

Lee Daehyung、邱志杰,和Alia Swastika策展,奧沙觀塘, 香港,中國 沙迦雙年展,長谷川祐子策展,沙迦,阿拉伯聯合大公國


馬德里當代藝術博覽會,Galerie Mor Charpentier, 馬德里,西班牙 傑出亞洲藝術獎,索夫林傑出藝術基金會,中央大廳,交易廣場,

Bochum,德國 「佛的痕跡」,波 鴻美術館,波鴻,德國 台北藝術博覽會,TKG+,台北,台灣

香港,中國

「我們的魔幻時刻」,橫 濱三年展,日本

印度藝術博覽會,The Guild,新德里,印度

「食托邦-第二屆台灣國際影片藝術展」,台東美術館,台灣

2012

「實體影像」,昆士蘭美術館,布里斯班,澳大利亞

亞洲藝術文獻庫周年籌款拍賣會2012,香港,中國

「意義沉默」,L MD畫廊,巴黎,法國

香港國際藝術博覽會,奧沙畫廊,香港,中國

「中產階級拘謹的魅力:當代華人觀點」,易雅居當代空間館, 台北,台灣 「Now Ink」,上海藝術博覽會.國際當代藝術展,TKG+, 上海展覽中心,上海,中國

杜拜藝術博覽會,杜拜,阿拉伯聯合大公國 「神話 <- > 現實 建構文化」,T he Guild畫廊,孟買, 印度 馬德里當代藝術博覽會,馬德里,西班牙 「鏡上的塵埃」,當代藝術學院,拉薩爾,新加坡

「食托邦-第二屆台灣國際影片藝術展」,高雄市立美術館, 高雄,台灣

2010

「LOOP」,TKG+,台北,台灣

「書的啟示」,現代藝術博物館,巴黎,法國

「移動中的邊界:台灣—以色列,跨文化對話」,赫茲利亞當代藝

「台灣響起-超隱自由/難以名狀之島」,布達佩斯藝術館 .路德

術博物館,特拉維夫,以色列 「亞洲幻象」,片岡真實和Allison Harding策展,亞洲藝術博物館, 舊金山,美國 「東京藝術博覽會」,Discover Asia,TKG+,東京,日本 「未來事件交易所」,鄭美雅和姚嘉善策展,台北當代藝術中心, 台北,台灣 ARCO Madrid,馬德里,西班牙

維格現代美術館,布達佩斯,匈牙利 「暫時擴展的巴黎場所(五個 繪 畫 練習)」,Galerie Mor Charpentier,巴黎,法國 第二屆台灣國際錄像藝術展,鳳甲美術館,台北,台灣 「鏡上的塵埃」,諾丁漢大學迪江那格里畫廊,英國 「經文,戲弄怪獸及突變」,Martine et Thibault de la Châtre 畫廊,巴黎,法國

「游牧商店-探索中國青年創意-藝術、時尚、出版」,ISIS畫廊, 「論壇雙年展」,台北當代藝術中心,台北,台灣 倫敦紐卡斯爾企劃空間,倫敦,英國 印度藝術博覽會,新德里,印度

「新興亞洲藝術家」,光州藝術博覽會,韓國 香港國際藝術展,香港,中國

「改變歷史:中國藝術2000-2009」,今日美術館,北京,中國

2011

「Graouw」,G alerie Intuiti畫廊,巴黎,法國

「計畫室」,Ch . ACO, 聖地亞哥,智利

「七天的週末」,巴黎國立高等美術學院美術館, 巴黎, 法國

「Thinking Co o l」,TKG+,台北,台灣

「CIRCA波多黎各10」,卡薩斯雷哥尼爾畫廊,波多黎各,美國

「抵達-尋找當下」,德 國魯爾三年展,Jahrhunderthalle

「新傳統」,夏 可喜畫廊,孟買,印度

113


2009 「對話」,Andrea Rosen畫廊,紐約,美國

「夏日:熱!」,台北文化中心,紐約,美國 「海德拉學校計畫」,海 德拉高中,海德拉島,希臘

「第六屆亞太當代藝術三年展」,昆士蘭美術館,布里斯本,澳洲 台北藝術博覽會,台北,台灣 「美麗無傷」,Smack Mellon,紐約,美國

2005 「夢想」,卡 地亞基金會,巴黎,法國

香港國際藝術展,奧沙畫廊,香港,中國 「台灣圖檔」,巴黎國立高等美術學院美術館,巴黎,法國 「THE LA LA」,拉薩爾藝術學院,新加坡

獎項

「圓圈」,卡 地亞基金會,巴黎,法國(網站作品)

2007 2008

評審及觀眾票選首獎,公共藝術競賽,國立中正大學,嘉義,台灣

「天空」,聖荷西,哥斯達黎加 NADA藝術博覽會,邁亞密,美國

收藏

「悴弱的自然」,狩 獵與自然博物館,巴黎,法國 「聖跡」,龐 畢度藝術中心,巴黎,法國

三藩市亞洲藝術博物館,三藩市,美國 DSL Collection,巴黎,法國

2007

東京森美術館,東京,日本

「台灣藝術的幽默與詼諧」,2X13畫廊,紐約,美國

Queensland Art Gallery | Gallery of Modern Art, 布里斯本,澳洲

「 Espaces Cartographiques」美國協會,巴黎,法國。

Sherman Contemporary Art Foundation, 悉尼, 澳洲

「21 個城市同時演出」,合流節,紐約,美國

橫濱美術館,橫濱,日本

「第一屆動漫美學雙年展」,上海當代藝術館,上海,中國 「毀滅雅典雙年展」,貝提那,雅典,希臘 「藝術之溫度變化-亞洲新浪潮」,ZKM藝術與媒體中心, 卡爾斯魯,德國 「外人」,MAC / VAL當代美術館餐廳,巴黎,法國 「為了愛,你願意付出多少?」,卡地亞基金會,巴黎,法國 (網站作品)

2006 「第一屆新加坡雙年展」,新加坡

114


115


Chi-Tsung Wu

Born in Taipei, Taiwan 1981

2004

Lives and works in Taipei

“A Solo Exhibition by Wu chi-Tsung “, IT Park Gallery, Taipei, Taiwan

Education Selected Group Exhibitions 2004 Graduated from Oil Painting, Department of Fine Arts,

2013

Taipei National University of the Arts

“CARGO EAST Project-Gazing into Freedom: Taiwan Contemporary Art Exhibition”, Vojvodina Contemporary Art

Solo Exhibitions

Museum, Novi Sad, Republic of Serbia “3rd Exhibition of next Generation of Artists Superstars”, CANS

2013

Tea & Books House, Taipei, Taiwan

“Meeting Point: Dual Solo Show of Charwei Tsai and

“15th Media Art Biennale WRO Pioneering Values”,

Chi-Tsung Wu”, curated by Jenny Lee, Edouard Malingue

Ballestrem Palace, Wroclaw, Poland

Gallery, Hong Kong, China

“Panorámica. Paisajes 2013-1969”, Museo Del Palacio De

“Recalibrate”, Chinese Arts Centre, Manchester,

Bellas Artes, Mexico City, Mexico

United Kingdom 2012 2012

“Illusion of Transcendence”, Seed Projects IV - Mobile Museum,

“Wu Chi-Tsung Solo Exhibition”, Tina Keng Gallery,

Taipei, Taiwan

Taipei, Taiwan

“Near East Far East 2 Points 2012”, Forte Marghera Parco del Contemporaneo in Venice, Venice, Italy

2011

“CRUSH on EMU”, Museum of Contemporary Art Taipei,

Art Stage Singapore, Project Stage, TKG+ Gallery,

Taipei, Taiwan

Marina Bay Sands Expo and Convention Center, Singapore

The First CAFAM . Future Exhibition, Art Museum of Central Academy of Fine Arts, Beijing, China

2009

“LOOP: A TKG+ Screening”, TKG+, Taipei, Taiwan

“A Solo Exhibition by Wu Chi-Tsung - Crystal City”,

Shanghai Contemporary 2012: The Asia Pacific Contemporary

IT Park Gallery, Taipei, Taiwan

Art Fair - Now Ink, Shanghai, China

“A Solo Exhibition by Wu Chi-Tsung - Still Life”,

Art Fair Tokyo: Discover Asia, TKG+, Tokyo, Japan

Chi-wen Gallery, Taipei, Taiwan

“Boundaries on the Move: A Cross - Cultural Dialogue”, Herzliya Museum of Contemporary Art, Herzliya, Israel

116


“Charwei Tsai et Wu Chi-Tsung: A L’Ombre des Sens”, Maison

Shenzhen, China

Salvan, Labège, France

“The Epic in the Everyday: Contemporary Art of Taiwan”,

“Visual Vertigo – New Works by Six Taiwanese New Media

GAM Gyeongnam Art Museum, Korea

Artists”, Hong-Gah Museum, Taipei, Taiwan

“The Tradition of the New: Emerging Artists Group Exhibition”, Sakshi Gallery, Mumbai, India

2011 “Thinking Cool”, TKG+, Taipei, Taiwan

2009

Art Taipei, TKG+, Taipei, Taiwan

“Art Thinks: Selections of Modern and Contemporary Art from Hong-Gah Museum Collection”, Hong-Gah Museum,

2010

Taipei, Taiwan

“Taiwan Calling - The Phantom of Liberty / Elusive Island”,

“The Tradition of the New – Emerging Artists Group Exhibition”,

Műcsarnok - Kunsthalle Budapest Ludwig Museum,

Sakshi Gallery, Taipei, Taiwan

Budapest, Hungary

“The Epic in the Everyday: Contemporary Video Art from Taiwan”,

“Somnambulism: Phantasmagoric Fugue”, TKG+, Taipei, Taiwan

PAN (Palazzo Delle Arti Napoli), Naples, Italy

“Time Unfrozen: From Liu Kuo-Sung to New Media Art”,

“Revealing Expectations”, Ogilvy 0 Gallery, Beijing, China

Taipei Fine Arts Museum, Taipei, Taiwan

“The Grand Illusion”, 2009 Taiwan international Festival New

“Media Landscape, Zone East, Contemporary Urban Centre

Media Exhibition, National Theater Concert Hall, Taipei, Taiwan

(CUC)”, Liverpool & Korean Cultural Center (KCC) UK, London, United Kingdom

2008

“Popping up: Revisiting the Relationship between 2D and 3D”,

“Approaching, Contemporary Art Exhibition”,

Hong Kong Arts Centre, Hong Kong, China

JUT Foundation MOT ART, Taipei, Taiwan

“Measurement of the Other – Contemporary Art from Taiwan”,

“A Heartbeat of Time”, Artists at Glenfiddich, VT Artsalon,

Soka Art Center Beijing, Beijing, China

Taipei, Taiwan

“Double – Blind Trail”, Eslite Gallery, Taipei, Taiwan

“Our Future: The Guy and Myriam Ullens Foundation Collection”,

“Pattern of Art”, Taiyu Gallery, Chiayi, Taiwan

Ullens Center for Contemporary Art (UCCA), Beijing, China

“Ventriloquized Voices”, Contemporary Art from Taiwan, Gwangju Museum of Art, Gwangju, Korea

2007

“About Painting”, by Wu Chi-Tsung & Jorge Mayet, Sakshi Gallery,

“Appearances”, Ogilvy 0 Gallery, Beijing, China

Taipei, Taiwan

“Disembedding”, Thousand Plateaus Gallery, Beijing, China

“Every Chalice is a Dwelling Place”, Thirteen Taipei Culture

“Wondering in the Poetry”, The 2nd NCAF Techno Art Creation

Award IT Park Promotion Event, Taipei City Hall, Taipei, Taiwan

Project, Kaohsiung Museum of Fine Arts, Kaohsiung &

“The Butterfly Effect, An Artistic Communication Project of

National Taiwan Museum of Fine Arts, Taichung & Kuandu

Cross-Strait Four-Regions”, Hexiangning Art Museum,

Museum of Fine Art, Taipei, Taiwan 117


2006

“Streams of Encounter – Electronic Media Based Artworks”,

“Between the Observer and the Observed”, 2006 Lianzhou

Taipei Fine Art Museum, Taipei, Taiwan

International Photo Festival, Lianzhou, China “Seeing The Paradise – Twenty Taiwanese Photographers”,

Collaborations

National Art Museum of China, Beijing, China “Hyper Design”, 6th Shanghai Biennale Shanghai Art Museum,

2012

Shanghai, China

“Off the Map”, YiLab Experimental Theater of The National

“Taipei / Taipei”, View and Points, Taipei Fine Arts Museum,

Theater and Concert Hall, Taipei, Taiwan

Taipei, Taiwan “Artists at Glenfiddich”, Gallery of Glenfiddich Distillery, Scotland “Infiltration – Idylls and Visions”, Guangdong Museum of Art,

Honours and Awards

Guangzhou, China “Artes Mundi”, Wales International Visual Art Prize, National

2013

Museum Cardiff, Cardiff, United Kingdom

“WRO Media Art Biennale” Award of Critics and Editors of Art Magazines

2005 “Experimenta Vanishing Point”, Exhibition BlackBox,

2007

Arts Centre Melbourne, Australia

Awarded The 2nd NCAF Techno Art Creation Project

“The Elegance of Silence”, Mori Art Museum, Tokyo, Japan “Eye Dream: Multiple Realities in Taiwan Contemporary

2006

Photography and Painting”, Cultural Center of Taiwan at

Shortlisted for “Artes Mundi” Wales International Visual Art Prize

Paris, Paris, France; City Hall Art Gallery, Ottawa, Canada; Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

2003 Awarded “2003 Taipei Arts Award”

2004 “Tracing Self”, The New Identity Part-5 Contemporary Taiwanese Art Exhibition, ARTIUM Art Gallery, Fukuoka, Japan

Selected Public Collections

2003

Spencer Museum of Art, Kansas, USA

“City_Net Asia”, Seoul Museum of Art, Seoul, Korea

Ullens Center for Contemporary Art (UCCA), Beijing, China

“Simulation – The Poetics of Imaging in the Technology Age”,

Hong-Gah Museum, Taipei, Taiwan

Hong-Gah Museum, Taipei, Taiwan “2003 Taipei Arts Award”, Taipei Fine Art Museum, Taipei, Taiwan 118


吳季璁

1981 生於台北

群展展覽

現於台北居住及工作

2013 「航向東方-凝視自由:台灣當代藝術展」, 學歷

佛伊弗迪納當代美術館,諾維薩,塞爾維亞 「未來大明星展III-墨然回首」,罐子茶書館,台北,台灣

2004 畢業於台北藝術大學美術系油畫組

「創新價值-第15屆波蘭媒體藝術雙年展 」, 波蘭弗羅茨瓦夫新媒體藝術中心,華沙,波蘭 「全貌風景2013-1969國際藝術聯展」,墨西哥藝術宮,墨西哥

個人展覽

2012 「虛山幻水藝術展」,種子計畫IV移動美術館,台北,台灣

2013 「交匯點: 蔡佳葳、吳季璁 香港雙人展」,李晏禎策展, 馬凌畫廊,香港 「吳季璁個展-重新校準」,華人藝術中心,曼徹斯特,英國

「新水墨-上海藝術博覽會.國際當代藝術展」,上海,中國 「兩個端點2012-近東遠東」,馬格拉要塞當代藝術園區, 威尼斯,義大利 「心動EMU」,台北當代藝術館,台北,台灣 「首屆CAFAM未來展 亞現象.中國青年藝術生態報告」,

2012 「吳季璁個展」,TKG+ 耿畫廊, 台北, 台灣

中央美術學院美術館,北京,中國 「LOOP: A TKG+ Screening」,TKG+,台北,台灣 「東京藝術博覽會:發現亞洲」,TKG+,東京,日本

2011 「藝術登陸新加坡博覽會」,TKG+ 耿畫廊, 濱海灣金沙展會中心,

「移動中的邊界:跨文化對話 臺灣-以色列交流展」, 赫茲里亞當代美術館,以色列

新加坡

「蔡佳葳&吳季璁:感官之影A l’ombre des sens」,薩凡屋,

2009

「視覺眩暈-台灣媒體藝術六人展」,鳳甲美術館,台北,台灣

拉培基,法國

「吳季璁個展——水晶城市」, 伊通公園畫廊, 台北, 台灣 「吳季璁個展——小品」,其玟畫廊, 台北, 台灣

2011 「Thinking Cool」,耿畫廊TKG+,台北,台灣

2004

「台北國際藝術博覽會」,台北,台灣

「吳季璁個展」,伊通公園畫廊, 台北, 台灣

2010 「台灣響起-超隱自由 / 難以名狀之島」,布達佩斯藝術館 . 路德 維格現代美術館,布達佩斯,匈牙利 119


「離魂症:幻影神遊者」,耿畫廊,台北,台灣

北京,中國

「白駒過隙 . 山動水行」從劉國松到新媒體藝術,台北市立美術館, 台北,台灣 「媒體景觀,東區」當代城市中心,利物浦,韓國文化中心, 倫敦,英國 「物料與空間的變異」,香港藝術中心,香港,中國

2007 「面貌」, 奧美零空間夏季群展, 奧美零空間, 北京, 中國 「脫域」, 千高原畫廊, 北京, 中國 「科光幻影2007——詩路漫遊」, 第二屆國家文化藝術基金會科技

「他者測量」,台灣當代藝術展,北京索卡藝術中心,北京,中國

藝術創作發表專案, 高雄市立美術館,高雄; 國立台灣美術館, 台中;

「雙盲臨床實驗」,誠品畫廊,台北,台灣

關渡美術館, 台北, 台灣

「迤墨」,泰郁美學堂,嘉義,台灣 「複語.腹語」,台灣當代藝術展,光州市立美術館,光州,韓國 「話.畫」,吳季璁/荷黑.瑪葉雙人展,夏可喜當代藝術, 台北,台灣 「每一個花萼都是棲息之所」,第十三屆台北文化獎伊通公園推廣 活動,台北市政府,台北,台灣

2006 「觀察與被觀察」,2006連州國際攝影年展,連州,中國 「超設計」,第六屆上海雙年展,上海美術館,上海,中國 「台北二三」,台北市立美術館,台北,台灣 「彼岸.看見」,台灣攝影二十家,中國美術館,北京,中國;

「蝴蝶效應」,兩岸四地藝術交流計畫,何香凝美術館,深圳,中國

上海市立圖書館,上海,中國

「日常的史詩」,台灣當代藝術展,慶南道立美術館,韓國

「在格蘭菲蒂的藝術家」,格蘭菲蒂蘇格蘭酒廠畫廊,蘇格蘭,

「新 . 傳統」,新興藝術家聯展,夏可喜當代藝術,孟買,印度

英國 「滲——移景和幻想」,第二回當代水墨空間,廣東美術館,

2009 「藝有所思」,鳳甲美術館現當代藝術藏品選展,鳳甲美館,台 北,台灣

廣州,中國 「曼迪藝術獎」,威爾斯國際視覺藝術獎,加地夫國家藝廊, 加地夫,英國

「新 .傳統」,新興藝術家聯展,夏可喜當代藝術,台北,台灣 「日常的史詩」,台灣當代錄像展,那不勒斯當代藝術中心, 那不勒斯,義大利

2005 「實驗消失點」,黑盒,藝術中心,墨爾本,澳洲

「展望」,奧美零空間夏季群展,奧美零空間,北京,中國

「寂靜的優雅」,森美術館,東京,日本

「大幻影」,2009台北國際藝術節 新媒體藝術展,國家音樂廳文化

「凝視的詩意:台灣當代攝影與繪畫的多重現實景觀」,台灣文化

藝廊,台北,台灣

中心,巴黎,法國;渥太華市政美術館,加拿大; 高雄市立美術館,高雄,台灣

2008 「趨近」,當代藝術展,忠泰生活開發MOT藝術,台北,台灣 「時間的一次心跳」,格蘭菲迪駐村藝術家聯展, VT非常廟藝文空間,台北,台灣 「我們的未來」,尤倫斯基金會收藏展,尤倫斯當代藝術中心,

120

2004 「追蹤自我」,台灣現代美術展,三菱地所,福岡,日本


2003 「亞洲城市網絡」,首爾市立美術館,首爾,韓國 「造境」鳳甲美術館2003年特展,鳳甲美術館,台北,台灣 「2003台北美術獎」,台北市立美術館,台北,台灣 「靈光流匯」科技藝術展,台北市立美術館,台北,台灣

跨領域合作

2012 「身體輿圖」 一當代舞團 (蘇文琪), 兩廳院實驗劇場, 台北, 台灣

獎項

2013 獲第十五屆波蘭媒體藝術雙年展「WRO國際評審團大獎」

2007 獲第二屆國家文化藝術基金會科技藝術創作發表專案

2006 入圍英國「Artes Mundi」 Wales國際視覺藝術獎

2003 獲2003台北美術獎 收藏紀錄選錄

Spencer Museum of Art, 堪薩斯州, 美國 尤倫斯當代藝術中心, 北京, 中國 鳳甲美術館, 台北, 台灣

121


Colophon

Published on the occasion of the exhibition

MEETING POINT Dual Solo Show of Charwei Tsai and Chi-Tsung Wu 3 July - 17 August 2013

Publication © 2013 Edouard Malingue Gallery Essay and interview © Jenny Yen Chen Lee, Melissa Lee Design by Olivia Tse Printing by CA Design, Hong Kong ISBN: 978-988-16827-6-5

First Floor 8 Queen’s Road Central Hong Kong T: +852 2810 0317 www.edouardmalingue.com

出版資料

展覽刊物

交匯點 蔡佳葳、吳季璁 香港雙人展

2013年 7月 3日至 8月 17日

2013年 © 馬凌畫廊 出版 文章及訪問 © 李晏禎、李林嘉敏 設計:謝敏生 承印: CA Design (香港 )

ISBN: 978-988-16827-6-5

馬 凌 畫 廊 香港中環皇后大道中 8號 1樓 電話 : +852 2810 0317 www.edouardmalingue.com


Charwei Tsai . Chi-Tsung Wu | 蔡佳葳 . 吳季璁  

Catalogue accompanying dual solo exhibition of Chinese artists Charwei Tsai and Chi-Tsung Wu 'Meeting Point'