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吳季璁專訪 − Part.A
【台灣藝術環境的侷限與封閉，吳季璁近年來將重心於國際發展！】
【我們應算最後的新移民，下一代開始就是誕生和成長在數位與網際網路的世界。】
【因為不是事實所以需要廣告。】
臺北 & 柏林
伴隨著全球化，當代藝術在歐美強勢文化的主導下快速擴張，不斷地顛覆與創新，卻也斷裂於各地的傳統文化脈絡，加速許多區域性特有的藝術與美學的消逝。成長於傳統的藝術養成，吳季璁特別有感于此斷裂，其創作不斷地在東西方文化，傳統與當代藝術之間，尋求兼容並蓄的可能。此外，意識到台灣藝術環境的侷限與封閉，吳季璁近年來將重心放在國際發展，除了作為主要創作基地的臺北工作室，亦設立柏林工作室，便於歐洲區域的藝術活動，現居於臺北及柏林。
認識吳季璁
1981年生於臺北，吳季璁的藝術養成始於東西方傳統的學院訓練，尤其自幼學習的書畫水墨影響甚深，但主要創作階段開始於大學時期的影像媒體實驗，十多年的創作至今，形成兩條鮮明的軸線：其一來自媒體藝術的觀念辯證，環繞觀看和影像本質的思考，是其創作方法的基礎 ; 其二來自東西方文化藝術間的差異，和傳統與現當代藝術之間的矛盾拉扯，或許因為東亞特殊的歷史，地理，和政治因素，讓東西新舊匯聚並陳在這區域的文化基因之中，卻往往是破碎切割，互不見容。因此吳季璁試圖在創作中建立一個新的平衡，融合東西方傳統與現當代藝術，作為其近年來創作思考的主軸。其創作形式多元，致力於攝影、錄像、裝置、繪畫等，微觀日常生活中平凡的材料與現象，在作品中轉換出充滿詩意的想像空間。
Art Basel HK 個展
Ｑ：我們知道您在這次的香港ARTBASEL中的展出非常成功且令人印象深刻，我們在展覽會場中也看到許多國外的買家對您的作品非常感興趣，詢問度也很高，請問您是基于什麼樣的想法來準備這次的香港 ART BASEL的展出?
Ａ：
感謝Galerie du Monde的妥善規劃，以及來自世界各地的收藏群支持。
這次Art Basel HK的個展, 現場展出兩件藍曬圖攝影拼貼的“氰山集”，其中較大的一件尺寸達3.6m*1.8m，是展位的主要意像；一件錄像作品“小品之六-菊”，和裝置作品“鐵絲網之五”等，四件作品的選件跨不同媒體媒材，但皆使用實驗性的影像語言，去重新詮釋傳統繪畫中的美學與意境，希望能讓觀眾對於我的創作脈絡有概略的掌握。
創作核心理念
Ｑ：您可以與我們分享您的創作核心理念嗎? 表現在您作品中的那些部分呢?
Ａ：
我的創作可以從兩條交織的軸線來理解：
其一，是媒體藝術啟發的研究方法，透過對影像的實驗與觀念辯證，去探討觀看/視覺的本質，可以在最早的錄像作品”雨景”（2002）和裝置作品”鐵絲網一”（2003）就看到這樣的特質，一路到灰塵，水晶城市系列等。媒體藝術有兩條完全相反的路線，很有意思，主流是探索技術的可能，利用新技術創造幻象，有許多酷炫的創作就是走往這個方向，比如近年很流行的戶外建築投影mapping。
不過成本昂貴且技術密集的新媒體，發明/設計/大眾流行文化等領域往往做得更好，未必需要在藝術範疇處理，或許是出於好奇心，我更感興趣的是拆解這些幻象，思考它的原理和本質/意義，我以為這才是藝術無法取代的獨特視角。
我生於1981，我們這一代成長在前數位/前網路的時代，對之前的生活方式和樣貌還有點記憶，約中學到大學時才開始接觸電腦和網路，所以也特別感受到那個轉變的劇烈，尤其是某種“真實感”的改變，而“時間感”也不斷加快。我們應該算是最後的新移民，下一代開始就是誕生和成長在數為與網際網路的世界；
其二，是關於內容的部分，試圖融合傳統美學，東西方文化，和當代藝術，我常常開玩笑說，我的目標就是橫跨東西，縱貫古今，呵呵！
2009年是對我的創作還說是個重要的轉淚點，因為“小品”這個系列錄像。小品的發想來自傳統書畫的小品冊頁形制，一般以折枝花卉為主要題材，我從小學畫就是畫這些東西，一直很喜歡那裏頭的美學和意境，但這時代人們好像難以感受那些東西了，畢竟我們不再用毛筆，甚至不再書寫，也離傳統的生活方式和環境越來越遠。於是我有個好玩的想法，來把這類型的繪畫語言翻譯成錄像好了，大家普遍熟悉影像，它是我們日常接受資訊的主要方式。於是我設計了一個特殊的拍攝方式，將植物淹沒在水中，隨著水位緩慢下降，植物好像在雲霧中慢慢浮現，主要的想法是如何在動態影像中去呈現靜態繪畫中的留白，於是轉換成了光和空間的變化。
小品系列意外的讓我意識到傳統藝術和我的自身的聯結，但回顧早期的作品，發現這些影響其實無所不在，此後便慢慢聚焦成為我的創作主軸，透過當代的藝術語言和影像實驗，去重新詮釋傳統美學，皴法習作、氰山集、布紋習作等便是循這樣的思路慢慢發展出來的。
眼中的台灣藝術生態
Ｑ：就您長期的觀察，多元化的創作素材，甚至是多煤材，在台灣是否長期不被重視? 因為傳統的觀念會認為“繪畫”才是藝術的王道主流，對此您有什麼看法與見解? 是否可以與我們分享一下您的想法?
Ａ：
這是個有趣的問題，我的觀察正好相反，藝術圈太過於重視實驗性藝術的發展，忽略了這也只是藝術光譜中的一小塊，健全和多元文化藝術環境才是關鍵。繪畫不管在任何地方都是最主流的藝術形式，但台灣藝術圈/學術端二十多年來忽視繪畫的發展，邊緣化傳統藝術類型，讀讀畫家們的CV就知道，很少有美術館研究性的策展和國際展覽，多半只是local畫廊的個展和群展，學術界幾乎沒人在研究他們，也少有機會出去走走拓展視野人脈，多數畫廊只當他們是關在地下室的印鈔機，很遺憾這些畫家最終多半窮得只剩下錢。
【藝術政治，政治藝術】
藝術圈將大量研究與公共資源投注在裝置複媒，影像新媒體，到近期流行的政治與社會性議題的觀念藝術等，造成書畫，繪畫．版畫．雕塑等傳統藝術形式斷層嚴重。直到90年代上旬，台灣藝術環境都還是正常的多元發展，百家爭鳴且充滿生命力，1996年國家文化藝術基金會創辦，以及後來的文建會到文化部，地方文化局等，公共資源的投入間接促成了學院的權力擴張，同一批人身兼教職，政策咨詢，比賽評審，獎助委員等，輕易的左右藝術發展的走向，但囿於見識與格局不足，以少數人的品味嚴重誤導發展方向，破壞開放多元的風氣，長期下來藝術圈看似前衛實驗，其實內部結構多是學院裙帶資源分配的小圈圈，越來越封閉而小眾，排擠非我族類。
我舉書畫為例子，過去台灣有張大千、溥心畬、江兆申、余承堯、倪再沁、于彭⋯⋯，及在世的劉國松、李義弘、袁旃⋯⋯無論傳統文人畫到實驗水墨一應俱全，創作的多元性和深度廣度俱佳，能自成一家開創新局的藝術家俯拾皆是，水墨曾經是台灣藝術頗有競爭力的一塊。但反觀現在中生代的水墨畫家幾乎難成氣候，視野格局狹隘，作品欠缺開創性而趨於裝飾，更談不上國際性的發展，孰不知劉國松早在在六七零年代已是國際巡迴且於海外任教，何以今天的水墨畫家連跨出家門都有問題？我一直在觀察與思考這領域到底發生了什麼事 ?
【見樹不見林的文化政策】
有很大的可能是，投入該領域的藝術家根本上的不足導致了素質的嚴重下降，且選擇傳統藝術類型的創作者傾向于保守，其實不僅只是書畫，雕塑、繪畫、攝影、版畫亦然，台灣版畫界出過侯俊明這種人物，相對之下現今的版畫創作者還真不知道在幹嘛 ? 現在中生代的藝術家年輕時台灣正值90年代裝置複合媒材的流行，磁吸大多數創作者投入該領域，較容易獲得展出機會、經費補助、與藝術圈的關注，不過這基本上只是學院透過公共資源杜撰的假象，受歐美影響的實驗性藝術其實從未在台灣落地申根，及建立實質的收藏市場去支持其發展，至今恐怕仍是如此。於是大量投入裝置複媒的藝術家最終無以為繼，中生代的藝術家數量銳減，留下的多數仰賴教職與補助，而非走上專業化的藝術創作之路，建立本地及國際收藏群，所以台灣這些實驗性的創作類型並未真正在地化和國際化。但不僅實驗性的藝術未能持續發展，其他領域也因投入的藝術家不足而停滯甚至倒退，當台灣繪畫創作質量衰退的同時，中國大陸市場及亞洲市場快速崛起取而代之，長期惡性循環下創作端與市場端漸行漸遠，見樹不見林的文化政策更是提油救火，讓藝術圈更加仰賴公共資源飲鴆止渴，問道於盲就是這種下場。
【台灣當代藝術的價格⋯⋯】
諷刺的是，台灣的民間收藏資源豐沛，在亞洲名列前茅，卻有一個餓死在金礦上的台灣當代藝術圈。加上多數台灣畫廊短視近利，仰賴炒作和抬價殺雞取卵，而非腳踏實地的經營藝術市場，台灣當代藝術的價格約溢價國際行情兩到三倍，考量進物價水平的話，在台灣購買藝術品可能貴上歐美日近九倍，意思是在這些地方一個上班族都可以從事收藏，但在台灣藝術品成了奢侈品，恐怕永遠難以普及，台灣當代藝術圈幾乎不討論這些問題，只怕學院滿坑滿谷的左派也只是些跑龍套的丑角。
這些昂貴的當代藝術創作，卻大多跟隨國際潮流，欠缺在地的特殊性和國際辨識度，請問你是藏家你會買嗎 ? 不如去收東南亞當代藝術還好玩一點⋯⋯
【總結：繪畫永遠是最重要的藝術形式】
Anyway，繪畫永遠是最重要的藝術形式，繪畫已死喊一兩百年了，繪畫從來沒死過，因為那只是一句廣告詞，因為不是事實所以需要廣告，這道理不是很簡單嗎 ? 像江湖郎中最愛講自己是觀念藝術家，印證了Joseph Beuys說的人人都是藝術家這句廢話，就像人人都可以打籃球，這不是廢話嗎 ? 但你是要週末去附近國小灌籃，還是去打NBA總冠軍賽，好像無法想提並論吧～乾脆改成阿貓阿狗都能當校長好了，呵呵～
以上訪談內容由吳季璁與LIVART責任編輯共同製作，內容均經過吳季璁工作室同意刊登在LIVART粉絲專頁，如需轉載請註明出處。
Interview wit Wu Chi-Tsung – Part.A
【The limitations and closure of the Taiwanese art environment, Wu Chi-Tsung will focus on international development in recent years! 】
【We should be the last new immigrant, the next generation is born and grows in the world of digital and internet. 】
【Because it is not a fact, you need an advertisement. 】
Taipei & Berlin
Along with globalization, contemporary art has rapidly expanded under the leadership of strong cultures in Europe and America, constantly subverting and innovating, but it has also broken through the traditional cultural context of various regions, accelerating the disappearance of many regional unique art and aesthetics. Growing up in traditional art, Wu Chi-Tsung is particularly aware of this break, and his creations continue to seek compatibility between Eastern and Western cultures, traditions and contemporary art. In addition, recognizing the limitations and closures of Taiwan’s artistic environment, Wu Chi-Tsung has focused on international development in recent years. In addition to the Taipei studio, which is the main creative base, he also set up a Berlin studio to facilitate artistic activities in the European region. He lives in Taipei and Berlin.
Meet Wu Chi-Tsung
Born in Taipei in 1981, Wu Chi-Tsung’s artistic development began with the training of traditional Eastern and Western colleges. In particular, the ink paintings of children’s paintings have been deeply influenced by children. The main stage of creation began in the video media experiment in the university period, which has been formed for more than ten years. Two distinct axes: one is from the dialectic of media art, the thinking of surround viewing and the essence of image is the basis of its creative method; the other is from the difference between Eastern and Western culture and art, and between traditional and modern art. Contradictions and pulls, perhaps because of the special historical, geographical, and political factors of East Asia, make things new and old and gather in the cultural genes of this region, but they are often broken and cut, and they are not seen each other. Therefore, Wu Chi-Tsung tried to establish a new balance in the creation, blending Eastern and Western traditions with modern and contemporary art as the main axis of his creative thinking in recent years. His creative forms are diverse, dedicated to photography, video, installation, painting, etc., ordinary materials and phenomena in micro-diet life, transforming a poetic imagination space into his works.
Art Basel HK exhibition
Q:We know that your exhibition in this Hong Kong ARTBASEL is very successful and impressive. We also saw many foreign buyers interested in your work in the exhibition hall, and the inquiry is also very high. What kind of ideas are you based on to prepare for the exhibition of Hong Kong ART BASEL?
A:
Thanks to the proper planning of the Galerie du Monde and the support of the collections from all over the world.
This year’s solo exhibition of Art Basel HK showed two pieces of blue-green photography collages of Cyanshan Collection, the larger one of which was 3.6m * 1.8m, which was the main image of the booth; a video work Pieces of “Chrysanthemum” , and installation works “wire mesh” etc., four works of choice across different media media, but all use experimental video language, to reinterpret the aesthetics and artistic conception in traditional painting, hope Can let the audience have a rough grasp of my creative context.
Creative core concept
Q:Can you share with us the core ideas of your creations and those parts of your work?
A:
My creation can be understood from two interlaced axes:
The first is the research method inspired by media art. Through the experimentation of images and the dialectic of ideas, to explore the essence of viewing/visual, you can use the earliest video work “Rainbow” (2002) and the installation work “Barbed Wire One” (2003). ) I saw such qualities, all the way to dust, crystal city series and so on. Media art has two completely opposite routes. It is very interesting. The mainstream is the possibility of exploring technology. Using new technologies to create illusions, there are many cool creations that go in this direction, such as the popular outdoor projection mapping in recent years.
However, expensive and technology-intensive new media, invention/design/popular pop culture and other fields tend to do better, not necessarily in the art category, perhaps out of curiosity, I am more interested in dismantling these illusions, Thinking about its principle and essence/meaning, I thought this was a unique perspective that art could not replace.
I was born in 1981. Our generation grew up in the era of the former digital/pre-network. I still have some memories of my previous lifestyle and appearance. I only started to get in touch with computers and the Internet when I was in college. The violent transformation, especially the change of “reality”, and the “time sense” are accelerating. We should be regarded as the last new immigrants. The next generation begins to grow and grow in the world of digital and internet.
Second, it is about the content, trying to integrate traditional aesthetics, Eastern and Western culture, and contemporary art. I often joked that my goal is to cross things and go through ancient and modern times, hehe!
The year 2009 is still an important turning point for my creation, because of the series of videos of “small products”. The sketch of the essay comes from the traditional album design. The general theme is the use of folded flowers. I paint these things from elementary school and always like the aesthetics and artistic conception of the head. But people in this era seem to have difficulty in feeling those things. After all, we no longer use a brush, or even write, and are farther away from the traditional way of life and the environment. So I have a fun idea to translate this type of painting language into a video. Everyone is familiar with images. It is the main way we receive information on a daily basis. So I designed a special way to shoot the plants in the water. As the water level slowly drops, the plants seem to emerge slowly in the clouds. The main idea is how to present the blanks in the static paintings in the motion picture, so Transformed into changes in light and space.
The essay series unexpectedly made me realize the connection between traditional art and my own, but looking back at the early works, I found that these effects are ubiquitous, and then I slowly focus on becoming the main axis of my creation, through contemporary art language and video experiments. The reinterpretation of traditional aesthetics, the practice of defamation, the cyanide collection, and the work of cloth pattern are gradually developed through this kind of thinking.
Taiwanese art culture
Q:As far as your long-term observations, diversified creative materials, even multi-coal materials, have not been valued in Taiwan for a long time? Because the traditional concept will think that “painting” is the mainstream of art, what do you think and see? Can you share your thoughts with us?
A:
This is an interesting question. My observation is just the opposite. The art circle pays too much attention to the development of experimental art. Ignore this is only a small piece in the art spectrum. The sound and multicultural art environment is the key. Painting is the most mainstream art form in any place, but the Taiwan art circle/academic end has neglected the development of painting for more than 20 years, marginalized the traditional art type, and the CV of the painters know that there are few art museums. Sexual curatorial and international exhibitions are mostly solo exhibitions and group exhibitions of local galleries. Almost no one in the academic world is studying them, and there are few opportunities to go out and expand their horizons. Most galleries only just somebanknote printing machine in the basement. It is a pity that these artists mostly got nothing but money.
[Art Politics, Political Art]
The art circle will be heavily involved in research and public resources in the installation of multi-media, video new media, and the concept art of recent popular political and social issues, resulting in painting, traditional art forms such as sculptures have serious faults. Until the early 1990s, Taiwan’s artistic environment was still normal and diversified. One hundred schools of thought contend and full of vitality. In 1996, the National Culture and Art Foundation was founded, and later the Cultural Construction Association went to the Ministry of Culture, the local cultural bureau, etc., and the input of public resources contributed indirectly. The power expansion of the college, the same batch of personal and faculty, policy consultation, competition review, awards committee members, etc., easily influence the direction of artistic development, but lack of knowledge and pattern, seriously misleading development direction and destruction by the taste of a few people Open and diversified, the art circle seems to be an avant-garde experiment in the long run. In fact, the internal structure is mostly a small circle of resource allocation, which is more and more closed and niche, crowding out others.
I take paintings and paintings as an example. In the past, Taiwan had Zhang Daqian, Yu Xinyu, Jiang Zhaoshen, Yu Chengyu, Ni Zaiyu, Yu Peng… and Liu Guosong, Li Yihong, Yuan Yu….. regardless of traditional literati The experimental ink paintings are all available, and the diversity and depth of creation are excellent. The artists who can create a new game are all over the place. Ink and wash was once a competitive piece of Taiwanese art. However, in the meantime, the ink painters of the Mesozoic era are almost incapable of becoming a climate, and their vision is narrow. The works lack creativity and tend to be decorated, let alone international development. I don’t know that Liu Guosong was an international tour and overseas in the 1960s and 1970s. Teaching, why do today’s ink painters have problems with their homes? I have been observing and thinking about what happened in this field?
[See the tree does not see the cultural policy of the forest]
There is a great possibility that the fundamental lack of artists in this field has led to a serious decline in quality, and creators who choose traditional art types tend to be conservative, not only painting, photography, and printmaking. Taiwan’s printmaking industry has had such a character as Hou Junming. In contrast, today’s print creators really don’t know what they are doing? Nowadays, when the artists of the Mesozoic era were young, Taiwan was in the midst of the popularity of composite media in the 1990s. Most of the creators were involved in the field, and it was easier to get exhibition opportunities, financial subsidies, and attention from the art circle, but this is basically just a college. Through the illusion of public resources, the experimental art influenced by Europe and the United States has never landed in Schengen in Taiwan, and established a substantial collection market to support its development. I am afraid that this is still the case. Therefore, the artists who invested heavily in the device were ultimately unsustainable. The number of artists in the Mesozoic era dropped sharply. Most of the artists left behind depended on teaching and subsidies instead of embarking on a professional art creation path to establish local and international collections, so Taiwan These experimental types of creation are not truly localized and internationalized. However, not only the experimental art has not continued to develop, but other fields have also stagnated or even regressed due to the lack of artists. When the quality of Taiwanese paintings has declined, the Chinese market and the Asian market have risen rapidly, and the creative end of the long-term vicious circle The market is gradually drifting away. Seeing the tree’s cultural policy of not seeing Lin is to raise fuel and fire, so that the art circle can rely more on public resources to drink and quench their thirst.
[The price of contemporary art in Taiwan…]
Ironically, Taiwan’s private collections are abundant and top in Asia, but there is a Taiwanese contemporary art scene starved to death in gold mines. Coupled with the short-sightedness of most Taiwanese galleries, relying on hype and raising prices to kill chickens and eggs, rather than down-to-earth in the art market, the price of Taiwanese contemporary art is about two to three times higher than the international price. If you consider the price level, buy art in Taiwan. It may be nearly nine times more expensive in Europe, America and Japan, meaning that an office worker can work in these places, but in Taiwan, art has become a luxury, I am afraid it will never be popular. The Taiwanese contemporary art circle rarely discusses these issues, I am afraid that the college The left side of the valley is just a few harlequins.
These expensive contemporary art creations mostly follow the international trend, lacking the speciality and international recognition of the land. Can you buy it as a collector? It’s better to collect Southeast Asian contemporary art.
The above interviews were produced by Wu Chi-Tsung and LIVART Responsible Editor. The content was published on the LIVART fan page after Wu Chi-Tsung’s studio. If you need to reprint, please indicate the source.
吳季璁專訪 − Part.A
【台灣藝術環境的侷限與封閉，吳季璁近年來將重心於國際發展！】
【我們應算最後的新移民，下一代開始就是誕生和成長在數位與網際網路的世界。】
【因為不是事實所以需要廣告。】
臺北 & 柏林
伴隨著全球化，當代藝術在歐美強勢文化的主導下快速擴張，不斷地顛覆與創新，卻也斷裂於各地的傳統文化脈絡，加速許多區域性特有的藝術與美學的消逝。成長於傳統的藝術養成，吳季璁特別有感于此斷裂，其創作不斷地在東西方文化，傳統與當代藝術之間，尋求兼容並蓄的可能。此外，意識到台灣藝術環境的侷限與封閉，吳季璁近年來將重心放在國際發展，除了作為主要創作基地的臺北工作室，亦設立柏林工作室，便於歐洲區域的藝術活動，現居於臺北及柏林。
認識吳季璁
1981年生於臺北，吳季璁的藝術養成始於東西方傳統的學院訓練，尤其自幼學習的書畫水墨影響甚深，但主要創作階段開始於大學時期的影像媒體實驗，十多年的創作至今，形成兩條鮮明的軸線：其一來自媒體藝術的觀念辯證，環繞觀看和影像本質的思考，是其創作方法的基礎 ; 其二來自東西方文化藝術間的差異，和傳統與現當代藝術之間的矛盾拉扯，或許因為東亞特殊的歷史，地理，和政治因素，讓東西新舊匯聚並陳在這區域的文化基因之中，卻往往是破碎切割，互不見容。因此吳季璁試圖在創作中建立一個新的平衡，融合東西方傳統與現當代藝術，作為其近年來創作思考的主軸。其創作形式多元，致力於攝影、錄像、裝置、繪畫等，微觀日常生活中平凡的材料與現象，在作品中轉換出充滿詩意的想像空間。
Art Basel HK 個展
Ｑ：我們知道您在這次的香港ARTBASEL中的展出非常成功且令人印象深刻，我們在展覽會場中也看到許多國外的買家對您的作品非常感興趣，詢問度也很高，請問您是基于什麼樣的想法來準備這次的香港 ART BASEL的展出?
Ａ：
感謝Galerie du Monde的妥善規劃，以及來自世界各地的收藏群支持。
這次Art Basel HK的個展, 現場展出兩件藍曬圖攝影拼貼的“氰山集”，其中較大的一件尺寸達3.6m*1.8m，是展位的主要意像；一件錄像作品“小品之六-菊”，和裝置作品“鐵絲網之五”等，四件作品的選件跨不同媒體媒材，但皆使用實驗性的影像語言，去重新詮釋傳統繪畫中的美學與意境，希望能讓觀眾對於我的創作脈絡有概略的掌握。
創作核心理念
Ｑ：您可以與我們分享您的創作核心理念嗎? 表現在您作品中的那些部分呢?
Ａ：
我的創作可以從兩條交織的軸線來理解：
其一，是媒體藝術啟發的研究方法，透過對影像的實驗與觀念辯證，去探討觀看/視覺的本質，可以在最早的錄像作品”雨景”（2002）和裝置作品”鐵絲網一”（2003）就看到這樣的特質，一路到灰塵，水晶城市系列等。媒體藝術有兩條完全相反的路線，很有意思，主流是探索技術的可能，利用新技術創造幻象，有許多酷炫的創作就是走往這個方向，比如近年很流行的戶外建築投影mapping。
不過成本昂貴且技術密集的新媒體，發明/設計/大眾流行文化等領域往往做得更好，未必需要在藝術範疇處理，或許是出於好奇心，我更感興趣的是拆解這些幻象，思考它的原理和本質/意義，我以為這才是藝術無法取代的獨特視角。
我生於1981，我們這一代成長在前數位/前網路的時代，對之前的生活方式和樣貌還有點記憶，約中學到大學時才開始接觸電腦和網路，所以也特別感受到那個轉變的劇烈，尤其是某種“真實感”的改變，而“時間感”也不斷加快。我們應該算是最後的新移民，下一代開始就是誕生和成長在數為與網際網路的世界；
其二，是關於內容的部分，試圖融合傳統美學，東西方文化，和當代藝術，我常常開玩笑說，我的目標就是橫跨東西，縱貫古今，呵呵！
2009年是對我的創作還說是個重要的轉淚點，因為“小品”這個系列錄像。小品的發想來自傳統書畫的小品冊頁形制，一般以折枝花卉為主要題材，我從小學畫就是畫這些東西，一直很喜歡那裏頭的美學和意境，但這時代人們好像難以感受那些東西了，畢竟我們不再用毛筆，甚至不再書寫，也離傳統的生活方式和環境越來越遠。於是我有個好玩的想法，來把這類型的繪畫語言翻譯成錄像好了，大家普遍熟悉影像，它是我們日常接受資訊的主要方式。於是我設計了一個特殊的拍攝方式，將植物淹沒在水中，隨著水位緩慢下降，植物好像在雲霧中慢慢浮現，主要的想法是如何在動態影像中去呈現靜態繪畫中的留白，於是轉換成了光和空間的變化。
小品系列意外的讓我意識到傳統藝術和我的自身的聯結，但回顧早期的作品，發現這些影響其實無所不在，此後便慢慢聚焦成為我的創作主軸，透過當代的藝術語言和影像實驗，去重新詮釋傳統美學，皴法習作、氰山集、布紋習作等便是循這樣的思路慢慢發展出來的。
眼中的台灣藝術生態
Ｑ：就您長期的觀察，多元化的創作素材，甚至是多煤材，在台灣是否長期不被重視? 因為傳統的觀念會認為“繪畫”才是藝術的王道主流，對此您有什麼看法與見解? 是否可以與我們分享一下您的想法?
Ａ：
這是個有趣的問題，我的觀察正好相反，藝術圈太過於重視實驗性藝術的發展，忽略了這也只是藝術光譜中的一小塊，健全和多元文化藝術環境才是關鍵。繪畫不管在任何地方都是最主流的藝術形式，但台灣藝術圈/學術端二十多年來忽視繪畫的發展，邊緣化傳統藝術類型，讀讀畫家們的CV就知道，很少有美術館研究性的策展和國際展覽，多半只是local畫廊的個展和群展，學術界幾乎沒人在研究他們，也少有機會出去走走拓展視野人脈，多數畫廊只當他們是關在地下室的印鈔機，很遺憾這些畫家最終多半窮得只剩下錢。
【藝術政治，政治藝術】
藝術圈將大量研究與公共資源投注在裝置複媒，影像新媒體，到近期流行的政治與社會性議題的觀念藝術等，造成書畫，繪畫．版畫．雕塑等傳統藝術形式斷層嚴重。直到90年代上旬，台灣藝術環境都還是正常的多元發展，百家爭鳴且充滿生命力，1996年國家文化藝術基金會創辦，以及後來的文建會到文化部，地方文化局等，公共資源的投入間接促成了學院的權力擴張，同一批人身兼教職，政策咨詢，比賽評審，獎助委員等，輕易的左右藝術發展的走向，但囿於見識與格局不足，以少數人的品味嚴重誤導發展方向，破壞開放多元的風氣，長期下來藝術圈看似前衛實驗，其實內部結構多是學院裙帶資源分配的小圈圈，越來越封閉而小眾，排擠非我族類。
我舉書畫為例子，過去台灣有張大千、溥心畬、江兆申、余承堯、倪再沁、于彭⋯⋯，及在世的劉國松、李義弘、袁旃⋯⋯無論傳統文人畫到實驗水墨一應俱全，創作的多元性和深度廣度俱佳，能自成一家開創新局的藝術家俯拾皆是，水墨曾經是台灣藝術頗有競爭力的一塊。但反觀現在中生代的水墨畫家幾乎難成氣候，視野格局狹隘，作品欠缺開創性而趨於裝飾，更談不上國際性的發展，孰不知劉國松早在在六七零年代已是國際巡迴且於海外任教，何以今天的水墨畫家連跨出家門都有問題？我一直在觀察與思考這領域到底發生了什麼事 ?
【見樹不見林的文化政策】
有很大的可能是，投入該領域的藝術家根本上的不足導致了素質的嚴重下降，且選擇傳統藝術類型的創作者傾向于保守，其實不僅只是書畫，雕塑、繪畫、攝影、版畫亦然，台灣版畫界出過侯俊明這種人物，相對之下現今的版畫創作者還真不知道在幹嘛 ? 現在中生代的藝術家年輕時台灣正值90年代裝置複合媒材的流行，磁吸大多數創作者投入該領域，較容易獲得展出機會、經費補助、與藝術圈的關注，不過這基本上只是學院透過公共資源杜撰的假象，受歐美影響的實驗性藝術其實從未在台灣落地申根，及建立實質的收藏市場去支持其發展，至今恐怕仍是如此。於是大量投入裝置複媒的藝術家最終無以為繼，中生代的藝術家數量銳減，留下的多數仰賴教職與補助，而非走上專業化的藝術創作之路，建立本地及國際收藏群，所以台灣這些實驗性的創作類型並未真正在地化和國際化。但不僅實驗性的藝術未能持續發展，其他領域也因投入的藝術家不足而停滯甚至倒退，當台灣繪畫創作質量衰退的同時，中國大陸市場及亞洲市場快速崛起取而代之，長期惡性循環下創作端與市場端漸行漸遠，見樹不見林的文化政策更是提油救火，讓藝術圈更加仰賴公共資源飲鴆止渴，問道於盲就是這種下場。
【台灣當代藝術的價格⋯⋯】
諷刺的是，台灣的民間收藏資源豐沛，在亞洲名列前茅，卻有一個餓死在金礦上的台灣當代藝術圈。加上多數台灣畫廊短視近利，仰賴炒作和抬價殺雞取卵，而非腳踏實地的經營藝術市場，台灣當代藝術的價格約溢價國際行情兩到三倍，考量進物價水平的話，在台灣購買藝術品可能貴上歐美日近九倍，意思是在這些地方一個上班族都可以從事收藏，但在台灣藝術品成了奢侈品，恐怕永遠難以普及，台灣當代藝術圈幾乎不討論這些問題，只怕學院滿坑滿谷的左派也只是些跑龍套的丑角。
這些昂貴的當代藝術創作，卻大多跟隨國際潮流，欠缺在地的特殊性和國際辨識度，請問你是藏家你會買嗎 ? 不如去收東南亞當代藝術還好玩一點⋯⋯
【總結：繪畫永遠是最重要的藝術形式】
Anyway，繪畫永遠是最重要的藝術形式，繪畫已死喊一兩百年了，繪畫從來沒死過，因為那只是一句廣告詞，因為不是事實所以需要廣告，這道理不是很簡單嗎 ? 像江湖郎中最愛講自己是觀念藝術家，印證了Joseph Beuys說的人人都是藝術家這句廢話，就像人人都可以打籃球，這不是廢話嗎 ? 但你是要週末去附近國小灌籃，還是去打NBA總冠軍賽，好像無法想提並論吧～乾脆改成阿貓阿狗都能當校長好了，呵呵～
以上訪談內容由吳季璁與LIVART責任編輯共同製作，內容均經過吳季璁工作室同意刊登在LIVART粉絲專頁，如需轉載請註明出處。
Interview wit Wu Chi-Tsung – Part.A
【The limitations and closure of the Taiwanese art environment, Wu Chi-Tsung will focus on international development in recent years! 】
【We should be the last new immigrant, the next generation is born and grows in the world of digital and internet. 】
【Because it is not a fact, you need an advertisement. 】
Taipei & Berlin
Along with globalization, contemporary art has rapidly expanded under the leadership of strong cultures in Europe and America, constantly subverting and innovating, but it has also broken through the traditional cultural context of various regions, accelerating the disappearance of many regional unique art and aesthetics. Growing up in traditional art, Wu Chi-Tsung is particularly aware of this break, and his creations continue to seek compatibility between Eastern and Western cultures, traditions and contemporary art. In addition, recognizing the limitations and closures of Taiwan’s artistic environment, Wu Chi-Tsung has focused on international development in recent years. In addition to the Taipei studio, which is the main creative base, he also set up a Berlin studio to facilitate artistic activities in the European region. He lives in Taipei and Berlin.
Meet Wu Chi-Tsung
Born in Taipei in 1981, Wu Chi-Tsung’s artistic development began with the training of traditional Eastern and Western colleges. In particular, the ink paintings of children’s paintings have been deeply influenced by children. The main stage of creation began in the video media experiment in the university period, which has been formed for more than ten years. Two distinct axes: one is from the dialectic of media art, the thinking of surround viewing and the essence of image is the basis of its creative method; the other is from the difference between Eastern and Western culture and art, and between traditional and modern art. Contradictions and pulls, perhaps because of the special historical, geographical, and political factors of East Asia, make things new and old and gather in the cultural genes of this region, but they are often broken and cut, and they are not seen each other. Therefore, Wu Chi-Tsung tried to establish a new balance in the creation, blending Eastern and Western traditions with modern and contemporary art as the main axis of his creative thinking in recent years. His creative forms are diverse, dedicated to photography, video, installation, painting, etc., ordinary materials and phenomena in micro-diet life, transforming a poetic imagination space into his works.
Art Basel HK exhibition
Q:We know that your exhibition in this Hong Kong ARTBASEL is very successful and impressive. We also saw many foreign buyers interested in your work in the exhibition hall, and the inquiry is also very high. What kind of ideas are you based on to prepare for the exhibition of Hong Kong ART BASEL?
A:
Thanks to the proper planning of the Galerie du Monde and the support of the collections from all over the world.
This year’s solo exhibition of Art Basel HK showed two pieces of blue-green photography collages of Cyanshan Collection, the larger one of which was 3.6m * 1.8m, which was the main image of the booth; a video work Pieces of “Chrysanthemum” , and installation works “wire mesh” etc., four works of choice across different media media, but all use experimental video language, to reinterpret the aesthetics and artistic conception in traditional painting, hope Can let the audience have a rough grasp of my creative context.
Creative core concept
Q:Can you share with us the core ideas of your creations and those parts of your work?
A:
My creation can be understood from two interlaced axes:
The first is the research method inspired by media art. Through the experimentation of images and the dialectic of ideas, to explore the essence of viewing/visual, you can use the earliest video work “Rainbow” (2002) and the installation work “Barbed Wire One” (2003). ) I saw such qualities, all the way to dust, crystal city series and so on. Media art has two completely opposite routes. It is very interesting. The mainstream is the possibility of exploring technology. Using new technologies to create illusions, there are many cool creations that go in this direction, such as the popular outdoor projection mapping in recent years.
However, expensive and technology-intensive new media, invention/design/popular pop culture and other fields tend to do better, not necessarily in the art category, perhaps out of curiosity, I am more interested in dismantling these illusions, Thinking about its principle and essence/meaning, I thought this was a unique perspective that art could not replace.
I was born in 1981. Our generation grew up in the era of the former digital/pre-network. I still have some memories of my previous lifestyle and appearance. I only started to get in touch with computers and the Internet when I was in college. The violent transformation, especially the change of “reality”, and the “time sense” are accelerating. We should be regarded as the last new immigrants. The next generation begins to grow and grow in the world of digital and internet.
Second, it is about the content, trying to integrate traditional aesthetics, Eastern and Western culture, and contemporary art. I often joked that my goal is to cross things and go through ancient and modern times, hehe!
The year 2009 is still an important turning point for my creation, because of the series of videos of “small products”. The sketch of the essay comes from the traditional album design. The general theme is the use of folded flowers. I paint these things from elementary school and always like the aesthetics and artistic conception of the head. But people in this era seem to have difficulty in feeling those things. After all, we no longer use a brush, or even write, and are farther away from the traditional way of life and the environment. So I have a fun idea to translate this type of painting language into a video. Everyone is familiar with images. It is the main way we receive information on a daily basis. So I designed a special way to shoot the plants in the water. As the water level slowly drops, the plants seem to emerge slowly in the clouds. The main idea is how to present the blanks in the static paintings in the motion picture, so Transformed into changes in light and space.
The essay series unexpectedly made me realize the connection between traditional art and my own, but looking back at the early works, I found that these effects are ubiquitous, and then I slowly focus on becoming the main axis of my creation, through contemporary art language and video experiments. The reinterpretation of traditional aesthetics, the practice of defamation, the cyanide collection, and the work of cloth pattern are gradually developed through this kind of thinking.
Taiwanese art culture
Q:As far as your long-term observations, diversified creative materials, even multi-coal materials, have not been valued in Taiwan for a long time? Because the traditional concept will think that “painting” is the mainstream of art, what do you think and see? Can you share your thoughts with us?
A:
This is an interesting question. My observation is just the opposite. The art circle pays too much attention to the development of experimental art. Ignore this is only a small piece in the art spectrum. The sound and multicultural art environment is the key. Painting is the most mainstream art form in any place, but the Taiwan art circle/academic end has neglected the development of painting for more than 20 years, marginalized the traditional art type, and the CV of the painters know that there are few art museums. Sexual curatorial and international exhibitions are mostly solo exhibitions and group exhibitions of local galleries. Almost no one in the academic world is studying them, and there are few opportunities to go out and expand their horizons. Most galleries only just somebanknote printing machine in the basement. It is a pity that these artists mostly got nothing but money.
[Art Politics, Political Art]
The art circle will be heavily involved in research and public resources in the installation of multi-media, video new media, and the concept art of recent popular political and social issues, resulting in painting, traditional art forms such as sculptures have serious faults. Until the early 1990s, Taiwan’s artistic environment was still normal and diversified. One hundred schools of thought contend and full of vitality. In 1996, the National Culture and Art Foundation was founded, and later the Cultural Construction Association went to the Ministry of Culture, the local cultural bureau, etc., and the input of public resources contributed indirectly. The power expansion of the college, the same batch of personal and faculty, policy consultation, competition review, awards committee members, etc., easily influence the direction of artistic development, but lack of knowledge and pattern, seriously misleading development direction and destruction by the taste of a few people Open and diversified, the art circle seems to be an avant-garde experiment in the long run. In fact, the internal structure is mostly a small circle of resource allocation, which is more and more closed and niche, crowding out others.
I take paintings and paintings as an example. In the past, Taiwan had Zhang Daqian, Yu Xinyu, Jiang Zhaoshen, Yu Chengyu, Ni Zaiyu, Yu Peng… and Liu Guosong, Li Yihong, Yuan Yu….. regardless of traditional literati The experimental ink paintings are all available, and the diversity and depth of creation are excellent. The artists who can create a new game are all over the place. Ink and wash was once a competitive piece of Taiwanese art. However, in the meantime, the ink painters of the Mesozoic era are almost incapable of becoming a climate, and their vision is narrow. The works lack creativity and tend to be decorated, let alone international development. I don’t know that Liu Guosong was an international tour and overseas in the 1960s and 1970s. Teaching, why do today’s ink painters have problems with their homes? I have been observing and thinking about what happened in this field?
[See the tree does not see the cultural policy of the forest]
There is a great possibility that the fundamental lack of artists in this field has led to a serious decline in quality, and creators who choose traditional art types tend to be conservative, not only painting, photography, and printmaking. Taiwan’s printmaking industry has had such a character as Hou Junming. In contrast, today’s print creators really don’t know what they are doing? Nowadays, when the artists of the Mesozoic era were young, Taiwan was in the midst of the popularity of composite media in the 1990s. Most of the creators were involved in the field, and it was easier to get exhibition opportunities, financial subsidies, and attention from the art circle, but this is basically just a college. Through the illusion of public resources, the experimental art influenced by Europe and the United States has never landed in Schengen in Taiwan, and established a substantial collection market to support its development. I am afraid that this is still the case. Therefore, the artists who invested heavily in the device were ultimately unsustainable. The number of artists in the Mesozoic era dropped sharply. Most of the artists left behind depended on teaching and subsidies instead of embarking on a professional art creation path to establish local and international collections, so Taiwan These experimental types of creation are not truly localized and internationalized. However, not only the experimental art has not continued to develop, but other fields have also stagnated or even regressed due to the lack of artists. When the quality of Taiwanese paintings has declined, the Chinese market and the Asian market have risen rapidly, and the creative end of the long-term vicious circle The market is gradually drifting away. Seeing the tree’s cultural policy of not seeing Lin is to raise fuel and fire, so that the art circle can rely more on public resources to drink and quench their thirst.
[The price of contemporary art in Taiwan…]
Ironically, Taiwan’s private collections are abundant and top in Asia, but there is a Taiwanese contemporary art scene starved to death in gold mines. Coupled with the short-sightedness of most Taiwanese galleries, relying on hype and raising prices to kill chickens and eggs, rather than down-to-earth in the art market, the price of Taiwanese contemporary art is about two to three times higher than the international price. If you consider the price level, buy art in Taiwan. It may be nearly nine times more expensive in Europe, America and Japan, meaning that an office worker can work in these places, but in Taiwan, art has become a luxury, I am afraid it will never be popular. The Taiwanese contemporary art circle rarely discusses these issues, I am afraid that the college The left side of the valley is just a few harlequins.
These expensive contemporary art creations mostly follow the international trend, lacking the speciality and international recognition of the land. Can you buy it as a collector? It’s better to collect Southeast Asian contemporary art.
The above interviews were produced by Wu Chi-Tsung and LIVART Responsible Editor. The content was published on the LIVART fan page after Wu Chi-Tsung’s studio. If you need to reprint, please indicate the source.
吳季璁專訪 − Part.A
【台灣藝術環境的侷限與封閉，吳季璁近年來將重心於國際發展！】
【我們應算最後的新移民，下一代開始就是誕生和成長在數位與網際網路的世界。】
【因為不是事實所以需要廣告。】
臺北 & 柏林
伴隨著全球化，當代藝術在歐美強勢文化的主導下快速擴張，不斷地顛覆與創新，卻也斷裂於各地的傳統文化脈絡，加速許多區域性特有的藝術與美學的消逝。成長於傳統的藝術養成，吳季璁特別有感于此斷裂，其創作不斷地在東西方文化，傳統與當代藝術之間，尋求兼容並蓄的可能。此外，意識到台灣藝術環境的侷限與封閉，吳季璁近年來將重心放在國際發展，除了作為主要創作基地的臺北工作室，亦設立柏林工作室，便於歐洲區域的藝術活動，現居於臺北及柏林。
認識吳季璁
1981年生於臺北，吳季璁的藝術養成始於東西方傳統的學院訓練，尤其自幼學習的書畫水墨影響甚深，但主要創作階段開始於大學時期的影像媒體實驗，十多年的創作至今，形成兩條鮮明的軸線：其一來自媒體藝術的觀念辯證，環繞觀看和影像本質的思考，是其創作方法的基礎 ; 其二來自東西方文化藝術間的差異，和傳統與現當代藝術之間的矛盾拉扯，或許因為東亞特殊的歷史，地理，和政治因素，讓東西新舊匯聚並陳在這區域的文化基因之中，卻往往是破碎切割，互不見容。因此吳季璁試圖在創作中建立一個新的平衡，融合東西方傳統與現當代藝術，作為其近年來創作思考的主軸。其創作形式多元，致力於攝影、錄像、裝置、繪畫等，微觀日常生活中平凡的材料與現象，在作品中轉換出充滿詩意的想像空間。
Art Basel HK 個展
Ｑ：我們知道您在這次的香港ARTBASEL中的展出非常成功且令人印象深刻，我們在展覽會場中也看到許多國外的買家對您的作品非常感興趣，詢問度也很高，請問您是基于什麼樣的想法來準備這次的香港 ART BASEL的展出?
Ａ：
感謝Galerie du Monde的妥善規劃，以及來自世界各地的收藏群支持。
這次Art Basel HK的個展, 現場展出兩件藍曬圖攝影拼貼的“氰山集”，其中較大的一件尺寸達3.6m*1.8m，是展位的主要意像；一件錄像作品“小品之六-菊”，和裝置作品“鐵絲網之五”等，四件作品的選件跨不同媒體媒材，但皆使用實驗性的影像語言，去重新詮釋傳統繪畫中的美學與意境，希望能讓觀眾對於我的創作脈絡有概略的掌握。
創作核心理念
Ｑ：您可以與我們分享您的創作核心理念嗎? 表現在您作品中的那些部分呢?
Ａ：
我的創作可以從兩條交織的軸線來理解：
其一，是媒體藝術啟發的研究方法，透過對影像的實驗與觀念辯證，去探討觀看/視覺的本質，可以在最早的錄像作品”雨景”（2002）和裝置作品”鐵絲網一”（2003）就看到這樣的特質，一路到灰塵，水晶城市系列等。媒體藝術有兩條完全相反的路線，很有意思，主流是探索技術的可能，利用新技術創造幻象，有許多酷炫的創作就是走往這個方向，比如近年很流行的戶外建築投影mapping。
不過成本昂貴且技術密集的新媒體，發明/設計/大眾流行文化等領域往往做得更好，未必需要在藝術範疇處理，或許是出於好奇心，我更感興趣的是拆解這些幻象，思考它的原理和本質/意義，我以為這才是藝術無法取代的獨特視角。
我生於1981，我們這一代成長在前數位/前網路的時代，對之前的生活方式和樣貌還有點記憶，約中學到大學時才開始接觸電腦和網路，所以也特別感受到那個轉變的劇烈，尤其是某種“真實感”的改變，而“時間感”也不斷加快。我們應該算是最後的新移民，下一代開始就是誕生和成長在數為與網際網路的世界；
其二，是關於內容的部分，試圖融合傳統美學，東西方文化，和當代藝術，我常常開玩笑說，我的目標就是橫跨東西，縱貫古今，呵呵！
2009年是對我的創作還說是個重要的轉淚點，因為“小品”這個系列錄像。小品的發想來自傳統書畫的小品冊頁形制，一般以折枝花卉為主要題材，我從小學畫就是畫這些東西，一直很喜歡那裏頭的美學和意境，但這時代人們好像難以感受那些東西了，畢竟我們不再用毛筆，甚至不再書寫，也離傳統的生活方式和環境越來越遠。於是我有個好玩的想法，來把這類型的繪畫語言翻譯成錄像好了，大家普遍熟悉影像，它是我們日常接受資訊的主要方式。於是我設計了一個特殊的拍攝方式，將植物淹沒在水中，隨著水位緩慢下降，植物好像在雲霧中慢慢浮現，主要的想法是如何在動態影像中去呈現靜態繪畫中的留白，於是轉換成了光和空間的變化。
小品系列意外的讓我意識到傳統藝術和我的自身的聯結，但回顧早期的作品，發現這些影響其實無所不在，此後便慢慢聚焦成為我的創作主軸，透過當代的藝術語言和影像實驗，去重新詮釋傳統美學，皴法習作、氰山集、布紋習作等便是循這樣的思路慢慢發展出來的。
眼中的台灣藝術生態
Ｑ：就您長期的觀察，多元化的創作素材，甚至是多煤材，在台灣是否長期不被重視? 因為傳統的觀念會認為“繪畫”才是藝術的王道主流，對此您有什麼看法與見解? 是否可以與我們分享一下您的想法?
Ａ：
這是個有趣的問題，我的觀察正好相反，藝術圈太過於重視實驗性藝術的發展，忽略了這也只是藝術光譜中的一小塊，健全和多元文化藝術環境才是關鍵。繪畫不管在任何地方都是最主流的藝術形式，但台灣藝術圈/學術端二十多年來忽視繪畫的發展，邊緣化傳統藝術類型，讀讀畫家們的CV就知道，很少有美術館研究性的策展和國際展覽，多半只是local畫廊的個展和群展，學術界幾乎沒人在研究他們，也少有機會出去走走拓展視野人脈，多數畫廊只當他們是關在地下室的印鈔機，很遺憾這些畫家最終多半窮得只剩下錢。
【藝術政治，政治藝術】
藝術圈將大量研究與公共資源投注在裝置複媒，影像新媒體，到近期流行的政治與社會性議題的觀念藝術等，造成書畫，繪畫．版畫．雕塑等傳統藝術形式斷層嚴重。直到90年代上旬，台灣藝術環境都還是正常的多元發展，百家爭鳴且充滿生命力，1996年國家文化藝術基金會創辦，以及後來的文建會到文化部，地方文化局等，公共資源的投入間接促成了學院的權力擴張，同一批人身兼教職，政策咨詢，比賽評審，獎助委員等，輕易的左右藝術發展的走向，但囿於見識與格局不足，以少數人的品味嚴重誤導發展方向，破壞開放多元的風氣，長期下來藝術圈看似前衛實驗，其實內部結構多是學院裙帶資源分配的小圈圈，越來越封閉而小眾，排擠非我族類。
我舉書畫為例子，過去台灣有張大千、溥心畬、江兆申、余承堯、倪再沁、于彭⋯⋯，及在世的劉國松、李義弘、袁旃⋯⋯無論傳統文人畫到實驗水墨一應俱全，創作的多元性和深度廣度俱佳，能自成一家開創新局的藝術家俯拾皆是，水墨曾經是台灣藝術頗有競爭力的一塊。但反觀現在中生代的水墨畫家幾乎難成氣候，視野格局狹隘，作品欠缺開創性而趨於裝飾，更談不上國際性的發展，孰不知劉國松早在在六七零年代已是國際巡迴且於海外任教，何以今天的水墨畫家連跨出家門都有問題？我一直在觀察與思考這領域到底發生了什麼事 ?
【見樹不見林的文化政策】
有很大的可能是，投入該領域的藝術家根本上的不足導致了素質的嚴重下降，且選擇傳統藝術類型的創作者傾向于保守，其實不僅只是書畫，雕塑、繪畫、攝影、版畫亦然，台灣版畫界出過侯俊明這種人物，相對之下現今的版畫創作者還真不知道在幹嘛 ? 現在中生代的藝術家年輕時台灣正值90年代裝置複合媒材的流行，磁吸大多數創作者投入該領域，較容易獲得展出機會、經費補助、與藝術圈的關注，不過這基本上只是學院透過公共資源杜撰的假象，受歐美影響的實驗性藝術其實從未在台灣落地申根，及建立實質的收藏市場去支持其發展，至今恐怕仍是如此。於是大量投入裝置複媒的藝術家最終無以為繼，中生代的藝術家數量銳減，留下的多數仰賴教職與補助，而非走上專業化的藝術創作之路，建立本地及國際收藏群，所以台灣這些實驗性的創作類型並未真正在地化和國際化。但不僅實驗性的藝術未能持續發展，其他領域也因投入的藝術家不足而停滯甚至倒退，當台灣繪畫創作質量衰退的同時，中國大陸市場及亞洲市場快速崛起取而代之，長期惡性循環下創作端與市場端漸行漸遠，見樹不見林的文化政策更是提油救火，讓藝術圈更加仰賴公共資源飲鴆止渴，問道於盲就是這種下場。
【台灣當代藝術的價格⋯⋯】
諷刺的是，台灣的民間收藏資源豐沛，在亞洲名列前茅，卻有一個餓死在金礦上的台灣當代藝術圈。加上多數台灣畫廊短視近利，仰賴炒作和抬價殺雞取卵，而非腳踏實地的經營藝術市場，台灣當代藝術的價格約溢價國際行情兩到三倍，考量進物價水平的話，在台灣購買藝術品可能貴上歐美日近九倍，意思是在這些地方一個上班族都可以從事收藏，但在台灣藝術品成了奢侈品，恐怕永遠難以普及，台灣當代藝術圈幾乎不討論這些問題，只怕學院滿坑滿谷的左派也只是些跑龍套的丑角。
這些昂貴的當代藝術創作，卻大多跟隨國際潮流，欠缺在地的特殊性和國際辨識度，請問你是藏家你會買嗎 ? 不如去收東南亞當代藝術還好玩一點⋯⋯
【總結：繪畫永遠是最重要的藝術形式】
Anyway，繪畫永遠是最重要的藝術形式，繪畫已死喊一兩百年了，繪畫從來沒死過，因為那只是一句廣告詞，因為不是事實所以需要廣告，這道理不是很簡單嗎 ? 像江湖郎中最愛講自己是觀念藝術家，印證了Joseph Beuys說的人人都是藝術家這句廢話，就像人人都可以打籃球，這不是廢話嗎 ? 但你是要週末去附近國小灌籃，還是去打NBA總冠軍賽，好像無法想提並論吧～乾脆改成阿貓阿狗都能當校長好了，呵呵～
以上訪談內容由吳季璁與LIVART責任編輯共同製作，內容均經過吳季璁工作室同意刊登在LIVART粉絲專頁，如需轉載請註明出處。
Interview wit Wu Chi-Tsung – Part.A
【The limitations and closure of the Taiwanese art environment, Wu Chi-Tsung will focus on international development in recent years! 】
【We should be the last new immigrant, the next generation is born and grows in the world of digital and internet. 】
【Because it is not a fact, you need an advertisement. 】
Taipei & Berlin
Along with globalization, contemporary art has rapidly expanded under the leadership of strong cultures in Europe and America, constantly subverting and innovating, but it has also broken through the traditional cultural context of various regions, accelerating the disappearance of many regional unique art and aesthetics. Growing up in traditional art, Wu Chi-Tsung is particularly aware of this break, and his creations continue to seek compatibility between Eastern and Western cultures, traditions and contemporary art. In addition, recognizing the limitations and closures of Taiwan’s artistic environment, Wu Chi-Tsung has focused on international development in recent years. In addition to the Taipei studio, which is the main creative base, he also set up a Berlin studio to facilitate artistic activities in the European region. He lives in Taipei and Berlin.
Meet Wu Chi-Tsung
Born in Taipei in 1981, Wu Chi-Tsung’s artistic development began with the training of traditional Eastern and Western colleges. In particular, the ink paintings of children’s paintings have been deeply influenced by children. The main stage of creation began in the video media experiment in the university period, which has been formed for more than ten years. Two distinct axes: one is from the dialectic of media art, the thinking of surround viewing and the essence of image is the basis of its creative method; the other is from the difference between Eastern and Western culture and art, and between traditional and modern art. Contradictions and pulls, perhaps because of the special historical, geographical, and political factors of East Asia, make things new and old and gather in the cultural genes of this region, but they are often broken and cut, and they are not seen each other. Therefore, Wu Chi-Tsung tried to establish a new balance in the creation, blending Eastern and Western traditions with modern and contemporary art as the main axis of his creative thinking in recent years. His creative forms are diverse, dedicated to photography, video, installation, painting, etc., ordinary materials and phenomena in micro-diet life, transforming a poetic imagination space into his works.
Art Basel HK exhibition
Q:We know that your exhibition in this Hong Kong ARTBASEL is very successful and impressive. We also saw many foreign buyers interested in your work in the exhibition hall, and the inquiry is also very high. What kind of ideas are you based on to prepare for the exhibition of Hong Kong ART BASEL?
A:
Thanks to the proper planning of the Galerie du Monde and the support of the collections from all over the world.
This year’s solo exhibition of Art Basel HK showed two pieces of blue-green photography collages of Cyanshan Collection, the larger one of which was 3.6m * 1.8m, which was the main image of the booth; a video work Pieces of “Chrysanthemum” , and installation works “wire mesh” etc., four works of choice across different media media, but all use experimental video language, to reinterpret the aesthetics and artistic conception in traditional painting, hope Can let the audience have a rough grasp of my creative context.
Creative core concept
Q:Can you share with us the core ideas of your creations and those parts of your work?
A:
My creation can be understood from two interlaced axes:
The first is the research method inspired by media art. Through the experimentation of images and the dialectic of ideas, to explore the essence of viewing/visual, you can use the earliest video work “Rainbow” (2002) and the installation work “Barbed Wire One” (2003). ) I saw such qualities, all the way to dust, crystal city series and so on. Media art has two completely opposite routes. It is very interesting. The mainstream is the possibility of exploring technology. Using new technologies to create illusions, there are many cool creations that go in this direction, such as the popular outdoor projection mapping in recent years.
However, expensive and technology-intensive new media, invention/design/popular pop culture and other fields tend to do better, not necessarily in the art category, perhaps out of curiosity, I am more interested in dismantling these illusions, Thinking about its principle and essence/meaning, I thought this was a unique perspective that art could not replace.
I was born in 1981. Our generation grew up in the era of the former digital/pre-network. I still have some memories of my previous lifestyle and appearance. I only started to get in touch with computers and the Internet when I was in college. The violent transformation, especially the change of “reality”, and the “time sense” are accelerating. We should be regarded as the last new immigrants. The next generation begins to grow and grow in the world of digital and internet.
Second, it is about the content, trying to integrate traditional aesthetics, Eastern and Western culture, and contemporary art. I often joked that my goal is to cross things and go through ancient and modern times, hehe!
The year 2009 is still an important turning point for my creation, because of the series of videos of “small products”. The sketch of the essay comes from the traditional album design. The general theme is the use of folded flowers. I paint these things from elementary school and always like the aesthetics and artistic conception of the head. But people in this era seem to have difficulty in feeling those things. After all, we no longer use a brush, or even write, and are farther away from the traditional way of life and the environment. So I have a fun idea to translate this type of painting language into a video. Everyone is familiar with images. It is the main way we receive information on a daily basis. So I designed a special way to shoot the plants in the water. As the water level slowly drops, the plants seem to emerge slowly in the clouds. The main idea is how to present the blanks in the static paintings in the motion picture, so Transformed into changes in light and space.
The essay series unexpectedly made me realize the connection between traditional art and my own, but looking back at the early works, I found that these effects are ubiquitous, and then I slowly focus on becoming the main axis of my creation, through contemporary art language and video experiments. The reinterpretation of traditional aesthetics, the practice of defamation, the cyanide collection, and the work of cloth pattern are gradually developed through this kind of thinking.
Taiwanese art culture
Q:As far as your long-term observations, diversified creative materials, even multi-coal materials, have not been valued in Taiwan for a long time? Because the traditional concept will think that “painting” is the mainstream of art, what do you think and see? Can you share your thoughts with us?
A:
This is an interesting question. My observation is just the opposite. The art circle pays too much attention to the development of experimental art. Ignore this is only a small piece in the art spectrum. The sound and multicultural art environment is the key. Painting is the most mainstream art form in any place, but the Taiwan art circle/academic end has neglected the development of painting for more than 20 years, marginalized the traditional art type, and the CV of the painters know that there are few art museums. Sexual curatorial and international exhibitions are mostly solo exhibitions and group exhibitions of local galleries. Almost no one in the academic world is studying them, and there are few opportunities to go out and expand their horizons. Most galleries only just somebanknote printing machine in the basement. It is a pity that these artists mostly got nothing but money.
[Art Politics, Political Art]
The art circle will be heavily involved in research and public resources in the installation of multi-media, video new media, and the concept art of recent popular political and social issues, resulting in painting, traditional art forms such as sculptures have serious faults. Until the early 1990s, Taiwan’s artistic environment was still normal and diversified. One hundred schools of thought contend and full of vitality. In 1996, the National Culture and Art Foundation was founded, and later the Cultural Construction Association went to the Ministry of Culture, the local cultural bureau, etc., and the input of public resources contributed indirectly. The power expansion of the college, the same batch of personal and faculty, policy consultation, competition review, awards committee members, etc., easily influence the direction of artistic development, but lack of knowledge and pattern, seriously misleading development direction and destruction by the taste of a few people Open and diversified, the art circle seems to be an avant-garde experiment in the long run. In fact, the internal structure is mostly a small circle of resource allocation, which is more and more closed and niche, crowding out others.
I take paintings and paintings as an example. In the past, Taiwan had Zhang Daqian, Yu Xinyu, Jiang Zhaoshen, Yu Chengyu, Ni Zaiyu, Yu Peng… and Liu Guosong, Li Yihong, Yuan Yu….. regardless of traditional literati The experimental ink paintings are all available, and the diversity and depth of creation are excellent. The artists who can create a new game are all over the place. Ink and wash was once a competitive piece of Taiwanese art. However, in the meantime, the ink painters of the Mesozoic era are almost incapable of becoming a climate, and their vision is narrow. The works lack creativity and tend to be decorated, let alone international development. I don’t know that Liu Guosong was an international tour and overseas in the 1960s and 1970s. Teaching, why do today’s ink painters have problems with their homes? I have been observing and thinking about what happened in this field?
[See the tree does not see the cultural policy of the forest]
There is a great possibility that the fundamental lack of artists in this field has led to a serious decline in quality, and creators who choose traditional art types tend to be conservative, not only painting, photography, and printmaking. Taiwan’s printmaking industry has had such a character as Hou Junming. In contrast, today’s print creators really don’t know what they are doing? Nowadays, when the artists of the Mesozoic era were young, Taiwan was in the midst of the popularity of composite media in the 1990s. Most of the creators were involved in the field, and it was easier to get exhibition opportunities, financial subsidies, and attention from the art circle, but this is basically just a college. Through the illusion of public resources, the experimental art influenced by Europe and the United States has never landed in Schengen in Taiwan, and established a substantial collection market to support its development. I am afraid that this is still the case. Therefore, the artists who invested heavily in the device were ultimately unsustainable. The number of artists in the Mesozoic era dropped sharply. Most of the artists left behind depended on teaching and subsidies instead of embarking on a professional art creation path to establish local and international collections, so Taiwan These experimental types of creation are not truly localized and internationalized. However, not only the experimental art has not continued to develop, but other fields have also stagnated or even regressed due to the lack of artists. When the quality of Taiwanese paintings has declined, the Chinese market and the Asian market have risen rapidly, and the creative end of the long-term vicious circle The market is gradually drifting away. Seeing the tree’s cultural policy of not seeing Lin is to raise fuel and fire, so that the art circle can rely more on public resources to drink and quench their thirst.
[The price of contemporary art in Taiwan…]
Ironically, Taiwan’s private collections are abundant and top in Asia, but there is a Taiwanese contemporary art scene starved to death in gold mines. Coupled with the short-sightedness of most Taiwanese galleries, relying on hype and raising prices to kill chickens and eggs, rather than down-to-earth in the art market, the price of Taiwanese contemporary art is about two to three times higher than the international price. If you consider the price level, buy art in Taiwan. It may be nearly nine times more expensive in Europe, America and Japan, meaning that an office worker can work in these places, but in Taiwan, art has become a luxury, I am afraid it will never be popular. The Taiwanese contemporary art circle rarely discusses these issues, I am afraid that the college The left side of the valley is just a few harlequins.
These expensive contemporary art creations mostly follow the international trend, lacking the speciality and international recognition of the land. Can you buy it as a collector? It’s better to collect Southeast Asian contemporary art.
The above interviews were produced by Wu Chi-Tsung and LIVART Responsible Editor. The content was published on the LIVART fan page after Wu Chi-Tsung’s studio. If you need to reprint, please indicate the source.
