MBI Technical Tour

Shang-Ling Ku’s artistic practice centers on clay as her primary material, exploring the physical resistance and temporality that emerge through the processes of making and firing. Rather than treating ceramics as a medium to be fully controlled or directed toward a predetermined outcome, she embraces cracking, shrinkage, deformation, and failure as integral elements in the formation of the work.

In Ku’s practice, material is not a neutral carrier of ideas, but an active interlocutor— one that continually responds to bodily engagement, temperature, and gravity. Her works move between vessels, sculpture, and spatial installation, preserving the irregular traces of making and allowing the passage of time and material transformation to remain visible.

Her practice also explores the relationship between looking and everyday experience. Subtle material changes that might otherwise go unnoticed become moments that invite renewed attention and perception. Rather than offering immediate answers, her works invite viewers to enter a slower rhythm of observation, shaped by waiting, hesitation, and looking anew.

In this sense, the work is not simply presented as a completed object, but as an ongoing relationship—one that unfolds quietly among material, time, body, and viewer.

Ching-Wei Lin holds a diploma in Early Music Recorder Performance from the New England Conservatory in Boston. With the recorder at the core of his practice, his work moves across early music and contemporary practice.

His work begins with historically informed performance practice, situating it within an ongoing negotiation with time, material, and conditions. Within this process, sound does not function as a stable outcome, but unfolds and disappears in time.

His practice extends into performance, exhibition spaces, and site-specific work, forming relationships with different bodies, spaces, and visual environments. Rather than being integrated into a single form, these practices retain their differences while operating within shared conditions of time and space.

His work has developed through the improvisational music project Film Noir and continues to evolve through encounters with different performers and artists. He also works with Baroque violinist Meng-Han Wu and pianist Hsin-I Kuo through Musica Lequio Pequeno, where performance is continuously adjusted and transformed through collaboration. This work further extends into longterm practices across dance, theatre, and film, unfolding within different creative contexts.

His work has also developed within museums and other exhibition contexts, including the National Human Rights Museum. Here, sound is situated within specific historical and spatial conditions, becoming an experience that cannot be rendered neutral.

Since 2025, his work has increasingly extended into visual art while engaging with questions of human rights. Through this process, he has developed a mode of practice that moves across early instruments, improvisation, and contemporary practice without settling into any predetermined category.

This practice is not organized around the completion of individual works. Instead, it unfolds along a continuous line of work—one that must be realized, sustained, and continually adjusted through the conditions of its own making.

What it produces is not an outcome, but a trace formed in time—one that cannot be undone.