
Tzu-Ying Lin, Associate Professor & Chairperson, Director of Music and Image Trans-disciplinery Program, National Taipei University of the Arts
Winsing Art Place (1/F. 6, Lane 10, Lane 180, Section 6, Minquan East Road, Neihu District, Taipei City)
$350 (including bookstore entrance fee)
Unrestricted
For Mexican artist Abraham Cruzvillegas, music holds an important place in both his life and work. Cruzvillegas often imagines soundtracks for everyday activities, such as riding the subway, meeting friends, or visiting museums. In his artistic practice, he considers the connections between his sculptural works and musical styles, such as symphony, folk, punk, and samba. Winsing Arts Foundation is honored to invite Tzu-Ying Lin, associate professor and director of the Music and Image Trans-disciplinary (MIT) Program at Taipei National University of the Arts, as the keynote speaker for this lecture. The lecture will begin with a broad overview of Latin American musical culture and then focus on Cruzvillegas’ hometown, exploring representative Mexican musical styles and listening practices. It will also examine the musical references in the artist’s works, investigating the interplay between music and art in cultural expression, with the aim of providing audiences with a multi-perspectival exhibition experience.
In this exhibition, the Winsing Arts Foundation presents a series of sculptures and paintings by Cruzvillegas. His sculptures, composed and stacked from collected readymades, reflect the concept of Autoconstrucción (self-construction) that he has been developing since 2007. The works, appearing unfinished or improvised, resonate with Mexico’s developmental history and its cultural landscape. Through the process of constructing these works, the artist interprets life and his surroundings, while also metaphorically exploring his identity. Most of the works’ titles depict the artist’s state at the time of creation and his daily activities. At times, they reference specific political or historical events, contemporary happenings during the creation period, or music.
“Cruzvillegas’s works pursue a sense of balance, as well as structures or dimensions that can provoke thought—or that he himself reflects upon. Observing their materials through my musical perspective, one can see wood, whose textures produce different tones. There are also iron elements, angled forms, and stacked layers, much like the scales in music.” - Tzu-Ying Lin
On the final day of Abraham Cruzvillegas’ solo exhibition, Tzu-Ying Lin, associate professor and, director of the Music and Image Trans-disciplinary Program, Taipei National University of the Arts, visited Winsing Art Place to share insights into Latin American and Mexican musical culture, as well as the musical elements in Cruzvillegas’ works. Lin guided the audience through three foundational types of Latin American music—Indigenous music, African-influenced music, and folk music of mixed Indo-European origins—gradually narrowing the focus to Mexico in Central America. Latin American music primarily developed through historical contexts and the layering of various ethnic influences. Drawing on examples such as the Mexican Piñata—a paper figure hung during festivals or birthday parties, broken with a stick to release toys and candy—Day of the Dead traditions, the cartoon character “Speedy Gonzales,” and traditional street performances like Mariachi bands, Lin explored the representative styles of Mexican music and their connections to the musical aspects embedded in Cruzvillegas’s works.
Unlike previous approaches that focus on viewing Cruzvillegas’ works through text or images, this time Lin guided the audience to understand his creations through listening. Behind each sculpture, the songs and bands referenced carry different meanings, sometimes even including current events mentioned in the lyrics, all closely connected to Cruzvillegas’s living environment. Beyond the music referenced in the titles, in a past interview video, the artist demonstrated how he stacks objects—wood, iron, textiles—into sculptures, with traces of traditional musical instruments as well. During this lecture, Lin also brought many traditional instruments commonly seen in Latin America, allowing the audience to experience Cruzvillegas’ works through their ears.
