以人聲為核心、活躍於實驗音樂與跨域演出的藝術家。

戲劇學系的背景使其對表演者狀態、文化脈絡與空間感知格外敏銳，長期探索表演者、觀眾與場域能量之間的微妙互動，關注三者如何透過能量的流動彼此影響，共同形塑演出與感知經驗。

其創作與演出實踐橫跨實驗聲響、聲音設計與跨界創作，展現出高度靈活的跨領域穿透力。

近年曾參與多個劇團與展演之人聲及音樂演出，足跡遍及台北雙年展、IDT國際愛跳舞即興節、聲徜音樂節與大港開唱，並曾為臺北藝術節《黏著的手、縫合的山體》擔綱聲音設計。

將人聲與聲響轉化為解構既有邊界的動態媒介，在流動的場域能量中築起深刻的感官體驗與文化對話。

亦長期投入白色恐怖歷史議題的藝術實踐，透過聲音與身體作為媒介，探問記憶、歷史與當代經驗之間的關係。

參展過第13屆光州雙年展、2020與2021綠島人權藝術季，作品《驚營》曾入圍2022高雄獎。

持續在全台各地與藝術家李佳泓一起帶領白色恐怖版畫創作與戲劇工作坊。
透過劇場練習、聲音表達等方法，從不同於知識思考的感官模式去認識白色恐怖歷史。
 

LIN Tzu-Ning is an artist active in experimental music and interdisciplinary performance, with voice at the center of her practice. Her background in theater has made her particularly attuned to performers’ states, cultural contexts, and spatial perception. Her practice is grounded in a sustained exploration of the performer–audience relationship and the subtle interplay of energy among performers, audiences, and the site. She is particularly interested in how these relationships create a shared field of perception and how energy circulates among those involved.
 

Her practice moves fluidly across experimental sound, sound design, object-based installation, and crossdisciplinary practice. In recent years, she has performed as a vocalist and musician in productions by several theaters and at events including the Taipei Biennial, the International Dance and Theater (IDT) Improvisation Festival, the Wandering Music Festival, and Megaport Festival. She also served as sound designer for The Sticky Hands, the Sewn Mountains at the Taipei Arts Festival.

Transforming voice and sound into dynamic media that dismantle conventional boundaries, she constructs immersive sensory experiences and cultural dialogues amidst the fluid energies of the space.

Her  practice has long engaged with the history of Taiwan’s White Terror, using sound and the body as mediums through which I explore the entanglements of memory, history, and contemporary experience.

Her practice has been presented at the 13th Gwangju Biennale and the 2020 and 2021 Green Island Human Rights Art Festival. Her work Being on Edge was shortlisted for the 2022 Kaohsiung Awards.

She has also continued to collaborate with artist Li Chia-Hung in leading White Terror-themed printmaking and theater workshops across Taiwan. Through theatrical exercises, vocal expression, and other embodied practices, these workshops explore ways of engaging with the history of Taiwan’s White Terror through sensory and experiential modes of knowing that extend beyond intellectual and knowledge-based approaches.