Wei Ting Tseng is an Oslo-based Taiwanese cellist, composer, and interdisciplinary artist working between contemporary, improvised, and early music. Her artistic practice investigates listening as a relational, ethical, and spatial act, exploring how sound reveals the politics of presence, memory, and care. She moves fluidly between solo work, ensembles, and interdisciplinary collaborations, reimagining the cello as a resonant body and architectural instrument shaped by memory, acoustics, and environment.
Her work includes live performances, site-specific installations, and exhibitions, with scores presented through video, graphics, gestures, or workshops, allowing a dialogue between intuition and controlled randomness. Her words are deeply influenced by her childhood home in Taiwan, a four-floor concrete building where voices carried quickly, footsteps echoed, and privacy was rare, sharpening her awareness of how acoustics connect to power, voice, memory, and gender.
She is deeply influenced by her childhood home in Taiwan, a four-floor concrete building where voices carried quickly, footsteps echoed, and privacy was rare, sharpening her awareness of how acoustics connect to power, voice, memory, and gender.
Recent and ongoing projects reflect this attentiveness to space, sound, and social relations. A Posture of Attendance (2024) is a site-specific composition for three to seven similar instruments, designed for one space and responsive to its acoustic environment. In long-term collaborations with visual artist Jacky Jaan Yuan Kuo, she explores how sound and image materialize domestic intimacy and relational power. In the upcoming exhibition Bräkekropp (UKS, 2026), a sound installation transforms the gallery into a sonic archive activated by touch, inviting audiences to participate in the construction of memory and experience.
Wei Ting’s ensemble work includes memberships in SOUP, Hush String Collective, Markus Kristiansen Quartet, Å Contemporary Ensemble, and Nivalis Baroque Ensemble, as well as leading her own quartet with Fride Hjelle (piano), Erlend Albertsen (bass), and Patrycja Wybranczyk (drums). She has performed at festivals and venues such as Nasjonalmuseet, Ultima Contemporary Music Festival, Oslo Jazz Festival, Only Connect Festival, and more, creating experiences that encourage audiences to listen attentively, ethically, and collectively.
Her upcoming releases include the solo cello album To Reciprocate (2026), which builds on the musical signatures of five collaborators to explore gift-giving as a sonic and emotional practice, and I GAVEN by Quartet Wei (2027). Educated at the Norwegian Academy of Music and currently studying Live Electronics, she integrates acoustic performance with spatial sound, tactile technologies, and interdisciplinary approaches, creating porous experiences that challenge modes of listening and invite reflection on what remains unheard.
曾瑋婷是一位旅居奧斯陸的台灣大提琴家、作曲家與跨領域藝術家，創作橫跨當代音樂、即興音樂與早期音樂。他將「聆聽」視為一種關係性、倫理性和空間性的行動，探索聲音如何揭示在場、記憶與關懷的政治性。瑋婷在獨奏、合奏與跨領域合作中自由穿梭，重新想像大提琴為既能共鳴的身體，也是一件由記憶、聲學與環境塑造的建築性樂器。
他的作品包括現場演出、場域特定裝置與展覽，樂譜呈現形式多元，如影像、圖像、身體動作或工作坊，在直覺與可控隨機性之間創造對話。童年在台灣員林的生活對他影響深遠。一棟四層樓的混凝土建築，聲音快速流動、腳步聲迴響，幾乎沒有隱私。這段經驗讓他對聲音、權力、記憶與性別之間的關聯有了敏銳的感受，也影響了他現今的表演和創作。
近期作品與計畫延續他對空間、聲音與社會關係的關注。例如《A Posture of Attendance》（2024）是為三至七件相似樂器創作的場域特定作品，專為特定空間設計並回應其聲學環境。於視覺藝術家郭展元（Jacky Jaan Yuan Kuo）的長期合作中，他探索聲音與影像如何呈現日常親密感和關係中的權力。即將展出的《Bräkekropp》（UKS，2026）將空間轉化為觸覺可互動的聲音檔案，邀請觀眾參與記憶與經驗的建構。
他活躍於多個室內樂團，包括 SOUP、Ost String Collective、Markus Kristiansen Quartet、Å Contemporary Ensemble 以及 Nivalis Baroque Ensemble，同時領導自己的四重奏，成員包括鋼琴 Fride Hjelle、低音提琴 Erlend Albertsen 和鼓 Patrycja Wybranczyk。他的作品曾受邀於挪威國家藝廊、Ultima 當代音樂節、奧斯陸爵士音樂節、Only Connect 現代音樂祭等演出。
即將推出的作品包括獨奏大提琴專輯《To Reciprocate》（2026）；以及四重奏作品《I GAVEN》。他畢業於挪威音樂學院的演奏碩士，目前專攻現場電子音樂，將聲學演奏與空間聲響、觸覺技術及跨領域方法整合。