Q: What does it mean to you to switch positions from being an artist to a museum director?

Meng-Hung SU:

I don’t really see it as a change of identity, but rather as an extension. In the past, I was accustomed to perceiving the world through artistic creation. Now, I work through a spatial platform—planning content and creating possibilities for dialogue.

In recent years, I have participated in and visited exhibitions across different countries, from Southeast Asia to Europe and the United States, encountering exhibition spaces of various scales and approaches. These experiences have led me to think: a museum is not merely a container for artworks, but a place that should spark public discussion and imagination.

Q: How would you describe your vision for KdMoFA?

Meng-Hung SU:

I envision the museum as an open network—where creation and research, the local and the international, art and everyday life intersect and inspire one another.

We determine our thematic direction in different ways, without being confined to a fixed time frame. With our curatorial team serving as a coordinating body, we gather ideas collectively so that exhibitions are interconnected and resonate with one another, rather than existing as isolated programs. This way, visitors can gradually enter a path with a coherent conceptual thread. This is especially important for a university museum, which by nature should be a place where ideas are continually generated.

Q: You mentioned coordinating exhibitions. How is that different from curating?

Meng-Hung SU:

Traditional curation often focuses on the completeness of a single exhibition, but what I hope to explore is allowing exhibitions over the course of a year—or within a certain period—to respond to one another. In other words, it’s not just about each exhibition having its own concept, but about the entire space engaging in a shared discussion during a given period.

We might address a set of questions, then unpack them through different exhibitions, artists, and researchers. Each exhibition becomes a chapter, together forming a book or a debate.

Q: In this kind of structure, how would artists and researchers participate?

Meng-Hung SU:

The overlapping of different roles—artist, researcher, viewer, museum staff—gives me many ways to imagine participation. One idea is that artists might not only be invited to “participate” in an exhibition, but could be involved from the very inception of its concept. Researchers, likewise, could move beyond simply providing texts to becoming dialogue partners and co-editors.

We are already discussing collaborative research-based exhibition methods, and we also encourage long-term residencies, workshops, and interdisciplinary projects. A museum should not only be a place for displaying results, but also a space where creative processes can ferment.

Q: Will there be new exhibition possibilities at the KdMoFA in the future?

Meng-Hung SU:

Yes. Beyond the forms of exhibitions, we will also experiment with new ways of generating them. We do not rule out possibilities such as extending, stretching, or revisiting exhibitions—for example, exploring how past exhibitions may have influenced certain artists’ practices, or how our collections and archives can open up new possibilities. I think this could be fascinating. Exhibitions could even respond to one another in a short time frame. The role of the audience will also become more diverse—they will not just be one-time participants, but people who can return, revisit, and gradually engage.

Q: Finally, if you had to sum up your expectations for this position in one sentence, what would it be?

Meng-Hung SU:

I hope the Kuaadu Museum of Fine Arts will be a site-in-progress—constantly shifting and opening up, connecting ideas with the world, and giving every visitor the opportunity to think and move forward together with it.