Wu Wenyi is a Taiwan-born performer and interdisciplinary artist who approaches the body as a site of perception and philosophical inquiry. Her work explores the ways in which different media permeate and respond to one another, and how sensory experience and personal memory may be reoriented and released across different spaces. Attending to the physical properties of space and their relationship to the context of each work, she seeks to open up more intimate yet expansive modes of embodied experience through différance. She also examines how the relationship between performer and spectator intervenes in bodily experience, pushing the experimental boundaries of compositional structures. Through these explorations, the familiar reveals unfamiliar dimensions, previously unrecognized experiences emerge, and the work opens toward the unknown, bringing the invisible into view.
Deeply shaped by underground cultural scenes over many years, her work has evolved through performance practices that engage with spaces beyond conventional theatrical settings. Early works such as With One Eye, Pure Romance Revealed. (2015) and I Am Longing for That Breath of Life, the Scent of You, That Drags Me Into Your Perfect Silhouette. (2016) took the bodily dynamics cultivated through street dance as their point of departure, using photography studios with seamless white walls as performance venues. As horizontal references dissolved and vanishing points shifted, the body departed from established orders of spectatorship, suspending intimate memories that had yet to be articulated. In l'écriture féminine (2017, 2020), a collaborative work, she employed non-binary and non-linear creative logics to open up new possibilities for feminine expression and reflection. In recent years, her focus has further shifted toward the inward process of confronting the self through the body, extending into spiritual imagery and humanistic concerns. Her work Crevice, Unfolded, Arrow from Morrow (2023) received regular funding support from the National Culture and Arts Foundation (Taiwan). From site-responsive practices to an inward turn toward spiritual experience, her work centers on interrelations that have yet to be named, ultimately returning to the body.
Her interdisciplinary collaborations and performance experience span live sound and movement improvisation, multimedia sensory events, motion-capture character performance, and interactive sound installations. Her engagements across diverse contexts include Lust Dorm (2019), 0 Selves by Meuko! Meuko! × NAXS Corp. at Rewire Festival (2021), Mundane Delicacy (2023), several interactive sound installations by Duanger, and Sonic Shaman at TheCube Forum Music Festival (2024). Across these varied contexts, she continues to imprint the multiple facets of the body within the contemporary performing arts landscape.
吳汶憶，出生於台灣。以身體作為感知與哲學思辨的載體，關注不同媒介在作品中的彼此滲透與回應。以此為徑，在不同場域中，感官與個體記憶得以重新被定位與釋放。進而強調空間的物理屬性何以回應作品脈絡，試圖依此延異更為私密而敞開的本體經驗；同時探問觀演之間如何介入身體經驗，推進作品結構的實驗邊界。使熟悉之物顯露陌生面向，未被辨識的經驗得以浮現，向未知開展，看見不可見。
長年深受地下文化場景的濡染，使她的作品始終帶有非典型場域的詮釋方法。早期作品如 《搖擺写真》（2015）與 《搖擺写真最終章》（2016），透過街舞所形塑的身體動能為起點，選址白色無縫牆面的攝影棚作為展演場域。隨著水平參照的消隱與消失點的游移，身體脫離既有的觀看秩序，懸置未被言說的私密記憶。隨後參與共創作品 《陰性書寫》（2017、2020），則透過非二元、非線性的創作敘事，帶出對陰性表達的開放與省思。近年更進一步轉向身體與自我對峙的內在過程，延展心靈意象與人文精神層面的關懷，作品 《下一場黎明》（2023）亦獲國藝會常態補助支持。從非典型場域的實踐到精神體驗的轉向，其創作聚焦在尚未被命名的連動關係，最終的回應是 「 我的身體 」。
其跨域合作與展演經驗涵蓋聲響與身體的即時共演、多媒體感官體驗展演、虛擬動態捕捉及聲音互動裝置等形式，參與各類跨域現場，如 《Lust Dorm》（2019）、Rewire Festival 《0 Selves》（2021）、 《絕美之城》（2023）、杜蟲 Duanger 聲音互動裝置數件，以及 《聲波薩滿》 －立方論壇音樂祭（2024），並持續拓印身體在當代語境中的多重樣貌。