簡介
無性別當代道家思想者。國立臺灣大學外國語文學系與中國語文學系雙主修，紐約普瑞特藝術學院（Pratt Institute）表演及表演研究（Performance and Performance Studies）藝術創作碩士（M.F.A.），現為國立臺北藝術大學舞蹈研究所理論與跨域身體實踐主修碩士生。研創興趣涉足性、性別、身體與身心學。創作媒介橫跨舞蹈、戲劇、行為、攝影、影像、聲音、文學、模特、學術、教學與評論。各類作品曾於亞、美、歐洲展演，創作核心理念為「老少不宜」與「闔家不樂」（family-unfriendly）。教育部公費留學舞蹈學門，文化部青年創作、扶植青年藝術發展、本土語言創作及應用補助，與國藝會表演藝術評論專案受獎人。曾擔任紐約現代藝術博物館（MoMA）Bruce Nauman回顧展作品〈Wall-Floor Positions〉之表演者。一九年，其作《臺彎 Bent-Tai(www)》獲得臺北藝穗節三獎「藝穗原創精神獎」。
二零一九年草創藝術品牌迷內，理念為「內外並修地治／理生命」。專注於兩層之三位一體：學術思辨、社會實踐與身心靈修行，打破目前理論研究、藝術創作與靈性超越三分的局面，建構自由、開放、解構的想像空間；教育、創作與論述，從多元角度切入第一層次之三角，完整發揮「藝術」之全面動能。致力開發個人體系與課程，如《性與愛》、《非傳統模特方法》、《莊子身心理踐（praxis）》、《聲心整合》、《舞蹈修行》、《感慾身體書寫》、《感／觸引癒》等。此外，曾於美國、德國、臺灣等地教學，並曾任友善之寓、全人實驗中學、優根身心靈學院、國立清華大學人文社會學院「舞蹈社會學：身體與空間經驗」課程、天空療癒室之合作教師
Artist Bio
江峰 Jiang Feng is a non-gendered contemporary Taoist and multi-disciplinary artist working across genres in movement/dance, theatre, performance art, voice, text, modeling, film, photography, theory, pedagogy, and criticism. They attained their B.A. in English and Chinese literature from National Taiwan University in 2016. In 2019, they graduated with an M.F.A. degree in Performance and Performance Studies from Pratt Institute. They are now pursuing an M.A. in Cross-Disciplinary Corporeal Theories and Practice in the Department of Dance at Taipei National University of the Arts. They are the receiver of the R.O.C. Government Fellowship to study and research dance abroad, “20-40-Year-Old Writers,” "Creation and Application of Native Languages," and "Fostering Young Artists' Development" grants from the Ministry of Culture, and "Performing Art Critics" grant from the National Culture and Arts Foundation in Taiwan. Furthermore, their works have been shown in Asia, America, and Europe, including Taiwan, the U.S., Germany, Ireland, Singapore, Bulgaria, Hungary, the UK, Italy, Korea, and Mexico in various artistic scenarios. In September 2019, their new work "臺彎 Bent-Tai(www)" won the "Genuinely Fringe" award, the third prize, at Taipei Fringe Festival, and in 2018, they were selected to be the performer of the work “Wall-Floor Positions” in the MoMA retrospective "Bruce Nauman: Disappearing Acts."
Artist Statement
Currently, I am developing my system called "The Life Praxis," which calls for the concurrent exploration and synthesis of (1) Academic Research: Structured methodologies for knowledge (2) Social Practice: Dialogues for (self-)reflection and change (3) Somatic and Spirituality: Individual comfort and strength.
First of all, academic research has taught me about the preciousness of proof and validation. As an artist, while feelings and sentiments are more than important, it is usually the systemic knowledge that will create changes in one's self and society. Since undergrad, I have been bathed in the realm of Feminism, Performance Studies, Dance Studies, and Somatics. Secondly, social practice, art included, creates a platform for exchange and mutual understanding. Last but not least, we all have to return to our life, which is the source and ultimate goal.
Viewing the body as the base and the social issues, gender, sex, sexuality, and race, as the lens to examine the status of life, I am interested in liberating myself and merging with the world. The fundamental inspiration for my work is love, its beauty and complexity, while being a contemporary Taoist, the pursuit of the philosophy of life is my priority.
For artistic creation, as an interdisciplinary artist, I turn to the tools offered by multi-media to find the right way to tell the stories. Media is the channel for the meaning and messages to pass through instead of being the dedication itself. Hence, I do not cling to any particular medium except for the body and can morph and become any kind of artist. Setting out to disrupt, I create things to challenge social norms and our perceptions of them. I create artwork as a process for questioning and healing, gathering energy to create a space for people who endure discrimination. My process as an artist and creator is to wait to be inspired in/by life. Moreover, I draw on theory from academic and non-academic works and think hard because I expect myself to be not only an artist but also a thinker.
Art is a force of disruption of social injustice and also existential fixation. The ideology of my work is "family-unfriendly" (if that family happens to be the epitome of the patriarchy).