Before Aftershock B-side｜震盪之前 —B面
secondhand piano, motor, hardware parts, cannonball, video, microphone stand, charcoal, cymbals.
Dimensions variable, Taipei Fine Arts Museum, Photo by Wang Jhong-Ping, Taiwan, 2022.
中古鋼琴、馬達、五金零件、泡泡水、單頻道錄像、麥克風架、炭筆、響鈸， 尺寸依場地（台北市立美術館），王仲平攝影，臺灣，2022 。
My creations mostly begin with the action of "picking up." I often pick up discarded waste from recycling yards or roadside, objects that have lost their functionality and meaning. Following the transient nature of the recycling yard itself, the objects inside usually undergo prolonged exposure, dismantling, compression, and sorting before reentering the urban logistics system. These "things" are both materials related to time for me and the most "economically viable" consumables. The appearance of these abandoned items faintly points out the fact that they are no longer needed or have lost their economic value, becoming residual objects that have become obsolete or dysfunctional. This residue and malfunction seem to correspond to the decline and disappearance of traditional handicraft industries, like a traditional lathe factory that my family used to own. In the era of semi-automated mechanical production, handicraft industries were like the extra sun, depicting a stagnant scene in a novel, or ineffective shots and editing in a film, merely adding to the cost of narration. However, these "useless details" seem unavoidable. Thus, I stopped narrating, hoping to block time with my hands.
In the "Before Aftershock" series, I chose the piano as the foundation, stemming from the later engagement in buying and selling used pianos at home. In a sense, "used" is also a form of transfer and acceptance of surplus. So, I reconstructed the piano at home and unrelated found objects, incorporating elements of motors, attempting to break free from uselessness within this revolving unidirectional loop. I combined improvisation and freedom from free jazz, intermittently striking single piano keys, briskly plucking cymbals, and scraping graphite traces on walls. These resonances allude to an indescribable countenance, a temporary aggregation state of things, connecting the conglomerate formed by the surplus of the entire society. The interconnection between these objects does not seem to generate new meanings. These seemingly functional mechanical structures ultimately fail to negotiate with the mire of destiny. The endowment of kinetic energy and the rhythm of music seem more like capturing the moment before the narrative arrives, like a full rest in a movement, a blank space. This indeterminacy still points to a redundant state of existence. However, perhaps it is precisely because of its uselessness that it has an irrefutable existence, something very basic, a state about this world. This state cannot be understood or arranged by knowledge, nor can it be encompassed by functional discourse. It is a future that is imminent but should not happen.
Just like how to sincerely describe an impending feeling, like a fading storm.
我的創作幾乎都從「撿拾」這個動作開始，我所「撿」的多半是回收場或路邊已經失去功能與意義的廢棄物。依循著回收場本身的流動屬性，場內的物件通常會經過長時間的曝曬、拆解、擠壓、分類後再重新回到城市的物流體系，這些「物」對我而言同時是關乎時間的材料，也是最「經濟實惠」的耗材。這些棄置物的出現隱隱然的點出了一個「物」已經不再被需要的事實，或者失去經濟價值的條件甚至可以說是失能的剩餘物，而這樣的殘餘與失靈，似乎可以對位到傳統手工產業的沒落與消逝，如同一座我家中曾經擁有的傳統車床工廠，在邁向半自動化的機械生產年代，手工產業就是那顆多出來的太陽，猶如在小說中描寫對敘述沒有推進的景致，又或者電影中失效的鏡頭與剪接，都只是徒增敘事的成本，但這些關於「無用的細節」似乎又無可迴避，因此我開始停止了敘事，希望能用手擋住時間。
在《震盪之前》系列，我選擇鋼琴作為基底，源自於家中後來所從事的中古鋼琴買賣，某個程度而言「中古」也是一種對於剩餘的轉讓與接受。所以我將家中的鋼琴與鬆散且毫無關聯的拾得物重新組構，加入馬達的元素，試圖在這股旋轉的單向迴路中擺脫無用，結合free jazz的即興與自在，間歇性的敲擊琴鍵單音、短而急促的撥弄響鈸、在牆面刮擦出石墨的軌跡，這些響動所指涉的都來自於一種無以名狀的面容，一種關於物的暫時性聚合狀態，它背後所串連出的是整體社會的剩餘所匯集而成的團塊。這些物與物之間的相互拼裝，似乎並沒有產生出新的意義，這些看似有功能的機械結構終究無法斡旋這一攤泥濘的宿命，動能的賦予與樂聲的節奏，反而更像是在捕捉敘事即將來臨的剎那，如同樂章的休止符（Full rest）般空白，這種未明性似乎仍舊指向了一種多餘的存在狀態，但或許正是因為它的無用，所以它才有一種無法被反駁的存在，一種很基本，關於這個世界的一個狀態，這種狀態並不是我們能用知識去理解與排列，也不是我們使用功能論所能概括的感受，這是一種即將但不該被發生的未來。
如同該如何真摯的描述一種將至的感受，如昨日的暴風。
Footage recording｜Yao-Jyun LIOU 動態影像紀錄｜劉耀鈞