失聲祭42陳建榜

Txt: Wu, Ting-Hsien, Photo: CAI Xin-Yi, Records: HUANG Chung-Ying, Translate: Brenda Chan
文字：吳庭嫻，攝影：蔡欣邑，錄音：黃鍾瑩
轉貼連結http://lsf-taiwan.blogspot.com/2010/12/lsf42-chen-jian-bang.html


To nine hundred seconds for the duration with the pendulum continued the sound of ka la - deng deng, the artist indicated that the sensitivities between vanishment/existence are the main shaft of this performance.

On the coarse screen, the live video-taking focused on Chen, Jian-Bang’s hands while he played the piano, which has been transited by six to seven layers (between software), then the slowly movements filled with the whole screen - audiences will find out the relationship between those up-flowing music and the hands that playing the piano by the visual and auditory differences. Hands themselves are magnified, as the main view, the details overlapped automatically into several images - the keyboard and hand overlapped, beat in the two people’s breathing voices, such as a detached; in the smooth melody, dark and red geometry background was broken and rotated, with a little bit strange feeling flooded the screen ... ...

Due to the artist's sensitive constitution, he always dreamed of his passed-away family members, nine hundred seconds performance length is imagining to present his life by the way of widen- shorten . The performance generally has a main structure itself, but in the actual performance, the artist tried to find the new possibilities of the piano by his feeling at the moment, the cameras captured live performance of his hands, video and sound, video transitions (such as: emerging the red with black background geometric pattern) related with the playing strength, the consistent poetic like bubbles of fountain, which floating slowly to the surface.


以九百秒為期限，伴隨鐘擺持續不斷的ㄎㄚ ㄌㄚ─ㄉㄥ ㄉㄥ聲，創作者表示消失/存在之間消磨的過於敏感是他此次表演的主軸。

粗顆粒螢幕上陳建榜彈琴的雙手通過即時攝影後經過六到七層(軟體之間)的轉換，以比較緩慢游移的動作充斥整個投影畫面─觀者藉由視覺和聽覺之間的微妙落差重新去發現一波一波湧上的音樂和彈琴的手之間的關係。手本身被放大，成為觀看的主體，細節自然交疊成若干影像─手掌與鍵盤的交疊、拍打在雙人吐氣的聲響中進行，像是一種抽離；流暢的旋律之中，紅底黑幾何圖紋碎裂旋轉，帶著一點點詭譎的味道將畫面淹沒……

創作者的敏感體質讓他時常夢到過世的親人，九百秒的表演長度是他幻想把一生拉長─減短─表現出來的呈現方式。表演本身有預設大致上的結構，但實際演出時創作者完全是順著當下感覺來嘗試鋼琴的新可能，彈琴時攝影機即時擷取彈琴的手、影像和聲音，影像轉換(如：浮現紅底黑幾何圖紋)和彈琴力道有關，連貫的詩意像是噴泉的泡沫緩慢的浮出表面。