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Nov.2021: A Hard Rain

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2021
Performance
Dynamic Video (10:00), Aluminum Framing
Nov.2021: A Hard Rain is a performance about time and climate, and an extremely refined writing of suppressed emotions. It is not just a video, nor just a record of personal movement, but a process of reassigning “depression” as geographic information—filling spatial absence with the body, and realizing the reality of time through movement.

During the pandemic, the rights to use and mobility in “space” were restricted, and people's bodies and perceptions were trapped in the local and the stagnant. The creation of this work unfolded under such conditions: every day in November 2021, the artist personally went to the location where it rained that day—sometimes at the edge of the city, sometimes deep in the mountains, and even to the seaside. No matter how light the rain, or how far the distance, as long as it rained somewhere, the artist would set out and arrive. The video records these moments of stillness and wetness, leaving behind daily scenes of the body sitting still in the rain. As a result, space fades away, and all movement and labor are confined outside the frame, making time manifest—calendars become maps, and climate becomes rhythm.

This is not a work about “rain,” but about how rain functions as a psychological and social weather that envelops life as a whole. A Hard Rain is not rhetoric, but an embodiment of an everyday disaster. It is a prolonged, unclassifiable, and unexplainable collective low pressure. In the landscape of the pandemic, rain becomes the most accurate symbol: it has no single origin, flows, covers, pauses, and comes again, pulling people's feelings and judgments into stagnation and humidity. The artist is not experiencing emotions but moves into that emotional field—occupying and being engulfed by it.

The focus of this work is not on the narrative of personal states, but on thinking: In an era where the relationship between the body and space has been interrupted, how can art intervene in the density of time and reconstruct the map of perception through the micro-particles of action? In the exhibition, a Taiwan map dyed with black ink marks the rain-affected areas for the month. The varying ink marks and cross symbols resemble weather maps or disaster records, presenting the blurred boundaries of an emotional landscape. The handwritten calendar on the other side repeatedly fills with the word “rain,” each square repeated like a ritual, like a quiet writing of an unknown disaster. This is a continuously ongoing silence, as well as a precise investigation into daily shadows—rain never stops, and art continues to move forward.
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