Lulu (Hian-Fui Lim)
Published by Lulu (Hian-Fui Lim)
Crass Goods i (crass)
14.6 x 50 cm, 12 pages, color, softcover
Crass Goods i (goods)
6.5 x 11 cm, 144 pages (113 photographed objects, 5 illustrations, Exposed Smyth-Sewn Hardcover
Crass Goods i is a two-part publication, a vibrating diversion, a mad passion and a way of not taking any important thing too seriously and taking some trivial matters much too seriously.
There are many things we are obsessed with. In the first issue, we documented the renovation of a 48-year-old 4-story Taiwanese house (my late grandparents’ house).
The documentation consists of two parts, ‘Crass’ and ‘Goods’. The ‘Crass’ part is a long newspaper-like print of size 14.6 x 50 cm. It contains construction comics documented during the renovation. The ‘Goods’ part is a tiny book of size 6.5 x 11 cm. It is a catalog-like edition of over 100 household goods found in a 48-year-old, 4-story Taiwanese house.
The theme of the construction process was picked for the ‘Crass’ part of the first issue for its crude, unrefined, unprocessed nature.
I was part of a complex process that challenged how my grandparents’ house could be imagined, lived and ordered differently. I was the designer and superintendent. The position gave me the opportunity to scrutinize the passive monumentality of the house’s self-conscious spatial differences, and to oversee and document every step of the construction process, from planning to completion. The comics were illustrated during my 10-day home quarantine in Taipei.
Ranging from furniture pieces and deity figures to postal stamps and professional tools, the ‘Goods’ part of the first issue features more than one hundred pieces, paying tribute to the house owners(my late grandparents) and the house that housed many years’ worth of objects.
I closely browsed and investigated their archives, the objects that I have been familiar with since childhood for a year or so. There are precious objects and excess belongings, all taking up time and space. There are memories evoked, some vague and fleeting, some sharp and searing. I see many of them as heterogeneous mediums capable of narrating multiple stories. Every view of an object is different. The pieces I chose were mostly based on one thing, a gasp of delight. I see myself as an uninvited(self-invited) curator, curating an exhibit based on the house owners’ collection. The curation is reserved yet cordial, ubiquitous yet unique.
For Crass Goods, each issue is a new geography that reformulates and redeploys. It is also a process of accumulation, corruption, and withdrawal. We seek something missing, miss something left behind. We are dwellers without the consent of the real owners. We curate, and hopefully, our collection could be your collection.