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《 凌遲考 》Lingchi — Echoes of a Historical Photograph 陳界仁 2002

《 凌遲考 》Lingchi — Echoes of a Historical Photograph 陳界仁 2002. 《 凌遲 》-- A historical photo from Georges Bataille’s 《 情慾的淚水 》( Les Larmes d`Eros ) , taken by a French soldier during the period of 1904-1905.

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《 凌遲考 》Lingchi — Echoes of a Historical Photograph 陳界仁 2002

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  1. 《凌遲考》Lingchi—Echoes of a Historical Photograph 陳界仁 2002 • 《凌遲》-- A historical photo from Georges Bataille’s 《情慾的淚水》(Les Larmes d`Eros) , taken by a French soldier during the period of 1904-1905. •  computer synthesized with footages of dramatization and some other historical images. • Pay attention to the images of • the gazed and the viewers, and • the roles of the camera and the traumatic wound.

  2. The Object of Gaze: Tortured andin a trance?

  3. 《凌遲考》--the viewers of Ching Dynasty? Or Taiwanese workers?

  4. 《凌遲考》--the viewers of Ching Dynasty? Or Taiwanese workers? What’s this?

  5. 《凌遲考》--the viewers of Ching Dynasty? Or Taiwanese workers? What’s this?

  6. 《凌遲考》Lingchi • Implications of Lingchi: • The interrelations of punishment and discipline. • History –gets ‘tortured and fragmented’ in photos? Gets gazed at by the Western? • History of what? • 「凌遲」原指在1905年以前，中國封建制度下對於犯下「大逆不道」罪行的犯人，施以漫長的「殺千刀」酷刑。「凌遲」刑罰於1905年被廢止後，在華人日常口語中，「凌遲」已由刑罰的專有名詞，轉化成描述日常生活處境的廣泛用語。舉凡是被漫長、重複、無止境、非人道的工作和生活所折磨的狀態，皆常會以「凌遲」一詞形容。(陳)

  7. The Other Historical Images • (陳) • 影片中在受刑者體內出現的5個建築遺址，按出現的順序分別是： • 毀於英法聯軍和八國聯軍的北京圓明園、 • 日本731部隊在哈爾濱的人體實驗室、 • 台灣冷戰/戒嚴時期在綠島的政治犯監獄、 • 美國RCA公司遺留在台灣桃園的重污染工廠，以及 • 成衣工廠惡性關廠後的女工宿舍。

  8. The Other Historical Sites

  9. The Other Historical Sites (2) • The lab or a factory?

  10. Wound: A Channel for Dialogue with the Past • 照片中受刑者胸膛兩個闇黑的傷口，彷彿像是兩個可以通往過去與未來的「通道」；經由凝視──我們似乎可以穿越平面的照片，進入到受刑者身體的「通道」內，並通過這個身體的「通道」看見在凌遲影像被拍攝之前和之後，從英法聯軍、八國聯軍摧毀的圓明園、日本731部隊在哈爾濱的人體實驗室、台灣冷戰時期的政治犯監獄、跨國企業遺留在台灣的重污染地區，以及剝削廉價勞動力的加工廠﹝註：3﹞之間的連續性和「凌遲」從未真正結束的狀態

  11. 《凌遲考》--camera’s perspective? 13:00--

  12. 《凌遲考》--camera’s perspective?

  13. 《凌遲考》--camera’s perspective? 17:00--

  14. The Actual Screening Site • With three screens – why?

  15. The Actual Screening Site

  16. The Actual Screening Site

  17. The Actual Screening Site –the Sea upside down?

  18. 《凌遲考》Lingchi -- Interpretations? • Starting from two holes on a photo –punctum (穿刺點) • The disciplined and oppressed –the viewers (people in Ching Dynasty as well as Taiwanese workers, the people of bio-chemical tests, etc. ) • Orientalism critiqued: The traumas of colonial/imperial history – turned into spectacles by the Western photographers/travelers. • History -- in fragments and remains; • The traumatized – beyond comprehension; • But the blood is flowing and converging—like the sea upside down.

  19. Reference • E. Ann Kaplan and Ban Wang. “From Traumatic Paralysis to the Force Field of Modernity.” Trauma and cinema: Cross-Curltural Explorations. Eds. E. Ann Kaplan and Ban Wang.Hong Kong UP, 2004. • 《典藏今藝術》，129期，6月，2003。 • 劉紀蕙，〈『現代性』的視覺詮釋︰陳界仁的歷史肢解與死亡鈍感〉，<http://www.ncu.edu.tw/~eng/csa/journal/journal_park63.htm>   • http://www.sakshigallery.com.tw/salon/salon_rs_detail.php?id=23

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