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

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《 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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lingchi echoes of a historical photograph 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.
  •  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.
lingchi
《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)
the other historical images
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。
the other historical sites 2
The Other Historical Sites (2)
  • The lab or a factory?
wound a channel for dialogue with the past
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
the actual screening site
The Actual Screening Site
  • With three screens – why?
lingchi interpretations
《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.
reference
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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