《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.
The Object of Gaze: Tortured and in a trance?
《凌遲考》--the viewers of Ching Dynasty? Or Taiwanese workers?
《凌遲考》--the viewers of Ching Dynasty? Or Taiwanese workers? What’s this?
《凌遲考》--the viewers of Ching Dynasty? Or Taiwanese workers? What’s this?
《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 (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
The Other Historical Sites (2) The lab or a factory?
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
《凌遲考》--camera’s perspective? 13:00--
《凌遲考》--camera’s perspective?
《凌遲考》--camera’s perspective? 17:00--
The Actual Screening Site With three screens – why?
The Actual Screening Site
The Actual Screening Site
The Actual Screening Site –the Sea upside down?
《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 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