Bodies, Temporality, and Spatiality in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003)

This article discusses Taiwanese artist Chen Chieh-Jen’s (1960-) two early videos Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003). By revisiting a historical photograph taken by a French soldier in 1905 and articulated by French philosopher George Bataille in 1961, Chen reworks...

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Autor principal:	Hsin-Yun Cheng
Formato:	article
Lenguaje:	EN
Publicado:	University of Edinburgh 2021
Materias:	Fine Arts N Language and Literature P
Acceso en línea:	https://doaj.org/article/1d59bd0177474470981b201996c5e9bc
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id	oai:doaj.org-article:1d59bd0177474470981b201996c5e9bc
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spelling	oai:doaj.org-article:1d59bd0177474470981b201996c5e9bc2021-11-23T09:50:51ZBodies, Temporality, and Spatiality in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003)1749-977110.2218/forum.32.6471https://doaj.org/article/1d59bd0177474470981b201996c5e9bc2021-10-01T00:00:00Zhttp://www.forumjournal.org/article/view/6471https://doaj.org/toc/1749-9771This article discusses Taiwanese artist Chen Chieh-Jen’s (1960-) two early videos Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003). By revisiting a historical photograph taken by a French soldier in 1905 and articulated by French philosopher George Bataille in 1961, Chen reworks the internal genealogy of imperialist violence from late-nineteenth-century China to 1990s Taiwan in Lingchi. Lingchi reenacts a victim in the process of execution (death by a thousand cuts) from an old photo, which interrogates the violence of photography on a dying person and Bataille’s fetishisation of the cultural Other. In one scene, the camera enters the subject’s bodily orifices and shows two scenes: the sites of imperialist invasions in the early twentieth century as well as two laid-off women workers in 1990s Taiwan. Factory reorganises this group of laid-off women workers to work in the abandoned garment factory as if they stage a silent labour strike. This reenactment not only plays a prolonged and endless labour conundrum but also reveals the unequal economic relationship between Taiwan and the United States in Cold-War Taiwan, a continuation of imperialist domination in the postwar period. This article explores two dimensions: First, the aestheticisation of the suffering subject in Lingchi and how it debunks the Western gaze. Second, their communal subjects (the women workers) and the scenes in Lingchi and Factory reflect the continuation of imperialist domination in Taiwan under globalisation.Hsin-Yun ChengUniversity of EdinburgharticleFine ArtsNLanguage and LiteraturePENForum, Iss 32 (2021)
institution	DOAJ
collection	DOAJ
language	EN
topic	Fine Arts N Language and Literature P
spellingShingle	Fine Arts N Language and Literature P Hsin-Yun Cheng Bodies, Temporality, and Spatiality in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003)
description	This article discusses Taiwanese artist Chen Chieh-Jen’s (1960-) two early videos Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003). By revisiting a historical photograph taken by a French soldier in 1905 and articulated by French philosopher George Bataille in 1961, Chen reworks the internal genealogy of imperialist violence from late-nineteenth-century China to 1990s Taiwan in Lingchi. Lingchi reenacts a victim in the process of execution (death by a thousand cuts) from an old photo, which interrogates the violence of photography on a dying person and Bataille’s fetishisation of the cultural Other. In one scene, the camera enters the subject’s bodily orifices and shows two scenes: the sites of imperialist invasions in the early twentieth century as well as two laid-off women workers in 1990s Taiwan. Factory reorganises this group of laid-off women workers to work in the abandoned garment factory as if they stage a silent labour strike. This reenactment not only plays a prolonged and endless labour conundrum but also reveals the unequal economic relationship between Taiwan and the United States in Cold-War Taiwan, a continuation of imperialist domination in the postwar period. This article explores two dimensions: First, the aestheticisation of the suffering subject in Lingchi and how it debunks the Western gaze. Second, their communal subjects (the women workers) and the scenes in Lingchi and Factory reflect the continuation of imperialist domination in Taiwan under globalisation.
format	article
author	Hsin-Yun Cheng
author_facet	Hsin-Yun Cheng
author_sort	Hsin-Yun Cheng
title	Bodies, Temporality, and Spatiality in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003)
title_short	Bodies, Temporality, and Spatiality in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003)
title_full	Bodies, Temporality, and Spatiality in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003)
title_fullStr	Bodies, Temporality, and Spatiality in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003)
title_full_unstemmed	Bodies, Temporality, and Spatiality in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003)
title_sort	bodies, temporality, and spatiality in chen chieh-jen’s lingchi: echoes of a historical photograph (2002) and factory (2003)
publisher	University of Edinburgh
publishDate	2021
url	https://doaj.org/article/1d59bd0177474470981b201996c5e9bc
work_keys_str_mv	AT hsinyuncheng bodiestemporalityandspatialityinchenchiehjenslingchiechoesofahistoricalphotograph2002andfactory2003
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Bodies, Temporality, and Spatiality in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003)

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