[Gallery Walk] The Human Dignity Collapsed by Violence

Solo Exhibition of Taiwanese Contemporary Artist Chen Jieren
At Art Sonje Center, Jongno Until May 2

A scene from 'Neungji: The Thrill of Documentary Photography,' one of the exhibitions in Cheonjerun's 'Sangsin Yusin.' (Photo by Art Sonje Center)

[Asia Economy Reporter Donghyun Choi] A man, heavily intoxicated by opium and with a vacant expression, is slumped with his hands and feet tied. In front of him, a Qing dynasty official looks at the state of the dagger blade with satisfaction. People around them are gathered with expressions of fear or curiosity. As the scene pans downward, the flesh on both sides of the tied man's chest has been completely cut away, blood dripping steadily. Even in this state, the man looks up at the sky with a faint smile.

This is one of the scenes from "Lingchi: The Shudder of Documentary Photography," a video work by Taiwanese contemporary artist Chen Chieh-jen (61, pictured), depicting the actual "Lingchi" (death by a thousand cuts) punishment that occurred in early 20th century China. His first solo exhibition in Korea, showcasing seven works he has created from 1996 to the present, is being held at the Art Sonje Center in Jongno-gu, Seoul, until May 2. He completed a 14-day self-quarantine after arriving in Korea. What message did he want to convey so strongly?

Lingchi no longer exists. However, its violence is still witnessed in the structures between powerful and weak nations, capitalists and workers. Acts such as making weaker countries consume opium-like "nuclear umbrellas" or "economic aid," gradually plundering their resources through unfair trade negotiations, and coercing unreasonable labor contracts under the threat of employment are modern-day Lingchi.

Behind the fireworks of capital with skyrocketing stock, Bitcoin, and real estate prices, the reality where human dignity is sliced away like sashimi?through record-high unemployment, worker deaths from falls, extreme choices, and infanticide?is no different from the scenes of Lingchi execution grounds in the early 20th century.

In fact, the number of spectators has increased. Spectators seated in the vast online colosseum debate not the barbarity but whether the condemned or executioner is on their side.

Taiwanese artist Chen Zeren is answering questions from the press at a press conference for his first solo exhibition in Korea, "Sangsin Yushin," held on the 10th at the Art Sonje Center in Jongno-gu, Seoul. (Photo by Yonhap News)

Chen Chieh-jen seems to want to talk about such situations in his own country. His works generally depict human alienation caused by capital and technological development. Taiwan shares similar wounds with Korea. Under the name of "anti-communism," it experienced the world's longest martial law for 38 years. Polarization is severe due to the harms of neoliberalism. Taiwan's per capita income is lower than Korea's, yet housing prices are the second highest in the world after Hong Kong. This has led to intense domestic political conflicts.

The title of Chen Chieh-jen's current exhibition is "Sangshin Yushin (傷身流身)." "Sangshin" refers to a body bearing the trauma left by society, and "Yushin" means the self transformed by this. The character "Ryu (流)" signifies that this change is ongoing.

Chen says that healing is only possible when individuals reveal their scars. "My works deal a lot with pessimism and despair, but I believe that facing these head-on is the only way to find true hope. Therefore, Yushin is also the changing self."

A scene from "Notes on 12 Causes and Conditions," one of the exhibitions in Cheonjerun's "Sangsin Yusin." (Photo by Art Sonje Center)

In "Notes on 12 Causes (緣起)," created between 1999 and 2000, images of human bodies connected by computer lines and the movements of surveillance cameras closely observing them are shown. It is a futuristic world imagined ahead of the new millennium, reminiscent of the movie "The Matrix." The "post-human," disconnected from computers, does not return to reality but falls into a deep hypnotic state. The artist seems to worry that technological advancement may imprint yet another trauma on humanity rather than optimism for the future.

Chen Chieh-jen emphasizes that humanity must unite as a social movement. His effort to hold an exhibition in Korea despite difficulties likely stems from this earnestness. "In the internet age, humans have become mere data providing information to corporations. This exhibition contains much symbolism about this. I hope it becomes a movement that no longer passively responds to information monopolies but strives for the democratization and publicization of the internet."

This content was produced with the assistance of AI translation services.