Very, Very, Tremendously

Guangli Liu (CN)

Civilization is a sewer. We think that garbage is the corpse of a commodity, because it loses its functionality, but we use a lot of 3D models of garbage in video games to decorate the virtual reality. We fill the volcano with residents’ excrement in the city simulation game, and let it erupt to flood the city, and we make a living by scavenging waste on real garbage mountains, earning a few dollars per day. While we refer to crypto currency technology as a decentralized accounting method, we see that centralized capital uses it for asset appreciation. We, we, very, very, tremendously. 

 

I came across Battlefield 4 while researching the representation of China in Western video games. Battlefield 4 was released in 2013 and is set in the year 2020 when mainland China is facing an armed coup led by an evil general (a plot point that also led to the game being banned in China). By pure chance, I discovered this game in late 2020 when the world was preoccupied with Covid-19, Trump was continuing to increase economic sanctions against China, and the election farce between him and Biden was in full swing; thus, the virtual world and reality were entangled in my personal experience. To make my response to reality, I cracked the game and recycled the 3D models, especially the garbage models, and I reused them for animation creation. The research then goes on to investigate how the act of production and consumption in virtual space interacts with reality structurally and politically.

Civilization is a sewer. We think that garbage is the corpse of a commodity, because it loses its functionality, but we use a lot of 3D models of garbage in video games to decorate the virtual reality. We fill the volcano with residents’ excrement in the city simulation game, and let it erupt to flood the city, and we make a living by scavenging waste on real garbage mountains, earning a few dollars per day. While we refer to crypto currency technology as a decentralized accounting method, we see that centralized capital uses it for asset appreciation. We, we, very, very, tremendously. 

 

I came across Battlefield 4 while researching the representation of China in Western video games. Battlefield 4 was released in 2013 and is set in the year 2020 when mainland China is facing an armed coup led by an evil general (a plot point that also led to the game being banned in China). By pure chance, I discovered this game in late 2020 when the world was preoccupied with Covid-19, Trump was continuing to increase economic sanctions against China, and the election farce between him and Biden was in full swing; thus, the virtual world and reality were entangled in my personal experience. To make my response to reality, I cracked the game and recycled the 3D models, especially the garbage models, and I reused them for animation creation. The research then goes on to investigate how the act of production and consumption in virtual space interacts with reality structurally and politically.

guangliliu.com/
vimeo.com/576386643

 

Original script: Guangli Liu  

Image: Guangli Liu, Huimin Wu  

Editing: Guangli Liu, Huimin Wu  

Animation 3D: Guangli Liu, Huimin Wu  

Film score composer: Haiying Gao, Bai Li  

Sound designer: Haiying Gao  

Sound editing: Haiying Gao  

Assistant: Zirui Chen  

Special thanks to: Lanoichax, Hao Long, Xing Xiao, Xiyue Hu 

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Guangli LIU (CN) was born in 1990 in Lengshuijiang, China. He currently lives and works in Paris. 

Passionate about image-making, he has developed an art practice around painting, video art, 3D animation, and virtual reality. His works attempt to question how the digital medium fits into contemporary storytelling and the reconstruction of our collective memory. Guangli Liu graduated from Le Fresnoy - Studio national des arts contemporains in 2020.

Guangli LIU (CN) was born in 1990 in Lengshuijiang, China. He currently lives and works in Paris. 

Passionate about image-making, he has developed an art practice around painting, video art, 3D animation, and virtual reality. His works attempt to question how the digital medium fits into contemporary storytelling and the reconstruction of our collective memory. Guangli Liu graduated from Le Fresnoy - Studio national des arts contemporains in 2020.