Sitting on My Face
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Screen recording and 3d animation, 14mins 41s, 2022


Jade, a Korean-born art student, writes in her diary about encountering anti-Asian racism, sexism, and homophobia in France. Her disillusionment with France, her rage at racists, and the lack of understanding from others all prompted her to reconcile with reality through art.

Crédits :
Figuration : Hyun BAHC
Réalisation : Guangli LIU
Chef opérateur : Zirui CHEN
Chef électricien : Yifan ZHANG
Prise de son : Hongli WANG
Assistante-réalisation : Hélène BOUNTHONG
Interviewer : Nicolas VIMENET
Musique : Bai LI
Montage image : Guangli LIU, Huimin WU
Création 3D : Guangli LIU, Hyun BAHC
Montage son : Hongli WANG
Mixage : Hongli WANG
Graphisme : Huimin WU
Communication du projet : Hélène BOUNTHONG


Remerciements : Annie XIE, Camille SAIGNAVONGS, Jeon JIN


Production :
Association des Jeunes Chinois de France (AJCF),
Réseau de recherche « Migrations de l’Asie de l’Est et du Sud-Est en France » (MAF)
Centre de recherche Médecine, Sciences, Santé, Santé Mentale, Société (CERMES3)
Centre National de la Recherche Scientifique (CNRS)


Dans le cadre de la Recherche-Action REACTAsie (Octobre 2020 - Septembre 2022)

« L’expérience des discriminations et du racisme des personnes d’origine asiatique - de l’Asie de l’Est et du Sud-Est - en France »

Financement : Défenseur des Droits

Very, Very, Tremendously
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Found footage and 3d animation, 12mins 12s, 2021
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Drawing on the threads of Virtual Currency and Digital Junk, Very, Very, Tremendously seeks to discuss how the acts of production and consumption from the virtual world interact systematically with reality, whilst also mirrors how the ‘two realities’ coexist in geopolitical conflict. The virtual, as a potential to be realized in the actual, is becoming a reality. Our attention is seized unawares towards being present and leads to generating an alternative reality. Behind the decentralized monetary system are centralized mining farms. The virtual objects that vanished out of the air in video games also, to an extent, shift our anxiety regarding the increasingly squeezed space of reality.

A section of the animation features 3D junk from the American video game Battlefield 4 (2013), which was banned for its content in mainland China. A statement was taken from an unannounced video statement Trump made at the White House on the 2nd of December 2020 at 4 pm and claimed: “may be the most important speech I’ve ever made”.


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Credit:
Collected and animated by Guangli Liu
Original soundtrack by Haiying Gao and Bai Li
Sound editing: Haiying Gao
Image editing: Guangli Liu, Huimin Wu
Assistant: Zirui Chen
Special thanks to Hao Long, Xing Xiao, Xiyue Hu



Technical information:
Video Format: Digital Betacam
Software used: Cinema 4D, Unity 3D
Animation techniques: 3D Computer
Screening format: ProRes422, MP4
FHD 1920×1080, 24fps
Single-channel video, colour, sound, found footage, 3D animation

When the Sea Sends Forth a Forest
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DCP, 21mins, 2020
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“It was 1974, war had lasted for years…” So begins the memory of an old Chinese man who lived through the regime of the Khmer Rouge led by the Communist Party of Cambodia. The tightly controlled Cambodian media left very few images between 1975 and 1979. This was a time when millions of people died unnecessarily and about 200,000 were people of Chinese descent. Guangli Liu’s film is a collective imagination of that lost history based on propaganda videos and the disaster videos which spread throughout the world after the fall of the Khmer Rouge. Narrated through the autobiographical voice, a tender, personal history unfurls as a virtual reality of an imagined recent past. Detailing the human condition and traumas of the dispossessed. The contrast between the archive footage and the 3D reconstruction shows the role of the experimental digital as it interweaves memory with history into the universal of being human. (Jutta Schmiederer)

Credits:
Original script: Guangli Liu 刘广隶
Image: Pauline Sicard
Voice: Xu Wenliang 许文良
Animation 3D : Guangli Liu, Huimin Wu 刘广隶，武慧敏
Technical assistant: Wenli Li 李雯丽
Editing: Ismaël Joffroy Chandoutis, Léo Guillaume, Yuyan Wang, Guangli Liu 王裕言，刘广隶
Film score composer: Yoann Helynck
Sound Designer: Martin Delzescaux
Sound Editing: Martin Delzescaux, Inoa Kan
Artistic accompaniment: Paolo Cirio

Technical information:
Location : Nice, France
Video Format: Digital cinema, HD
DCP: yes - 24 fps
Process : Black and White
Frame format / Image ratio : 16/9=1.77
Sound format / Ratio : Dolby Digital 5.1
Sound version : Voice over
Language of the original version : Chinese
Subtitle language: French, English, Spanish

Production / Distribution : Le Fresnoy – Studio national des arts contemporains
Responsable du projet : François Bonenfant
Chargé de production : Guylaine HUET
Contact : Natalia Trebik, Responsable de la diffusion des oeuvres
Adresse bureaux : 22, rue du Fresnoy 59200 Tourcoing
Tél. : 03 20 28 38 64 / Fax : 03 20 28 38 99
Mail : ntrebik@lefresnoy.net
​Site : www.lefresnoy.net + www.panorama21.net

One of the metaphor of ‘photogrammetry’ is that the look we cast on the object forms what we see. In other words, the way we see decides what we see. The gesture of prayer is split from different cultural background and reflects the original commitment between the body and the universe. When reproducing statues that have been translated (for example, Chinese craftsman copying the Holy Mother of God), the digital error that arise from the operation of photogrammetry and 3D printing is amplified and reserved, indicating the inevitable misconception brought by language.

基于三国时期“朱应康泰出使扶南（今柬埔寨），偶遇天竺使”的具体事件，动画以第二人称“你”对未来的回忆展开（叙述均重组改编自历史文献，以“肖像”为线索），试图以抽象的方式描绘“出家”意象下的集体记忆。离家的修行者，存在于各式各样的文化和宗教中，他们的远行曾真实地促进了跨文化交流，将风景带离此处，抵达远方。“距离”被逐渐消灭的今天，我们又应如何想象当下？

Antimony Capital News

DCP, 21mins27s, 2019

Lengshuijiang, a small city in the heart of Hunan Province, was established since its “Xikuangshan mine” contains the world’s largest deposit of antimony and was once known as “the antimony capital of the world.” During the two world wars, this isolated land in the middle of the mountains exported nearly 80 percent of the world’s antimony products.

Antimony Capital News was originally a documentary news broadcast by the local television station in Lengshuijiang. In this film, some of the original footage from early days of the program is intertwined with the footage depicting the film set of the documentary The Local Records of China - The Chapter of Lengshuijiang, attempting to creat a “timeless” narrative. Under a certain specific kind of ideology, the reality and continuity of the genre of “news” no longer exist, leaving behind images that say nothing other than the process of its own birth. Thus, the present moment is always absent.

In 2009, Lengshuijiang was officially considered a “resource-depleted” city by the State Council, only forty years after its foundation.

Credits:
Original script: Guangli LIU 刘广隶
Image: Guangli LIU, Hao LIU, Zhipeng ZHOU 刘广隶，刘颢，周志鹏
Voice: Wei FANG, Haolei WU 方巍，吴浩雷
Editing: Benoit MÉRY, Guangli LIU 刘广隶
Film score composer: Bai LI 李白
Sound Designer: Martin DELZESCAUX
Sound Editing: Martin DELZESCAUX, Florent BOURGAIN
Artistic accompaniment: Bing WANG 王兵

Technical information:
Location : Lengshuijiang, Hunan, China
Video Format: Digital cinema (high resolution digital cameras), HD, 16mm
DCP: yes - 25 fps
Process : Colour
Frame format / Image ratio : 4/3=1.33
Sound format / Ratio : Dolby Digital 5.1
Sound version: Dialogues, Voice over
Language of the original version: Chinese
Subtitle language: French, English

Production / Distribution : Le Fresnoy – Studio national des arts contemporains
Responsable du projet : François Bonenfant
Chargé de production : Guylaine HUET
Contact : Natalia Trebik, Responsable de la diffusion des oeuvres
Adresse bureaux : 22, rue du Fresnoy 59200 Tourcoing
Tél. : 03 20 28 38 64 / Fax : 03 20 28 38 99
Mail : ntrebik@lefresnoy.net
Site : www.lefresnoy.net + www.panorama21.net

The micro-carving necklace is a popular online token of love that allows consumers to place photos or texts in the center of the necklace to demonstrate their feelings to their beloved, and sellers often advertise these products with a tagline like “100 Languages I Love You.”This “I Love You” necklace consumerizes the act of looking. After the gaze, people click and buy, a practice of promise that is fluid and light. Yet what is reflected in the token is nothing other than the lover himself or herself.


The artist has ordered a collection of ‘Martyrdom of the Cross’ necklaces, placing in them a series of images from the history of the spread of Catholicism in China: paintings depicting the martyrdom of European missionaries in the Far East, localized biblical illustrations from books published in the Ming and Qing dynasties, or porcelains Jesus ordered by Europeans and portrayed by Chinese artists during the time of Canton’s Thirteen Factories. This collection of necklaces is branded as IYESU, pronounced in Chinese as “Love Jesus”, which can also be disassembled as I YES U. Faith is reduced to a consumable promise while devotion to love and faith becomes a performance of the subject’s reassertion of the self within his or her own system of representation.

In the summer of 2016, in order to host the G20 summitin Hangzhou, all construction sites were suspended for almost one year. I sneaked into a nearly completed community, entered one of the apartments, and left some words about art on the wall for the future owner, but I removed “art” from those sentences.