Guangli Liu

To paraphrase Paul Celan’s poetry, words can be disappointing. Writers create texts, but according to Umberto Eco, texts are “lazy machineries” that require the collaboration of the reader to fill in the “gaps.” Misunderstandings are the result of different life experiences. When words cannot overcome thought barriers, music may circumvent logic as an immediate vibration and guide those who search for meaning.

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.

Through a 3D virtual universe simulated by a game engine intertwined with historical pictures, a lost moment of history can be experienced. The story revolves around the memory of a Chinese survivor of Khmer Rouge. This tragedy, which took the lives of 2 million people, continues to reshape our present in virtue of today's narration.

Through a 3D virtual universe simulated by a game engine intertwined with historical pictures, a lost moment of history can be experienced. The story revolves around the memory of a Chinese survivor of Khmer Rouge. This tragedy, which took the lives of 2 million people, continues to reshape our present in virtue of today's narration.

Through a 3D virtual universe simulated by a game engine intertwined with historical pictures, a lost moment of history can be experienced. The story revolves around the memory of a Chinese survivor of Khmer Rouge. This tragedy, which took the lives of 2 million people, continues to reshape our present in virtue of today's narration.

In Lengshuijiang, balanced in a space made up of official images, an audiovisual program presents itself as a taciturn witness of rigid, modulated, even aberrant moments in which China constantly tried to demonstrate its success through its own fresco, an atypical form in tone of virtual reality.