Video

Wounded Image

Year: 2009
Medium: Digital video; re-edited found footage
Running time: 48 min
Director: Qiming Liu
Cinematography: Rodrigo Prieto; Newton Thomas Sigel; Pascal Auffray; Hiroshi Ishikawa
Editing: Qiming Liu

Poster forthcoming. Painting used as a temporary replacement image: Scooping Up the Moon No. 05 · 2009 — Poster forthcomingTemporary replacement imageScooping Up the Moon No. 05 · 2009

Qiming Liu, Wounded Image, 2009: film still 1 from the reassembled source footage. — Wounded Image, 2009. Film still.

Qiming Liu, Wounded Image, 2009: film still 2 from the reassembled source footage. — Wounded Image, 2009. Film still.

Qiming Liu, Wounded Image, 2009: film still 3 from the reassembled source footage. — Wounded Image, 2009. Film still.

Qiming Liu, Wounded Image, 2009: film still 4 from the reassembled source footage. — Wounded Image, 2009. Film still.

Qiming Liu, Wounded Image, 2009: film still 5 from the reassembled source footage. — Wounded Image, 2009. Film still.

Qiming Liu, Wounded Image, 2009: film still 6 from the reassembled source footage. — Wounded Image, 2009. Film still.

Qiming Liu, Wounded Image, 2009: film still 7 from the reassembled source footage. — Wounded Image, 2009. Film still.

Qiming Liu, Wounded Image, 2009: film still 8 from the reassembled source footage. — Wounded Image, 2009. Film still.

Made in November 2009, the work begins from the conflicts and disputes generated by beliefs and interests, and the varied ways in which different countries and peoples address them. Liu reassembles excerpts from four works concerned with violence: Ang Lee’s Lust, Caution, Bryan Singer’s Valkyrie, Michael Moore’s Fahrenheit 9/11, and Kosuke Suzuki’s Mobile Detective: Mai Zenigata (Keitai Deka Zenigata Mai). Through this re-editing, he articulates his own reflections on violence.

The artist’s introduction observes that downloading and watching videos shared online has become part of everyday life, while the questions of intellectual property and rights often receive little attention in the act of downloading and sharing. Using footage downloaded without charge and then reassembled, this work also explores the boundary between the protection of intellectual property and sharing in artistic re-creation.