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An emerging form of big data journalism, the audio and visual second-by-second account is organized by the shooter’s twelve bursts of gunfire. John Cage’s infamous 1952 composition 4’ 33” (Four Minutes and Thirty-three Seconds) was the catalyst for our intervention.
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"Made in collaboration with composer and artist Gryphon Rue, License modifies a video forensics report by The New York Times that reconstructs the October 2017 mass shooting in Las Vegas, the deadliest in U.S.
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What currently circulates and is preserved in the Fales Library Collection of NYU is a 13-minute version entitled A Fire in My Belly, A Work in Progress, and a 7-minute excerpt that possibly represents a chapter planned for the finished version. Among these images is a dancing, gun-wielding marionette, coins dropping into a plate of blood, vibrantly colored loteria cards, and the now iconic self-portrait of the artist with his lips sewn shut. He later staged scenes in his New York City apartment to combine with this footage, collecting dreamlike images to illustrate thematic sections he outlined in a cutting script. A central image is that of a child exploited as a fire-breathing street performer, which resonates in the title of the film and Wojnarowicz's own experience hustling on the streets at a young age. On a trip to Mexico City with Tommy Turner to scout Day of the Dead imagery, Wojnarowicz shot 25 rolls of super-8 film, documenting scenes that embodied the violence of city life. Echoing themes explored throughout David Wojnarowicz's art and writing, A Fire in My Belly is a visceral meditation on cultural and individual identity, spirituality, and belief systems.