{"id":154,"date":"2023-08-16T13:53:16","date_gmt":"2023-08-16T13:53:16","guid":{"rendered":"https:\/\/ladestructiondesespacesvides.com\/whats-on\/?p=154"},"modified":"2023-08-31T08:00:37","modified_gmt":"2023-08-31T08:00:37","slug":"our-story-shu-lea-cheang-crafting-a-scifi-new-queer-cinema","status":"publish","type":"post","link":"https:\/\/ladestructiondesespacesvides.com\/whats-on\/2023\/08\/16\/our-story-shu-lea-cheang-crafting-a-scifi-new-queer-cinema\/","title":{"rendered":"22\u00b79 > 3\u00b710\u00b723 &#8211; OUR STORY &#8211; shu lea cheang: crafting a scifi new queer cinema"},"content":{"rendered":"\n<p class=\"has-small-font-size wp-block-paragraph\">CINEMATEK &amp; \u00c2GE D&rsquo;OR FESTIVAL<\/p>\n\n\n\n<p class=\"has-small-font-size wp-block-paragraph\">septembre 22  &gt; octobre 3, 2023<\/p>\n\n\n\n<div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button is-style-outline is-style-outline--1\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/cinematek.be\/fr\/programma\/2023-09-10-11-shu-lea-cheang-crafting-a-scifi-new-queer-cinema-shu-lea-cheang-crafting-a-scifi-new-queer-cinema\">tickets<\/a><\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Having leapfrogged over narrative, updated porn, and utterly transcended the seemingly binary universe of the New Queer Cinema, Cheang has become a genre, if not a gender, unto herself<\/em>.<br>\u2013 B. Ruby Rich, in The I.K.U. Experience<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cet automne, l\u2019\u00c2ge d\u2019Or Festival et Our Story rendent hommage \u00e0 la science-fiction polymorphe et dissidente de Shu Lea Cheang. Un hommage en quatre s\u00e9ances qui se conclura, le 3 octobre, avec la premi\u00e8re belge d\u2019<strong>UKI<\/strong>, en pr\u00e9sence de l\u2019artiste.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Shu Lea Cheang rejoint, dans les ann\u00e9es 80, Paper Tiger Television, c\u00e9l\u00e8bre programme exp\u00e9rimental new-yorkais ayant d\u00e9fendu sans rel\u00e2che une d\u00e9mocratisation des outils de production des m\u00e9dias. Elle s\u2019int\u00e9resse, d\u00e8s les premi\u00e8res r\u00e9volutions du Net Art, aux potentialit\u00e9s queers du <em>cyberspace<\/em>.&nbsp;En quatre d\u00e9cennies, Shu Lea Cheang a d\u00e9velopp\u00e9 une pratique guid\u00e9e par l\u2019ethos des communaut\u00e9s DIY et open source. Ses \u0153uvres \u2013 con\u00e7ues comme des espaces communautaires, participatifs, en constante mutation&nbsp;\u2013 affectionnent les narrations non lin\u00e9aires ; elles brouillent les \u00e9tats et multiplient les supports : tant\u00f4t installations ou happenings, tant\u00f4t sites web ou films.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Les quatre longs-m\u00e9trages pr\u00e9sent\u00e9s \u00e0 CINEMATEK, <strong>Fresh Kill<\/strong> (1994), <strong>I.K.U.<\/strong> (2000), <strong>Fluid\u00f8<\/strong> (2017) et <strong>UKI<\/strong> (2023) synth\u00e9tisent les ambitions de leur r\u00e9alisatrice: technologies de la surveillance et biocapitalisme, pollution num\u00e9rique et racisme environnemental sont trait\u00e9s sous le prisme d\u2019une science-fiction queer, <em>hacktiviste<\/em>, qui s\u2019inscrit dans la lign\u00e9e des \u00e9crits de Samuel K. Delany ou de Constance Penley: la science de Shu Lea Cheang est populaire, d\u00e9lib\u00e9r\u00e9ment bricol\u00e9e, d\u00e9mystifiante, poreuse et sexuelle.<\/p>\n\n\n\n<p class=\"has-small-font-size wp-block-paragraph\">PROGRAMME<\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-custom-couleur-1-color has-alpha-channel-opacity has-custom-couleur-1-background-color has-background is-style-wide is-style-wide--2\"\/>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-f56f613f wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-small-font-size wp-block-paragraph\">septembre 22<br>19:00<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-small-font-size wp-block-paragraph\"><strong>Fresh Kill<\/strong><br>de Shu Lea Cheang<br>USA-UK, 1994 \/ Sarita Choudhury, Erin McMurtry \/ kleur-couleur \/ &nbsp;80\u2019 \/ ST-OND : \/<br>Suite \u00e0 la disparition de leur fille Honey, Shareen et Claire tentent d\u2019exposer la responsabilit\u00e9 de la multinationale GX Corporation dans la pollution des eaux new-yorkaises. Premier long m\u00e9trage r\u00e9alis\u00e9 par Shu Lea Cheang, \u00e9crit par Jessica Hagedorn, Fresh Kill apporte \u00e0 la hacker culture l\u2019expression hacktivisme.<br>S\u00e9ance pr\u00e9c\u00e9d\u00e9e d\u2019une introduction en fran\u00e7ais.<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-image size-medium\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"214\" src=\"https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/freshkill-supermarket.jpg?resize=300%2C214&#038;ssl=1\" alt=\"\" class=\"wp-image-357\" srcset=\"https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/freshkill-supermarket.jpg?resize=300%2C214&amp;ssl=1 300w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/freshkill-supermarket.jpg?resize=768%2C548&amp;ssl=1 768w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/freshkill-supermarket.jpg?w=1024&amp;ssl=1 1024w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-custom-couleur-1-color has-alpha-channel-opacity has-custom-couleur-1-background-color has-background is-style-wide is-style-wide--3\"\/>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-f56f613f wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-small-font-size wp-block-paragraph\">octobre 2<br>21:30<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-small-font-size wp-block-paragraph\"><strong>I.K.U.<\/strong><br>de Shu Lea Cheang<br>Japan &#8211; Japon, 2000 \/ Tokitoh Ayumu, Zachery Nataf, Akechi Denki \/ kleur-couleur \/ 72\u2019 \/ST-OND: EN<br><em>This is not LOVE. This is SEX.<\/em><br>Pr\u00e9sent\u00e9 par Shu Lea Cheang comme un film cyberpunk porno qui reprendrait tr\u00e8s exactement l\u00e0 o\u00f9 Blade Runner s\u2019arr\u00eate, <strong>I.K.U.<\/strong> suit Reiko, un\u00b7e r\u00e9plicant\u00b7e de la firme GENOM, tandis qu\u2019iel r\u00e9colte les donn\u00e9es des m\u0153urs et pr\u00e9f\u00e9rences sexuelles de ses partenaires.<br>S\u00e9ance pr\u00e9c\u00e9d\u00e9e d\u2019une introduction en fran\u00e7ais.<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-image size-medium wp-duotone-ff4111-ff4747-4\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2.jpg?resize=300%2C200&#038;ssl=1\" alt=\"\" class=\"wp-image-280\" srcset=\"https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2-scaled.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2-scaled.jpg?resize=1024%2C683&amp;ssl=1 1024w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2-scaled.jpg?resize=768%2C513&amp;ssl=1 768w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2-scaled.jpg?resize=1536%2C1025&amp;ssl=1 1536w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2-scaled.jpg?w=2000&amp;ssl=1 2000w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-contrast-color has-alpha-channel-opacity has-contrast-background-color has-background is-style-wide is-style-wide--5\"\/>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-f56f613f wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-small-font-size wp-block-paragraph\">octobre 3<br>18:00<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-small-font-size wp-block-paragraph\"><strong>Fluid\u00f8<\/strong><br>de Shu Lea Cheang<br>Duitsland &#8211; Allemagne, 2017 \/ Bishop Black, Candy Flip, Kristina Marlen, William E. Morris \/ kleur-couleur \/&nbsp;80\u2019 \/ST-OND: \u2013<br>En 2060, dans un monde d\u00e9clar\u00e9 post-sida, des mutations des virus HIV entrainent l\u2019\u00e9mergence des ZERO GEN, personnes genderfluid dont le sperme est un narcotique puissant et recherch\u00e9. Quand une nouvelle war on drugs est amorc\u00e9e par le gouvernement, les ZERO GEN deviennent les victimes hors-la-loi des trafiquant\u00b7es, des corporations, de l\u2019\u00e9tat policier.<br>S\u00e9ance introduite par Shu Lea Cheang (en anglais).<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-image size-medium wp-duotone-unset-6\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2.jpg?resize=300%2C200&#038;ssl=1\" alt=\"\" class=\"wp-image-280\" srcset=\"https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2-scaled.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2-scaled.jpg?resize=1024%2C683&amp;ssl=1 1024w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2-scaled.jpg?resize=768%2C513&amp;ssl=1 768w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2-scaled.jpg?resize=1536%2C1025&amp;ssl=1 1536w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/06\/baier-0072-449-agent_natasha2-scaled.jpg?w=2000&amp;ssl=1 2000w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-contrast-color has-alpha-channel-opacity has-contrast-background-color has-background is-style-wide is-style-wide--7\"\/>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-f56f613f wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-small-font-size wp-block-paragraph\">octobre 3<br>20:00<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-small-font-size wp-block-paragraph\"><strong>UKI<\/strong><br>de Shu Lea Cheang<br>Duitsland &#8211; Allemagne, 2023 \/ Bernard J. Butler, Alan Chen, Tyra Wigg, \/ kleur-couleur \/ 80\u2019 \/ST-OND: \u2013<br>Your Pleasure. Our Business.<br>Sequel d\u2019<strong>I.K.U.<\/strong>, le film retrouve Reiko l\u2019andro\u00efde, d\u00e9sormais pi\u00e8ce de technologie obsol\u00e8te, abandonn\u00e9e dans la d\u00e9charge E-Trashville. Avec l\u2019aide de mutant\u00b7es et de r\u00e9plicant\u00b7es, Reiko r\u00e9\u00e9merge sous la forme du virus UKI pour sauver la population de l\u2019emprise du network biologique de GENOM Corp.<br>Premi\u00e8re belge du film, la projection sera suivie d\u2019un Q&amp;A en anglais avec Shu Lea Cheang.<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-image size-medium\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"169\" src=\"https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/uki-title.jpg?resize=300%2C169&#038;ssl=1\" alt=\"\" class=\"wp-image-355\" srcset=\"https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/uki-title-scaled.jpg?resize=300%2C169&amp;ssl=1 300w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/uki-title-scaled.jpg?resize=1024%2C576&amp;ssl=1 1024w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/uki-title-scaled.jpg?resize=768%2C432&amp;ssl=1 768w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/uki-title-scaled.jpg?resize=1536%2C864&amp;ssl=1 1536w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/uki-title-scaled.jpg?resize=2048%2C1152&amp;ssl=1 2048w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-medium\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"169\" src=\"https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/UKI_viral.jpeg?resize=300%2C169&#038;ssl=1\" alt=\"\" class=\"wp-image-356\" srcset=\"https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/UKI_viral-scaled.jpeg?resize=300%2C169&amp;ssl=1 300w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/UKI_viral-scaled.jpeg?resize=1024%2C576&amp;ssl=1 1024w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/UKI_viral-scaled.jpeg?resize=768%2C432&amp;ssl=1 768w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/UKI_viral-scaled.jpeg?resize=1536%2C864&amp;ssl=1 1536w, https:\/\/i0.wp.com\/ladestructiondesespacesvides.com\/whats-on\/wp-content\/uploads\/2023\/08\/UKI_viral-scaled.jpeg?resize=2048%2C1152&amp;ssl=1 2048w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-contrast-color has-alpha-channel-opacity has-contrast-background-color has-background is-style-wide is-style-wide--8\"\/>\n\n\n\n<p class=\"has-small-font-size wp-block-paragraph\">Au sujet de l&rsquo;\u00c2ge d&rsquo;Or<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>CINEMATEK &amp; \u00c2GE D&rsquo;OR FESTIVAL septembre 22 &gt; octobre 3, 2023 Having leapfrogged over narrative, updated porn, and utterly transcended the seemingly binary universe of the New Queer Cinema, Cheang has become a genre, if not a gender, unto herself.\u2013 B. Ruby Rich, in The I.K.U. Experience Cet automne, l\u2019\u00c2ge d\u2019Or Festival et Our Story [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[7],"tags":[6],"class_list":["post-154","post","type-post","status-publish","format-standard","hentry","category-ourstory","tag-our-story"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>22\u00b79 &gt; 3\u00b710\u00b723 - OUR STORY - shu lea cheang: crafting a scifi new queer cinema - ladestructiondesespacesvides<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ladestructiondesespacesvides.com\/whats-on\/2023\/08\/16\/our-story-shu-lea-cheang-crafting-a-scifi-new-queer-cinema\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"22\u00b79 &gt; 3\u00b710\u00b723 - OUR STORY - shu lea cheang: crafting a scifi new queer cinema - ladestructiondesespacesvides\" \/>\n<meta property=\"og:description\" content=\"CINEMATEK &amp; \u00c2GE D&rsquo;OR FESTIVAL septembre 22 &gt; octobre 3, 2023 Having leapfrogged over narrative, updated porn, and utterly transcended the seemingly binary universe of the New Queer Cinema, Cheang has become a genre, if not a gender, unto herself.\u2013 B. 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