These screenings are part of the series Shu Lea Cheang: Crafting a Genre of New Sci-fi Queer Cinema, presented at the Hammer Museum in conjunction with Witch Hunt, an exhibition of 16 international artists on view at ICA LA and Hammer Museum from October 10, 2021 – January 9, 2022.
Set in 2060, after the Government declares the eradication of AIDS, mutated AIDS viruses result in the ZERO GEN—genetically evolved gender fluid humans whose ejaculate is an intoxicating hypernarcotic for the 21st century. A new war on drugs begins, and the ZERO GEN are declared illegal. The bio-drug carriers are caught between underground drug lords, glitched super agents, a scheming corporation, and a corrupt government in this conspiracy-filled cypherpunk sci-fi. “When Shu Lea Cheang’s Fluidø first came out in 2017 it was meant to be a queer cypherpunk science-fiction film. Now, in the era of global confinement, digital sexuality, and sanitary surveillance, it has become the archeology of our present,“ writes Paul B. Preciado. (2017, dir. Shu Lea Cheang, color, 72 min.)
These screenings are part of the series Shu Lea Cheang: Crafting a Genre of New Sci-fi Queer Cinema, presented at the Hammer Museum in conjunction with Witch Hunt, an exhibition of 16 international artists on view at ICA LA and Hammer Museum from October 10, 2021 – January 9, 2022.
Set in 2060, after the Government declares the eradication of AIDS, mutated AIDS viruses result in the ZERO GEN—genetically evolved gender fluid humans whose ejaculate is an intoxicating hypernarcotic for the 21st century. A new war on drugs begins, and the ZERO GEN are declared illegal. The bio-drug carriers are caught between underground drug lords, glitched super agents, a scheming corporation, and a corrupt government in this conspiracy-filled cypherpunk sci-fi. “When Shu Lea Cheang’s Fluidø first came out in 2017 it was meant to be a queer cypherpunk science-fiction film. Now, in the era of global confinement, digital sexuality, and sanitary surveillance, it has become the archeology of our present,“ writes Paul B. Preciado. (2017, dir. Shu Lea Cheang, color, 72 min.)