STILL NOT OVER IT: short film screening with Wayne Yung at ICI Berlin
Screening and Discussion:
Still Not Over It
Organized by Jordan Arseneault and Bobby Benedicto
Thursday, 28 June 2018, 19:30, in English
ICI BERLIN:Christinenstr. 18/19, Haus 8
Still Not Over It is an extensive programme of 12 queer Canadian documentary, experimental, performance, and fiction short films spanning 55 years of moving image art. Variously addressing memory, social history, ethnocultural difference, and future potentialities, these shorts employ strategies of anachronism, queered retellings, hope, reminiscence, and ressentiment to elicit questions on queer temporality: what is our past with/out our overcomings? Who were we and how have our desires changed, and not changed, over time? Culled from the online catalogue MEDIAQUEER.CA – a research tool for LGBT moving image art in Canada and Québec – this selection shows us bygone eras and timeless aspirations from rural midcentury desire to 70s experimentalism, 80s essays, 90s elegies, and millennial flux. Gay Asian-Canadian video artist Wayne Yung’s films will book-end the screening, situating the notion of queer temporality within an intersectional landscape of inherited culture and desires, both future and past, both chosen and not.
The screening will be followed by a Q&A moderated by Bobby Benedicto (McGill University) with artist Wayne Yung and co-curator Jordan Arseneault.
Wayne Yung, Schwanzfilm (2011, 5’38’’)
Wayne Yung, Search Engine (1999, 4’)
Étienne Ganjohian, Bed, Bugs, Babies (2016, 7’)
Mike Hoolboom, Frank’s Cock (1993, 8’)
Stanley Jackson, Cornet at Night (1963, 14’)
Vincent Chevalier, So When Did You Figure out You had AIDS? (2010, 5’)
Clark Nikolai, Galactic Docking Company (2009, 3’)
Wrik Mead, Gravity (1987, 3’)
Thirza Cuthand, Untouchable (1998, 4’)
Paul Wong, 60 Unit Bruise (1976, 4’)
Jeanne Crépeau, L’Usure (1986, 8’)
Benny Nemerofsky Ramsay, Aleesa Cohene, The Same Problem (2009, 5’)
This programme is presented by the Queer Media Database Canada-Québec in cooperation with the ICI Berlin, and with the support of the Concordia University Ethnocultural Art History Research Chair and the Social Sciences and Humanities Research Council of Canada.