Shu Lea Cheang

Last Name: 
Cheang
First Name: 
Shu Lea

Shu Lea Cheang, once a New York based media installation artist/filmmaker, is now living a digitalized version of a drifter. Her video installations, structured to activate cross-cultural collaboration, include COLOR SCHEMES (1990, Whitney Museum, New York), The AIRWAVES PROJECT (1991, Capp Street Project, San Francisco), Those Fluttering Objects of Desire (1992, Exit Art, 1993, Whitney Museum Biennale Exhibition, New York). Her feature film FRESH KILL (80 minutes, 35mm), was premiered at Berlin International Film Festival (1994) and included in the Whitney Museum Biennale Exhibition (1995). Bowling Alley (1995) , http://bowlingalley.walkerart.org Buy One Get One (1997), http://www.ntticc.or.jp/HoME Brandon (1998-1999) http://brandon.guggenheim.org I.K.U. (2000), http://www.I-K-U.com CARRYON (2002), http://netzspannung.org/CARRYON/ Baby Play (2001), http://babyplay.ntticc.or.jp Expand (2001), http://www.telepolis.de/english/kunst/nk/shopping/default.html Everyone is an expert (2001), http://expertbase.net Kingdom of Piracy (2001-2002, co-curation) , http://211.73.224.150 STOP (2002), Amnesty International Shine02 online art site, http://www.shine02.org HUMANMATERIALMACHINEFACTOR, Dasarts (2002), http://www.dasarts.nl apt (2002) , http://www.xcult.org/apt_shulea st(r)eaming the fields (2002), http://www.rich-air.com theatrum digitalis (2002-2003), http://www.waag.org Over the ears, she has done installations that traverse actual and virtual spaces: Bowling Alley (1995, Walker Art Center, Minneapolis) net-links a local bowling lane with the Walker Art Center's gallery space and a cyber-bowl site http://bowlingalley.walkerart.org); Elephant Cage Butterfly Locker (1996, Atopic Site Exhibition, Tokyo, sponsored by Tokyo Government on Public Art), reverts radar detect on Okinawa's US military base. BYY ONE GET ONE (1997, awarded 2nd prize and permanent collection, NTT/ICC Biennale Exhibition, Tokyo; part of the 2nd Johannesburg Biennale special project), locates net-access in Africa and Asia with a bento digi-suitcase. http://www.ntticc.or.jp/HoME BRANDON is Guggenheim Museum's first commission of web art projects and was produced in association with DeWaag, Society for Old and New Media, Amsterdam, Banff Center for the Arts, Canada and Institute on Art and Civic Dialogue, Harvard University. http://brandon.guggenheim.org Garlic = Rich Air was launched at the 50th Venice Biennale. An accompanying large-scale installation is exhibited at the Palazzo delle Prigioni. Burn (kop.fact.co.uk/burn) and RichAir2030 (kop.fact.co.uk/richair), were also presented at the Venice Biennale, in "Zone of Urgency," curated by Hou Hanru. EDUCATION 1979 New York University, M.A. in Cinema Studies 1976 National Taiwan University, B.A. in History SELECTED EXHIBITIONS 2003 Zone of Urgency, curated by Hou Hanru, 50th Venice Biennale, Venice, Italy Hardcore, curated by Jerome Sans, Palais de Tokyo, Paris, France Burn, FACT, Liverpool, England LOVE, Magazin 4 (Vorarlberger Kunstverein), Bregenz, Austria 2002 The Field Project, New York, NY Metropolis, Art Chicago 2002, Chicago, IL Body Ploy, symposium at AIM II: Luna Park Project and the Museum of Contemporary Art (MOCA) in Los Angeles Shrink to fit, Museum of Communication, Bern Stop, Amnesty International online digital art exhibition, The Amory Show 2002, New York, NY Kingdom of Piracy, ArtFuture2002, Acer Digital Art Center,Taiwan 2001 Centro Andaluz de Arte Contempor·neo, Seville, Spain Scifi Digi Porn, Julia Friedman Gallery, Chicago (solo exhibition) Baby Play, InterCommunication Center (ICC), Tokyo (solo exhibition) I.K.U. Stripped, Women Art Network, Tokyo I.K.U., Wexner Center for the Arts, Columbus, OH (screening) Body as Byte, Kunstmuseum Luzern, Switzerland 2000 Taipei Biennale, Taipei Fine Art Museum, Taiwan Fluid, The Project, New York (solo exhibition) Carry On, Media Arts & Research Studies (MARS), Institute for Media Communication, Bonn, Germany I.K.U., Premiere, Sundance Film Festival I.K.U., ICA, London, England Dystopia and Identity in the Age of Global Communications, Tribes Gallery, New York, NY Ota Fine Arts, Tokyo, Japan 1999 Brandon, Guggenheim Museum, New York, co-production with Banff Center for the Arts, Canada, DeWaag, Society for Old and New Media, Amsterdam 1997 Buy One Get One, ICC Biennale, Tokyo, Japan (award, catalogue) 1996 Elephant Cage Butterfly Locker, Atopic Site exhibition, Tokyo 1995 Whitney Biennial, Whitney Museum of American Art, New York Bowling Alley, Walker Art Center, Minneapolis 1994 Walker Art Center, Minneapolis (solo exhibition) Wexner Center for the Arts, Columbus, OH (solo exhibition) Fresh Kill, Berlin International Film Festival 1993 To Enter, The Final Frontier Exhibition, The New Museum of Contemporary Art, New York, NY Whitney Biennial, Whitney Museum of American Art, New York 1992 The Museum of Modern Art (solo exhibition) Those Fluttering Objects of Desire, Exit Art, New York (solo exhibition) 1991 The Airwaves Project, CAPP Street Project, San Francisco, California 1990 Whitney Museum of American Art, New York (solo exhibition) Making News/Making History, The Institute for Contemporary Art, Boston International Center For Photography, New York (solo exhibition) The Feminist "I", The Brooklyn Museum, New York 1980-90 A producing member of media collectives, Paper Tiger TV & Deep Dish TV SELECTED BIBLIOGRAPHY Asai, Takashi. "Fingers and Kisses." Dice, Japan, 1995. Bailey, Andy. "Tokyo Porn." The Face, Vol 3, number 46, November 2000. Carr, C. "In Carr, On Edge: Performance at the End of the Twentieth Century." Hanover, New Hamshire: Wesleyan University Press, pgs. 206 - 11, 1993. Chua, Lawrence and Hagedorn, Jessica. "A Dialogue on Fresh Kill." Bomb, New York, 1994. Chua, Lawrence, "An Odd Circuit," Art Asia Pacific, Fall edition 2000. Furlong, Lucinda. "Shu Lea Cheang." The New American Film and Video Series. New York: Whitney Museum of American Art, 1990. Furlong, Lucinda. "Gender Bending, Works of Shu Lea Cheang." College Press, 1996. Grundberg, Andy. "Making News/Making History: Live From Tiananmen Square." The New York Times, June 22, 1990. Hanhardt, John. "Media Art Worlds: New Expressions in Film and Video," 1991-93, 1993 Biennial Exhibition. New York : Whitney Museum of American Art : Harry N. Abrams, 1993. pgs. 36-5. Highs, Kathy and Cheang, Shu Lea, eds. "Shot/Reverse Shot, A Cross Circuit Videologue." Felix, New York, 1992. Howell, John, ed. "Breakthroughs, Avant Garde Artists in Europe and America," 1950-1990, Wexner Center for the Arts, New York: Rizzoli, 1991. Kotz, Liz. "Shu Lea Cheang at Exit Art." Art In America, Vol 81, January 1993, p.106. Kroker, Arthur and Marilouise, "Web Delirium, The Okinawa Project." Digital Delerium. New York: St. Martin's Press, 1997. Nakamoto, Akio. "Shu Lea Cheang." Wired Japan, 1995. Ralli, Tania and Mc Neil, Brett. "Porn Free." Chicago Journal. July 19, 2001. Stamets, Bill. "Now Playing: Visions of a cyber-Satyricon." Chicago Reader, July 13, 2001, Vol 30. "Whitney Biennal." Art Forum, April, 1993. "Hot List." Rolling Stone, August 30, 2001, pg. 76. SELECTED GRANTS The Rockefeller Foundation, Moving Image Installation and Interactive Media Fellowship AT&T, New Vioce/ New Visions National Endowment for the Arts, Visual Arts Fellowship Asian Cultural Council Fellowship Civitella Ranieri Fellowship, Italy The Mondrian Foundation, Ministry for Cultural Affairs, Holland The New York City Department of Cultural Affairs Artist in Residency, Amsterdam Fonds voor de Kunst Institute on the Arts and Civic Dialogue, Harvard University New York Foundation for the Arts, Computer Art Fellowship Innovative Filmmaker of Outstanding Achievement, Mix Festival, New York New York State Council on the Arts Lyn Blumenthal Memorial Fund for Independent Media Award