Shu Lea Cheang

Shu Lea Cheang is a multi-media artist working in the field of net-based installation, social interface and film production. Her net installation works are in the permanent collections of the Walker Art Center, Minneapolis, NTT [ICC], Tokyo, and the Guggenheim Museum: (Bowling Alley, 1995; Buy One Get One, 1997; and Brandon, 1998-1999).

She has made two theatrical feature films: Fresh Kill, which premiered at the Berlin Film Festival in 1994 and was included in Whitney Biennale (New York) in 1995; and I.K.U., produced by Tokyo's Uplink, which premiered at the Sundance Film Festival in 2000. Her recent installation and web projects include BabyPlay (NTT [ICC], Tokyo, 2001), Garlic=RichAir (Creative Time, New York, 2002), Burn (Venice Biennale, 2003), Milk (56K Bastard TV, 2004), and BabyLove (Palais de Tokyo, 2005).

She has co-founded several collectives: Kingdom of Piracy (based in net space since 2001); Mumbai Streaming Attack (based in Zurich since 2003); and TAKE2030 (based in London since 2003). In 2007 she launched “MobiOpera”, a collective public cinema made with mobile phones at the New Frontier, Sundance Film Festival. She is currently developing “LOVEME2030”, a series of multi-screen-based installations set in Metropolis Europa.

Artist Code: 900


Coming Home

1995, 05:00 minutes, colour, Japanese with English subtitles

Fingers & Kisses

1995, 04:00 minutes, colour, English

Sex Bowl

1994, 07:00 minutes, colour, English

Sex Fish

1993, 06:00 minutes, colour, English

Critical Writing

"Collective Orgasm": The Eco-Cyber-Pornography of Shu Lea Cheang
by Eva Oishi. Women's Studies Quarterly, Spring/Summer 2007, v. 35, no. 1. The Feminist Press, 2007.
Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea...
by Gina Marchetti. Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea Cheang's Fresh Kill, Fall 2001, v. 9, no. 2. Duke University Press, 2001.
Straight women, gay porn, and the scene of erotic looking
by Laura U. Marks. Jump Cut, Mar. 1996, no. 40.
Shu Lea Cheang
by Lawrence Chua et al. Bomb, Winter 1996, no. 54. New Art Publications, 1996.
Shu Lea Cheang's Genre-Bending Affirmations
by Lucinda B. Furlong. Art Journal, Winter 1995, v. 54, no. 4.
Redesigning Women at The Illustrated Woman: The Second Annual...
by Douglas Fogle. Video Networks, Apr. 1994, v. 18, no. 2.
Sexual Hybrids: From Oriental Exotic to Postcolonial Grotesque
by Laura U. Marks. Parachute, Apr. 1993, no. 70.
Nouvelles Chines: Introduction
by Bérénice Reynaud. Nouvelles Chines, 1993. Paris: Galerie nationale du Jeu de Paume, 1993.
In the Name of Desire
by LaRose Parris. Color Life: The Lesbian, Gay, Twospirit + Bisexual People of Color Magazine, May Spring 1992, v. 1, no. 1.
Dismything Objectivity: Buffalo's Video Festival of New Journalism
by Richard Thompson. The Independent, June 1990.
Alternating Currents: ...Will be Televised: Video Documents from Asia
by Claire Aguilar. Afterimage, Dec. 1990, v. 18, no. 5.
Document & Dream
by Dan Walworth.
Social studies: Social Engagements: Women's Video in the '80s...
by Lorraine Kenny. Afterimage, May 1987, v. 14, no. 10.