Shu Lea Cheang

Shu Lea Cheang represented Taiwan at the 58th Venice Biennale in 2019. She is the first woman to represent Taiwan with a solo-exhibition. Her site-specific work was installed at the Palazzo delle Prigioni, a former prison across from the Palazzo Ducale in Piazza San Marco. Curated by philosopher Paul B. Preciado, the immersive installation explored pervasive technologies of control, from surveillance to incarceration, drawing from historical and contemporary cases in which people have been imprisoned due to their gender, sexual orientation, or race.[1]

Over time, as web browsers evolved, Brandon stopped displaying correctly. In 2017, the artwork was digitally restored and made publicly viewable again in a joint initiative by the Guggenheim's conservation department and New York University's department of computer science. Brandon was also featured in Rhizome's Net Art Anthology, an online exhibition of one hundred important net artworks. Brandon is currently accessible at http://brandon.guggenheim.org. The project was a major achievement in the conservation of net.born art.

Cheang wrote and directed the 2017 science fiction film Fluidø.

Tough social themes such as racial politics help progress her work. She recalls, “When I first got to New York, I was more concerned about certain kinds of racial discrimination or stereotypes of being an Asian woman — there were many different kinds of fantasies about Asian women.”

After 20 years in New York, she went on a decade of a self-imposed lifestyle as a digital nomad which she says “liberated me from monthly fixed payments of rent, electricity and phone bills.” She lived in Japan, Holland, the United Kingdom, and finally relocated to Paris in 2007, where she currently works and resides.

Cheang's Locker Baby Project (2001-2012) is a playfield of sonic imagery triggered only by human interaction. Her baby series project proposes a fictional scenario set in year 2030. The transnational DPT (DollyPolly Transgency) advances clone babies as an intelligent industry. The Clone Generation holds the key to unlock the networked inter-sphere of ME-motion (Memory+Emotion).

In 2000, Cheang directed the feature film I.K.U., a pornographic film which she claimed was inspired by Blade Runner. I.K.U. was nominated for an International Fantasy Film Award.

Another major Web-based project Cheang created was Brandon (1998–99). The one-year narrative project explored the issues of gender fusion and techno-body in both public space and cyberspace. The site got its name from Brandon Teena, a trans man who was raped and murdered in 1993 after his biological sex was revealed. Brandon was the first Web-based artwork commissioned by The Solomon R. Guggenheim Museum. It explores Brandon Teena's story in an experimental way that conveys the "fluidity and ambiguity of gender and identity in contemporary societies." In addition to the website, Brandon included live public events at the Guggenheim Museum, the De Waag Society for Old and New Media in Amsterdam, and Harvard University.

Bowling Alley, commissioned by the Walker Art Center and funded by AT&T New Art/New Visions, was exhibited in 1995. The installation linked the Walker's Gallery 7, the city's community bowling alley (Bryant-Lake Bowl), and the World Wide Web. Bowling Alley mixed real-life with cyberspace to illustrate the similarities and differences of how people communicate with one another face-to-face and through the Internet. Bowling Alley was Cheang's first cybernetic installation. Cheang collaborated with other Minneapolis artists to present a work which set to challenge the idea of what is personal and public, popular art and fine art by intertwining these oppositions.

In 1994, Cheang directed the film Fresh Kill. The title refers to a garbage dump in Staten Island. The film "envisions a post-apocalyptic landscape strewn with electronic detritus and suffering the toxic repercussions of mass marketing in a high-tech commodity culture."

Color Schemes, is an interactive three-channel video installation exhibited at the Whitney Museum of American Art in 1990. The video features people of different ethnicities and reveals the complex attitudes surrounding ethnic stereotyping embedded in American Culture.

The Shu Lea Cheang Papers are part of Fales Library and Special Collections at New York University. This collection relates to Cheang's work from 1989 to 2007 and includes video footage, photographs, sketches, press clippings, installation objects, exhibition ephemera, and digital files.

She has been a member of the Paper Tiger Television collective since 1981. Though originally based in New York, Cheang is currently living and working in Paris, France.

Shu Lea Cheang (Chinese: 鄭淑麗 ; pinyin: Zhèng Shúlì ; born April 13, 1954, Taiwan) is a multimedia artist who works in the fields of net-based installation, social interface and film production. Cheang received a BA in History from the National Taiwan University in 1976 and an MA in Cinema Studies from New York University in 1979.

Cheang was born during a time when the island of Taiwan was under martial law in 1954. From Taiwan, Cheang moved to New York in the 1980s. She admitted to feeling liberated after moving, calling it a process of “self-acknowledgment and affirmation.” Her art career seeded and bloomed in New York.