42 research outputs found
Corpi e dispositivi. Sul linguaggio artistico di Shu Lea Cheang
No full textA partire dagli anni Novanta del secolo scorso, il panorama artistico è andato a consolidare modalità di figurazione dei corpi nella pervasività dei dispositivi. Intercettando istanze del pensiero post-foucaultiano a riguardo, con un focus sugli sviluppi più recenti, il contributo si sofferma sulla rappresentazione di tale dicotomico rapporto secondo lo sguardo di Shu Lea Cheang (Taiwan, 1954)
Violenza di genere e ricerca sociale: l’opera artistica di Shu Lea Cheang
No full textShu Lea Cheang, abituata a combattere disuguaglianza sociali, trova il modo con la sua arte di raccontare sé stessa, di combattere contro ogni disillusione dettata dagli episodi di disparità che lei stessa ha vissuto, in quanto orientale, in quanto artista, in quanto donna
When Are You Going to Catch Up with Me? Shu Lea Cheang with Alexandra Juhasz
No full text“Digital nomad” Shu Lea Cheang and friend and critic Alexandra Juhasz consider the reasons for and implications of the censorship of Cheang’s 2017 film FLUIDØ, particularly as it connects to their shared concerns in AIDS activism, feminism, pornography, and queer media. They consider changing norms, politics, and film practices in relation to technology and the body. They debate how we might know, and what we might need, from feminist-queer pornography given feminist-queer engagements with our bodies and ever more common cyborgian existences. Their informal chat opens a window onto the interconnections and adaptations that live between friends, sex, technology, illness, feminism, and representation
Body, Space and Memory: The Construction of a Nomadic Other’s Subjectivity in Shu-Lea Cheang’s Internet Art” <身體、空間與記憶：鄭淑麗網路藝術中的遊牧他者之主體建構﹥
No full text[[abstract]]鄭淑麗（Shu-Lea Cheang）以她世界公民的身份探討在全球化的現場當下，人們所面臨的認同問題，她所鎖定的是移民女性與西方世界知識體系的對話，尤其是亞裔女性，當她們面對時空交錯的媒體與網路生活，所帶來的多文化經驗以及身體體驗。在全球化的同時，她們的移動更成為一種實踐，而其中牽涉到的身體移動更成為網路虛擬藝術中的主題。因此本文聚焦探討鄭淑麗在進入二十一世紀後的近作《性愛網絡IKU》IKU 2000和《嬰兒遊戲》Baby Play 2001-06系列，以網路藝術中的身體移動經驗，探討她以亞裔女性的身份為出發所引起的身體建構議題，以及在後殖民與全球化的時空中，身體漫遊與跨文化所擦撞出的相關經驗。本文將聚焦以布烈朵堤（Rosi Braidotti）所提倡的「遊牧風格」（nomadism）討論鄭淑麗以亞裔女性的身份，將其作品引介至其他亞洲國家，如日本，以及其他歐洲國家，如：丹麥、荷蘭，她在自身經驗與網路世界如何串連後人類的身體與時間、空間的相對關係，並進一步重塑自我認同與「他者」的主體性。
Shu-Lea Cheang, has restyled herself as a global citizen. In this position she intends to speak to the world with a different voice. As an Asian-American female artist, Shu-Lea Cheang concerns herself with situation of the minority. Her ethnicity and identity therefore leads us to consider her work from a totally different aspect. Artists of this background are capable of raising the issues of race, sex, and identification within Internet art, recognized as it is as a western technology, finding their own virtual life in relation to their cross-national and cross-cultural experiences As their work has become known, their movement has entered the artistic vocabulary with the body movements involved becoming a subject in Internet virtual art.Therefore, this paper focuses on Shu-Lea Cheang's art works from the twenty-first century, the IKU series in 2000 and the Baby Play in 2001-06; to confer the issue of body construction raised by her status as an Asian female from the experience of the body's movement in Internet art, as well as associated experiences initiated by body-roaming and culture-crossing. Shu-Lea Cheang provided another kind of identification as a western "other". Thus, this paper will focus on applying the aspect of the nomadic style that is introducing her work to other Asian countries such as Japan, and other European countries, for example, Denmark and Holland; the correlation of the post-human body, with time and space, in her self-experience and how she connects these waves in cyberspace
Sabotear el ‘big daddy mainframe’ en Internet: Ciberencuentro con Shu Lea Cheang
No full textArtistas del entorno mujer han abierto caminos divergentes desde los años 70 con apuestas decididas en la relación arte-política. De modo específico, el debate en torno al género toma cuerpo en el nuevo espacio generado en Internet a partir de los años 90, lo que moverá a ciertos de estos grupos a crear lo que se denominará ‘Ciberfeminismo’. La idea utópica de que la red podía acoger una redefinición del modelo binario hombre-mujer desde postulados de lo queer es pronto abandonada pero las metodologías y obras net.art feministas continúan su trayectoria. Este artículo explora estas opciones y analiza las rupturas, reales o posibles, que implican tanto a nivel social como artístico. El caso de lx artista Shu Lea Cheang, colaboradorx de esta investigación, supone una conexión historiográfica que abarca desde la adopción de modelos colaborativos de creación hasta el abandono del arte objeto por lo digital, sostenido por el contexto de la red.</jats:p
Sleep Series
No full textA series of events, Sleep48 (Stadtwerkstadt, Linz, 2018), Sleep 79 (C-Lab, Taipei, 2018-19) , Sleep 1237 (Performa Biennale, NYC, 2019) SLEEP5959 (Malmo Konstmuseet, 2021) running under the slogan, ‘art by sleepers, for sleepers and art as sleep’.
A collaboration between Schu Lea Cheang and Matthew Fulle
500 Slogans
No full textLibretto for the Moving Forest Performance, Transmediale Festival, Berlin 2009. Directors Shu Lea Cheang and Martin Howse
Post-Platform Desires: Build 1, 2, 3 New Beginnings
No full textThe text is written as an introduction to a week-long discussion on the empyre email list in which I participate, with the topic STAY UNFINISHED, YOURS SINCERELY, moderated by Shulea Cheang. The debate happens in conjunction with STAY UNFINISHED, the 5th edition of Stadtwerkstatt‘s 48 hour showcase extravanganza held in association with Ars Electronica (Linz), curated by Tanja Brandmayr, Shu Lea Cheang and Franz Xaver
3x3x6 – 9 Sq.m. and 6 Surveillance Cameras
No full textThe title of Shu Lea Cheang’s 3x3x6 which represented Taiwan at Venice Biennale 2019 derives from the 21st century high-security prison cell measured in 9 square meter and equipped with 6 surveillance cameras. As an immersive installation, 3x3x6 is comprised of multiple interfaces to reflect on the construction of sexual subjectivity by technologies of confinement and control, from physical incarceration to the omnipresent surveillance systems of contemporary society, from Jeremy Bentham’s panopticon conceptualized in 1791 to China’s Sharp Eyes that boasts 200 million surveillance cameras with facial recognition capacity for its 1.4 billion population. By employing strategic and technical interventions, 3x3x6 investigates 10 criminal cases in which the prisoners across time and space are incarcerated for sexual provocation and gender affirmation. The exhibition constructs collective counter-accounts of sexuality where trans punk fiction, queer, and anti-colonial imaginations hacks the operating system of the history of sexual subjection. This Image and Text piece intersperses images from the exhibition with handout texts written by curator Paul B. Preciado (against a grey background), as well as an interview between special section co-editor Paula Gardner and the artist that brings the extraordinary exhibition into further conversation with feminist technoscience scholarship. The project website is available at https://3x3x6-v2.webflow.io/
