Shu Lea Cheang
1954 (72 года)LOVEME2030
Shu Lea Cheang
Benjamin Bodi
Paris, like the other metropolitan cities in Europe, was flourishing because of new crossing urbanities, while tension was born between the conservative and the new types of Europeans. By the year of 2030, the new races of Europeans have a chance to return to their hometown where the standard of living began to improve. In anticipating the exodus of reverse migration, LOVEME2030 wishes to defer the unfinished love stories until year 2030. Love me, not now, not here. LOVE ME when I am gone.
LOVEME2030
Wonders Wander
Shu Lea Cheang
Departing from this Madrid Centre’s rebellious past, Wonders Wander takes the wonders out of Malasaña to explore off-the-mainstream nouveau queer generation that includes refugees, migrants, functional diversity, transfeminista, transfeminism, open family, subversive motherhoods, sustainable living, and the rise of auto-defense practices for self-empowerment. Wonders Wander with its gps guided city-walks tracks sites of documented homo-trans-phobic attacks that extend to peripheral Madrid.
Wonders Wander
歷史如何成為傷口
Wang Jun-jieh, Shu Lea Cheang
Three commentators sit in a news studio in front of a TV discussing the Tiananmen Square massacre as reported by local and foreign media. This film aims to examine the politics of image and the image of politics through commenting on the topics of democracy, media control, consumption and commercialism.
How Was History Wounded
Sex Bowl
Shu Lea Cheang
All forms of human sport become sites for sexual play and celebratory eroticism. “The tape’s images are quick, suggestive, and sexy: fingers moving into bowling balls, shoe-smelling and toe-sucking, a dog wearing chain jewelry, fish being wrapped at the market, young naked couples having sex.... Edited like a music video, the image track is a constant flow of fetishes that lure us into the promiscuous pace of girls who keep lists of their sexual encounters.” —Chris Straayer
Sex Bowl
Fingers and Kisses
Shu Lea Cheang
How did they make it? The unbearable innocent fingers and kisses. Colors on the screens, your, hers, mine... Cheang has taken her camera to the streets for a candid glimpse of lesbian public sexuality. The film challenges to the question "What do lesbians do?"
Fingers and Kisses
Color Schemes
Shu Lea Cheang
An upbeat, ironic look at America's multicultural society, Color Schemes uses the metaphor of "color wash" to tackle conceptions of racial assimilation. Challenging stereotypes, twelve writer/performers collaborate on four performance sequences—soak, wash, rinse and extract. Spinning through this tumble- jumble of America's washload, the performers scheme to claim racial images that remain color vivid. Color Schemes was also exhibited in its installation form (with a self-service washing machine) at the Whitney Museum in 1990.
Color Schemes
Sex Fish
Shu Lea Cheang
Jane Castle, Cheryl Dunye
A euphoric lesbian sex video features a group of women in a frenzy of erotic scenes with poetry, slowly dripping water, fancy goldfish, and an ecstatic score by Sheila Chandra. Experimenting with pro-sex feminist media practices and pornography, Sex Fish was made as a collaboration known as E.T. Baby Mania.
Sex Fish
The Trial of Tilted Arc
Shu Lea Cheang
The artwork on trial is Richard Serra's public sculpture, Tilted Arc, commissioned and installed by the U.S. government in 1981. Four years later, a public hearing was held to consider the removal of the sculpture from its site in Federal Plaza in New York City. In documenting the climatic General Services Administration hearing, The Trial Of Tilted Arc is a thought-provoking indictment of the state of the arts. At issue is the validity of a contract between an artist and the government, the freedom of artistic expression, and the "public's" involvement in designing the visual environment. The dialogue/debate between the art community and the bureaucrats has described this site-specific art work in terms ranging from "masterpiece" to "mouse trap."
The Trial of Tilted Arc
