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Shu Lea Cheang

October 19, 2023

Shu Lea Cheang (Chinese: 鄭淑麗; pinyin: Zhèng Shúlì) (born April 13, 1954) is a Taiwanese-American artist and filmmaker who lived and worked in New York City in the 1980s and 90s, until relocating to Europe in 2000.[1] 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.[2][3] Since the 1980s, as a multimedia and new-media artist, she has navigated topics of ethnic stereotyping, sexual politics, and institutional oppression with her radical experimentations in digital realms.[4] She drafts sci-fi narratives in her film scenario and artwork imagination, crafting her own “science” fiction genre of new queer cinema. From homesteading cyberspace in the 1990s to her current retreat to post net-crash BioNet zone, Cheang takes on viral love, bio hack in her current cycle of works.[5]

Shu Lea Cheang
Cheang in 2019
Born (1954-04-13) April 13, 1954 (age 69)
Taiwan
NationalityTaiwanese-American
Education
Notable workFresh Kill, I.K.U., Brandon
StyleNew media art

Over the past decade, she has emerged as a prominent figure in new media art. Cheang is one of the leading multimedia artists dealing with multidisciplinary topics. She is regarded as a pioneering figure in internet-based art, with her multimedia approach at the interface between film, video, internet-based installation, software interaction and durational performance.[6] Her work is often interactive. She is most noted for her individual approach in the realm of art and technology, creatively intermingling social issues with artistic methods.[7]

Cheang's work employs film, video, net-based installation, and interface to explore "...ethnic stereotyping, the nature and excesses of popular media, institutional – and especially governmental – power, race relations, and sexual politics."[8] Cheang has also written and directed the feature films I.K.U. and Fluidø, and directed Fresh Kill.

Life events Edit

Cheang was born during a time when 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.[9] Shortly after she moved to New York, she joined the collective Paper Tiger Television and started producing live weekly programs that used public-access channels to reach cable subscribers.[10]

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,[11] and finally relocated to Paris in 2007, where she currently works and resides.[12] Cheang concluded her 20 years spent in New York with Brandon (1998–1999), the first Guggenheim Museum web art commission/collection.[13]

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.”[14]

2019 Venice Biennale Edit

Shu Lea Cheang represented Taiwan at the 58th Venice Biennale in 2019. She is the first woman to represent Taiwan with a solo-exhibition.[15] 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.[16]

The Influencers 2019 Edit

In her talk for The Influencers 2019, "Genre Bending Gender Fxxxking", Cheang reflects on her eventful trajectory mixing, messing genres and genders in her multi-disciplinary art practices, from BRANDON (1998-1999, Guggenheim Museum), 3x3x6 (2019, Venice Biennale) to her current projects in process, UNBORN0x9 and UKI, an interruptive cinema.[17]

Notable works Edit

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.[18]

In 1994, Cheang directed the film Fresh Kill. The title refers to a garbage dump in Staten Island.[19] 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."[20]

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.[21]

Another major Web-based project Cheang created was Brandon (1998–1999).[22] 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.[23] It explores Brandon Teena's story in an experimental way that conveys the "fluidity and ambiguity of gender and identity in contemporary societies."[24] 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.[25]

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.[26] Brandon was also featured in Rhizome's Net Art Anthology, an online exhibition of one hundred important net artworks.[27] Brandon is currently accessible at http://brandon.guggenheim.org. The project was a major achievement in the conservation of net.born art.[28] Contemporary web browsers could no longer recognize much of the early HTML code used on the site, or support the unique Java applets used to animate its text and images. In December 2016, Conserving Computer-Based Art (CCBA), a joint initiative of the Guggenheim and NYU, obtained approval from Cheang to restore the work.[29]

In 2000, Cheang directed the feature film I.K.U.,[30] a pornographic film which she claimed was inspired by Blade Runner.[31] I.K.U. was nominated for an International Fantasy Film Award.

Recent works Edit

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).

  • Baby Play (2001), the first installment employs a large scale table football field. Opposing rows of 22 ball players are replaced by human sized cloned locker babies. The tracking of ball movement retrieves ME-data (texts and sound) deposited in respective lockers.
  • Baby Love (2005), the second installment consists of 6 large size teacups and 6 clone babies. Each teacup is an auto-driving mobile unit with spinning wheels allowing direction maneuver and speed variation. Each baby is a situated mac-mini engine with wifi linked to the net depository of shuffles and remixes of popular love songs.
  • Baby Work (2012),[32] the third installment designates the public visiting the gallery to collect and rearrange scattered keys and compose words into collective sonic expression. Active participants are the clone babies who are entrusted to store and retrieve ME-data.

Cheang wrote and directed the 2017 science fiction film Fluidø.

In 2021, she was one of the participants in John Greyson's experimental short documentary film International Dawn Chorus Day.[33]

Cheang directed the film UKI in 2023, a piece presenting a digital collage of game software-generated animation combined with live-action film and visual effects. UKI is presented as a sequel to I.K.U., Cheang's 2000 cyberpunk feature.[34]

Filmography Edit

Films Edit

  • 1990 – How History Was Wounded: An Exclusive Report on Taiwanese Media (Short film; director)
  • 1994 – Fresh Kill (director)
  • 2000 – I.K.U. (director, screenwriter)
  • 2000 – Love Me 2030 (Short video; director)
  • 2017 – Fluidø (director, producer, screenwriter)
  • 2017 – Wonders Wander (director, producer, screenwriter)
  • 2023 - UKI (director)

See also Edit

References Edit

  1. ^ "Shu Lea Cheang | Video Data Bank". www.vdb.org. Retrieved 2020-11-24.
  2. ^ "Shu Lea Cheang Papers (MSS 381) – Asian/Pacific/American Institute at NYU". apa.nyu.edu. 7 November 2016. Retrieved 2018-03-03.
  3. ^ "Shu Lea Cheang's CV (2020)" (PDF).
  4. ^ "Shu Lea Cheang". ArtAsiaPacific. MAR/APR 2019, ISSUE 112: 160.
  5. ^ "Shu Lea Cheang". The Influencers. 2019-10-03. Retrieved 2020-11-24.
  6. ^ "Shu Lea Cheang". www.seditionart.com. Retrieved 2020-11-24.
  7. ^ Shu Lea Cheang (2004-02-13). . Walker art gallery. Archived from the original on 2008-11-18. Retrieved 2008-04-28.
  8. ^ Tribe, M., & Jana, Reena. (2006). New media art (Basic art series).
  9. ^ Ng, Christina (5 June 2019). "At the Venice Biennale, Shu Lea Cheang Surveils the Surveillance System". HYPERALLERGIC. Retrieved 10 October 2019.
  10. ^ HUANG, BANYI. "SHU LEA CHEANG: DOCILE, MUTATING AND RESISTANT BODIES". ArtAsiaPacific. MAY/JUN2019, ISSUE 113: 76–85.
  11. ^ "The Guggenheim Museums and Foundation". The Guggenheim Museums and Foundation: Shu Lea Cheang. Retrieved 2020-11-24.
  12. ^ Ng, Christina (5 June 2019). "At the Venice Biennale, Shu Lea Cheang Surveils the Surveillance System". HYPERALLERGIC. Retrieved 10 October 2019.
  13. ^ "Shu Lea Cheang". www.seditionart.com. Retrieved 2020-11-24.
  14. ^ Ng, Christina (5 June 2019). "At the Venice Biennale, Shu Lea Cheang Surveils the Surveillance System". HYPERALLERGIC. Retrieved 10 October 2019.
  15. ^ "Artist Shu Lea Cheang to Represent Taiwan at 2019 Venice Biennale". eflux.
  16. ^ Gleichenhaus, Becca (2018-11-29). "Taiwan's Pavilion at Venice Biennale presents "3x3x6" by Shu Lea Cheang". Hyperallergic. Retrieved 2020-11-24.
  17. ^ "Shu Lea Cheang". The Influencers. 2019-10-03. Retrieved 2020-11-24.
  18. ^ Furlong, B. Lucinda. Shu Lea Cheang's Genre-Bending Affirmations.
  19. ^ Cheang, Shu Lea (1996-01-12), Fresh Kill, Sarita Choudhury, Erin McMurtry, Abraham Lim, retrieved 2018-03-03
  20. ^ "Fresh Kill | Video Data Bank". www.vdb.org. Retrieved 2018-03-03.
  21. ^ "Bowling Alley :Introduction". bowlingalley.walkerart.org. Retrieved 2017-03-12.
  22. ^ "Brandon". Guggenheim. 1998-01-01. Retrieved 2017-03-12.
  23. ^ "Brandon". Guggenheim. 1998-01-01. Retrieved 2017-03-12.
  24. ^ Tribe, Mark; Jana, Reena (2007). New Media Art. Germany: Taschen. ISBN 978-3-8228-3041-3.
  25. ^ Engel, Deena; Hinkson, Lauren; Phillips, Joanna; Thain, Marion (2018-09-05). "Reconstructing Brandon (1998-1999): A Cross-disciplinary Digital Humanities Study of Shu Lea Cheang's Early Web Artwork". Digital Humanities Quarterly. 012 (2). ISSN 1938-4122.
  26. ^ "The Guggenheim Restores 'Brandon,' its First Web-Based Work". www.format.com. Retrieved 2017-10-13.
  27. ^ "NET ART ANTHOLOGY: Brandon". 2016-10-27. Retrieved 2018-03-03.
  28. ^ "Restoring Brandon, Shu Lea Cheang's Early Web Work".
  29. ^ Evans, Jill Blackmore (2017-05-23). "The Guggenheim Restores 'Brandon,' its First Web-Based Work". www.format.com. Retrieved 2020-11-24.
  30. ^ Aja, Shu Lea; Akira; Ariga, Miho; Asô, Myû (2001-05-03), I.K.U., retrieved 2017-03-12
  31. ^ Miguel, Yolanda Martínez-San; Tobias, Sarah (2016-03-22). Trans Studies: The Challenge to Hetero/Homo Normativities. Rutgers University Press. ISBN 9780813576428.
  32. ^ "2012 ZERO1 Biennial". 2012.zero1biennial.org. Retrieved 2017-03-12.
  33. ^ Sarah Jae Leiber, "International Dawn Chorus Day Premieres April 29". Broadway World, March 29, 2021.
  34. ^ "u-k-i.co". u-k-i.co. Retrieved 2023-09-11.

External links Edit

October 19, 2023
cheang, chinese, 鄭淑麗, pinyin, zhèng, shúlì, born, april, 1954, taiwanese, american, artist, filmmaker, lived, worked, york, city, 1980s, until, relocating, europe, 2000, cheang, received, history, from, national, taiwan, university, 1976, cinema, studies, from. Shu Lea Cheang Chinese 鄭淑麗 pinyin Zheng Shuli born April 13 1954 is a Taiwanese American artist and filmmaker who lived and worked in New York City in the 1980s and 90s until relocating to Europe in 2000 1 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 2 3 Since the 1980s as a multimedia and new media artist she has navigated topics of ethnic stereotyping sexual politics and institutional oppression with her radical experimentations in digital realms 4 She drafts sci fi narratives in her film scenario and artwork imagination crafting her own science fiction genre of new queer cinema From homesteading cyberspace in the 1990s to her current retreat to post net crash BioNet zone Cheang takes on viral love bio hack in her current cycle of works 5 Shu Lea CheangCheang in 2019Born 1954 04 13 April 13 1954 age 69 TaiwanNationalityTaiwanese AmericanEducationNational Taiwan UniversityNew York UniversityNotable workFresh Kill I K U BrandonStyleNew media artOver the past decade she has emerged as a prominent figure in new media art Cheang is one of the leading multimedia artists dealing with multidisciplinary topics She is regarded as a pioneering figure in internet based art with her multimedia approach at the interface between film video internet based installation software interaction and durational performance 6 Her work is often interactive She is most noted for her individual approach in the realm of art and technology creatively intermingling social issues with artistic methods 7 Cheang s work employs film video net based installation and interface to explore ethnic stereotyping the nature and excesses of popular media institutional and especially governmental power race relations and sexual politics 8 Cheang has also written and directed the feature films I K U and Fluido and directed Fresh Kill Contents 1 Life events 1 1 2019 Venice Biennale 1 2 The Influencers 2019 2 Notable works 3 Recent works 4 Filmography 4 1 Films 5 See also 6 References 7 External linksLife events EditCheang was born during a time when 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 9 Shortly after she moved to New York she joined the collective Paper Tiger Television and started producing live weekly programs that used public access channels to reach cable subscribers 10 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 11 and finally relocated to Paris in 2007 where she currently works and resides 12 Cheang concluded her 20 years spent in New York with Brandon 1998 1999 the first Guggenheim Museum web art commission collection 13 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 14 2019 Venice Biennale Edit Shu Lea Cheang represented Taiwan at the 58th Venice Biennale in 2019 She is the first woman to represent Taiwan with a solo exhibition 15 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 16 The Influencers 2019 Edit In her talk for The Influencers 2019 Genre Bending Gender Fxxxking Cheang reflects on her eventful trajectory mixing messing genres and genders in her multi disciplinary art practices from BRANDON 1998 1999 Guggenheim Museum 3x3x6 2019 Venice Biennale to her current projects in process UNBORN0x9 and UKI an interruptive cinema 17 Notable works EditColor 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 18 In 1994 Cheang directed the film Fresh Kill The title refers to a garbage dump in Staten Island 19 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 20 Bowling Alley commissioned by the Walker Art Center and funded by AT amp 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 21 Another major Web based project Cheang created was Brandon 1998 1999 22 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 23 It explores Brandon Teena s story in an experimental way that conveys the fluidity and ambiguity of gender and identity in contemporary societies 24 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 25 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 26 Brandon was also featured in Rhizome s Net Art Anthology an online exhibition of one hundred important net artworks 27 Brandon is currently accessible at http brandon guggenheim org The project was a major achievement in the conservation of net born art 28 Contemporary web browsers could no longer recognize much of the early HTML code used on the site or support the unique Java applets used to animate its text and images In December 2016 Conserving Computer Based Art CCBA a joint initiative of the Guggenheim and NYU obtained approval from Cheang to restore the work 29 In 2000 Cheang directed the feature film I K U 30 a pornographic film which she claimed was inspired by Blade Runner 31 I K U was nominated for an International Fantasy Film Award Recent works EditCheang 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 Baby Play 2001 the first installment employs a large scale table football field Opposing rows of 22 ball players are replaced by human sized cloned locker babies The tracking of ball movement retrieves ME data texts and sound deposited in respective lockers Baby Love 2005 the second installment consists of 6 large size teacups and 6 clone babies Each teacup is an auto driving mobile unit with spinning wheels allowing direction maneuver and speed variation Each baby is a situated mac mini engine with wifi linked to the net depository of shuffles and remixes of popular love songs Baby Work 2012 32 the third installment designates the public visiting the gallery to collect and rearrange scattered keys and compose words into collective sonic expression Active participants are the clone babies who are entrusted to store and retrieve ME data Cheang wrote and directed the 2017 science fiction film Fluido In 2021 she was one of the participants in John Greyson s experimental short documentary film International Dawn Chorus Day 33 Cheang directed the film UKI in 2023 a piece presenting a digital collage of game software generated animation combined with live action film and visual effects UKI is presented as a sequel to I K U Cheang s 2000 cyberpunk feature 34 Filmography EditFilms Edit 1990 How History Was Wounded An Exclusive Report on Taiwanese Media Short film director 1994 Fresh Kill director 2000 I K U director screenwriter 2000 Love Me 2030 Short video director 2017 Fluido director producer screenwriter 2017 Wonders Wander director producer screenwriter 2023 UKI director See also EditList of female film and television directors List of LGBT related films directed by women Taiwanese artReferences Edit Shu Lea Cheang Video Data Bank www vdb org Retrieved 2020 11 24 Shu Lea Cheang Papers MSS 381 Asian Pacific American Institute at NYU apa nyu edu 7 November 2016 Retrieved 2018 03 03 Shu Lea Cheang s CV 2020 PDF Shu Lea Cheang ArtAsiaPacific MAR APR 2019 ISSUE 112 160 Shu Lea Cheang The Influencers 2019 10 03 Retrieved 2020 11 24 Shu Lea Cheang www seditionart com Retrieved 2020 11 24 Shu Lea Cheang 2004 02 13 WAC Gallery9 Bowling Alley Walker art gallery Archived from the original on 2008 11 18 Retrieved 2008 04 28 Tribe M amp Jana Reena 2006 New media art Basic art series Ng Christina 5 June 2019 At the Venice Biennale Shu Lea Cheang Surveils the Surveillance System HYPERALLERGIC Retrieved 10 October 2019 HUANG BANYI SHU LEA CHEANG DOCILE MUTATING AND RESISTANT BODIES ArtAsiaPacific MAY JUN2019 ISSUE 113 76 85 The Guggenheim Museums and Foundation The Guggenheim Museums and Foundation Shu Lea Cheang Retrieved 2020 11 24 Ng Christina 5 June 2019 At the Venice Biennale Shu Lea Cheang Surveils the Surveillance System HYPERALLERGIC Retrieved 10 October 2019 Shu Lea Cheang www seditionart com Retrieved 2020 11 24 Ng Christina 5 June 2019 At the Venice Biennale Shu Lea Cheang Surveils the Surveillance System HYPERALLERGIC Retrieved 10 October 2019 Artist Shu Lea Cheang to Represent Taiwan at 2019 Venice Biennale eflux Gleichenhaus Becca 2018 11 29 Taiwan s Pavilion at Venice Biennale presents 3x3x6 by Shu Lea Cheang Hyperallergic Retrieved 2020 11 24 Shu Lea Cheang The Influencers 2019 10 03 Retrieved 2020 11 24 Furlong B Lucinda Shu Lea Cheang s Genre Bending Affirmations Cheang Shu Lea 1996 01 12 Fresh Kill Sarita Choudhury Erin McMurtry Abraham Lim retrieved 2018 03 03 Fresh Kill Video Data Bank www vdb org Retrieved 2018 03 03 Bowling Alley Introduction bowlingalley walkerart org Retrieved 2017 03 12 Brandon Guggenheim 1998 01 01 Retrieved 2017 03 12 Brandon Guggenheim 1998 01 01 Retrieved 2017 03 12 Tribe Mark Jana Reena 2007 New Media Art Germany Taschen ISBN 978 3 8228 3041 3 Engel Deena Hinkson Lauren Phillips Joanna Thain Marion 2018 09 05 Reconstructing Brandon 1998 1999 A Cross disciplinary Digital Humanities Study of Shu Lea Cheang s Early Web Artwork Digital Humanities Quarterly 012 2 ISSN 1938 4122 The Guggenheim Restores Brandon its First Web Based Work www format com Retrieved 2017 10 13 NET ART ANTHOLOGY Brandon 2016 10 27 Retrieved 2018 03 03 Restoring Brandon Shu Lea Cheang s Early Web Work Evans Jill Blackmore 2017 05 23 The Guggenheim Restores Brandon its First Web Based Work www format com Retrieved 2020 11 24 Aja Shu Lea Akira Ariga Miho Aso Myu 2001 05 03 I K U retrieved 2017 03 12 Miguel Yolanda Martinez San Tobias Sarah 2016 03 22 Trans Studies The Challenge to Hetero Homo Normativities Rutgers University Press ISBN 9780813576428 2012 ZERO1 Biennial 2012 zero1biennial org Retrieved 2017 03 12 Sarah Jae Leiber International Dawn Chorus Day Premieres April 29 Broadway World March 29 2021 u k i co u k i co Retrieved 2023 09 11 External links EditBowling Alley Brandon Baby Love Shu Lea Cheang in the Video Data Bank Shu Lea Cheang at IMDb Shu Lea Cheang s artworks and biographical information can be found in Experimental Television Center and its repository in the Rose Goldsen Archive of New Media Art Cornell University Library Shu Lea Cheang on Vimeo https web archive org web 20080203204921 http tiger towson edu kbinya1 shu lea cheang html https web archive org web 20081118051407 http www walkerart org archive 1 B7737137B85D01716161 htm http the artists org artist Shu Lea Cheang Tribe Mark and Reena Jana New Media Art 1 Shu Lea Cheang Papers Fales Library and Special Collections at New York University Special Collections http www babywork biz proposal lockerbaby 3parts pdf Retrieved from https en wikipedia org w index php title Shu Lea Cheang amp oldid 1174878325, wikipedia, wiki, book, books, library,

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