Two or three things I know about SLC:
Genre Bending Gender Fxxxking
Shu Lea Cheang in conversation with
Jennifer Fong, Christian Haye, Barbara London, and Nelini Stamp
Join us for our last program as part of the series Meet the Makers, organized in collaboration with The Reserve Film and Video Collection of The New York Public Library.
On view at this year’s Venice Biennale, Paul B. Preciado, curator of artist Shu Lea Cheang’s new commission “3x3x6”, writes in the exhibition catalogue that, “Cheang does with Internet technologies what Pasolini did with film, and Kathy Acker with literature: turn a medium against itself only to reconnect it with political history and social agency. In doing so, the post-Internet digital avant-garde, to which Cheang belongs, challenges the aesthetics of Internet global capitalism and the politics of identity construction fueled by social media and exploited by marketing and political control alike." –Dissident Interfaces: Shu Lea Cheang’s 3x3x6 and Digital Avant Garde.
On July 25, Cheang presents the last program in the series Meet the Makers, organized on occasion of Gretchen Bender: So Much Deathless. In conversation with friends, partners, collaborators, and curators, Cheang invites her lunch dates to participate in a memory reboot to help patch her endeavors throughout the decades – from her formative years in New York City’s East Village (1997-1999), homestead cyberspace (1994 -), and post net-crash (2001- ), to Enter the BioNet (2009 - ).
Shu Lea Cheang is an artist and filmmaker working with various art mediums and film formats, including installation, performance, net art, public art, video installation, feature-length film and mobile web serial. As a net art pioneer, her project BRANDON (1998-1999) was the first web art commissioned and collected by the Guggenheim Museum in New York. She drafts sci-fi narratives in her film scenario and artwork imagination, crafting her own “science” fiction genre of new queer cinema, terming them eco-cybernoia (FRESH KILL, 1994), sci-fi cyberpunk (I.K.U., 2000), sci-fi cypherpunk (Fluidø, 2017). From homesteading cyberspace in the 90s to her current retreat to post net-crash BioNet zone, Cheang takes on viral love, bio hack in her current cycle of works. This year, she is representing Taiwan with a solo exhibition 3x3x6 at Venice Biennale 2019.