| Shu Lea CHEANG| cyberartiste nomade | Dated 2030 | mercredi 23 mars 2005 | 17 h | |
Shu Lea CHEANG | Dated 2030 | Interview 2003 | à partir de 17 heures | Salle A1-172, Université Paris 8, UFR Arts, 2, rue de la Liberté, 93526, Saint-Denis, métro Ligne 13, Saint-Denis Université |
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| Le propos de la conférence... |
en exergue "Nous sommes dans un monde technoscientifique comme des Gulliver, tantôt trop grands, tantôt trop petits, jamais à la bonne échelle. Dans cette perspective, l'exigence de simplicité apparaît en général, aujourd'hui, comme une promesse de barbarie. Il faudrait, sur ce même point, élaborer la question suivante: l'humanité se divise en deux parties. L'une affronte le défi de la complexité, l'autre l'ancien, le terrible défi de sa survie. C'est peut-être le principal aspect de l'échec du projet moderne, dont je te rappelle qu'il valait en principe pour l'humanité dans son ensemble". Jean-françois Lyotard, Le post-moderne expliqué aux enfants, galilée, Paris, 1986, p.124
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| Shu Lea Cheang : Bio-bibliographie |
Shu Lea Cheang, cyberartiste nomade (artiste numérique mobilisée est assez bien aussi), développe un champ de réalisation qui articule installation en ligne, interfaçage social et réalisation film et vidéo. Ses installations en ligne ont été commissionnées et acquises dans les collections permanentes du Walker Art Center (Bowlling Alley, 1995), NTT[ICC], Tokyo (Buy One Get One, 1997) et du Musée Guggenheim (Brandon, 1998-1999). Parmi ses oeuvres en ligne récentes, Baby Play (NTT[ICC], Tokyo 2001), Garlic=Rich Air (Creative Time, New-York 2002), Burn (2003, A FACT/Liverpool commission), FLUID (2004, a Norway/riksutstillinge commission). Elle prenait part aux expositions Zone of Urgency et Limbo Zone de la Biennale de Venise en 2003. En résidence à Paris à la Cité des arts, elle réalise actuellement le projet LOVEME2030. "LOVEME2030 has a lot to do with trying to realize how the whole European city is going through big changes with the ‘new Europeans,’ immigrants from Eastern Europe. Unlike North American cities which are used to the migrant influx and racial mix, in Europe it is still quite fresh. For me it is very exciting, in a way there is still a possibility of making changes. The European city would be dead without this influx and mix of cultures. She is also currently part of two network performance groups, Mumbai Streaming Attack, which do rush hour 'tram jams' using an open source sound performance program, and TAKE2030, which is based on the notion that by the year 2030 the Internet, the wireless, the GPS, everything will go down — and how do you connect? It’s by using DIY technology, free network — this has been my engagement for the past two years, to promote the notion of public wireless network and how it should be shared. We made this performance by having this lunchbox that can test whenever there is a wireless network. It makes noise that we use as the basis for a noise party — hopefully, a dance party" WEB WORK CAN BE VIEWED AT http://shulea.worldofprojects.info http://gallery9.walkerart.org/  http://residence.aec.at/kop/KOP/html/index.html http://www.medienkunstnetz.de/works/kingdom-of-piracy/ Shu Lea Chang donne "lectures" et "workshops" et pratique le "collaborative art" à l'échelle internationale, dans des projets-productions, qu'elle réactualise dans des contextes différents, à l'invitation d'écoles, d'institutions et qu'elle présente aussi en installations muséales sophistiquées. LE PROJET TRAMJAM En 2003, à Rotterdam, avec Mumbai Streaming Attack, elle réalise TRAMJAM V.03 - ROTTERDAM RUSHHOUR. En 2004, invitée à Zurich à the New Media Department at the University of Art and Design (HGKZ)par Knowbotic Research (+lien), artistes enseignants-chercheurs, elle a réalisé dans un workshop, un nouveau TRAMJAM. Reprise à Vienne le 2 juin 2004 dans FREE BITFLOWS, Cultures of Access and Politics of Dissemination http://freebitflows.t0.or.at: Live Streaming Event TRAMJAM - VIENNA RUSHHOUR by Mumbai Streaming Attack (CH) (Shu Lea Chang, Niki Schawalder a.o.), live broadcast on Radio ORANGE 94.0 Location: Temporary Location on Karlsplatz (next to Otto-Wagner-Pavilion) http://freebitflows.t0.or.at/f/events/tramjam http://www.turbulence.org/blog/archives/000031.html Son activité artistique prend place dans la "networked_performance": http://www.turbulence.org/blog/archives/cat_wireless.html PROJECTS – NET. INSTALLATION. INTERFACE. WEB. DIGITAL.TV.FILM. LOVEME2030 (2004), a miniDV microdrama in post-production RICHAIR2030 by TAKE2030 (2004)0, a wifi roaming performance, touring UK and Berlin. INTER----MISSION, THE BALLAD of (UN)DESIRABLE (2003-) installation, performance, in development ROLL OVER, CHINA DOLL 2030(2003) installation/performance, MissChina Beauty/Nuit Blanche2003, Paris PLATINUM SNAPMEAT, performance event, OUT FESTIVAL2003, Los Angeles. GARLIC=RICH AIR 2030, net installation, Limbo Zone, Venice Biennale. RICHAIR2030, performance, installation, Zone of Urgency, Venice Biennale. BURN (2003), interface/installation, FACT (Liverpool, UK), included in Zone of Urgency, Venice Biennale. KINGDOM OF PIRACY (2002-2003), net project, co-curation (with Armin Medosch & Yukiko Shikata) GARLIC=RICH AIR (2002), Streaming the Fields Public Network Project, CREATIVE TIME (New York) HUMANMATERIALMACHINEFACTOR (2002), artist as mentor, DASARTS (Amsterdam) DRIVE BY DINING (2002), installation/performance, Wireless Browser day (Amsterdam) STOP (2002), web, Shine02 , Amnesty International online digital art exhibition APT. (2002), web, Shrink to fit net art project, Museum of Communication in Bern EVERYONE IS AN EXPERT (2001), Interface/installation, Make-World Festival (Munich) EXPAND (2001), web, Shopping Window net art exhibition, www.telepolis.de (Germany) BABY PLAY (2001), net installation, NTT[ICC] InterCommunication Center (Tokyo) I.K.U. (2000), scifi digi porn feature , Uplink Co. Production (Tokyo) CARRY ON (2000), web installation, International Woman University (IFU) (Hanover, Hamburg) BRANDON (1998-1999), web/installation, The Guggenheim Museum (NYC), WaagSociety (Amsterdam) BUY ONE GET ONE (1997), NTT[ICC] Biennale Exhibition (Tokyo) ELEPHANT CAGE BUTTERFLY LOCKER (1996), public net art project (Okinawa, Tokyo) BOWLING ALLEY (1995), net installation, Walker Art Center (Minneapolis) SEX FISH++ (1993-1995), video series , distributed by Uplink Co, Video Data Bank and Women Make Movies. FRESH KILL (1994), 35mm feature. Berlin Film Festival. Whitney Biennial, Channel 4 (UK) TO ENTER (1993), installation, The Final Frontier, The New Museum of Contemporary Art THOSE FLUTTERING OBJECTS OF DESIRE (1992-1993), installation, Exit Art, Whitney Museum Biennial. THE AIRWAVES PROJECT (1991), installation, Capp Street Project, San Francisco. COLOR SCHEMES, one channel video, PBS TV broadcast (1986), installation, Whitnet Museum (1990) WILL BE TELEVISED (1990), 5 part video documents of Asia’s social movement with camcorders. MAKING NEWS MAKING HISTORY (1989), installation, American Film Institute. PAPER TIGER TV (1980-1990), public access TV, producing member. DEEP DISH TV (1994-1990), public access satellite TV, producing member. MUSEUM COLLECTIONS BRANDON (1998-1999), permanent collection, The Guggenheim Museum, New York Buy One Get One (1997), permanent collection, NTT[ICC] InterCommunication Center, Tokyo Bowling Alley (1995), permanent collection , Walker Art Center, Minneapolis Color Schemes (1986), permanent collectio , Museum of Modern Art, New York SELECTED EXHIBITIONS VENICE BIENNIAL (June, 2003), Z.O.U. (Zone of Urgency) section curated by Hou Hanru. HARDCORE (February, 2003), Palais de Tokyo, Paris, curated by Jerome Sans. New Media Exhibition (February, 2003) The FACT Center, Liverpool. Dutch Electronic Arts Festival (February, DEAF2003) V2, Rotterdam. UNPLUGGED, ARS ELECTRONICA (2002), Linz, Austria METROPOLIS (2002), Chicago Art Fair. AIMll: LUNA PARK PROJECT (2002), Museum of Contemporary Art (MOCA), Los Angeles SCIFI DIGI PORN (2001) , Julia Friedman Gallery, Chicago IKU STRIPPED (2001), Women Art Network, Tokyo IKU (2000), film festivals: Sundance Film Festival. Fantasia Film Festival; Montreal; Nat Film Festival; Copenhagen; Asian Cine Vision Festival; New York; Ars Electronica, Linz; Institute of Contemporary Art, ICA; London; Wexner Center for the Arts, Ohio; “Body as Byte”, Kunstmuseum Luzern, Switzerland; Creteil Femme Film Festival, Independent Film Festival, Argentina; “City of Women” , Slovene national Cinematheque, Ljubljana; Mix Brasil; Mediarama, Electronic Art & New Technologies Festival, Seville, Centro Andaluz de Arte Contemporáneo; Museo Nacional Centro de Arte Reina Sofia, Madrid.NEMO Independent film festical, Paris. Dystopia and Identity in the Age of Global Communication (2000), Tribe Gallery, New York FLUID (2000), The Project, gallery installation, New York, Taipei Fine Art Museum Biennale TOKYO IKU (2000), gallery installation, Ota Fine Arts, Tokyo BIG DOLL (2000), interface installation, Edith-Ru&Mac223;-Haus, Medienkunst, Oldenburg, Germany THEATRUM ANATOMICUM (1998-1999), installation, Amsterdam, Johannesburg Biennale Exhibition( (1997) NTT [ICC] Bieannle Exhibition (1997), Tokyo. FELLOWSHIP, PRIZES, GRANTS, HONORS, RESIDENCIES 2003, Arts Council England. 2002, Challenge to the Field Award, Lyn Blumenthal Memorial Fund for Independent Media, Chicago 2001, Civitella Ranieri Fellowship, artist-in-residency, Italy Fellowship, Japan research residency, Asian Cultural Council 2000, MARS Exploratory Media Lab, GMD Institut für Medienkommunikation, Germany 2000, innovative filmmaker of outstanding achievement, Mix Festival, New York 1998-1999, The Mondriaan Foundation , the Ministry for Cultural Affairs in Holland, The Bohen Foundation, The New York City Department of Cultural Affairs, Artist in Residency, Amsterdams Fonds voor de Kunst, Master Artist Residency, Institute on the Arts and Civic Dialogue, Harvard University 1997, Computer Arts Fellowship, the New York Foundation for the Arts. Awarded second prize and permanent collection, NTT[ICC] Biennale Exhibition, Japan 1996, Moving Images Installation and Interactive Media Fellowship, the Rockefellor Foundation Artist-in-residency, Pop, Mass and Sub', Banff Center for the Arts 1995, Installation grants, AT&T New Voice/New Vision, Walker Art Center 1994, Visual Artist Fellowship, National Endowment for the Arts 1992-1993 Film/Video Fellowship, The Rockefellor Foundation Film production grants, ITVS (Independent Television Service) and Channel Four, UK. Film development/production grants, New York State Council on the Arts ; American Film Institute SELECTED BIBLIOGRAPHY Sans, Jerome, “Hardly Tender Softly Served, ” HARDCORE. Palais de Tokyo. February 2003. Schneider, Julia,. “Get Garlic.Go Wireless, ” Springerin, Austria. December, 2002. Gunn, Angela, “Dollars and Scents,” Time Out New York, September, 2002 Toshiki, Hoshino, “They Are Not “Neo-Hippies, ” Composite, Japan. Vol.2. No.25, January 2002. Marcette, Gina, “ Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea Cheang’s Fresh Kill, “ Duke University Press, 2001. Perra, Daniele, “Focus On, .” Tema Celeste Comtemporary Art, May-June 2001. Bosco, Roberta, “El digiporn de Shu Lea Cheang,” Barcelona Art Report 2001. Rich, B.Ruby, “The I.K.U. Experience, The Shu Lea Cheang Phenomenon,” Asian Cine Vision, 2000 Bailey, Andy, "Tokyo Porn, " The Face, Vol 3, number 46, November 2000. Chong, Annabel, “Laid Runner,” VIBE, November, 2000 Schonherr, Johannes. “Sex Art Aborigine, ” Fleshpot, Critical Vision, 2000 Chua, Lawrence, "An Odd Circuit," Art Asia Pacific, Fall edition 2000. Medosch, Armin, “Virtuelles Live-Gerichtsdrama, “ Telepolis.de, November 1999 Kroker, Arthur and Marilouise, "Web Delirium, The Okinawa Project, " Digital Delerium. New York: St. Martin's Press, 1997. Furlong, Lucinda. "Gender Bending, Works of Shu Lea Cheang, " College Press, 1996. Hanhardt, John. "Media Art Worlds: New Expressions in Film and Video, " 1991-93, 1993 Carr, C. "In Carr, On Edge: Performance at the End of the Twentieth Century.," Hanover, New Hamshire: Wesleyan University Press, pgs. 206 - 11, 1993. Kotz, Liz. "Shu Lea Cheang at Exit Art, " Art In America, Vol 81, January 1993, p.106. Highs, Kathy and Cheang, Shu Lea, eds. "Shot/Reverse Shot, A Cross Circuit Videologue, " Felix, NYC. 1992. Howell, John, ed. "Breakthroughs, Avant Garde Artists in Europe and America," 1950-1990, Wexner Center for the Arts, New York: Rizzoli, 1991. EDUCATION 1977, Master of Arts, Cinema Studies, New York University 1976, Bachelor of Arts, History, National Taiwan University |
| Shu Lea Cheang : Le projet BURN en ligne |
a KOP <Kingdom of Piracy> project http://kop.fact.co.uk http://kop.fact.co.uk/burn  CALLING sound artists, musicians and DJs BURNOUT- a soundjam raid DATE: 19:00, 22-01-05 PLACE: Main Trend Gallery Shu Lea Cheang presents a recent online experience BURN as a generous interactive social gesture. The work celebrates the file sharing practice of P2P (peer to peer), while creating a browser based public upload and download mp3 sharing space on the web. The act of sharing music files is the focus of this online project, which calls for public music upload and download. A pile of blank BURN CD is made available in the gallery space for the 'burning' act - download and burn. The BURN interface further allows users to encode the uploaded MP3 music files in assorted color (i.e. juice, baby blue, acid yellow....) that explores system/theories of colour and music. During BURN's exhibition at Taipei's Main Trend gallery, as part of wayward economy exhibition, curated by Manray Hsu and Maren Richter, we call for sound artists, musicians and Djs to join us for music upload. upload your music. download others' music. ripapart the music. recook the music. reload the music. toast the music. burn the music. burn the house. All soundists are invited to participate with own laptop equipped with wifilan. The participation of music upload helps to create a a rich archive of public domain MP3s, By allowing the user free access to this archive, BURN is a celebration of digital abundance and an act of defiance against the legal and technocratic enforcement of artificial scarcity online. For participation, Contact: "shulea cheang" <shulea@earthlink.net> "manray hsu" manrayhsu@gmx.de for creative commons concept, check http://creativecommons.org http://creativecommons.org.tw |
