Shu Lea Cheang

KI$$ KI$$

14 February 2025 — 03 August 2025

Haus der Kunst, Munich

Shu Lea Cheang survey exhibition “KI$$ KI$$” takes the net artist and filmmaker’s first feature film, Fresh Kill (1994), as a starting point to present the artist’s world-building practices. In three landscape formations, the exhibition combines updated and previously unrealised works and goes beyond the execution of individual objects. The internet-based installation, software interaction, and multiplayer performance invite the audience to explore and play.

“KI$$ KI$$” reimagines the exhibition as a transformative journey or, as the artist calls it, a “machine of experience.” Shu Lea Cheang’s daring science fiction narratives centre on non-human intelligences (both natural and artificial). Engaging with new and ancient technologies, the exhibition continues Haus der Kunst’s engagement with contemporary and emerging media.

Curated by Sarah Theurer with Laila Wu.

Shu Lea Cheang

Shu Lea Cheang (born in Taiwan, 1954) is an artist and networker working at the interface between video, net-based installation, software interaction and durational performance. For over four decades, her practice explores subjects that are in a state of constant flux, including racial relations, the ecological impact of humans, information dissemination, the ethics of biotechnology and sexual politics.

Her first landmark exhibition, Color Schemes, was held in 1990 at the Whitney Museum of American Art, New York. The Guggenheim web-based commission, Brandon, 1998-1999, is the first work of this medium commissioned by a major institution and is continually cited in new media art history as a seminal work of net art. Brandon is a probing investigation of human sexuality and identity through the life and death of Brandon Teena, a young transgender man, who was raped and murdered in Nebraska for being transgender. She has had foresight into alternative currencies and decentralised organisations with Garlic=Rich Air (2002–), investigated gamified societies with Bowling Alley (1995), probed biotechnologies in Locker Baby Project (2001–2012) and explored their mutable nature in Mycelium Network Society (2017–).

Cheang represented Taiwan at the 58th Venice Biennale, presenting 3x3x6, 2019, a panoptic installation dealing with architectural control, confinement technologies and data collection via ‘case studies’ of people imprisoned because of their gender, sexual or racial nonconformity.

In 2024, Project Native Informant presented Scifi New Queer Cinema, 1994-2023, a solo exhibition of Cheang’s four major film works: FRESH KILL, 1994, I.K.U., 2000, FLUIDØ, 2017, and UKI, 2023. Each work dismisses disciplinary limitations, conventional separations of form and content, aesthetics and truth. Her genre bending gender hacking practices challenge existing operating mechanisms and society’s structural boundaries.

Cheang’s works have been exhibited internationally, including; MUSEION, Bolzano; Museum Brandhorst, Munich; Hammer Museum, Los Angeles; Palais de Tokyo, Paris; Walker Art Center, Minneapolis; NTT Inter Communication Center, Tokyo and The Solomon R. Guggenheim Museum, New York. She has been a member of the alternative media collective Paper Tiger Television since 1982 and produced public-access programs for the group addressing racism in the media.

She was recently awarded the 2024 LG Guggenheim Award in recognition of her prescient exploration of emerging technologies and their broader societal implications.

In 2025, Tate Modern will host the UK premiere of Hagay Dreaming. This acclaimed performance by Cheang and practicing shaman Dondon Hounwn combines dance and ritual with laser projections and motion-capture technology.

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