MUNICH.- The first institutional survey of Shu Lea Cheang (b. 1954, Taiwan) updates her works and artefacts of the past three decades into new landscape formations. Each gallery is its own world in which internet-based installation and software interaction invite to explore and participate.

KI$$ KI$$ takes Shu Lea Cheang’s first feature film Fresh Kill (1994) as a starting point. Cheang moved to New York in the 1980s, where she joined the vibrant scene of independent cinema and started experimenting with video, live TV, and network technologies. Since the 1990s her work has challenged and furthered our understanding of digital culture. Cheang anticipated the advance of alternative currencies, investigated gamified societies, and probed bio-technologies. Her works often develop over several years, through different stages and media, including video, installation, performance, and various forms of cinema.

The exhibition spans four gallery spaces, in which artworks and artifacts are brought into dialogue with each other and thus become new installations. Waste becomes a central theme that guides Cheang's examination of the intertwining of the biosphere and technosphere.

“KI$$ KI$$” reimagines the exhibition as a transformative journey, or a “machine of experience”. From a different angle but in dialogue with the ongoing exhibition “Voices” of Philippe Parreno, Shu Lea Cheang’s daring science-fiction narratives focus on non-human intelligences both natural and artificial. Engaging with new and ancient technologies, the exhibition continues our engagement with contemporary and emerging transmedia art practices, following exhibitions by Dumb Type, Tony Cokes, and WangShui

Curated by Sarah Johanna Theurer with Laila Wu.

Shu Lea Cheang (b. 1954, Taiwan) is an internationally renowned artist and filmmaker whose work spans the realms of art, technology, and activism. Known for her "gender bending, genre hacking" practices, her art often employs transgressive narratives and participatory open networks, encouraging public engagement and collective imagination.

Cheang moved to New York in the 1980s, where she joined the vibrant scene of independent cinema and community TV collectives and started working with video, live TV, and network technologies. Since the 1990s her work has challenged and advanced our understanding of digital culture.

In addition to her trailblazing Net Art works, Cheang anticipated the advance of alternative currencies, investigated gamification and probed biotechnologies. Cheang seeks to involve the public into her works in order to "run the script" together. Her works often develop over several years, through different stages and media: they can be hacked, modified, and updated.

This is Cheang’s first survey exhibition and it includes works and artefacts from the past three decades. The works are not presented as autonomous objects, but as landscapes – interconnected elements of the artist’s creative cosmos.