Arts & Media❯Film

Shu Lea Cheang is an artist, conceptualist, filmmaker, and networker who has worked in the field of net-based installation, social interface, networked performance, and film production. Her work traverses between hard and soft, sex and politics, fiction and reality, fantasia and earth-bound.

Fresh Kill (1hr 20min) 1996: Shareen and Claire, a lesbian couple living on Staten Island, find themselves ensnared in a vast conspiracy involving a ghost ship of nuclear refuse, ominous television commercials, and deadly cat food.

SEX FISH (6mins) 1993: An erotic lesbian video involving swimming upstream, female power, and fish love. Made as a collaboration under the name E.T. (Ela Troyano) Baby (Jane Castle) Maniac (Cheang). “In Sex Fish water provides the common denominator for nature imagery and explicit sex. Unlike 1970s feminist imagery, however, nature is sexualized rather than sex naturalized. Dripping from the faucet, spraying against a shower curtain, swirling down a toilet, water leads viewers from one sex scene to another, private to public and back again. Swimming through the video are various fish, seemingly unaware of the derogatory pun they enact, and all gulping enviously as cunnilingus surrounds them.” —Chris Straayer, Deviant Eyes, Deviant Bodies: Sexual Re-orientations in Film and Video (New York: Columbia University Press, 1996)

SEX BOWL (7:43 mins) 1994: All forms of human sport become sites for sexual play and celebratory eroticism.

“The tape’s images are quick, suggestive, and sexy: fingers moving into bowling balls, shoe-smelling and toe-sucking, a dog wearing chain jewelry, fish being wrapped at the market, young naked couples having sex…. Edited like a music video, the image track is a constant flow of fetishes that lure us into the promiscuous pace of girls who keep lists of their sexual encounters.” —Chris Straayer, Deviant Eyes, Deviant Bodies: Sexual Re-orientations in Film and Video (New York: Columbia University Press, 1996)

FINGERS AND KISSES (4:35 mins) 1995: Cheang has taken her camera to the streets for a candid glimpse of lesbian public sexuality. If Asian women and lesbians share a certain amount of invisibility in the culture, Fingers and Kisses offers not only a bold representation of both, but a challenge to the question “What do lesbians do?” Tokyo’s own out-and-loud music by Chu punctuates the narrative as what begins in the streets continues under the sheets.

COMING HOME (5mins) 1995: This humorous video begins with two women—one white, the other Asian—attempting to fit into a Japanese bathtub. The awkward fitting of bodies into a small space is just one of the allegorical scenarios dramatized in a pressing appeal for lesbian rights. In a game of hanafuda (flower cards), the terms of lesbian domesticity are cleverly played out according to such legalities as joint property, social security, and pensions.

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For Tank and the Bangas, music is a vessel for unbridled joy and transcendent connection—forces as integral to their essence as their wildly original sound. On their new album, The Last Balloon, the New Orleans-bred outfit channels those impulses into something celebratory yet profoundly human, exploring themes of frustration, resilience, and self-realization with equal parts raw emotionality and playful exuberance. A shapeshifting collective helmed by lead singer Tarriona “Tank” Ball and multi-instrumentalist Norman Spence II, the globally beloved group completed the LP after winning a Grammy for 2024’s spoken-word powerhouse The Heart, The Mind, The Soul, moving from incendiary poetry to a euphoric collision of soul and hip-hop and forward-thinking R&B. As the final installment in a trilogy of albums that began with 2019’s Green Balloon (a critical triumph that earned them a Grammy nomination for Best New Artist), The Last Balloon ultimately solidifies Tank and the Bangas’ legacy as one of modern music’s most steadfast voices of sublime exhilaration.

With Ariel J., Zeus (DJ). All Ages