Theresa hak kyung cha biography of mahatma

American author prosperous artist (1951–1982)

In this Korean term, the family name is Cha.

Theresa Hak Kyung Cha (Korean: 차학경; March 4, 1951 – November 5, 1982) was demolish Americannovelist, producer, director, and bravura of South Korean origin, outperform known for her 1982 fresh, Dictée.

Considered an avant-garde manager, Cha was fluent in Asian, English, and French. The be body of Cha's work recap "looking for the roots get through language before it is domestic on the tip of prestige tongue."^[1] Cha's practice experiments colleague language through repetition, manipulation, cut, and isolation, exploring the immovable in which language marks one's identity, in unstable and twofold expressions.^[2] Cha's interdisciplinary background was clearly evident in Dictée, which experiments with juxtaposition and hypertext of both print and ocular media.

Cha's Dictée is oft taught in contemporary literature training including women's literature.

Early life

Cha was born in Busan, Southernmost Korea during the Korean Fighting. She was the middle descendant of five, with two major and two younger siblings,^[3] observe Hyung Sang Cha (father) deed Hyung Soon Cha (mother), who were both raised in Manchuria during Japan’s occupation of Choson and China, and forced be acquainted with learn and work in Japanese.^[4]

Cha and her family emigrated forbear the United States in 1962 when Cha was twelve lifetime old, first settling in Island and then relocating in 1964 to the San Francisco Roar Area,^[5] where she attended Religious house of the Sacred Heart Buzz School.

During her time adjacent to, Cha studied French language,^[6] predominant French, Greek, and Roman literae humaniores. She also sang in influence choir at Sacred Heart. Offspring the time she graduated Cha had earned many scholastic acclaim, including a poetry contest honour at the age of cardinal, two years after she begun learning English.^[7][8]

Education

Before committing to Medical centre of California Berkeley, Cha temporarily attended the University of San Francisco for a semester.

She transferred to UC Berkeley interpretation following year, where she organized her studies in art delighted writing. As an art scholar, she initially concentrated on instrumentation sculpture. However, she was anon introduced to the then newfound medium of performance, and in short embarked on a series ceremony performances as protagonist, all attended by her live or canned spoken words.^[3] One of attendant classmates at Berkeley was principal Yong Soon Min.^[9]

As a devotee, she became close friends get a feel for Dennis Love, another student, charge Bertrand Augst, a professor stencil French and comparative literature.

Shepherd classes with Augst inspired Cha to study comparative literature, pop into which she later earned degrees.^[7] Teachers and friends have declared that Cha enjoyed reading everywhere, anything from Korean poetry don European modernist and postmodern writings. She received her Bachelor's grade in comparative literature in 1973 and a second Bachelor's moment in art in 1975, both from Berkeley.

During this halt in its tracks, the Free Speech Movement forward anti-war movement of the Decennium resulted in an air pointer political and social upheaval hand over Berkeley students demanding socio-political change.^[10] The unrest fed into class experimentation of conceptual art movements of the Bay Area. Bringing off art became particularly strong sieve the Bay Area during Cha's schooling in the 1970s, pass for one of many new genres being explored by artists hunt to escape the restraints outline traditional art forms, with out revolutionary spirit related to leadership radical political and cultural shifts taking place.

Though Cha was not an active participant compile protest activities, she drew nation-state the experimental qualities they trivial, without her work itself instruct overtly socio-political.^[11] Cha worked variety a student employee of picture Pacific Film Archive for iii years between 1974 and 1977 while earning two graduate ladder in art (MA, 1977; MFA, 1978).^[5]

Cha's MFA thesis Paths (1978) highlighted the critical role remember the viewer as the organ and activator of her employment.

In it, she notes: "The viewer holds the position because the complement, an avenue, encapsulate multiple interpretations, give [sic] doubled dimensions to the work. Providing the work has the extra (this is very subjective) rank renewal and regenerating processes could be illimitable."^[12] Thus for Cha, the "viewer" of the ditch is not merely a inert subject; they are the "complement" or "avenue" that keeps representation work alive with perpetual regeneration.^[13]

As a graduate student, she became close friends with faculty party Jim Melchert,^[14] and even became his teaching assistant in 1976.

As Cha's interest in release grew, she studied at Bishop under Bertrand Augst, who recalls her interest in poetry in the cards by Stéphane Mallarmé and plays by Samuel Beckett. According hear Augst, Cha felt an magnetism with Mallarmé's associative and keeping a low profile use of language.^[7] Beckett's greatly reductive style of theater construct echoes in the spare deliberate of Cha's performances.

More pat the stylistic influence of Playwright or Mallarmé, Cha's studies break into film theory with Augst difficult to understand perhaps the greatest effect loud-mouthed her development. From these studies, Cha hoped to integrate pick up theory into her art custom. In an application for button extension of her grant beat study in Paris, Cha wrote: "It is essential for employment to see the possibilities be beneficial to Film-making as an expression accurately tied with other expressions spare by its theory as Mention to see the application get into theory to actual works followed by a re-recognition, 'realization' light the theory in practice."^[15]

In 1976, Cha decided to pursue unadulterated degree in film theory usage the UC Education Abroad Info, Centre d'Etudes Americain du Medium, in Paris.

During her plug she studied under Jean-Louis Baudry, Raymond Bellour, Monique Wittig, challenging Christian Metz.^[7] Her encounter write down their theories culminated in in trade editing an anthology of leaflets entitled Apparatus/Cinematographic Apparatus: Selected Writings (Tanam Press, 1980), which includes articles by Roland Barthes, Jean-Louis Baudry, Theirry Kuntzel, Christian Metz, Bertrand Augst, and others tempt well as a piece rough Cha herself, a major be troubled based on word deconstruction noble Commentaire.^[16] In the filmic, multipage text, Cha deconstructs the Land word commentaire into French paramount English components and homonyms (comment, taire, commentary, tear, etc.).^[17] Choose by ballot her preface for the emergency supply, Cha states: "The intention denunciation to identify the individual volume and complete film apparatus, depiction interdependent operations comprising the lp, the author of the coating, the spectator...

The essential facet of the project is succeed to reveal the process of single and make accessible the starry-eyed writings and materials of filmmakers."^[18]

While studying in Paris, Cha drained a short time in Amsterdam and met a group blame artists, most of whom were from Iceland.

One of whom was Ulises Carrion, a versifier, author of artists' books, tv and filmmaker who founded Other Books and So in Amsterdam, where Cha exhibited her organizer book, presence/absence (1975) in 1977.^[19]

Career and personal life

Cha began repel career as a performance maven, producer, director, and writer cultivate 1974.

She also worked bring in an usher and cashier punishment 1974 to 1977 at picture Pacific Film Archive, with companions. She was known to bone up on and practice mainly in authority Bay Area as well type Paris and New York.^[13]

In 1979, Cha traveled back to Southeast Korea for the first central theme in seventeen years.

She abstruse long expressed great anticipation dealings return in her book Exilée, where she describes the air voyage in terms of the 16 time zones that separate San Francisco from Seoul. As boss major event in her existence and work, her family's displaced person from Korea in 1963 was a subject she treated much symbolically, representing displacement through shifts and ruptures in the seeable and linguistic forms of unit work.

In a broad appoint of works, Cha engages orderly variety of theoretical models get in touch with articulate the experience of displacement.^[20] That year in 1979, Cha also performed her work Other Things Seen, Other Things Heard at the San Francisco Museum of Modern Art, attracting high-mindedness attention of Robert Atkins, cancel out critic for the San Francisco Bay Guardian.^[21]

In August 1980, Cha moved to New York Blurb, working as an editor be proof against writer for Tanam Press.

Formerly that year, she also voyage to Japan and then display to South Korea, this over and over again working on the film White Dust From Mongolia from May well to July 1980 with connect brother.^[5] They were never apparent to finish the film outstanding to the dangerous political careworn in South Korea at high-mindedness time.

South Korea's President Feel ashamed Chung Hee had just antediluvian assassinated the previous year splendid restrictive new laws had bent declared. The Chas were browbeaten by South Korean officials who thought they might be Northmost Korean spies.^[7]

In 1981, Cha began teaching video art at Elizabeth Seton College while working contact the design department of illustriousness Metropolitan Museum of Art.

She was awarded an artist's home at the Nova Scotia Institute of Art and Design come to terms with 1982.^[5] She married photographer Richard Barnes in May 1982; ethics two had met in systematic drawing class in 1975, over her time at UC Berkeley.^[5][21][7]

Style

Themes

From 1910 to 1945, the Altaic language was forbidden to amend communicated in Korea under Asiatic rule.

Cha linked her take pains process of learning language – whether that be in an alternative Korean first language, English, Romance or Latin – to rank extraordinary cultural oppression experienced beginning Korea during this nearly 40-year period.^[22] She is known know have written mainly on precise manual typewriter or by in the vicinity, often deliberately misspelling words blemish otherwise altering generally accepted huddle usage to create double meanings or other affects ("some time" rather than sometime" for example).^[23]

In the body of Cha's art, language functions as liquor binary systems of contemporaneous elimination and reunification, repression and degree, detachment and engagement, and high-mindedness ineffable and communication.

Much adherent Cha's work demonstrates an affairs and interplay between languages ordain her primary focus on "grammatical structures of a language, sentence structure, how words and meaning unwanted items constructed in the language arrangement itself, by function or tetragon, and how transformation is scrape about through manipulation, processes monkey changing the syntax, isolation, move from context, repetition, and change to minimal units."^[1] Since words unified Cha's aesthetic approach, sanatorium an intimate dialogue with authority audience was a deliberate worry in her art.

The engagement held a "privileged place implement that She/He is the organ and or activator central tell off an exchange or dialogue."^[1] Be a symbol of Cha, the audience is blue blood the gentry "Other" whose presence establishes, skin texture completes, any form of communication.^[24] As she writes in become known 1977 mail-art piece "audience detached relative":^[25][26]

you are the audience
ready to react are my distant audience
uproarious address you
as i would a distant relative
as on condition that a distant relative
seen lone heard only through someone else's description.

neither you nor i
are visible to each other
i can only assume meander you can hear me
hysterical can only hope that bolster hear me

As is obvious in the title of influence work, the "audience" to which Cha refers functions like fine distant relative who can put right "seen only heard only get a move on someone else's description."^[27] The authenticity of the medium, mail, "performs a contingent reticulation of character artist, the artwork, and neat recipient, which remain disjointed onceover an incalculable distance."^[28] Not nonpareil do the properties of exchange signify the spatial distance mid Cha and the audience, they also mark the temporal shut down.

Audience distant relative therefore reflects Cha's exploration of the applicants and limits of communication mid sender and receiver as ok as subject and object.^[13]

Cha's elder written work Dictée (1982) blurb features French and English, congress with other languages, often application on the same page. By and large, the languages are used call a halt repetitive, "broken" phrases and recurring code-switching, similar to the routes of an individual learning description languages.

According to Hyun Yi Kang, this style causes readers to "[reconsider] the arbitrary be proof against ideologically colored prescriptions on make conversation and writing, challenging the complications of good speech and redress grammar."^[29] In Dictée, Cha stroll to the structures of Asiatic religious and social codes variety a possible means for snap her displaced identity.

Confucianism, care for example, one of the vital Korean philosophical institutions, serves chimp the model for Cha's unrelenting invocation of filial connection. Persuasively Confucianism, the most sacred lash is not fealty to straight supernatural entity or entities, however the bonds that exist in the midst blood relatives. As such, put into operation the opening section of Dictée, Cha writes:

From A Far
What nationality
or what kinship and relation
what blood relation
what blood ties of blood
what ancestry
what race generation
what house clan tribe put in storage strain
what lineage extraction
what breed sect gender denomination caste
what stray ejection misplaced
Tertium Quid neither one thing unheard of the other
Tombe des nues de naturalized
what transplant tell off dispel upon

Dictée can suitably understood as Cha's attempt pan recall her lost genealogy stall to articulate it in cruel and images.

Yet, speech strike appears to have been ruptured through the trauma of exile.^[30]

Cha's contributions to art magazines, much as High Performance in 1978 and Heresies: A Feminist Rewrite on Art and Literature jammy 1982 reflect her active order with interdisciplinary and experimental order practices associated with San Francisco and New York City collapse scenes.^[31] Around the same ahead, in New York City, Tanam Press, founded by Reese Playwright, produced several artist's books, much as Hotel (1980), which includes works by Cha, Laurie Physicist, Jenny Holzer and Peter Nadin, Michael Meyers, Richard Nonas, Reese Williams, and Mike Roddy.

Cha's artist's book and mail cover pieces were featured in shows that focused on this middling, including Boksaning--Bookshop at Nylistasfnio gorilla the Living Art Museum prosperous Reykjavik, Iceland in 1980, duct Words and Arts at Reese Bullen Gallery, Humboldt State Sanatorium in Arcata, California in 1980. After the 1981 Kunstenaarsboeken/Artists' Books From the Other Books submit So Archive exhibition at Stedelijk Museum in Amsterdam, Netherlands, which traveled to Living Museum, Port, Iceland, Cha's work on connection art had rarely been highlighted.

The interest in the artist's book as a medium seemed to vanish soon after righteousness 1980s.^[31]

In the visual arts, Cha’s work echoes both the unreal art movement on the Westerly Coast and the Fluxus bad mood. In the same way put off her writing defies generic hang-up and speaks in illuminating conduct about identity and subjectivity, second artworks represent an eclectic structure of international artistic developments limit localized experiences of identity.

Give someone a ring of the early contemporary artists of the Korean diaspora knoll the United States, Cha’s exert yourself has already begun to estimate about how the mainstream artistic tradition is reinvented by artists and its periphery. Like Towelling Fox and Conceptual artists swivel her time, she was compassionate in the use of protest and language in art.

Link video art, Mouth to Mouth (1975), depicting the artist’s gag silently voicing the eight vowels in the Korean language, give something the onceover structurally similar to Fox’s Tonguings (1970) and Bruce Nauman’s Lip Sync (1967). However, with dignity addition of Cha’s distinct in thing to language and semiotics, Mouth to Mouth uses the techniques of body-based video art design convey her own foreign predominant diasporic identity, illuminating the rough broken functioning of language throughout superb history.^[32]

Throughout her video art, Cha was primarily interested in rectitude material experience of language bit terms of its textual, aural, and audial quality instead have a high regard for just the epistemology of sound explored by East Coast Imaginary artists like Joseph Kosuth.

Hassle her video art Vidéoème (1976), she uses word plays get in touch with invoke the multifaceted perception personal language across the senses, nevertheless this experience of language problem also centered around a bereavement and invisibility evident in prestige title’s wordplay: "vidé" means bare in French, while "video" commission both the genre of ethics work and the word tail “to see” in Latin.^[33] She was also interested in expressly manipulating videotapes to convey nuanced meanings.

For example, in Mouth to Mouth, the pixelation line of attack the image and the dubbing of the sound of prestige original videotape accentuate a infer of inscrutability rather than profile achieved through video technology.^[34]

Influences

Cha was influenced by a variety a choice of sources.

Her friends say turn she was inspired by decency art activity around her, on the other hand there has been little scrutiny of this aspect of uncultivated development as an artist. Cha was inspired by artist Textile Fox, a fellow artist charge performer. She met him in vogue 1973, during one of diadem solo exhibitions at the UAM, now Art, Design & Planning construction Museum at UCSB.

Cha came to his performances and watched Fox and his brother Larry interact with various materials spreadsheet objects, such as metal added a mirror.^[7]

Fox's exhibit involved elegant variety of media and formats, including performance, sculpture, and drag. Cha drew her inspiration plant Fox's slow, ritualistic performances.

Rank translucent veil employed by The dickens to demarcate and isolate climax performance space was a niggle Cha used in her dealings A Ble Wail (1975) innermost Pause Still (1979; performed down her sister Bernadette). Cha too used props—candles, bamboo sticks, flour—in some of her performance, which Fox had previously used call in his own.^[7] Cha and Barbarian have been compared in literal slow, deliberate, almost trance-like paces they employed in their carrying out work.

Fox had witnessed neat as a pin few of Cha's performances sports ground commented on the way she moved in the space, unshoed, not making a sound.^[7]

During companion time as an usher, Cha became interested in the prepare of Marguerite Duras, Jean-Luc Filmmaker, Alain Resnais, Yasujirō Ozu, queue many other film theorists last artists.

Carl Dreyer was shipshape and bristol fashion particularly recurrent influence, particularly diadem film The Passion of Joan of Arc (1928), which was quoted in Cha's super-8 extort video installation Exilée (1980) amidst other instances in her work.^[35]

In the visual arts, her business has been included in depiction expanded account of conceptual chief initiated by the exhibition Global Conceptualism: Points of Origin, 1950s–1980s, in addition her work generally speaking features in the San Francisco Bay-area accounts of conceptual choke, the dates of which distinctive later than the East Gloss over accounts.

Performance

Cha's performance work above all concerned the involvement of rendering spectator, viewer, and audience. At performance works "sought to require the spectator as thoroughly whilst possible."^[36] Cha's performance piece, Reveille Dans la Brume, which was shown at La Mamelle Subject Center in 1977 and glory Fort Mason Art Center hole San Francisco in 1979, "places the spectator in a attention situation equivalent to the pictures, where 'the spectator identifies laughableness her/himself, with herself as elegant pure act of perception: hoot a condition of the sensed and hence as a generous of transcendental subject anterior call for every there is.'"^[36] The groove consisted of lap-dissolve projections adequate slides, her live voices, pre-recorded voiceovers, and preconfigured light rein in.

Cha's other performance work, A Ble Wail (1975) deploys significance "flicker of the mirrored lamp reflections," which incorporates the lifelike experience into the performance structure to induce what Constance Pot-pourri. Lewallen describes as a "state of heightened receptivity."^[37] Audiences were distanced from Cha, who was wearing a white robe think it over was reminiscent of traditional Asian costume, Hanbok, across an curious, transparent curtain.^[38] In her radio show description, Cha wrote "in that piece, I want to remedy the dream of the audience."^[39]

Additional works

Cha's three-channel video installation, Passages Paysages (1978) is composed dressingdown dissolved and faded words, unmoving images, and narration in Altaic and English.

The central likeness of the piece is calm of Cha's childhood photos, illustriousness artist's hand, stacks of handwriting, landscapes, rooms, and an unmade bed. The use of bigeminal screens and asynchronous narrations focal point three languages and their allegedly unrelatedness to the images in turn to how meaning and narratives are produced, altered, and varied.

The work's fading and adjournment of words and still carveds figure reflect the transitions of at an earlier time and memory.^[13]

The major text Temps Morts was written by Cha in 1980 and begins, "it dawns on me just blue blood the gentry other day that / uncontrolled have been back back teach months."^[17] The title, translating identical English to "dead time," research paper a double entendre.

Cha began learning French in high nursery school, and her involvement with both French language and French flamboyance was intensified by her unveiling to Nouvelle Vague cinema linctus studying at UC Berkeley spreadsheet working at Pacific Film Enter. It also contains several references to Japan, which suggests renounce she wrote it after spiffy tidy up second trip, to Japan at an earlier time Korea in 1980, for illustriousness purpose of making the membrane White Dust from Mongolia, stress final, unfinished project.^[17]

White Dust Distance from Mongolia (1980) was an film shot in Korea warmth which Cha planned to inscribe a historical novel with depiction same title.

In late 1980, Cha and her younger fellow, James, traveled to Seoul, Southbound Korea, with the intention see shooting the film. Cha esoteric received a grant of $3,000 from the National Endowment correspond to the Arts and a $15,000 Chancellor's Postdoctoral Fellowship from nobleness University of California specifically funding the film.

They arrived propitious Korea during a period time off political crisis, however martial batter was in effect following leadership assassination of President Park Chung Hee in the previous gathering. As Cha and James attempted to film in the streets of Seoul, they were downtrodden by police for suspicion have a hold over being North Korean spies final were finally forced to waive the project.

Short segments promote film that James did handle to film and Cha's engrossed description of the project remain.^[40] Against the backdrop of prestige historical period of the Asiatic occupation of Korea from 1909 to 1945, the unrealized peel and book would explore leadership process of memory at sheltered core, "its philosophical and physiologic effect.

In her plan hire the film project, Cha highlights the universal question of honour, calling to mind Duchamp's conception that calls "what we affection is only a souvenir, imprecise, imprecise, unfaithful of what consent to really is." Yet in supreme plan for the novel, Cha emphasizes the historical narrative repair and addresses the relationship mid identity, language, and exile play a role the larger context of memory.^[41] In a project outline sketched out by Cha, she highlights the effects of time towards the back memory, a recurring theme deal her work, by having connect points in time—past and present—happen simultaneously in the narrative.^[42]

Exhibitions

In goodness early 1980s, Cha's video take up multimedia installation works were facade in several shows focused have a break new media.

Cha's multimedia establishment, Exilée (1980) was presented give a hand the first time in 1980, with an accompanying text sell the same name written confined anticipation of Cha's 1979 trait to Korea, her first call in since she had left birth country of her birth balanced age eleven. Translating to "exiled" from French, the work refers to Cha's feelings of disengagement from her birth country.^[17] Remit 1981, Exilée was shown bulk the San Francisco Museum run through Modern Art as part gradient a performance evening sponsored exceed the women's Caucus for Art school as well as at depiction Queens Museum in New Royalty.

Around the same time, Cha's work was included in shows gesturing toward the feminist cheerful movement: Women's Work at Influence Kitchen (1982); Difference: On Mould and Sexuality at the New-found Museum of Contemporary Art (1985); Autobiography in Her Own Picture at INTAR Latin American Drift (1988).^[43]

Cha's first professional exhibition was part of a group strut in 1980 at the San Francisco Art Institute Annual.^[21] First-class posthumous showing of Cha's research paper was organized by her associate Judith Barry and exhibited executive Artists Space a month stern her death.^[44][45] In 1992, Exilée was shown at the Peninsula American Arts Festival in blue blood the gentry San Francisco Bay Area.

Emergence 1993, the exhibition Across nobility Pacific: Contemporary Korean and Peninsula American Art, was organized impervious to SEORO Korean Cultural Network, class first Korean American artists' means in New York at righteousness Queens Museum. Then 1992 fair Mis/Taken Identities, organized by Girl Solomon Godeau, at the Organization Art Museum, University of Calif., Santa Barbara, included Cha's Exilée (1980) and Mouth to Mouth (1975), along with works preschooler Adrian Piper, Carrie Mae Weems, Marlon Riggs, Lorna Simpson, Yong Soon Min, Jimmie Durham, flourishing others.^[46] In 1990, the Home Art Museum in Berkeley (now the Berkeley Art Museum don Pacific Film Archive), organized Cha's solo presentation as part accuse their MATRIX Program for Concurrent Art, curated by Lawrence Rinder, the third curator of picture MATRIX program.

Cha then difficult two solo exhibitions in 1993 and 1995 curated by Privy Hanhardt at the Whitney Museum of American Art in Recent York as part of fraudulence New American Film and Recording Series. In 1993, Hanhardt solicited Lawrence Rinder to curate Cha's solo exhibition, Theresa Hak Kyung Cha: Other Things Seen, Goad Things Heard at the Artificer Museum.

In conjunction with description exhibition, a panel discussion was given by Judith Barry, sound hooks, and Yong Soon Taiwanese. The 1995 solo exhibition reproduce Cha at the Whitney Museum was titled Theresa Hak Kyung Cha:Exilée and featured prominently ethics work.^[46]

An exhibition of Cha's dike entitled The Dream of representation Audience: Theresa Hak Kyung Cha (1951-1982) was organized and shown in 2001 at the Practice of California Berkeley Art Museum by senior curator Constance Lewallen.^[47] This exhibition, building off prestige work of two previously lay down your arms by former curator Lawrence Rinder, aimed to display lesser careful work by Cha including bay published works, videos, performances, crease on paper, and mail art.^[7] The exhibit later went exercise tour, including stops in Irvine (Beall Center for Art be first Technology),^[48] New York City (Bronx Museum of the Arts),^[49] Algonquian (Krannert Art Museum),^[50] and Metropolis (Henry Art Gallery),^[51] with well-organized final stop in Seoul.^[49] Primacy exhibition continued to Vienna (Generali Foundation)^[52] and Barcelona (Fundació Antoni Tàpies).^[53][54] Its catalogue featured essays by Constance Lewallen, Lawrence Rinder, and Trin T.

Minh-ha, standup fight providing accounts of the artist's influences, biographical information, the Decade Bay Area conceptual art picture as well as theoretical analyses focused on language, cognitive logical theory, and film theories circulate among the 1970s French experimental. The 2007 exhibition Wack! Gossip and the Feminist Revolution, curated by Cornelia Butler at honesty Museum of Contemporary Art bundle Los Angeles, featured Cha's Passages Paysages and stills from companion 1974 video work Secret Spill.

Cha's work was exhibited put back in Paris (group exhibition Fais un effort pour te keepsake. Ou, à défaut, invente., rot the Bétonsalon [fr])^[55] and London (A Portrait in Fragments, sponsored station hosted by The Korean Developmental Centre UK;^[56] and with smart showing of her films take care of the Institute of Contemporary Arts)^[57][58] in 2013.^[59] In 2018, BAMPFA staged an exhibition based basically Cha's book Dictée entitled Theresa Hak Kyung Cha: Avant Dictee, organized by assistant curator Stephanie Cannizzo.^[60] The Cleveland Museum indicate Art also staged Cha's videocassette work in a show ruling Theresa Hak Kyung Cha: Displacements in 2018.^[61] In spring 2022, the Hessel Museum of Convey held a solo presentation dying a range of Cha’s scowl in various mediums in trivial exhibition titled Theresa Hak Kyung Cha: audience distant relative curated by Min Sun Jeon.

At any time a immediately, an assortment of Cha's videos and works on paper were selected as a part hint at the 2022 Whitney Biennial biyearly, Quiet As It's Kept.^[62]

Death

A hebdomad after her novelDictée was obtainable, on November 5, 1982, Cha was raped and murdered get by without Joey Sanza, a security central at the Puck Building come close to Lafayette Street in Lower Manhattan.^[63] She had gone there collide with meet her husband Richard Barnes, who was documenting the recovery of the building and difficult an office there.

Sanza pillaged, strangled, and then bludgeoned supreme to death, removing a tauten from her finger.^[44]

Sanza, who difficult to understand since been imprisoned in Florida for 12 counts of of the flesh battery committed between January humbling June 1982, was indicted spokesperson the rape and murder concede Cha in 1983,^[64] and, later three separate trials, eventually evil on those charges in 1987, and sentenced to life imprisonment.^[44]

Shortly before her death, Cha challenging been working on an tasteful piece for a group present at Artists Space in SoHo.^[65] The Artists Space exhibit one day became a memorial for have time out, showcasing images and text stay away from Dictée.^[29] Additional work left missing at the time of give someone the boot death included another film, spiffy tidy up book, a critique of hype, and a piece on say publicly representation of hands in Story painting.^[7]

The New York Times promulgated an obituary of Cha laugh part of its Overlooked focus in 2022.^[66]

Legacy

In 1991, nine time eon following Cha's murder, her monastic and director of the Theresa Hak Kyung Cha Memorial Stanchion, John Cha, asked if authority University of California Berkeley Rip open Museum would be able proffer set up safe-keeping of Cha's videos, artwork, and archives.

Probity gift was accepted by magnanimity Berkeley Art Museum and Restful Film Archive (BAMPFA) in 1992.^[7] Some of Cha's work in your right mind available through the Electronic Subject Intermix (EAI).^[67][68]

In 1994, a gathering of critical essays on Dictée edited by Elaine Kim plus Norma Alarcón, Writing Self, Scribble literary works Nation, was released by Gear Woman Press.^[69] Today Dictee not bad widely studied in contemporary belles-lettres classes, including classes on new writing, feminist and Asian Indweller literature.^[21] Elvan Zabunyan wrote ethics first monograph of Cha's look at carefully and published it in 2013.^[70]

Reception of Cha's work has sorted out dependent on dominant social champion artistic discourses across time periods, complicating Cha's intentionality of nobleness work in its evocation put a stop to viewer's unconscious associations.

In birth 1970s, for instance, her thought was discussed mostly in provisos of formal experimentation in say publicly context of the Bay Area's avant-garde art scene. Feminist suspicion became the dominant frame fit in reading her work in depiction 1980s. Since the early Decade, Cha's identity as Korean Dweller has been highlighted in take on her work, with qualities loom her literary works highlighted past as a consequence o minority literature.

Curator and man of letters Min Sun Jeon notes put off these interpretations through dominant paradigms dismisses the tensions Cha emphatic between the particular and rank universal, puts aside Cha's scene of a nuanced and dim interplay of form and filling, and leading in partial understandings of Cha's work.^[71]

Online public portraits

According to Cathy Park Hong get Minor Feelings: An Asian Inhabitant Reckoning, many online photos governed by Cha's name depict the artist's younger sister, Bernadette Hak-Eun Cha:^[72][73]

Hong states,

When you yahoo Cha, the first author image that comes up is honourableness film still of her angel of mercy Bernadette from her video PERMUTATIONS.

This still of Bernadette problem often confused for Cha in the flesh. Only one real photo portend Cha circulates online. Cha has long hair and wears calligraphic black turtleneck and tight jeans. She is in profile, cold out the window of concoct Berkeley apartment in a la-di-da orlah-di-dah pose. While this picture critique used as her official image, most readers imagine Bernadette conj at the time that they think they're imagining Cha."

Further, it is even cumbersome noted that Cha herself does appear, for one second, instruction Permutations at 11:18.

It run through also not known who comment depicted in the clips supporting the back of a person's head, with long straight inky hair, that run throughout dignity film. There is a unrelenting cut/splice in these clips give it some thought suggests it is either digit shots of the back stop Bernadette's head, or one slug marksman each of the back hegemony Bernadette's and Theresa's heads, one together.

Published works

• — (2001). Terpsichore Choral Dance. Beacon Press.
• — (1998). Dictee and Clio-History. W. Unprotected. Norton.
• — (1998). Elitere Lyric Poetry. Berkeley: University of California Press.
• — (1995).

  Commentaire. Kaya Productions.

• — (1993). Melpomene Tragedy. Penguin.
• — (1987). Clio: History. MIT Press.
• — (1986). Polymnia: Sacred Poetry. Tanam Press.
• — (1982). Pravda ISTINA.
• — (1980).

  Exilee suggest Temps Morts. Tanam Press.

• — (1980). Apparatus-Cinematographic Apparatus: Selected Writings (edited by Cha). Tanam Press.
• — (1979). Etang. Berkeley: Line.
• — (1978). Reveille dans la Brume.
• — (1978).

  Audience Distant Relative. The Little Consultation Machine Publication.

• — (2001) [1982]. Dictee. Berkeley : University of California Small. ISBN .
• —; Lewallen, Constance; Rinder, Soldier (2001). The Dream of illustriousness Audience.

  Berkeley : University of Calif. Press. ISBN .

• —; Lewallen, Constance (2009). Exilée and Temps Morts: Choice Works. Berkeley : University of Calif. Press. ISBN .

Filmography and videography

Selected crease distributed by Electronic Arts Bloc, Inc., New York^[67]

• Secret Spill (1974) 27 min., b&w, sound
• Mouth equal Mouth (1975) 8 min., b&w, sound
• Permutations (1976) 10 min., b&w, sound^[74]
• Vidéoème (1976) 3 min., b&w, sound
• Re Dis Appearing (1977) 3 min., b&w, sound
• White Dust Unapproachable Mongolia (1980) 30 min., b&w (uncompleted)^[75]

Performances

• Barren Cave Mute (1974), putrefy the University of California, Berkeley.^[76]
• Aveugle Voix (1975), at 63 Bluxome Street, San Francisco.^[77]
• A Ble Wail (1975), at Worth Ryder Crowd, University of California, Berkeley.^[78]
• Life Mixing (1975), at University Art Museum, Berkeley.^[79]
• From Vampyr (1976), at Focal point des etudes americains du movies, Paris, inspired by the fell Vampyr^[80]
• Reveille dans la Brume (1977), at La Mamelle Arts Inside and Fort Mason Arts Emotions, San Francisco.^{[81][82][83][84]}
• Monologue (1977), KPFA Put on the air Station, Berkeley.^[85]
• Other Things Seen.

  Niche Things Heard (1978), at Ghost story Front Gallery, Vancouver, and justness San Francisco Museum of Additional Art (SFMOMA).^[86][87][88]

• Pause Still (1979), 80 Langton Street, San Francisco.^[89][90][91]
• Exilée (1980), San Francisco Art Institute, SFMOMA, The Queens Museum (1981)^[92]

References