#theresa hak kyung cha

[thinkingimages]

Theresa Cha | Life Mixing performance (1975), at University Art Museum, Berkeley. 

In the exhibition No other cure none other than words in talking, the Staatliche Kunsthalle Baden-Baden is currently showing historical and contemporary female artists whose works are linked by the themes of language, memory and the experience of foreignness. The title of the exhibition is taken from the book Temps Morts by Theresa Hak Kyung Cha (1951, Busan, KOR - 1982, New York, USA).

In her lecture, Dr. Lisa Steib refers to the art that influenced Theresa Hak Kyung Cha's work in the Bay Area of California in the 1970s, especially the performance art that emerged in and around San Francisco during this period. In addition to Theresa Hak Kyung Cha, the lecture will focus on artists such as Terry Fox, Jim Melchert and Tom Marioni.

The lecture will be held in German.

[walls-to-the-ball]

Theresa Hak Kyung Cha, Aveugle Voix, 1975.

[proustian-dream]

Theresa Hak Kyung Cha, A BLE W AIL, 1975, performance.

[antronaut]

Theresa Hak Kyung Cha in 1979 photo: James Cha

[bun7777777777]

theresa hak kyung cha, dictee (1982)

[standingatthefence]

Richard Barnes | Theresa Hak Kyung Cha in about 1980, when she traveled to Seoul to work on a film project.

[seekingstars]

Dictee - Theresa Hak Kyung Cha

[kitchen-light]

When I came across Dictee in New York a few years ago, it was like receiving a dispatch, a linguistic memo I didn’t understand. It stayed with me, this dispatch, because (I now realize) as a German poet writing mostly in the language I was raised in, I was and am always in search of paths that lead me away: away from the sorts of understanding that I’ve inherited; away from my ways of think­ing as an East-, perhaps post-East-, perhaps multi-German writer; away from the categories of estrangement and non-estrangement in my life, which has long swung like a pendulum between New York and Berlin. For me, being a multilingual writer means that words are always inscribed with ghost-words. Cha’s work was par­ticularly relevant to my experience of multilayered cultural and lin­guistic self-estrangement.

Uljana Wolf, from her essay “Hidden Words | Searching for meaning in a rubber stamp”, translated by Sophie Seita, published in The Yale Review,  September 1, 2022

[dk-thrive]

Void the words. Void the silence.

Bit by bit. Commas, periods, the pauses. Before and after. After having been. All. Before having been. Phrases   silent Paragraphs   silent Pages and pages a little nearer to movement line after line void to the left to the right. Void the words. Void the silence.”

—  Theresa Hak Kyung Cha, Dictee (University of California Press; September 13, 2022)

[mavirtute]

Theresa Hak Kyung Cha, Dictée

[ponygirlponygirl]

“She says to herself if she were able to write she could continue to live. Says to herself if she could write without ceasing. To herself if by writing she could abolish real time. She would live.”

Theresa Hak Kyung Cha, Dicteé

[baroque-hashem]

Author Theresa Hak Kyung Cha, in 1979.  Photograph by James Cha

[proustian-dream]

Theresa Hak Kyung Cha, Pomegranate Offering, 1975.

[bun7777777777]

theresa hak kyung cha, dictee (1982)