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Mediation and Authenticity in Theresa Hak Kyung Cha's Dictée Natalie
Mediation and Authenticity in Theresa Hak Kyung Cha’s Dictée Natalie Catasús Literature New College of Florida Introduction: Writing the Past Authors of memoir and autobiography must always grapple with the difficulty of reconstructing the past. What may at first seem to be a manageable task of recollection turns out to be an act of translation that must cross distances of time and location. Authors must probe into the elusive, fluid space of memory and imagine back across time passed in order to access and reconstruct life’s events. But memory is faulty, and the linearity demanded by text contradicts the simultaneous way we process experience. To translate life into text is to flatten out the robust simultaneity of lived experience into the linear medium of language. To complicate matters, authors whose interests extend beyond autobiography and into familial and national history have another set of problems on their hands. How can an author faithfully write about a past event that he or she did not experience, or a person he or she never knew? Can the sources he or she uses (memoirs, photographs, historical records, etc.) make the past more “real” to a reader? If the author acknowledges his or her own limited access to the past, does it make the text more authentic? Theresa Hak Kyung Cha’s book Dictée is loaded with experimental approaches to these questions. The avant-garde techniques she uses radically illustrate the problems of mediation and authenticity in personal narratives coming out of oppressive political contexts. The frustrated language that pervades the book paired with Cha’s idiosyncratic incorporation of outside sources works to express not just the difficulty, but perhaps the impossibility of conveying a lost past. -
UC Santa Barbara Dissertation Template
UNIVERSITY OF CALIFORNIA Santa Barbara Diasporic Ethnopoetics Through “Han-Gook”: An Inquiry into Korean American Technicians of the Enigmatic A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by David Hur Committee in charge: Professor Yunte Huang, co-Chair Professor Stephanie Batiste, co-Chair Professor erin Khuê Ninh Professor Sowon Park September 2020 The dissertation of David Hur is approved. ____________________________________________ erin Khuê Ninh ____________________________________________ Sowon Park ____________________________________________ Stephanie Batiste, Committee Co-Chair ____________________________________________ Yunte Huang, Committee Co-Chair September 2020 Diasporic Ethnopoetics Through “Han-Gook”: An Inquiry into Korean American Technicians of the Enigmatic Copyright © 2020 by David Hur iii ACKNOWLEDGEMENTS This journey has been made possible with support from faculty and staff of both the Comparative Literature program and the Department of Asian American Studies. Special thanks to Catherine Nesci for providing safe passage. I would not have had the opportunities for utter trial and error without the unwavering support of my committee. Thanks to Yunte Huang, for sharing poetry in forms of life. Thanks to Stephanie Batiste, for sharing life in forms of poetry. Thanks to erin Khuê Ninh, for sharing countless virtuous lessons. And many thanks to Sowon Park, for sharing in the witnessing. Thirdly, much has been managed with a little -
The Korean Diaspora
HAUNTING the Korean Diaspora HAUNTING the Korean Diaspora Shame, Secrecy, and the Forgotten War Grace M. Cho UNIVERSITY OF MINNESOTA PRESS Minneapolis • London The University of Minnesota Press gratefully acknowledges the financial assistance provided for the publication of this book from the Office of the Dean of Humanities and Social Sciences at College of Staten Island–City University of New York. A portion of chapter 4 was published as “Prostituted and Vulnerable Bodies,” in Gendered Bodies: Feminist Perspectives, ed. Judith Lorber and Lisa Jean Moore (Cary, N.C.: Roxbury Publishing, 2007), 210–14; reprinted by permission of Oxford University Press, Inc. Portions of chapters 4 and 5 have been previously published as “Diaspora of Camp - town: The Forgotten War’s Monstrous Family,” Women’s Studies Quarterly 34, nos. 1–2 (2006): 309–31. A shorter version of chapter 6 was published as “Voices from the Teum: Synesthetic Trauma and the Ghosts of Korean Diaspora,” in The Affective Turn: Theorizing the Social, ed. Patricia Clough with Jean Halley (Durham, N.C.: Duke University Press, 2007), 151–69. Portions of chapter 6 were published by Sage Publications as Grace M. Cho and Hosu Kim, “Dreaming in Tongues,” Qualitative Inquiry 11, no. 3 (2005): 445–57, and as Grace M. Cho, “Murmurs in the Storytelling Machine,” Cultural Studies—Critical Methodologies 4, no. 4 (2004): 426–32. Portions of chapter 6 have been performed in “6.25 History beneath the Skin,” a performance art piece in Still Present Pasts: Korean Americans and the “Forgotten War.” In chapter 2, the poem “Cheju Do” by Yong Yuk appears courtesy of the author. -
BAMPFA Mounts Major Solo Exhibition of Work by Theresa Hak Kyung Cha
Media Contact: A. J. Fox · (510) 642-0365 · [email protected] BAMPFA Mounts Major Solo Exhibition of Work by Theresa Hak Kyung Cha On View January 31–April 22, 2018 Theresa Hak Kyung Cha: Avant Dictee is First Exhibition Inspired by Bay Area Artist’s Celebrated 1982 Book Dictee (Berkeley, CA) January 18, 2018—The UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) presents an innovatively organized exhibition of work by Theresa Hak Kyung Cha (1951–1982), the first solo presentation in more than a decade of work by the accomplished artist, filmmaker, and writer. Opening on January 31, Theresa Hak Kyung Cha: Avant Dictee features nearly fifty of Cha’s works in a range of media, organized for the first time into distinct thematic groupings inspired by the ten chapters of her iconic 1982 book Dictee. Drawing from Cha’s rarely exhibited archives—which were donated to BAMPFA in 1992—Theresa Hak Kyung Cha: Avant Dictee captures the interdisciplinary scope of Cha’s artistic output, which encompassed photography, poetry, film, video, live performance, mail art, sculpture, works on paper, and more. The selected works highlight the artist’s interest in the spiritual and aesthetic dimensions of language, which is also a central focus of Dictee—a formally ambitious work that includes passages in English, French, and Korean. The exhibition is organized into ten sections that correspond to the chapters of Dictee, with excerpts from the book displayed alongside individual works to illuminate connections and themes that extend throughout the artist’s practice. Born in South Korea, Cha immigrated with her family to the United States as a child and settled in the Bay Area, where she studied French at San Francisco’s Convent of the Sacred Heart before enrolling at UC Berkeley. -
Race, Memory & Identity of Overseas Korean Women: on the Cultural
University of Alberta Race, Memory & Identity of Overseas Korean Women: On the Cultural Politics of Independent Kyop'o Women's Cinema by Sandra Jae Song (G) A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Department of Sociology Edmonton, Alberta Fall 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-46429-8 Our file Notre reference ISBN: 978-0-494-46429-8 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
An Interview with Kuratorisk Aktion
Curatorial Collectives and Feminist Politics in 21st-century Europe: An Interview with Kuratorisk Aktion Angela Dimitrakaki !"#$%&#'()*+)%'&,-*./&%&0*12$#345*67$8(9:%%'#- Founded in 2005 by Danish-born curators Frederikke Hansen (b. 1969) and Tone Olaf Nielsen (b. 1967), Kuratorisk Aktion [Curatorial Action] define themselves as an all-female curatorial collective committed to an investigation of ‘colonialism’s catastrophic race and gender-thinking’ which ‘continues to structure the nationalized, racialized, classed, gendered, and sexed divides of globalized corporate capitalism’.1 Conducted in mid-2010, this interview considers the theoretical, aesthetic and activist premises as well as histories that feed into Kuratorisk Aktion’s complex curatorial practice, seen to inform a broader innovative and critical project vis-à-vis the possibilities of feminism in the political landscapes of the 21st century. Angela Dimitrakaki (AD): Frederikke and Tone, you were born in the late 1960s in Europe, like myself. If for a moment we imagine that profound socio-economic divisions within and across national contexts permit us nevertheless to speak in generational terms, our European youth was marked by two major shifts. First, in the late 1980s and early 1990s European space underwent a major transformation with the collapse of so-called communist regimes. One outcome of this was the consolidation of the paradigm we know as ‘globalisation’, meaning the full expansion of global capitalism (that we now see in crisis). The Western left appeared to have contracted for reasons too complex to touch upon here. Second, in the late 1980s European women’s movements and feminist politics seemed to be a thing of the past, ushering us into the spurious ideologies of a comfortable ‘post-feminism’. -
LIAF-A5-Guidebook-NODE-Final.Pdf
Lofoten International Art Festival | LIAF.no Curated by Heidi Ballet and Milena Høgsberg Henningsvær LIAF is organized by the North Norwegian Art Centre 1.sep – 1.okt 2017 Kuratert av Heidi Ballet og Milena Høgsberg LIAF er organisert av Nordnorsk Kunstnersenter MAP | KART 5 TREVAREfabRIKKEN 13 FOREWORD | FORORD 6 Youmna Chlala CURATORS’ INTRODUCTIOn | 8 Elin Már Øyen Vister KURATORENES INTRODUKSJON Mondo Books Ann Lislegaard Pia Arke & Anders Jørgensen Eglė Budvytytė Fabrizio Terranova Sondra Perry Adam Linder NORDBRYGGA 33 Ho Tzu Nyen Marysia Lewandowska & Neil Cummings Silje Figenschou Thoresen FREDRIKSENBRUKET 41 Lili Reynaud-Dewar Filip Van Dingenen Jimmie Durham Michala Paludan Lisa Rave HENNINGSVÆR STADION 53 Daisuke Kosugi FESTIVITETEN HENNINGSVÆR 57 People’s Kitchen Tromsø / Tromsø Folkekjøkken LIST OF WORKS | VERKSLISTE 60 BIOGRAPHIES | BIOGRAFIER 64 PROGRAM 72 ABOUT LIAF | OM LIAF 76 HENNINGSVÆR 77 ACKNOWLEDGEMENTS | Takk TIL 78 COLOPHOn | KOLOFON 80 Trevarefabrikken is the starting point of the festival værveien Trevarefabrikken er startpunkt Hennings A TREVAREfabRIKKEN Dreyers gate 72 B NORDBRYGGA Dreyers gate 15 C FREDRIKSENBRUKET Henningsværveien Saltværingsveien 45 Misværveinen Nordtjønveien D FESTIVITETEN HENNINGSVÆR B Dreyers gate 110 E HENNINGSVÆR STADION reyers gate Løktveien D A Hellandsgata Bahnharramen 8312 Henningsvær Opening hours | Åpningstider: Kirkeveien Tuesday–Sunday: 11:00–18:00 D Saltværings Mondays closed Tirsdag–søndag: 11:00–18:00 veien D mandager stengt reyers gate C Løktveien E 4 5 future. As such, the fishing village et pittoresk bakteppe, men et sted isn’t just a picturesque backdrop, å skape kunst fra, og et sted som but also a place for creating art and gir oss perspektiver. Jeg vil takke gaining perspectives on the world ku ratorene Heidi Ballet og Milena and ourselves. -
Autobiographical Displacements
Autobiographical Displacements The Elusive Subject and the Figure of the Author in Gertrude Stein’s The Autobiography of Alice B. Toklas and Theresa Hak Kyung Cha’s Dictee Nina Engebak Yardley A Thesis Presented to The Department of Literature, Area Studies and European Languages University of Oslo in Partial Fulfilment of the Requirements for the MA Degree Spring 2013 II Autobiographical Displacements The Elusive Subject and the Figure of the Author in Gertrude Stein’s The Autobiography of Alice B. Toklas and Theresa Hak Kyung Cha’s Dictee Nina Engebak Yardley III © Nina Engebak Yardley 2013 Autobiographical Displacements: The Elusive Subject and the Figure of the Author in Gertrude Stein’s The Autobiography of Alice B. Toklas and Theresa Hak Kyung Cha’s Dictee Nina Engebak Yardley http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Abstract This thesis explores conceptions of authorship and the representation of the author-figure in Gertrude Stein's The Autobiography of Alice B. Toklas (1933) and Theresa Hak Kyung Cha's Dictee (1982). It focuses on the structural complexity of these textual self-figurations that, in distinct yet arguably related ways, fuse fact and fiction and signify the self through the trope of autobiographical displacement. The close-readings aim to uncover how these experimentations with form both allow a certain degree of self-exposure and simultaneously divert attention from the author-figure characteristic of traditional depictions of the writing self. My argument is that these texts engage with canonized autobiography, and that Stein and Cha’s generic subversions in effect problematize the underlying mechanisms of normative autobiographical narration. -
Autoethnographic Approach in Art Experience*
New Trends and Issues Proceedings on Humanities and Social Sciences Volume 8, Issue 1 (2021) 87-96 www.prosoc.eu Selected Paper of 9th World Conference on Design and Arts (WCDA 2020) Nov 29 - Dec 1, 2020, National Kapodistrian University of Athens (ONLINE VIRTUAL CONFERENCE) Autoethnographic approach in art experience* Mehtap Morkoç † Erciyes University, Faculty of Fine Arts, Department of Ceramics and Glass Design, Talas / Kayseri, Turkey https://orcid.org/0000-0002-6386-1137 Funda Susamoğlu Ertürk, Hacettepe University, Faculty of Fine Arts, Department of Ceramics and Glass Des., Ankara, Turkey https://orcid.org/0000-0002-7828-5574 Suggested Citation: Pascu, N. E., Adir, V., & Adir, G. (2021). Art and logo design. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 8(1), pp 81-86. Available from: www.prosoc.eu Received from December 15, 2020; revised from January 28, 2021; accepted from March 20, 2021. Selection and peer review under responsibility of Prof.Dr. Ayse Cakir Ilhan, Ankara University, Ankara, Turkey. ©2021 Birlesik Dunya Yenilik Arastirma ve Yayincilik Merkezi. All rights reserved. Abstract This study is on production as the experience of art and how this production is conceptualised with the autoethnography. Even though it was formed by the qualitative research method and comes from the background of writing, in time, autoethnography crossed paths with the practice of visual expression. The reasons for this intersection are the variety of representations in the 1990s when the processes of literary and visual research went hand in hand. The fact that artists, through the concept of autoethnography, turned into researchers who describe their own forms of production has enabled the concept to be discussed in a variety of fields. -
Jennifer Kwon Dobbs Home As the Direction of Search
Jennifer Kwon Dobbs Home as the Direction of Search “Our destination is fixed on the perpetual motion of search. Fixed in its perpetual exile.” -- Theresa Hak Kyung Cha, Dictee Wearing a white pointed cap and red and blue striped robes, a mudang recites a poem to begin the ssitkim kut, a Korean cleansing ritual intended to guide the deceased who linger in the family home to the world of the dead. Accompanied by a tasseled drum, she dips, lunges, and whirls entreating the inauspicious spirits to speak their han or wound of injustice, resentment, or loss still strong enough to sour the food and make the elderly ill. An intermediary, the mudang unties knots of white cotton between the dead and the living. Her art does not reconcile. Instead, as written by the contemporary poet, Shin Kyong-Rim, the mudang and the living sing: Go your way in peace, they say, go your way in peace. With your broken neck, hugging severed limbs, go a thousand, ten thousand leagues down the road to the land beyond, without night or day; go your way in peace, they say, go your way in peace. (Trans. Brother Anthony of Taizé) While writing about home, I see her spinning form pause and turn toward me to offer paper money and cakes. Her small brass bell rings. It’s tempting to accept these objects, a pale mint hanbok, or even the finest snow dew tea as images of my own, mementos I can take with me. Yet I have no memory, which is a way to recite one’s ancestral names. -
Multilingual and Visual Poetics in Contemporary Experimental Asian American and Pacific Islander Poetry Ad
EXPANSIVE HYBRIDITY: MULTILINGUAL AND VISUAL POETICS IN CONTEMPORARY EXPERIMENTAL ASIAN AMERICAN AND PACIFIC ISLANDER POETRY A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Elizabeth Kim May 2021 Examining Committee Members: Jena Osman, Advisory Chair, English Sue-Im Lee, English Eli Goldblatt, English Josephine Park, External Member, University of Pennsylvania, English © Copyright 2021 by Elizabeth Kim All Rights Reserved ii ABSTRACT Although the term hybrid has gained much traction in literary analyses of contemporary experimental poetry, there is a notable divide within scholarly discourse wherein its uses pertain to either form or content. The term has been used by literary critics and anthologists to categorize works of poetry that combine formal techniques and practices from opposing traditions of literary history, but within cultural, postcolonial, and Asian American studies, it has served as an important term that designates sites of resistance within cross-cultural contexts of uneven power dynamics. This discrepancy in uses of the term hybrid serves as the basis for my critical investigation of experimental poetry by Cathy Park Hong, Craig Santos Perez, Don Mee Choi, and Monica Ong. This dissertation presents an interdisciplinary reassessment of the concept of hybridity that applies it to both formal experimentation and cultural content by examining the innovative ways in which Asian American and Pacific Islander poets use hybrid forms to represent hybrid identities and the particular social, political, and colonial contexts within which they emerge. While the term in relation to ethnic American poetry has primarily pertained to multilingual features, my study widens the scope of hybridity to not only include verbal expression but also visual forms of representation (such as photographs, illustrations, and digital renderings of images). -
The Politics of Blood in Theresa Hak Kyung Cha's Dictée
The Politics of Blood in Theresa Hak Kyung Cha’sDictée Richard Snyder University of California, Irvine iologism, in the sense used by literary scholar Jenny Heijun Wills and sociologist David Skinner, speaks to a desire, particularly among diasporic residents of the Global North, to develop, bolster, or refine an identity based on a knowledge of ethnic and Bracial heritage, ancestry, and kinship. “Biology” operates somewhat differently in their respec- tive accounts, signifying the search for biological, or “blood,” relatives in Wills’s discussion of transnational adoptees and, in Skinner’s account, referring to the means by which genetic test- ing provides specific ancestral knowledge for British residents of Afro-Caribbean descent. Both scholars, however, emphasize the powerful effects of biological knowledge on identity formation for people who are displaced from their ancestral homelands.1 Also uniting these accounts is the degree to which alienation from an adopted country and a yearning for a greater sense of belonging fuel the biologistic search. As one British resi- dent indicated in Skinner’s article, although born and raised in England “I never felt welcome in Britain and always had a sense of belonging to some other land when growing up.”2 Although this sense of belonging can be complicated for individuals who actually return to another land, Korean adoptees such as Jane Jeong Trenka, whose memoirs Wills discusses, often evince a sim- ilar sense of alienation. This alienation is matched by a desire to discover an essential, biological identity that can supplant the “constructed” American one they’ve grown up with. As such, this new biologism, operating across different nationalities, ethnicities, and races, may speak to the 1 Jenny Heijun Wills, “Paradoxical Essentialism: Reading Race and Origins in Jane Jeong Trenka’s Asian Adoption Memoirs,” Canadian Review of American Studies 46, no.