![]() Say.” The book, like the rest of Cha’s video work and poetry, is intentionally fragmented. As Cha wrote in Dictée: “The wait from pain to say. She received four degrees including an MFA in 1978 from the University of California, Berkeley, which helped her develop her own creative practice. As a child, Cha migrated across Korea several times before settling in San Francisco in 1964. The specter of colonialism haunted her family, and her mother in particular, who had lived under Japanese Imperial rule (1909–45). Night Vision grapples with the gender oppression of Korean women under Japanese colonial rule by offering a queer, anarchic vision of unruly female shamans in Korea.Ĭha was born in Busan, Korea, in 1951. Her memory also lives on in the work of fellow Whitney Biennial artist Na Mira, whose 2022 installation Night Vision (Red as Never Been) extends Mira’s long-standing collaboration with Cha’s memory. Cha’s inclusion has been lauded as a Biennial highlight. In this year’s Whitney Biennial, “Quiet as It’s Kept,” curators Adrienne Edwards and David Breslin have honored Cha with a mini retrospective enclosed in a delicate, cloth-walled, makeshift gallery. ![]()
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