A new exhibition at the Berkeley Art Museum is shedding fresh light on the extraordinary work of Theresa Hak Kyung Cha, a pioneering Korean-American artist whose innovative contributions continue to resonate decades after her untimely death. The retrospective, titled *Multiple Offerings*, aims to transcend her most celebrated work, *Dictée*, and instead, showcases the full spectrum of Cha’s artistic journey, highlighting her profound impact on contemporary art and thought.
A Rich Legacy Beyond *Dictée*
Cha’s 1982 book *Dictée* has earned a place as a cornerstone of avant-garde literature, often included in university syllabuses for its unique blend of autobiography, biography, and ethnography. Poet Juliana Spahr aptly describes it as an intricate tapestry of voices, weaving together narratives from American, European, and Asian perspectives to construct a multifaceted history.
Curator Victoria Sung emphasises the intention behind *Multiple Offerings* is to “decentre *Dictée*,” recognising its significance while also showcasing the depth of Cha’s oeuvre that extends from the early 1970s onwards. “This exhibition reveals the richness of her practice and how it has influenced a new generation of artists,” Sung noted during an interview, pointing to the myriad themes of language, identity, and memory that permeate Cha’s work.
Tracing Cha’s Artistic Journey
Born in South Korea in 1951, Cha emigrated to the United States at the age of twelve, eventually settling in the Bay Area. Her academic brilliance shone through as she earned four degrees at UC Berkeley and became an integral part of the avant-garde scene in northern California throughout the 1970s. The Berkeley Art Museum became a significant repository for her art and archives in 1992, following a landmark exhibition that spurred her family to donate her materials to the institution.
Sung highlights the importance of Cha’s exploration of diaspora and language, noting that her experience of learning English later in life provided her with a unique lens through which to examine the nuances of communication and cultural displacement. “She was very aware of what it meant to learn a language, to navigate between worlds,” Sung explained.
An Interdisciplinary Influence
*Multiple Offerings* features a diverse array of Cha’s film and video works, including *Permutations*, which stands as one of her most notable pieces following *Dictée*. The exhibition also includes contemporary responses to Cha’s legacy, such as *Now Pretend* by Black queer artist L Franklin Gilliam, which examines the intersections of identity, and *Rain Dreamed by Sound* by Chilean artist Cecilia Vicuña, a poignant sound installation that reflects on Cha’s tragic murder amid broader themes of violence against women. Vicuña poignantly recalls, “I was just about to meet her when she was murdered,” capturing the collective grief surrounding Cha’s loss.
The incorporation of these modern interpretations serves to illustrate the lasting impact of Cha’s work and its relevance to current conversations about identity and representation in the arts. “It’s rare for an artist to influence so many generations across various practices,” Sung remarked, underscoring the exhibition’s goal to highlight Cha’s enduring legacy.
Cha: A Bold and Confident Artist
Beyond her tragic end, *Multiple Offerings* celebrates Cha’s early confidence and artistic ambition. From her compelling performance piece *A Ble Wail* in 1975 to her daring act of burning sheets of paper inscribed with single words in 1974, Cha’s work was characterised by a fearless exploration of form and meaning. Sung notes, “She approached her art with a seriousness and confidence that was truly admirable,” a sentiment echoed in the photographs documenting her early performances.
The exhibition also illustrates how Cha’s surroundings at UC Berkeley and the Berkeley Art Museum shaped her creative voice. The environment fostered an open pedagogical approach that encouraged experimentation, allowing Cha to draw inspiration from her peers and the local art scene.
Why it Matters
*Multiple Offerings* is not merely a retrospective; it is a call to engage with the complexities of identity, language, and cultural heritage that Cha navigated with such finesse. By revisiting her work, audiences are invited to reflect on the boundaries of artistic expression and the rich tapestry of experiences that inform it. Cha’s legacy remains a source of inspiration, reminding us of the importance of creative courage and the power of art to transcend time and context. As we delve into her multifaceted contributions, we are encouraged to explore our own narratives and the dialogues they can inspire in the contemporary art landscape.
