Metz, Christian. . Chicago: University of Chicago Press, 1991. p.3

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 Cha received a MA in Art and an MFA (University of California, Berkeley)

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By now, Theresa Hak Kyung Cha’s has become a postmodern classic. What makes idiosyncratic, unforgettable,is its variance, its slipperiness. It has the acute proclivity to dissipate, both physically on the page, as well as connotatively. At times, the text acts as both prose and poetry; its liminality becomes interwoven into a book that functions like the structuralist films Cha was influenced by. Physically thumb thru and it even looks like a structuralist film. The length of text varies, with interjected moments of white (blank pages) and images (photographs, documents, diagrams). A fragmented jaggedness makes the book a visceral experience.


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There is an implied disparity between the word and what it represents. One way that Cha might have sought to relieve this disparity was to display that the ultimate “truth” of the word could only be taken for value thru its appearance - the word as a physical presentation (rather than representation). The value of the word is in its identification, rather than its identity. Cha, then, does not disparage one’s desire to document (the subjects she chose to write about says a great deal about her own politics and what were important to her). Rather, she chooses to shift the reader’s focus towards another way of seeing:

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Elaine Kim’s essay on T.H.K. Cha’s work was included in , which was arguably the most widely read critique of Cha’s work when it was published.

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Cette chapelle gothique à Paris date de 1246. C'est le roi Saint Louis qui l'a faite construire comme sanctuaire (shrine) pour la couronne d'épines du Christ. Les vitraux sont magnifiques vus de l'intérieur quand le soleil passe à travers.

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