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In the Aesthetics and Politics Lecture Series of 2021, Latipa (Michelle Dizon), the Associate Professor of Media and Cultural Studies on the University of California, Riverside, introduces her upcoming movie "The Absence" and its relationship to the legendary Korean American Artist Theresa Cha. The lecture highlights Cha’s posthumous e book, Dictée, and how her legacy affects a potential rebellion against the documentary and the underlying visuality of colonial dominance. This essay explores the decolonial facet of Theresa’s work and life. It extends to the queer concept of disidentification regarding Anne Anlin Cheng’s interpretation of Dictée as an anti-documentary documentary. Other case studies, comparable to Monyee Chau, a contemporary Chinese American artist, are examined for evincing the artistic tension between identification and disidentification. Illustration by Diane Zhou. Identification produces meaning and energy. In the identification process, an object tasks the want to establish and uses identifiers to match the recognized subject. The subject both fails or passes the identification.
The results of identification usually lies in energy rather than the character of the topic because sovereignty reigns in the thing-subject relationship. As an example, the rhetoric or the bodily type of "Asian woman" is no person, nameless, classless, faceless, but an identifier in some context, and it only identifies an identifiable subject. To become identifiable, a topic can't be a free particular person however a collectible component; it can't be a living artwork but a frameable artifact. It must become a narrative. The Korean American artist Theresa Cha provides an antidote to this course of with her ebook, Dictée, and other video works, which grew to become canonical for Asian American art historical past and attracted a substantial amount of scholarly consideration. Many students reiterate the dis-identificatory high quality of Cha’s works and life. For instance, Anne Anlin Cheng insightfully remarks that Dictée is not a dependable source of data with a number of voices, borrowed citations, untranslated French, and captionless images. Dictée subverts our clinging onto authorship, collective memory, and martyr narrative whereas revealing the contingency of identification - Dictée is dis-identificatory, rejecting the identifications created and sustained by energy.
The photography portrait of the artist. Cha’s life is another example of disidentification. In Dictée, Cha implies the traumatic story of her mother moderately than herself. In Permutations, a video work where she shows the portrait stills of her sister, the image discloses while forecloses any close studying of an id that isn't even hers. Cha’s portrait only flashes between her sister’s stills. Resuscitated almost like an Asian female martyr, her identity is another traumatic story that few students dared to elaborate on. While Cha was ghastly raped and murdered at the age of 31, her dying was solely lined by a newspaper obituary and ironically ignored by the ensuing fanfare of her art. Dictée is an ironic prophecy of Cha’s life and afterlife as dis-identificatory, while unintended. Cathy recognizes Cha’s legacy as she tells Cha’s story in a extremely private and dialogical tone. To tell a story of a person about her struggles, childhood, household, and death is a rebellion against the identificatory mechanism that solely identifies what it prefigures to determine, thus identification itself to kind a self-misleading narrative not about her, but the desiring objects.