Cha (Theresa H.K.) Collection, 1971-1991

Handmade artist book by Cha. Blue and red color photocopies of Cha's mother and father are placed alternately with Korean calligraphy in the plastic envelopes. Cha has manipulated the photocopy process to change the images of mother and father ie. darker, lighter, etc.

The images of Cha's mother and father are possibly prior to their exile from Korea and arrival in America. They look very young. The images of the mother is reproduced in Cha's artist book "Dictee."

"Black and Blue" is rubber-stamped in upper case letters in black ink on 13 pages. "Blacks and blues" is rubber-stamped in lower case letters in black ink on 1 page. "Blues" is rubber-stamped in lower case letters in black ink on 1 page. Blue paint is added to 2 pages with the "Black And Blue" rubber-stamp.

Cha creates patterns on the paper using rubber-stamp "Black And Blue." In two instances she transforms the rubber-stamp by adding blue paint. "Markings" is defined as the act of making a mark or marks. "Black and blue" is the discoloration from congestion of blood under the skin, as a bruise. In the text Cha is possibly emphasizing black and blue, bruise, hurt, impression. The pain, impression has left a marking physically and mentally. By repeating the rubber-stamp on various sheets Cha emphasizes the existence of many "markings" possibly on one individual or from one situation. The patterns also may signify the occurrences or lapses between the marking. Blue paint may signify "blue" sad and gloomy emotion one feels as result of the "markings."

A handmade artist book by Cha. The 7 sheets of paper are to fold in half and form 7 cards. Printed in black ink on the front of 6 cards is the title or subject of that card. The text inside further explores or explains the subject/title. Printed on the seventh card is Cha's name and the date of publication. The seventh card is signed and dated. One of the copies of "Audience Distant Relative" was owned by Hreinn Fridennsson, Galerie Finigal, Amsterdam, Holland. Cha exhibited at the gallery in 1977.

The subject/title of the 6 cards are: "audience distant relative," "letter sendereceiver," "object/subject," "messenger," "between delivery," and "echo." In the text Cha defines the subject/title of the cards. For example "audience distant relative"-"you are the audience / you are my distant audience / i address you / as i would a distant relative...." The titles/text focus on communication. Cha is defining the recipients and messengers of language. She is also exposing the "in-between," the space between words. The unspoken or the "echo" and "between delivery." This is the place where imagination and the multiple layers and meanings of language exist. Cha created a mail art project titled same in 1978. See museum # 1992.4.36 / 63 / 64 / 65 / 551 / 552 / 558 / 559

The pages are photocopies. Text alternates with reproduced black and white photographs of a brick sidewalk strewn with leaves. At times the text is superimposed over the reproduced photographs. The text is in French.

The image on the reproduced photographs changes as the text progresses. The photographs are of a brick sidewalk strewn with fallen leaves. As the reader advances through the text the photographs change. As if the reader is advancing down the sidewalk.

See museum# 1992.4.483

Typewritten text is by Cha. The text is similar to museum# 1992.4.95. The text begins: "this is one of the pages where the sand grain story begins. this is one of the pages where the sand grain kept itself. has since left. thirteen years ago. it was thirteen years ago. maybe fifteen". The black and white photograph is of a hand. The 20 photocopies and the signed/ dated photocopy are reproductions of the typewritten text and photograph.

The work was possibly intended to be an artist book by Cha. The pages are photocopies of the original text and photograph. As Cha copies the text and photograph repeatedly the text and photograph possibly become "one of the pages where the sand grain story begins". The story is repeated over and over as sand symbolizing time in an hour glass repeats. As sand of the soil moves and evolves.

See museum# 1992.4.95/166

30 slides documenting Cha's text installation "Faire-Part." "Faire-Part" consists of black press type and black ink on 15 envelopes. The envelopes are photographed front and verso. Handwritten in pencil on 6 of the slides is "Cha, Hak Kyung T/ Art Practice / Netherlands 2/1976/ Envelopes / Transfer Letters 4x5." Each of the 6 slides is numbered with a roman numeral I-IV. It is unclear as to the meaning of "Art Practice / Netherlands 2/ 1976." In her biography there is no notation of an exhibition in the Netherlands under the year 1976. Cha studied at the Centre D' Etudes Americaine du Cinema, Paris, France in 1976.

The title "Faire-Part" translates to announcement, notification. Words are printed on the envelopes individually or as sentences. Cha manipulates the language through isolating words/ letters, removing from context and reducing words/ language to minimal units. Cha leads the viewer to discover the multiple meanings and layers of language. She is expressing the language and nature of communication.

See museum #1992.4.67/132

The slides were discovered in a tin slide case. Another set of slides documenting Faire-Part was in the case. See museum #1992.4.132.

8 slides documenting Cha's text installation "Faire-Part." "Faire-Part" consists of black press type and black ink on 15 envelopes. The 8 slides document 4 of the envelopes from the front and verso.

The title "Faire-Part" translates to announcement, notification. Words are printed on the envelopes individually or as sentences. Cha manipulates the language through isolating words/ letters, removing from context and reducing words/ language to minimal units. Cha leads the viewer to discover the multiple meanings and layers of language. She is expressing the language and nature of communication.

See museum #1992.4.67/131

The slides were discovered in a tin slide case. Another set of slides documenting Faire-Part were in the case. See museum #1992.4.131.

54 slides documenting an artist book by Cha. The title is unknown. The artist book is composed of envelopes, letters, origami paper, salt, ash, earth, flour, leaves and is 1 1/2 x 3 1/2." 10 of the slides are numbered in pencil I-VIII. Also handwritten on the 10 slides is "Cha, Hak Kyung T / Art Practice / Netherlands / July 7 / 1977." The meaning of "Art Practice / Netherlands" is unclear. In 1977 Galerie Finigal, Amsterdam, Holland and Other Books and So, Amsterdam, Holland each had an exhibition of Cha's work. This work was possibly intended for the exhibitions.

The artist book was also possibly created for Ulises Carrion, a mail artist, gallery and bookshop owner living in Amsterdam. The original artist book is in the Carrian Archive, Geneva, Switzerland.

"Earth" was first created as an artist book by Cha in 1973. This version is the text from the first version of "Earth" 1973 with additional text. The pages are photocopies. The text is in French and English.

Cha's concern is "grammatical structure of language syntax," "how words and meanings are constructed in language system, by function and usage," how transformation is brought about through manipulation, changing syntax, isolation, removing from context, repetition and reduction to minimal units." The artist book is a medium by which she can explore and uncover these concerns. By "using written text and images...through actual material or structure of the book i.e. page sequence, silences, pauses, time, space." (Statement of Proposed Study, Holland).

See museum# 1992.4.12/138.

A handmade artist book by Cha. The text is arranged on the pages in various patterns. Text on the first page reads: "four arches/ four columns/ smooth as pigeon/ fur smooth as churchyard/ lawn smooth as wall/ above partially hidden...." The text is poetry.

See museum# 1992.4.211/557

The text is in French. "Feuille" translates to leaf, sheet, to turn over the leaves of, to thumb through. Throughout the text Cha manipulates the word "feuille" by isolating letters, creating patterns with the letters, transforming the word from feminine to masculine, from noun to verb. She is possibly manipulating the word to expose the multiple meanings in language.

See museum# 1992.4.297

An artist book by Cha. The book is handmade. The artist book alternates between photocopied text and mounted photographs. The artist book begins with "Transcription From A Friend's Memory Word For Word." The text moves in time from Berkeley December 1977 to Cha's arrival in the United States August 31, 1962 to High School September 1965 to June 1965. The text is a memory of the time. The accompanying photographs are a visual enhancement of the memories. The artist book was possibly a project for a photography class Cha attended at University of Berkeley 1977.78. See museum # 1992.4.320/516

"This Photo-Essay is a documentation, a recording of events that has occurred in the past. The places photographed are actually existing places of these events, except for the friend's souvenir, which exists in an imaginary space that I have tried to locate physically, to identify and name in the represented image. I am excited by working with this concept, (to grossly simplify) of having the presence of the actual events and the actual place in the image, with the exception of the subject. The temporal and spatial value in the represented image seem to introduce a different orientation and meaning for me -I hope to continue in developing further these ideas" (statement of proposal museum #1992.4.321)

A broadside announcing the publication of "Dictee" an artist book by Cha. The book was published by Tanam Press, New York, New York. Reproduced on the broadside is a black and white illustration from "Dictee." The text includes a description of "Dictee," Tanam Press address and the prize of the artist book.

"Dictee" is a series of narratives in nine parts with each of the Nine Muses identifying each of the sections...The narratives trace names, events and histories of existing persons, individual personages in history and other fictitious characters embodied in nine female voices. Each of the sections are self-contained chapters, each an evocation of the past through speech, through the research of language that may open avenues to MEMORY, to the elemental process of recollection. Dictee simultaneously experiments with time; Time which the characters experience...in Korean history, in "mythological" Time. The grammar is applied in ways to establish a chronology which expands or condenses Time, or make it constant, atonal/eternal." (printed in the broadside).

An outline and statement of proposal for "Untitled," an artist book by Cha. See museum# 1992.4.223. The outline and statement were discovered in a file labeled "Book in SF." Cha wrote the texts while living in Oakland, CA. The address is handwritten on the statement.

The statement of proposal reads "This Photo-Essay is a documentation, a recording of events that has occurred in the past. The places photographed are actually existing places of these events, except for the friend's souvenir, which exists in an imaginary space that I have tried to locate physically, to identify and name in the represented image. I am excited by working with this concept, (to grossly simplify) of having the presence of the actual events and the actual places in the image, with the exception of subject. The temporal and spatial value in the represented image seem to introduce a different orientation and meaning for me -I hope to continue in developing further these ideas.

38 color slides documenting "Pomegranate Offering" 1975 an artist book by Cha. The artist book consists of canvas, charcoal, ink letters, red markings, typed letters on canvas. The pages are tied together. 14.5 x 15." 9 of the slides are marked with handwritten text in black pen. The text describes "Pomegranate Offering." The text is possibly by Cha. The artist book was possibly included in an exhibition at Other Books and So, Amsterdam, Holland, 1977.

31 color slides documenting "Presence Absence" 1975 an artist book by Cha. The artist book is bound. The pages are photocopies. 36 pages. The image on each photocopy is a reproduction of a photograph of Cha and her brothers and sisters. The photograph was possibly shot after their exile form Korea before their arrival in the US. As the photocopies progress the photograph moves farther and farther right until the image disappears. See museum# 1992.4.24 for a mock-up of the artist book. 11 slides are labeled "Presence Absence" in black pen possibly by Cha.

"Presence Absence" was included in an artist book exhibition at Other Books and So, Amsterdam, Holland. 1977. See museum# 1992.4.24

Book consists of linen pages sewn in sections and bound in the center with text stamped in black ink; narrow lengths of sewn-fabric ties are attached to the edges of the pages. Linen appears to be unbleached.

Text is in Korean and Chinese. Numbers 1-10 are noted vertically on the left side. Chinese calligraphy is written alongside each number.

Original artwork/documentation from Cha's artist book titled "Dictee." The text is reproduced on p. 154 under chapter Terpsichore Choral Dance. See museum# 1992.4.15-16/18-20

Series of photocopies of line drawings; the one shown in the available photograph is of what appears to be four beam and support structures.

A poem by Cha. "THE MISSING PAGE" is typed vertically along the left edge of the sheet of paper. The letters are truncated. The text is typed in 6 sections. 5 of the sections begin using the letters "T H E M I" from the letters of "THE MISSING PAGE." The first section reads "The attempt here is to accentuate the off space off space of the paper, the space that is naturally often taken for granted."

Cha executed "The Missing Page" in Paris, 1976. During 1976 Cha studied at the Centre D'Etude Americaine du Cinema, Paris, France. See museum# 1992.4.299

Poetry and writing by Cha.

The text begins "missing link/ manque/ absent from the chronology from the order (of things)/ happen(ed) there a place where could have happened/ something but it could not have been there it wasn't right. not right then. not right at that place/ it goes on to say/ not just at that very moment in time but it did happen...".

The typewritten text is the original idea sketch for Cha's film "White Dust From Mongolia." The film was never completed. In the typewritten text Cha describes in detail the two narratives of the film, Narrative I and II.

See museum # 1992.4.281 for the rough script.

See also museum #1992.4.22/81/83-96/104-105/281/405/409/427

In the typewritten text Cha describes the film as "a simultaneous account of a narrative, beginning at two separate points in Time. The two points function almost as two distinctive narratives, the "Times" overlap during the diagesis of the film and a final conversion of the two points are achieved to one complete superimposition, to one point in Time." Narrative I "begins in the Past, within the interior of memory itself. The memory materializes physically on the screen...the screen is the memory projected-the viewer "sees" physically, the memory images." Narrative II "begins in the Present, with the Telling and Retelling process of the "Recit."..(she) is at the moment of return to retrieve events past." The two Narratives merge in the end.

The 4 pages of text are 2 copies of a Statement of Plans for Cha's "historical novel, of which the title is White Dust From Mongolia." In 1980 Theresa and her brother James traveled to Korea to shoot footage for Theresa's proposed film "White Dust From Mongolia." The film was never completed. Bernadette Cha (Theresa's sister) notes Theresa had difficulty in Korea shooting the film. Local authorities were suspicious of the cameras. Bernadette suggests Theresa as a result planned to publish a narrative book of "White Dust From Mongolia" then complete the film. See museum # 1992.4.22/81-90/92-96 /104-105/281

The Statement of Plans describes Theresa's ideas for the narrative book. The storyline is identical to that of the film. See museum# 1992.4.82/83. Theresa wished to incorporate in the book "the research I have been doing on amnesia, its relationship to speech function, and verbal amnesia, as part of the larger research I have been doing on Memory and Memory Processes." She also wished "to bring forth in this book, all the elements that are historical to lessen the physical geographical distance as well as the psychological distance of the Asian people from other ethnic cultures." "As the elements I have outlined are encompassed in the larger context of Memory which I would develop in this book as a collective source...where space and time superimpose within it."

Original documentation. The 16 black and white photographs are stills from the video projection of "Exilee." "Exilee" is a simultaneous video and film projection by Cha.

Cha exhibited "Exilee" at the San Francisco Art Institute, San Francisco, CA 1980; San Francisco Museum of Modern Art, San Francisco, CA. 1981 and The Queens Museum, Flushing, New York. 1981. See museum# 1992.4.111-112/119/127-128/201-202/213-214/224-226/231-237/290/292-293/455/475/491/528

26 photocopies of a maquette/ mock up for the "Temps Morts" segment of "Exilee/ Temps Morts" Cha's contribution to "Hotel" a collection of seven works published by Tanam Press, NY, NY. Reproduced on the photocopies are Cha's handwritten instructions for the placement of the text on the page and the page numbers.

See museum # 1992.4.238/239/240/241

The original rough script for "White Dust from Mongolia" an unfinished film by Cha. The text is an outline of the film. The film is described in sequential order #1-#18. Cha notes 4 columns "Image," "Shot Description," "Shot," "Duration." The film is divided into 85 shots. Cha includes camera action and rough sketches of desired shots.

See museum #1992.4.22/81-96/104-105/405/409/427

The original version of "Permutations" a film by Cha. The film was screened in 1982 at Cinematheque, San Francisco Art Institute, SF, CA. See museum# 1992.4.38-40/71/205/215-216/410

"White Dust From Mongolia" is a project by Theresa including a film and artist book. Neither were completed. Theresa and James visited Korea in 1980 for 3 months, May-July. While in Korea they filmed "White Dust From Mongolia." James Cha shot the footage. The footage includes shots of Seoul, rooftops, a women's university, train station near the University, forest, market, the Secret Palace, airplane ride in amusement park, and hotel fire. The film scenario for "White Dust From Mongolia" suggests Cha intended to edit the footage shot in Korea and add additional images and text. See museum# 1992.4.22/81-96/104/281

Comments from Bernadette Cha (Theresa's sister) upon viewing the film: Theresa and James stayed at the women's university. Aunt was a music teacher at Univ. They shot poorer areas first. Train was how northerners traveled during Japanese occupation and how Cha's parents left Manchuria. Parents lived in Manchuria where displaced Koreans lived in China during Japanese occupation. Manchurian Koreans vs Koreans. Seoul vs Manchuria. Seoul - modern vs Manchuria - harsh environment. Cha experienced end of war. Modern Korea vs old Korea of her youth. Contrast old vs new. Born in Korea yet a foreigner. Airplane ride-humorous. Korean men love rides. Fire is no safety, no laws. Buildings built with no safety. Earthiness of Korea. Set of imagination. Open scenes anyone can relate to.

9 slides and 5 photographs documenting Cha's work "The Word." "The Word" consists of black print on 1 yellow t-shirt and black print on 4 white t-shirts. 5 slides document the work, 4 slides are duplicates. 5 slides are numbered #1-#5 in black pen. These slides are also titled, dated and include descriptions of the work.

Words are printed on each t-shirt. The text reads: "THE WORD (LE MOT),""AMARE..SINASM," "A MERRY CAN ISM," "A! MER IN CAN ISM," "A MARR CAN ISM." Cha is manipulating the word "Americanism." She is reducing the word to minimal units and transforming the word through this manipulation. Through this process Cha exposes the multiple meanings to the viewer and creates new relationships. The multiple interpretations give multiple dimensions to the work and the audience is left free to imagine, remember, define. (MFA Thesis 1978). The slides were discovered in a tin slide case.

A color slide of Cha standing before her work "Repetitive Pattern." "Repetitive Pattern" consists of 60 different size white strips of cloth sewn horizontally to a piece of white cloth. Stenciled in black ink individually on the strips of cloth are the following words: "Repetitive", "Pattern", "one", "an", "other", "-", "=" and half circle. The words are repeated in four columns. In the slide Cha stands before a "Repetitive" "Pattern" column. Another woman stands behind Cha, face unseen. As if Cha is herself repeating.

In "Repetitive Pattern" Cha is transforming language through manipulation, repetition and reducing the words to units. See museum# 1992.4.59. The slide was discovered in a tin slide case.

A postcard from Cha addressed to John Cha and his family. A "Mot Cache" rubber-stamp impression in black ink is stamped on the verso.

"Mot Cache" is a rubber-stamp Cha created for the International Rubber Stamp Design Exhibition, Stempelplaats, Amsterdam, Holland. 1978. The exhibition was possibly organized by Ulises Carrion, a mail artist/ gallery bookshop owner, now deceased. See museum# 1992.4.30

24 sections are cut out of a rectangle piece of plywood. The wood is painted white. A white piece of paper is attached to the back side of the plywood.

Translation: "The Room/ Chamber of Mao at 4 o'clock." Noting Cha's manipulation of language "chambre" could mean "room," "chamber," "to lock up," "dark room," "housemaid." All causing a feeling of closing in, oppression, darkness. This work is possibly a "monument to the dead". In the diary Cha kept during her visit to Korea in 1980 she refers to "a monument to the dead", "sealed time", "calendar", "ombre chinoise". 7 rough sketches accompany the text. The sketches are similar to "La Chambre de Mao a 4 Heures".

See museum# 1992.4.81.

The contact sheet is of 7 strips of black and white negatives, 38 images. The images are photographs of hands from paintings and from an individual possibly Richard Barnes (Theresa's husband). The photographs/ images were intended for an unfinished work by Cha. The work was never completed due to her death. The work was intended for an exhibition at Artist Space, New York, New York. December 10, 1982.

See museum# 1992.4.324/325/386/456

Each panel has a color photocopy attached. Each photocopy is an image with text. The images are based on family photographs of Cha's mother, father, brothers, sisters when young possibly before leaving Korea for America.

Images on some photocopies are superimposed ie. Cha's mother is superimposed over Cha's father or a wedding picture of Cha's mother is suerimposed over a family portrait of Cha and her siblings. When installed the panels should hang 2" apart. "Chronology" was exhibited at Galerie Finegal, Amsterdam in 1977.

In the text Cha is manipulating words/ language. The first panel reads "could HAve been kNot one." "knot" refers to 2 words "knot" and "not." "Knot" meaning a bond of union ie marriage or a fastening made by intertwining or tying together pieces of string, cord, rope. "Not" meaning a negative as in not being one but being two ie not one person but two possibly through marriage. "Ha" in "have" combined with "N" is a river in China and an ethnic group in China. "Ha" is also an exclamation of wonder. Cha in her text exposes the mulltiple meanings in words through this type of manipulation. By combining the text with family images Cha also exposes the relationships and meanings between words/language and images. See museum# 1992.4.48-49/362/556

60 different size white strips of cloth sewn horizontally to a piece of white cloth. Stenciled in black ink individually on the strips of cloth are the following words: "Repetitive," "Pattern," "one," "an," "other," "-," "=" and half circle.

"Repetitive" and "Pattern" are repeated in lower case and upper case letters on the cloth. They are repeated in 2 vertical columns alternately on the left and right side of the cloth. The words correspond as the two columns progress. "One," "an" and "other" are intermixed in one column and form patterns. "-", "=" and half circles are repeated, intermixed and form a pattern in a fourth column. Cha is transforming language through manipulation, repetition and reducing the words to units.

See museum# 1992.4.135

5 cards have text printed in black. The title of the work is printed on one card. "Etang," "being," "Being" and "emptiness" are printed on the remaining 4 cards. A blank card separates the cards "being" and "Being."

See museum# 1992.4.28

See museum# 1992.4.97 / 98 for description of Line, Berkeley, CA.

"Etang" defined in French means pond, pool. Cha has added "mere" (mother, source, reason) to the definition. "m." is French masculine. "s." I am unsure to the meaning. The text/cards read in order: "etang," "being," blank card, "Being" and "emptiness." The reader can substitute a definition of "etang" and read the text, ie. "pond," "being," blank card (empty), "Being," "emptiness." I believe the blank card symbolizes empty/emptiness and/or any other word the reader wishes to add. The word does not matter as all remains "emptiness." "Etang" was distributed by Line, Berkeley, CA in 1978. This version does not have a card with copyright and distributor listed. Line was a service organization of artists assisting artists. Cha was on the board of Directors.

6 white envelopes with text possibly stenciled or printed in black ink. The text reads: "audience distant relative," "letter sendereceiver," "messenger," "echo," "object/subject" and "between delivery." The envelopes are empty and unsealed.

"Audience Distant Relative" is a mail art project and artist book by Cha. The mail art project was exhibited at Galerie Loa, Haarlem, Holland. 1978. See museum# 1992.4.62-65/5

Original documentation. 28 black and white photographs documenting Cha's performance titled "A BLE W AIL." The typewritten sheet is a description of the performance. The sheet and photographs are contained in clear sleeves in a black binder.

See museum #1992.4.33-34/37/169

"Mouth to Mouth" a video by Cha was also shown at the exhibition with "A BLE WAIL," Worth Ryder Gallery, Berkeley, CA. 1975.

"A BLE W AIL" was performed in 1975 at Worth Ryder Gallery, Berkeley. CA. "In this piece, I want to be the dream of the audience. An environment, a curtain made from cheese cloth was hung, separating the performer's space and that of the viewer. The effect on the viewing of the performance is that of seeing through opaque-transparency. Inside the performer's space are lighted candles also reflected by pieces of mirror placed behind them, creating an oval shape area. The performer is wearing a white robe and 20 meters of black and red cloth underneath. The movements performed are divided into spaces that contain movement and space that are still. The sound and time are also divided into sound.silence parts." Movement is similar to dance.

Original documentation. 8 black and white photographs of Cha performing "Aveugle Voix." A white cloth with "Aveugle Voix" stenciled in black is wrapped around Cha's head covering her eyes and mouth. Cha is photographed unrolling, squatting over and physically touching her work on cloth titled same.

See museum #1992.4.11.

A Theresa Hak Kyung Cha Memorial Foundation sticker is attached to the verso of one photograph.

Cha performed "Aveugle Voix" at 63 Bluxome St., San Francisco, CA. in 1975. "Aveugle" translated means blind. "Voix" is voice.

See museum #1992.4.11

Original documentation. 26 black and white photographs documenting Cha's performance titled "Barren Cave Mute." The typewritten text is a description of the performance.

See museum# 1992.4.210

Cha performed "Barren Cave Mute" at The University of California, Berkeley, CA. 1974. Three pieces of white paper 10 x 4 feet were hung laterally in the room. Words in white wax were written on the paper. The room was dark. "A single lighted candle was used for the performance. As the flame came in contact with the wax paper, it began to melt the wax, exposing the words to the viewers." (unpublished description by Cha).

cavE barreN" is written on the first panel. "mutE" on the second panel. The third panel is blank.

Original documentation. The negatives document Cha's performance titled "Other Things Seen, Other Things Heard." 10 strips have 6 images one strip has 3 images. A total of 63 images.

"Other Things Seen, Other Things Heard" was performed at San Francisco Museum of Modern Art, 1978; Atholl McBean Gallery, San Francisco Art Institute, 1978; and Western Front, Vancouver, British Columbia, Canada, 1978.

See museum# 1992.4.100 /101 /102 /103 /106 /107 /108 /109 /110 /221 /222 /227 /461 /548

Documentation of Cha's performance titled "Other Things Seen, Other Things Heard." One contact sheet has 5 strips of negatives and 30 images. The other sheet 6 strips of negatives and 36 images. 11 images are marked with red pen. The markings possibly isolates those photographs used for publicity shots and/or exhibition documentation. A Theresa Hak Kyung Cha Memorial Foundation sticker is attached to the verso of each contact sheet.

"Other Things Seen, Other Things Heard" was performed at the San Francisco Museum of Modern Art, 1978; Athol McBean Gallery, San Francisco Art Institute, 1978; and Western Front, Vancouver, British Columbia, Canada. See museum# 1992.4.99/101/102/103/106/107/108/109/110/221/222/227/461/548

7 slides are text and are identical to some of the text/words "projected on the door" during Cha's performance "Reveille Dans La Brume." 2 slides are very light and hard to read. The text does not correspond with the words Cha projected during the performance. 1 slide is of Cha's family before their exile form Korea and arrival to the United States. The slide is identical to the image used in Cha's text work "Chronology" (see museum# 1992.4.48/49) and her artist book "Absence/Presence" (see museum# 1992.4.24).

The slides were discovered as a group in a tin slide case. They were unmarked. It is unclear whether or not the slides are in order. The slides were possibly rejects, never projected during Cha's performance "Reveille Dans La Brume."

"Reveille Dans La Brume" was performed at San Francisco Art Institute Annual, Fort Mason, San Francisco, CA. 1977; La Mamelle, San Francisco, CA. 1977. See museum# 1992.4.122-125/163/185-187/203-204/283-289/449/543

A 6 page photocopy of a detailed description/ outline of Cha's performance "Reveille Dans La Brume" June 10, 1977. "Reveille Dans La Brume" was performed at the San Francisco Art Institute Annual, Fort Mason, San Francisco, CA. 1977; La Mamelle, San Francisco, CA. 1977.

See Museum #1992.4.122-126 / 185-187 / 203 -204 / 283 -289 / 449 / 543

As described in the text "Reveille Dans La Brume is a performance composing lap dissolve projections, synchronous interaction with them, pre-recorded audio tape, simultaneously performed live with voices, and controlled distribution of light. The title itself "Awakened in the Mist" alludes to elsewhere, source, or multi-gradations, levels in what seems singular in our perception, to articulate, to speculate upon dimensions made visible to us through suggestion, through induction, attempting to find some collective key, associations, that would result in a kind of a transformation in the audience, as well as the performer." The text also describes in detail the performance.

6 photographs documenting Cha's performance titled "Life Mixing."

"Life Mixing" is a "sound performance of language text mixed through synthesizer." "Life Mixing" is a group performance. The performance occurred at the University Art Museum, Berkeley, California. 1975. See museum# 1992.4.550

An exhibition catalogue for "80 Langton Street June 1978-May 1979" The catalogue documents in text and illustrations the exhibitions that occurred at 80 Langton Street from June 1978 through May 1979. On March 24, 1979 Cha performed "Pause Still." Text by Cha and a black and white photograph of the performance is reproduced in the catalogue.

The photocopy is a reproduction of the text by Cha and the illustration of "Pause Still" in the exhibition catalogue.

80 Langton Street is an "alternative space whose mission is to support forms of artistic expression that for reasons of either medium or content are not welcomed elsewhere" (printed in the catalogue).

See museum # 1992.4.181 / 183 / 184 / 212 / 462 / 541

The postcard was produced by 80 Langton Street, San Francisco, Ca. Printed on one side of the postcard is "Theresa Hak Kyung Cha, Pause Still performance, March 24, 1979." Reproduced on the other side is a black and white photograph documenting Cha's performance titled the same. The photograph was possibly shot by James Cha, Theresa's brother.

Cha performed "Pause Still" during the month long exhibition at 80 Langton Street, San Francisco, CA. 1979. The month long exhibition was titled "80 Langton St. March 79 A Month Of Performances." 80 Langton Street is an "alternative space whose mission is to support forms of artistic expression thta for reasons of either medium or ocntent are not welcomed elsewhere" (p.3, 80 Langton Street June 1978- May 1979. SF, CA., 80 Langton Street, 1979. Exhibition catalogue).

See museum# 1992.4.181-183/212/462/541

12 photographs documenting Cha's performance "Reveille Dans La Brume." See museum# 1992.4.122-126/163/184-187/203-204/283-289/449/543

Cha performed "Reveille Dans La Brume" at the San Francisco Art Institute Annual, Fort Mason, San Francisco, CA. 1977; La Mamelle, San Francisco CA. 1977.

Documentation of Cha's performance "Pause Still."

"Pause Still" was performed on March 24, 1979 at 80 Langton Street, San Francisco, CA. The performance was part of an exhibition titled "80 Langton Street March 79 A Month Of Performance." See museum# 1992.4.181-184/462/541

Typewritten text by Cha describing her performance "From Vampyr." The text is dated May, 1976 Paris. "From Vampyr" was performed at the Centre D'Etudes Americaine du Cinema, Paris, France 1976 when Cha was a student. The text reads "the room is dark / one enters the room with a candle / there is a clock ticking to establish Real Time / the candle establishes the beginning of the performance / as the door opening punctuation / close the door / there should be a ladder against the screen / half on the wall and half on the screen space / i walk very slowly and enter the screen space / there are words

written occupying the screen space/ with the lit candle i trace and follow the words/ then turn it over the cloth with poem on it to reveal the inversion/ implosion/ underneath is again an empty cloth.../ i throw on it flour until everything is white again / blood of the screenspilledwhite / the screen is emptied again / beneath is the projection screen / where the light from the projector is reflected / a slow zoom / i am standing in front where my image will change by the shadow / through the fades and unfocused stage until the highest image / i move in and out of the image screen / and stand still / back to the smallest image by the projection light until all is dark again / or let everything remain light / i take the candle and leave the space."

A photocopy of an unpublished review of Cha's performance "Other Things Seen, Other Things Heard" at the San Francisco Museum of Modern Art, San Francisco, CA. 1978. The review was written by Robert Atkins from the Bay Guardian.

See museum # 1992.4.99/100/101/102/103/106/107/108/109/110/222/227/461/548

A typewritten text by Cha describing "Reveille Dans La Brume" a performance.

The photocopy is a reproduction of the typewritten text.

See museum # 1992.4.122-126 / 163 / 185-187 / 203-204 / 287-289 / 543

"Reveille Dans La Brume" is a performance composing lap dissolve projections, synchronous interaction with them, pre-recorded audio tape, simultaneously performed live with voices, and controlled distribution of light. The titled itself "Awakened in the Mist" alludes to "elsewhere," source, or multigradations...to speculate upon dimensions made visible to us through suggestion...that would result in a kind of transformation in the audience, as well as the performer...The piece is predominantly a language and sound text...As an integral part of the performance, there would be operative, a chain of interruptions averting the narrative process, and elements that serve as reinforcements to heighten further, the image and sound text...

Original documentation of Cha's performance "Other Things Seen, Other Things Heard." The 12 photographs are included in the group of 12 images marked in red pen on the contact sheets. See museum# 1992.4.100

"Other Things Seen, Other Things Heard" was performed at the San Francisco Museum of Modern Art, 1978; Athol McBean Gallery, San Francisco Art Institute, 1978; Western Front, Vancouver, British Columbia, Canada, 1978.

Slides possibly projected during Cha's performance "Other Things Seen, Other Things Heard." Images include visual and text. See museum# 1992.4.99/100/101/102/103/107/108/109/110/221/222/227/461/548

The slides were discovered in a tin slide case. They were not marked. It is unclear whether or not the slides are in the correct order. 3 other sets of slides possibly from the performance were in the case. All 4 sets were placed in the case separate from one another.

See museum# 107/108/109/110

37 slides possibly rejected by Cha for her performance "Other Things Seen, Other Things Heard." The images on some slides are very light. Handwritten in blue pen on 16 slides is either "Theresa Hak Kyung Cha/ 6450 1/2 Colby Oak 94618" or "Theresa Hak Kyung Cha". The slides labeled in blue pen are also numbered in blue pen 2-16.

The slides Cha possibly projected during the performance are museum# 1992.4.106/107/108/109/110.

The floor at one end was covered in sandy powder. Two slide and one film projector cast grainy black and white images of beaches and rocks on the end wall. Recorded voices solemnly intoned meaningful existential questions like Hamlet. The sound tracks began to overlap until it was impossible to focus on the words. Cha appeared in front of the photographed images. She sat meditatively. She dragged ropes tied to rocks with labels like "abandoned" stencilled on them. The same rocks were seen on film. By this time, I felt hypnotized". (Robert Atkins, Bay Guardian, unpublished review, 1978).

See museum# 1992.4.99/100/101/102/103/106/107/108/109/110/221/222/461/548

"A BLE W AIL" is stenciled in black paint horizontally on a piece of burlap. "A BLE W AIL" was a performance by Cha at Worth Ryder Gallery, Berkeley, CA. 1975.

It is unclear whether Cha incorporated the burlap into her performance. Viewing the photographs there is no evidence that the burlap was used. The burlap is possibly part of a larger work or is a work itself.

See museum# 1992.4.32-34/169

Original typewritten text from "Monologue" a sound text by Cha. The text is the actual script for "Monologue."

"Monologue" is a sound text by Cha that was aired on KPFA Radio Station Berkeley, CA. 1977. The text is a "back and forth conversing." For example "Monologue" begins "what if," "i say," "this," "in saying that," "for lack of a better word...." The text alternates from one phrase to another.

Monologue" was recorded on audio tape. See museum # 1992.4.440/470-471

A poem or sound work by Cha. The text is in French and English. 4 columns labeled Voice 1, Voice 2, Voice 3, Voice 4 are typed vertically on the pages. Corresponding text is typed under each column. The text seems to alternate from one voice to another.

Cha's original thesis titled "Paths" for the MFA Art program at the University of California, Berkeley, CA. 1978.

A photocopy of the original thesis titled "Paths."

The sheets are possibly a maquette/ mock up for an artist book by Cha or are the actual artist book. The sheets are folded in half. The upper 2 corners of each sheet have a pin hole.

Some of the text is similar to "Untitled," a handmade artist book by Cha. See museum# 1992.4.143. For example the first page of "Untitled" is similar to a sheet from "From Journals," "four arches/ four columns/ smooth as pigeon/ fur smooth as churchyard/ lawn snooth as wall/ above partially hidden". See museum# 1992.4.557

A photocopy of a "statement of proposed study" by Cha. The statement was discovered in a file labeled "Proposed Study-Holland."

The main body of my work is with Language, looking for the roots of language before it is born on the tip of the tongue...Certain area(s) that continue to hold interest for me are: grammatical structures of language system itself, by function or usage, and how transformation is brought about through mnipulation, processes as changing the syntax, isolation, removing from context, repetition, and reduction to minimal units. These concerns are experimented with in book-making, with written text and images...Similar intention and processes follow in working with other media and material: video, film, slides projections, and performance, but with reference to their particular structures".

A photocopy of an general description of Cha's career. The text is by Cha. Some of the text is similar to museum# 1992.4.407.

The original typewritten text was discovered in a file labeled "summary of work." The text by Cha provides a general outline / description of her work. The text is duplicated in Cha's "Statement for Proposed Study - Holland." See museum # 1992.4.411.

The photocopy is a reproduction of the typewritten text.

The text on press board is a reproduction of the "summary of work / artist's statement". The press board was created by University Art Museum, Berkeley for an exhibition of Cha's work July 11 - September 9, 1990. See museum # 1992.4.261

The typewritten text is a 2 page master script/ finished scenario for Cha's video "Re Dis Appearing." Handwritten additions by Cha are made in pencil. The scenario is typed on a Media Communication form, Laney College for a titled TV Production 31/A.

The pencil on paper is a floor plan for the video.

A finished or video scenario describes camera action, video switching, audio, narration and stage blocking. The floor plan blocks set positions, lights, etc. The plan accompanies the master script. "Re Dis Appearing" is a black and white video, 3 minutes by Cha. The video includes an aural sequence.

Re Dis Appearing" was screened at Worth Ryder Gallery, Berkeley, Ca. 1977. The video was also included in Videotape by Women From Los Angeles Women's Video Centre. Australian Tour 1979-1980. See museum #1992.4.42-45/245-247/539

Original rough script for Cha's video performance titled "Perte Loss." "Perte" translated in French means "loss, waste, leakage, discharge." See museum# 1992.4.114-117

A general outline of Cha's video performance "Perte Loss." The video performance is unfinished. Cha proposed the work for Video Free America performance series, 1979. She disagreed with the organization of the series and withdrew her entry. "Perte Loss" includes 2 video monitors and Cha "behind the glass also as a video image". Themes of "Perte Loss" are "loss of time", "passage of time", loss-memory", "waiting time". "Lost Loss of time (relative) everyday having the value- worker. Everyday with different value meaning with change of context". "Passage of time- time interval everything always in the past. The present is mere acknowledgement". "Loss- memory, therefore language to to describe the image to recall". "Waiting time- different value all together".

Typewritten and handwritten narration possibly for Cha's video performance "Perte Loss."

"Perte Loss" was Cha's entry to the Video Free America video performance series, 1979. Cha withdrew her entry due to her disagreement with the organization of the series. "Perte Loss" is unfinished. "Perte Loss" includes 2 video monitors and a performer. The performer is "the marker- the one who measures and imprints the images, marks the time'. "This would be conducted through voice on screen, voice off screen narrative and interruptions, through simultaneous activity as projected on the screen". The typewritten and handwritten text is possibly the narration for the performer. See museum# 1992.4.113-116

Original documentation. 11 black and white photographs documenting Cha's three channel video installation titled "Passages Paysages."

"Passages Paysages" was exhibited at the University Art Museum, Berkeley, CA. 1978 and San Francisco Art Institute, Atholl McBean Gallery, San Francisco, CA. 1979; The Kitchen Center for Video and Music, New York, New York. 1982.

See museum # 1992.4.77-80 / 129-130 / 162 / 171-178 / 188-192 / 208 / 228 / 262-280 / 335-337 / 373 / 379-385 / 390-393 / 448 / 512

A rough idea sketch for Cha's video installation titled "Passages Paysages."

The text describes briefly here the theme of the video. "Passages/ paysages/ son/ image son/ image/ narrative drawn from memory as/ sages in word passages, as in path, way, physical, geographical/ space-also functions metaphorically

A finished scenario for "Passages Paysages" a three channel video installation by Cha. The scenario includes instructions for camera action, videoswitching and audio narration for the videos screened on the 3 monitors during the three channel installation.

Cha exhibited "Passages Paysages" at the University Art Museum, Berkeley. 1978; Atholl McBean Gallery, San Francisco Art Institute, San Francisco, CA. 1979; and The Kitchen Center for Video and Music, New York, New York. 1982.

See museum# 1992.4.77-80 / 120 / 129-130 / 162 / 171-178 / 188-192 / 208 / 228 / 263-280

A script for "Passages Paysages" a three channel video installation by Cha. The script lists in sequential order the images appearing in the videos. The 3 videos are projected on 3 monitors used for the installation.

Cha exhibited "Passages Paysages" at the University Art Museum, Berkeley, CA. 1978; Atholl McBean Gallery, San Francisco Art Institute, San Francisco, CA. 1979; and The Kitchen Center for Video and Music, New York, New York. 1982.

See museum# 1992.4.77-80 / 120 / 129-130 / 162 / 171-178 / 188-192 / 208 / 228 / 262-263 / 265-280

A script for "Passages Paysages" a three channel video installation by Cha. The script provides detailed instructions for the videotaping of the slides Cha intended as images for the video.

Cha exhibited "Passages Paysages" at the University Art Museum, Berkeley, CA. 1978; Atholl McBean Gallery, San Francisco Art Institute, San Francisco, CA. 1979; and The Kitchen Center for Video and Music, New York, New York. 1982.

See museum# 1992.4.77-80 / 120 / 129-130 / 162 / 171-178 / 188-192 / 208 / 228 / 262-264 / 266-280

A black and white Polaroid documenting the installation of "Passages Paysages" a three channel video installation by Cha. Pictured in the Polaroid are 3 monitors projecting the three channel video installation. The monitors are situated at the far end of the room. Viewers are seated in chairs before the monitors.

Cha exhibited "Passages Paysages" at the University Art Museum, Berkeley, CA. 1978; Atholl Mcbean Gallery, San Francisco Art Institute, San Francisco, CA. 1979; and The Kitchen Center for Video and Music, New York, New York. 1982.

See museum# 1992.4.77-80 / 120 / 129-130 / 162 / 171-178 / 188-192 / 208 / 228 / 262-273 / 275-280

A typewritten text by Cha describing "Passages Paysages" a three channel video installation.

The photocopy is a reproduction of the typewritten text.

"Passages Paysages" Passages Landscape is a three channel video piece which is composed entirely of dissolves and fades of still images and narrations. The images are absent of the object, they are sequences of implied events for what is present to the viewer is only the remnant, the memory. The point of view is from a delayed time and space, either in the past of the future, there is a sense of lost time and space, and the desire to retrieve it, to know again. "Passages Paysages" attempts to examine the nature of language, reduction and breaking down its structure, experimenting with three languages in their written for and spoken form explores further different possibilities for meaning and relationships.

"Mouth to Mouth" 8 min Vide o me 3 min Re Dis Appearing 3 min

25 slides Cha possibly rejected for the videotaped portion of "Exilee." "Exilee" is a simultaneous video and film projection. 8 slides are numbered in pencil 1-8. 4 slides are numbered in pencil 46-49. 1 slide is numbered in pencil 58.

The slides Cha videotaped for "exilee" are in 2 slide carousels.

See museum# 1992.4.127/128.

During "Exilee" a film is projected on a screen. The screen has a hole cut out the size of a video tape player. While the film is projecting a video is simultaneously playing on a video player placed in the cut hole.

The 25 slides were discovered in a cardboard slide box labeled "Exilee". 2 other slide boxes were also discovered, 1 labeled "Exilee," the other unmarked.

See museum# 1992.4.225/226.

"Exilee" was exhibited at the San Francisco Art Institute, San Francisco, CA. 1980; San Francisco Museum of Art, San Francisco, CA. 1981; The Queens Museum, Flushing, New York. 1981.

13 slides Cha possibly rejected for the videotaped portion of "Exilee." "Exilee" is a simultaneous film and video projection. The slides Cha videotaped for the video portion of "Exilee" are in 2 slide carousels. See museum# 1992.

During "Exilee" a film is projected on a screen. The screen has a hole cut out the size of a video tape player. While the film is projecting a video is simultaneously playing on a video player placed in the cut hole.

"Secret Spill" was performed by Cha in Fall 1974, Berkeley, CA. See museum# 1992.4.193-194/196