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In the Aesthetics and Politics Lecture Series of 2021, Latipa (Michelle Dizon), the Associate Professor of Media and Cultural Studies at 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 possible rebellion in opposition to 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 idea of disidentification concerning Anne Anlin Cheng’s interpretation of Dictée as an anti-documentary documentary. Other case studies, similar to Monyee Chau, a contemporary Chinese American artist, are examined for evincing the creative tension between identification and disidentification. Illustration by Diane Zhou. Identification produces which means and power. In the identification process, an object projects the want to determine and makes use of identifiers to match the recognized subject. The subject both fails or passes the identification.

Ornamental Greek Church RuinsThe result of identification usually lies in energy slightly than the character of the topic because sovereignty reigns in the item-topic relationship. As an example, the rhetoric or the physical form of “Asian woman” is no one, 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 individual however a collectible factor; it cannot be a dwelling artwork but a frameable artifact. It should turn into a narrative. The Korean American artist Theresa Cha provides an antidote to this process together with her book, Dictée, and other video works, which became canonical for Asian American artwork history and attracted a substantial quantity of scholarly attention. Many students reiterate the dis-identificatory quality of Cha’s works and life. For instance, Anne Anlin Cheng insightfully remarks that Dictée shouldn’t be a dependable supply of knowledge with multiple voices, borrowed citations, untranslated French, and captionless pictures. 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 images portrait of the artist. Cha’s life is another instance of disidentification. In Dictée, Cha implies the traumatic story of her mother relatively than herself. In Permutations, a video work the place she shows the portrait stills of her sister, the image discloses while forecloses any close studying of an id that is not even hers. Cha’s portrait only flashes between her sister’s stills. Resuscitated nearly like an Asian female martyr, her identification is another traumatic story that few scholars dared to elaborate on. While Cha was ghastly raped and murdered on the age of 31, her death was solely coated 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, whereas unintended. Cathy recognizes Cha’s legacy as she tells Cha’s story in a highly personal and dialogical tone. To inform a narrative of an individual about her struggles, childhood, household, and loss of life is a rebellion in opposition to the identificatory mechanism that only identifies what it prefigures to identify, thus identification itself to form a self-deceptive narrative not about her, however the desiring objects.

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