Curating the Legacy of Theresa Hak Kyung Cha

Between 24 September and 26 October 2013, Bea de Sousa – curator of the Agency gallery, London (renowned, since the 1990s, for supporting and promoting a speculative art of difference) – staged an exhibition at the Korean Cultural Centre, London, which manifested as a research exercise into the work of the late Korean artist Theresa Hak Kyung Cha (1951?1982). The show, subtitled ‘A Portrait in Fragments’ was a response to the Korean Cultural Centre's ‘Curatorial Open Call’ and based on limited access to the artist's archive at the University of Berkeley California. The curator used the opportunity to expand knowledge and awareness of the artist, introducing Cha to new audiences. She also commissioned contemporary artists Ruth Barker, Bada Song, Jefford Horrigan and Su Jin Lee to devise, produce, display and perform new works in response to Cha's oeuvre. A co-incidental screening of works by Cha at London's ICA, hosted by Juliette Desorgues, was contextualised with a public discussion between Bea de Sousa, the author, and the audience. At the same time the author began to teach a new, BAFA seminar, ‘Technologies of Romance’, at Central St Martins College, London. This article is a response to these combined experiences.