차학경, 세 번의 장례 —차학경의 『딕테』 독법에 대한 고찰

초록

Korean-American Theresa Hak Kyung Cha worked as an artist, performance and video artist, video producer, poet, writer, and visual art theorist. She died in 1982 at the age of 32. The death of Hak Kyung Cha, who was raped and murdered by a security guard in a New York building, was mourned by her family and forgotten by people. The discovery of Hak Kyung Cha's art began in the American art world, and she is known as a ‘genius who died young’ by curators Lawrence R. Rinder and Constance M. Lewallen. Through these efforts, Hak Kyung Cha was born as an ‘American artist’ who is closely related to the trends of American conceptual art and postmodernism. However, Asian scholars, including Elaine Kim, raise objections to subjugation to white people in Writing Self Writing Nation. This perspective, which can be called a second mourning, reads Hak Kyung Cha's DICTEE not as a postmodern hybridity, but as a political text that clearly reveals Korean-American identity. The third mourning is triggered by Cathy Park Hong. In her essay collection Minor Feelings, Cathy Park Hong actively protests against America's silence surrounding the tragedy of Hak Kyung Cha, pointing out the racial and gender discrimination implied against 'Asian women'. As a reaction to this, the New York Times published Hak Kyung Cha's obituary, specifying 'rape and murder' for the first time in 40 years, and Hak Kyung Cha's reboot followed, including the re-publication of DICTEE, marathon reading of DICTEE, and the holding of a Hak Kyung Cha mini-retrospective. DICTEE, which means ‘dictation’, shows the subject’s strategy as a ‘bad postman’ who dictates the language of the empire but causes obstacles to the language of the legislator. In DICTEE, Hak Kyung Cha expresses her identity as a foreigner by using punctuation marks as is or by mixing French, English, Korean, Chinese characters, and images. This book, which consists of prayer rituals for the 9th day of the Immaculate Conception, rescues those who have become sinners in systems such as religion, marriage, and the state. Hak Kyung Cha’s poor ‘dictation’ reveals not only her unstable self but also the arbitrariness and violence of the signifiers. In addition, the above three readings each show the intersection and desire of Hak Kyung Cha's three conditions of existence, which lie within the Boromas knot of the symbolic world, the imaginary world, and the real world.

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