This thesis explores artist Na Mira’s intergenerational dialogue with pioneering artist Theresa Hak Kyung Cha and her unfinished piece White Dust From Mongolia (1980). Mira utilizes an iterative performance-based film practice and Korean shamanism to connect to Cha and generations of diasporic Korean women.
To address this intergenerational relationship, this thesis presents three case studies of Mira’s video and film installations. Tesseract (test) (2020) at The Kitchen, New York, marked the beginning of Mira’s dialogue with Cha, Night Vision (Red as never been) (2022) at the 2022 Whitney Biennial Quiet as It’s Kept, explored autobiography and communication based on Korean shamanism, and TETRAPHOBIA (2022) at Company Gallery, New York, suggested the multiplicity of diasporic experience. Through an analysis of the case studies, this thesis demonstrates the power of intergenerational and polyvocal dialogue as an artistic and curatorial tactic for expressing the fluid nature of diasporic identity and current social issues, such as the ongoing violence against Asian women still happening today.