No other cure none other than words in talking 

The exhibition, aptly titled No other cure none other than words in talking, illuminates an ensemble of both historical and contemporary artists whose artistic endeavors are interwoven by language, memory, and the intricate experiences - associated with being foreign. It fosters an intergenerational, feminist dialogue between three artists whose work is shaped by their biographies influenced by migration and their reflections on their role as artists.

This distinctive parcour commences with the seminal oeuvre of artist Theresa Hak Kyung Cha (1951–1982, Busan, South Korea/New York), mostly recognized for her artist book Dictée. This significant point of reference unfolds as a multilingual, autobiographical mosaic delving into notions of displacement, disparity, and the complexities of transgenerational narratives. During her lifetime she created works in a wide range of media that explore the development of an artistic form of expression, her artistic and personal biography, and especially finding a language beyond one’s own native tongue. In addition to language, speaking, and storytelling, Cha’s works focus on remaining silent and the inability to speak, and are marked by her experiences as a Korean immigrant in the United States and the experience of foreign culture.

The exhibition derives its title from a Cha’s piece Temps Morts, setting the thematic tone with its opening proclamation: “no other cure none other than words in talking.” The subsequent enumeration encompasses a wide spectrum of speech forms and feminist discourses, culminating in a contemplative juxtaposition that emphasizes the profound impact of choosing to remain silent as a form of deliberate communication.

The films and installations by Thuy-Han Nguyen-Chi (b. 1988, Reutlingen, Germany) investigate migration and its long-term impact over generations, the feeling of being foreign, memory, and the future. Her works, which are narratives from the past with references to science fiction, examine personal stories characterized by political events such as war, migration, and the dangers involved. The loss of one’s homeland and the familiar is omnipresent in her works, crossing time in a nonlinear way and mixing historical events and personal reflections.

Evelyn Taocheng Wang (b. 1981, Chengdu, China) works in series and episodes. Wang, who studied Chinese painting in China and visual art in Europe, combines her own experience as a non-European artist with literature, fashion, art history, colonial history, and queer and feminist theory.  Her stories are intertwined with her biography - not only her life as an artist but as a Chinese woman embracing her identity in Europe. Beyond mere aesthetic representations, Wang’s creations act as catalysts for dialogue and introspection. Her art is a powerful conduit for dismantling societal norms and advocating for individual expression. Wang’s message is clear: the act of raising one’s voice is not merely a physical action but a political act; a declaration of empowerment and resistance.

While the artists in this exhibition have their way of speaking and telling stories, the sound installation that was staged by Thuy-Han Nguyen Chi and composed by Andrew Yong Hoon Lee (b. 1982, Winnipeg, Canada) shows that this is not a self-evident process. Inspired by the book Dictée, the immersive installation unites nine voices.

The exhibition encourages visitors to engage actively by reading, listening, and engaging in dialogues, thereby transforming the institution into a dynamic space that showcases the diverse narrative politics. By creating a critical space, this exhibition establishes connections between different artistic practices, personal experiences, and collective memories, bridging the gap between history and the contemporary moment. At a time when new communication paradigms shape perceptions and beliefs, often hindering collective conversations, their practices serve as a poignant reminder of the power of words in fostering meaningful connections and understanding in our interactions. Beginning with its title, the exhibition already serves as an entry to a thought-provoking exploration of various modes of verbal expression and discourse.

With contributions by: Franziska Aigner, Audrey Chen, Lotus L. Kang, Hanne Lippard, Tanasgol Sabbagh, Fabian Saul, Hyunhye Seo, Senthuran Varatharajah, Alex Zhang Hungtai and Ketuta Alexi-Meskhishvili

Curated by Christina Lehnert