Professor Trinh Minh-ha gives the keynote address at the Congreso de Lenguas Modernas convocó a académicos internacionales (Dec 15-17, 2014), at the University of Costa Rica.
Originally trained as a musical composer, who received her two masters and Ph.D. from University of Illinois, Champaign-Urbana, Trinh T. Minh-ha is a world-renowned independent filmmaker and feminist, post-colonial theorist. She teaches courses that focus on women's work as related to cultural politics, post-coloniality, contemporary critical theory and the arts. She has also taught at Harvard, Smith, Cornell, San Francisco State University, the University of Illinois, Ochanomizu University in Japan, and the National Conservatory of Music in Senegal.
Aside from the eight books she has published, her work also includes two large-scale multimedia installations and six feature-length films that have been honored in twenty seven retrospectives around the world: Reassemblage (1982), Naked Spaces (1985), Surname Viet Given Name Nam (1989), Shoot for the Contents (1991), A Tale of Love (1996), The Fourth Dimension (2001), and Night Passage (2004) .
Professor Trinh Minh-ha gives keynote address at University of Costa RicaDec 17 2014 - 10:40am
Film showing and keynote address by Prof. Minh-ha at Malmö Konsthall, Malmö, SwedenDec 2 2014 - 3:33pm
Professor Minh-ha showed a film (The Fourth Dimension) and gave a keynote address at the "Tacit or Loud: Where is the Knowledge in Art?" Symposium and Festival for Artistic Research (Nov 29, 2014) at the Malmö Konsthall, Malmö, Sweden.
Professor Minh-ha's films featured at Tranzitdisplay in Prague, Czech RepublicDec 2 2014 - 3:06pm
Professor Minh-ha's films are featured at Tranzitdisplay in Prague, Czech Republic (11/28/2014 - 2/15/2015)
Trinh Minh-ha awarded Wild Dreamer Lifetime Achievement AwardMay 14 2014 - 2:06pm
Professor Trinh Minh-ha has been awarded The Wild Dreamer Lifetime Achievement Award (2014) at the Subversive Festival in Zagreb, Croatia, an annual international fortnight of political, activist, cultural, educational, literary and artistic events whose focus this year is on "Power and Freedom in the Age of Control: Networks - Ideology - Alternatives."
Professor Trinh T. Minh-ha honored with the Women's Caucus for Art 2012 Lifetime Achievement AwardApr 23 2012 - 10:50am
The Lifetime Achievement Awards were first presented in 1979 in President Jimmy Carter’s Oval Office to Isabel Bishop, Selma Burke, Alice Neel, Louise Nevelson, and Georgia O'Keeffe. Past honorees have represented the full range of distinguished achievement in the visual arts professions.
A TALE OF LOVE follows the quest of a woman in love with 'Love'. The film is loosely inspired by THE TALE OF KIEU, the Vietnamese national poem of love marked by internal turbulence and foreign domination. Exposing the fiction of love and the process of consumption, the film marginalizes traditional narrative conventions and utilizes interaction of reality, memory and dream.
Taking as their subject the Gurunsi people of Upper Volta, the authors provide case studies of eight ethnic groups. The authors describe for each group such topics as the history and founding of the village, the spatial and social organization for the compound, the design and construction of dwellings, and the use of private and communal space in everyday life.
(20-min Digital video in Bodyscapes) The term "body art" often conjures rude images of radical piercings and raunchy tattoos on "modern primitives." Bourdier tries a completely different task: to create haunting photographic images that allow viewers to see the environment from inside out by painting the bodies of models, making them one with the desert landscape.
In her writings and interviews, as well as in her filmscripts, Trinh explores what she describes as the "infinite relation" of word to image. Cinema Interval covers a wide range of issues, many of them concerning "the space between"--between viewer and film, image and text, interviewer and interviewee, lover and beloved.
Architect Jean-Paul Bourdier and cultural critic and filmmaker Trinh T. Minh-ha take us into the traditionally built dwellings of African society in this richly illustrated book. Through this "life-in-architecture" we see material evidence of a culture, its socio-economic and cosmological organization, its way of living, and its world view.
Elsewhere, Within Here is an engaging look at travel across national borders--as a foreigner, a tourist, an immigrant, a refugee—in a pre- and post-9/11 world. The author examines the cultural meaning and complexities of travel, immigration, home and exile.
Framer Framed brings together the scripts and detailed visuals of three of Trinh Minh-ha's provocative films: Reassemblage, Naked Spaces, and Surname Viet Given Name Nam. Offers a selection of related interviews in which Trinh discusses visual creativity and the politics of documentary practice as well as questions of feminist, postcolonial, and postmodernist art and culture.
Shot with stunning elegance and clarity, NAKED SPACES explores the rhythm and ritual of life in the rural environments of six West African countries (Mauritania, Mali, Burkino Faso, Togo, Benin and Senegal). Sensuous sights and sounds lead the viewer on a poetic journey to the most inaccessible parts of the African continent, the private interaction of people in their living spaces.
This provocative digital tale tells the story of three young friends traveling for a brief moment together on the train between life and death. Their journey into and out of the land of ‘awakened dreams’ occurs on a long ride on a night train.
Out There addresses the theme of cultural marginalization - the process whereby various groups are excluded from access to and participation in the dominant culture. It engages fundamental issues raised by attempts to define such concepts as mainstream and minority, and opens up new ways of thinking about culture and representation.
Women are the focus but not the object of Trinh T. Minh-ha’s influential first film, a complex visual study of the women of rural Senegal. Through a complicity of interaction between film and spectator, REASSEMBLAGE reflects on documentary filmmaking and the ethnographic representation of cultures.
Trinh T. Minh-Ha blends different forms of writing and narrating; the mutual challenge of the theoretical and the poetical, discursive and "non-discursive" languages tell of her resistance against categorizations and limitations, which is carried out right across ethnicities and cultures. She shows five films at the Secession and gives an insight into her publications from recent years.
The film—whose title refers in part to a Chinese guessing game—is a unique excursion into the maze of allegorical naming and storytelling in China. It ponders questions of power and change, politics and culture, as refracted by Tiananmen Square events.This meditative documentary realizes on screen the shifts of interpretation in contemporary Chinese culture and politics.
This documentary explores the role of Vietnamese women. Using dance, printed texts, folk poetry and experiences of Vietnamese women in Vietnam and the United States, Trinh’s film challenges official culture with the voices of women. The film explores the difficulty of translation, and themes of dislocation and exile, critiquing traditional society and life since the war.
Endless travel in cyberspace, virtual reality, and the dream of limitless speed: technology changes our sense of self. In her new book, Trinh Minh-ha explores the way technology transforms our perception of reality.
An elegant meditation on time, travel, and ceremony. Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, -Shown in their widespread functions and manifestations,...religious rite and theatrical performance, rituals involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning.-
-the mixing of different modes . . . ; the mutual challenge of theoretical and poetical, discursive and nondiscursive languages.- Her first theoretical work, Un art sans oeuvre, illustrates this mixing; one chapter links writings by the French theorist Jacques Derrida and the playwright Antonin Artaud to those of Zen Buddhist healers such as Krishnamurti.
When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having to live "a difference that has no name and too many names already."
“Woman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color.” —Chandra Talpade Mohanty
- Feminist theory
- Film theory and production
- Comparative literary and art theory
- Cultural politics
- Third world arts and politics
- Postcolonial theory and transnational studies