Na Mira’s time-based work uses autobiography and chance to address larger political histories. In a series she began making in 2018, Mira reflects on how mythology intersects with contemporary lived experiences of violence, colonialism and desire. Mira’s installation includes footage of her performing as a tiger in the Demilitarized Zone between North and South Korea, a ritual at the site of late artist Theresa Hak Kyung Cha’s 1982 murder, as well as a radio broadcast that has been transmitting in her studio from an unknown source. Informed by spiritual practices and shamanism—Mira’s great-grandmother lived as a shaman during the period of the Japanese occupation of Korea when it was outlawed—the works are radically open-ended, guided by circumstance and direct embodied experience.
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