Galerie Chantal Crousel Mona Hatoum Selected Press

Galerie Chantal Crousel Ia neetdi xlrn h hnmnlg fspace and of inexploringthe phenomenology “Iaminterested themoving shadows. It’scontradicted by thefluidityof bothmesmerizing,beautiful butalsodisturbing. is the cages heavy situations. arealsocontradictionsintheinstallationLightSentence. rigidityof There The like, “Oh,theInvisible Man,” “Doessheknow she’s beingfollowed?” Ilike usinghumortodeflatethose racist thugs. andhumorous gesture. People Butitisasurreal interactedwithit!Ikept hearingcomments vulnerability, thestateand thiswomanso thatyou have beingfollowed thesymbolof by thebootsof heavy Dr. boots—thethatpoliceandskinheadsusedtowear —behindmy Martens barefeet Well, pieceRoadworks, Brixtondragging take my performance forinstance. Iwalked aroundthestreetsof example. humor inapiecelike NegotiatingTable, The for seealotof —Idon’t Humor? That’s surprising work: darknessandlight,heaviness andhumor, beautyanddanger… the are oftentwo sidestoeach piece, notjustonemeaning. Dualityandcontradictionsexistinmostof it andthisinevitablyfiltersthrough my work. So, yes, thereisdarknessbutlightnessas There well. in LebanonandconflicttheMiddleEastever sinceIcanremember, upliftingabout thereisnothing very civil war I thinkyour personalexperienceshapestheway you viewtheworld aroundyou. With15yearsof Ms. Hatoum,doyou inyour seedarkness art? Robertson, Emma.«MonaHatoum: “It’s about shattering TheTalks thefamiliar”», , October19,2016. http://the-talks.com/interview/mona-hatoum/ materials.” Galerie Chantal Crousel and make you question things that you normally take for granted. Isupposethisis what criticalawarenessand make take you forgranted. isabout. questionthings thatyou normally intosomethingforeign oreventhe familiarturns threatening. It’s aboutshatteringthefamiliar to createuncertainty Yeah, —when displacement,disorientation, estrangement that’s forme. I’mworking important very withfeelingsof your for work toraisequestions? It isimportant o fhope.” Wonderful!lot of Absolutelyamazing!(Laughs) architecture… Butsomeoneresponded,“Oh,it’s funnybecausewhenIlooked attheshadows, itgave mea andregimented bigcities, uniform tower blocsinthesuburbsof thearchitecture of it remindsyou of You negative terms… means thistome.” know, Just recentlyIwas talkingaboutLightSentenceinkindof You know, I’malways when,yearsafterImake surprised awork, someonecomesupandsays, “Oh,this your work over theyears. of interpretations different You musthave heardalotof AndIlikeinterpretation. tokeep itthatway. andhopefullyinthatway, forotherpeople. keep itsurprising myself Ithinktheworkto surprise isopento spaceandmaterials. Ihave experimentalattitude. reallykept avery Ilike of exploring thephenomenology Idon’thave anyspecificstrategy; sitthereandsay,going tomeanthis.” “Oh,thisis Iaminterestedin onpurpose. Ithinkaboutmakingmy Idon’t audienceuncomfortable reference… ButIdon’t know if Light Sentenceisaboutanunsettledspace, aboutaspaceinconstantfluxwithnosolidpointof audience somewhatuncomfortable? Walking thatpieceisadizzying, around unsettlingexperience…Isityour goaltomake your Robertson, Emma.«MonaHatoum: “It’s about shattering TheTalks thefamiliar”», , October19,2016. http://the-talks.com/interview/mona-hatoum/ Galerie Chantal Crousel heaviness andhumor, beautyand danger… thework: darknessand light, sides toeach piece, not justonemeaning. Duality andcontradictionsexistinmostof this inevitablyfiltersthrough my work. So, yes, thereisdarkness butthereislightnessas There areoftentwowell. Lebanon andconflictinthe MiddleEastever sinceIcanremember, uplifting aboutitand thereisnothing very civil war in I thinkyour personalexperienceshapes theway you view theworld aroundyou. With15yearsof Ms. Hatoum,doyou inyour seedarkness art? you travel acrosstheworld toshow thework inCanada,NewYork, here, there, andmaybe 50peoplewould turn because whocares?(Laughs)Doesitmatternow? Idon’t know. you Withperformances, work sohardtoprepare, Well… (Sighs)Idon’t know. Inthoseearlydays, Iwas thisyoung anditdidn’t unknown artist matterwhatI did Has thatchanged?Doyou feelnow like you have somethingtolose? Iwasperformances, quiteyoung andfearless Ifeltthathadnothingtolose. critical andIcouldnever putmy own work on thewall orlive withit,you know? AtthetimewhenIwas doingthese long, Icouldn’t settledown, Iwas toorestless. NotthatI’mnotrestlessanymore…(Laughs)Iwas tooself- suitedmeatthetime. Icouldn’t performance stay withsomethingfortoo I was tooimpatientsotheimmediacyof How so? fueled withanger. were vigil-like. They Ithinktheysuitedtheway Iwas atthetime. now. Butlookingback, it’s cleartomethatthoseyearswere tumultuous, very were intense, very my performances ideashavemy Those definitelypermeated orunobserved. work… Andstilldountil no placethatremainsunturned caneven toanabsurdextreme—Iwas implyingthatsurveillance penetrateinsideyou. surveillance There’s idea of installation thatImadeusinganendoscopiccameratofilmboththesurfaceandinsideof andvideowork. étranger, avideo themeinmy Corps was earlyperformance arecurring surveillance issueof The the world heavily. pieces aroundyou,very andinfluenced your performance 1980sLondon helpedsparkyour own criticalawareness of systemsandinstitutionsof I readthatthesurveillance Robertson, Emma.«MonaHatoum: “It’s about shattering TheTalks thefamiliar”», , October19,2016. http://the-talks.com/interview/mona-hatoum/ m y body, pushedthis Galerie Chantal Crousel it surprising forotherpeople.it surprising Ithinkthework AndIlike isopentointerpretation. tokeep itthatway. andhopefullyinthatway,and materials. Ihave experimental attitude. reallykept avery keep Ilike myself tosurprise don’t space sitthereandsay, tomeanthis.” “Oh,thisisgoing of Iaminterestedinexploringthephenomenology onpurpose. Ithinkaboutmakingmy Idon’t audienceuncomfortable I don’t I have anyspecific strategy; know if reference…But Light Sentenceisaboutanunsettledspace, aboutaspaceinconstantfluxwithnosolidpointof somewhat uncomfortable? Walking thatpieceisadizzying, around unsettlingexperience…Isityour goaltomake your audience mesmerizing, beautifulbutalsodisturbing. themoving shadows. It’s iscontradictedby thecages thefluidityof both installation LightSentence. rigidityof The know she’s beingfollowed?” Ilike usinghumortodeflatethoseheavy situations.There arealsocontradictionsinthe and humorousgesture. People interactedwithit!Ikept hearingcommentslike, “Oh,theInvisible Man,” “Doesshe vulnerability, thestateandracistthugs. Butitisasurreal thiswoman beingfollowedthe symbolof by thebootsof Dr. boots—thethatpoliceandskinheadsusedtowear —behindmy Martens barefeetsothatyou have Well, heavy pieceRoadworks, Brixtondragging take my performance forinstance. Iwalked aroundthestreetsof humorinapiecelike NegotiatingTable, The example. for seealotof —Idon’t Humor? That’s surprising “ mitrse nepoigtepeoeooyo space and of inexploringthe phenomenology “Iaminterested Robertson, Emma.«MonaHatoum: “It’s about shattering TheTalks thefamiliar”», , October19,2016. http://the-talks.com/interview/mona-hatoum/ materials.” Galerie Chantal Crousel installation that Imadeusinganendoscopic cameratofilmboththe surfaceandtheinsideof andvideowork. étranger, avideo themeinmy Corps was earlyperformance arecurring surveillance issueof The heavily. pieces you, around theworld very andinfluenced your performance awareness of your 1980sLondonhelpedspark own critical systemsandinstitutionsof thatthesurveillance I read Isupposethisiswhatcriticalawarenessand make take you forgranted. isabout. questionthingsthatyou normally intosomethingforeignoreventhe familiarturns threatening. It’s aboutshatteringthefamiliartocreateuncertainty Yeah, —when displacement,disorientation,estrangement that’s forme. I’mworking important very withfeelings of your for work toraisequestions? It isimportant amazing! (Laughs) responded, “Oh,it’s hope.” Wonderful! funnybecausewhenIlooked attheshadows, itgave me alotof Absolutely andregimentedarchitecture… bigcities, Butsomeone uniform tower blocsinthesuburbsof the architecture of You negative terms… to me.” know, Just recentlyIwas talkingaboutLightSentenceinkindof itremindsyou of You know, I’malways when,yearsafterImake surprised awork, someonecomesupandsays, “Oh,thismeans your work over theyears. of interpretations different You musthave heardalotof Robertson, Emma.«MonaHatoum: “It’s about shattering TheTalks thefamiliar”», , October19,2016. http://the-talks.com/interview/mona-hatoum/ m y body, pushed this Galerie Chantal Crousel “Seeing those works again makes “Seeingthose works me bothcringe wonder again and situation. approach, todevelop awork over period,tomake my alonger mistakes inprivate beforepresentingthemina public it’sup atthemost.Then So, alldismantled andgone. afterawhile, Ijustwanted tobeablehave amoremeasured you travel acrosstheworld toshow thework inCanada,NewYork, here, there, andmaybe 50peoplewould turn because whocares?(Laughs)Doesitmatternow? Idon’t know. you Withperformances, work sohardtoprepare, Well… (Sighs)Idon’t know. Inthoseearlydays, Iwas thisyoung anditdidn’t unknown artist matterwhatI did Has thatchanged?Doyou feelnow like you have somethingtolose? Iwasperformances, quiteyoung andfearless Ifeltthathadnothingtolose. critical andIcouldnever putmy own work on thewall orlive withit,you know? AtthetimewhenIwas doingthese long, Icouldn’t settledown, Iwas toorestless. NotthatI’mnotrestlessanymore…(Laughs)Iwas tooself- suitedmeatthetime. Icouldn’t performance stay withsomethingfortoo I was tooimpatientsotheimmediacyof How so? fueled withanger. were vigil-like. They Ithinktheysuitedtheway Iwas atthetime. now. Butlookingback, it’s cleartomethatthoseyearswere tumultuous, very were intense, very my performances ideashavemy Those definitelypermeated orunobserved. work… Andstilldountil no placethatremainsunturned caneven toanabsurdextreme—Iwas implyingthatsurveillance penetrateinsideyou. surveillance There’s idea of Robertson, Emma.«MonaHatoum: “It’s about shattering TheTalks thefamiliar”», , October19,2016. how I had thegutsto do itall…” http://the-talks.com/interview/mona-hatoum/ Galerie Chantal Crousel had thegutstodoitall… work. Seeingthoseworks isalwaysthe performance again interesting. andwonder Itmakes mebothcringe how I emotions, especially direction.” hardtolookatwork becauseitbringsoutalotof Itcanbevery from30yearsago was anideathatIcouldhaveI think,“This expandedon,Icouldhave orinanother further pushedthisconcept characteristics which orideas. sometimesleadtorevisitingsomeconcepts SometimesIlookatsomeearlyworks and theymanifestthemselves indifferentways. exhibitionorresidencyinanewlocationbringscertain Every even if ideas certain I can’t themesinmy reallysay work thatbecausetherearerecurring of andacircularityrepetition youSo isitpossiblefor toleave your pastworks behindcompletely? its own. It’s me. Onceit’s thereforpeopletoview, finished,ithasalifeof of exists independently tointeractwith… interactingwiththespaceandmaterials. ordeliver work amessage. Iamnottheretoperform The experience of the theviewer. Impressionsandthoughtscomeoutof With installationmy own by bodyhasbeenreplaced thatof Do you oninstallationsand objects? more feelless“ondisplay”now focusing thatyou’re Robertson, Emma.«MonaHatoum: “It’s about shattering TheTalks thefamiliar”», , October19,2016. http://the-talks.com/interview/mona-hatoum/ Galerie Chantal Crousel Vaikka Hatoumon selkeästi poliittinen taiteilija, hän onvanhemmiten siirtynyt hienovaraisempiin päin maailmaaonainameneillään konflikti. ovat pysyvä tila maapallolla. Kiasman näyttelytilassa punaisena hohtava maapallo kuvaa, miten jossain vanhatkin teoksetaivan uudenlaiseen valoon. Teokset osoittavat surullisella tavalla, kuinka hätäjasodat Hatoumia pidetäänyhteiskunnallisena taiteilijana ja tämän hetkenpakolaiskriisi nostaa Hatoumin lähes kokokolmevuosikymmentäkestäneenuransa ajanjuurettomuuttajaulkopuolisuutta. Libanonilais-brittiläinen taiteilija Mona Hatoum on ajankohtaisempi kuin koskaan. Hän onkäsitellyt Gustafsson, Miia.«Maailmankuulu taiteilijaonpoliittinentahtomattaankin: «Sotajahätä ovat pysyvä tilamaapallolla»», http://yle.fi/uutiset/3-9213199 yle uutiset,October7,2016. Galerie Chantal Crousel Lontoossa voisi tarjotajotain. Pelko vanhempien puolesta jäyti koko ajan, mutta päästyään taidekouluun Hatoum tunsi, että elämä Hatoum neljänkymmenen vuodentakaisiatapahtumia. kaiken kamalan ylläroikkuiloputonharmaasumupilvi. Muttaminunoliselvittävä jotenkin, muistelee – Alku olikauheaa.Entuntenutketään,olinaivanyksin. Lontooolitylykaupunkituohonaikaan.Ja Lontooseen pienenmatkalaukkunsakanssa. sota. Beirutin lentokenttä suljettiin lähes vuodeksi, eikä Hatoum päässyt palaamaan kotiin. Hän jäi yksin Beirutissa asuvaHatoumolisattumoisinlyhyellä lomamatkalla Lontoossa, kunLibanonissapuhkesi joutuessaan kohtaamaan,mitäsotatarkoittaa. Kuvatessaan juurettomuutta ja ulkopuolisuutta Hatoum todella tietää, mistä kertoo.Hänoliparikymppinen «Olin aivanyksinLontoossa» mielestäni nekertovatenemmänmaailmanmonimutkaisuudesta. – Sain aikoinani poliittisen taiteilijan leiman. Nykyään teoksiani voi toki tulkita poliittisesti, mutta Sittemmin hänonvienyttaidettaanenemmänkäsitteellisempäänsuuntaan. Uran alkuaikoina Hatoumtekipaljonperformansseja javideoita, jotka olivat selkeästi provokatiivisia. – Poliittisuus on ajatteluni taustalla, mutta työni eivät enää huuda sanomaa. Pikemminkin ne kuiskaavat. keinoihin. Gustafsson, Miia.«Maailmankuulu taiteilijaonpoliittinentahtomattaankin: «Sotajahätä ovat pysyvä tilamaapallolla»», http://yle.fi/uutiset/3-9213199 yle uutiset,October7,2016. Galerie Chantal Crousel rauhansopimuksessa määritellytpalestiinalaisalueet. ylimmässä näyttelysalissa leijuu saippuantuoksu, sillä Hatoum on piirtänyt saippuapalojen päälle Oslon tilasta yleisesti, onuseissahänenteoksissaansuoria kannanottoja Palestiinan puolesta. Kiasman nomadina, sillä juuriltaan hän onpalestiinalainen. Vaikka Hatoum haluaa kertoa teoksillaan maailman 64-vuotias Hatoum on asunut melkein koko aikuisikänsä Lontoossa. Hän pitää itseään kuitenkin ikuisena Pariisin Pompidou-keskuksessa. . Kiasmassa nähtävä näyttely tulee Lontoon Tate Modern -museosta ja sitä ennen samoja teoksia on nähty palkintoja jahänennäyttelynsäkiertävätmaailman merkittävimmissämuseoissa. Nykyään Hatoumkuuluumaailman tärkeimpien nykytaiteilijoiden joukkoon. Hänonvoittanut useita Ulkopuolisena näkeetarkemmin hyvin heidäntuntemuksensauudenelämäntilanteenedessä. Hatoum eihaluatullaverratuksinykyisiinpakolaisiin, jotka pakenevathenkensäedestä,muttaymmärtää ei ollutinnostunutsiitäajatuksesta. olisi käynyt, jos olisin jumittunut Beirutiin. Tuskin minusta ainakaan taiteilijaa olisi tullut, sillä perheeni – Vaikka elämä Lontoossa oli kovaa, vielä kovempaa seolisi ollut Libanonissa. En tiedä miten minun Gustafsson, Miia.«Maailmankuulu taiteilijaonpoliittinentahtomattaankin: «Sotajahätä ovat pysyvä tilamaapallolla»», http://yle.fi/uutiset/3-9213199 yle uutiset,October7,2016. Galerie Chantal Crousel ylittäminen ontärkeää,meillekaikille. – Ulkopuolisetnäkevätasiatmonestitarkemmin ja kriittisemmin. Siksi matkustaminen ja rajojen kyseenalaistaminen ontärkeääHatoumintaiteelle japarhaitenseonnistuuvieraissapaikoissa. Lisäksi hänmatkustaa ja työskentelee erilaisissa taiteilijaresidensseissä. Itsensä jaympäristön Hatoum asuu aika ajoin myös Berliinissä, joka tuntuu vetävän puoleensa taiteilijoita ympäri maailmaa. äärellä. tuttu lapsuudestani. Vanhemmillani oli oliivitarha ja hetekivät itse saippuaa,kuvailee Hatoum teoksensa alueesta voi tulla mitään. Halusin tehdä kartan saippuapalojen päälle, sillä oliivisaippuan tuoksu oli – Järkytyin, kun näin rauhansopimuksen palestiinalaisalueet. Eihän noin pirstaleisesta kansasta tai Gustafsson, Miia.«Maailmankuulu taiteilijaonpoliittinentahtomattaankin: «Sotajahätä ovat pysyvä tilamaapallolla»», http://yle.fi/uutiset/3-9213199 yle uutiset,October7,2016. Galerie Chantal Crousel Gustafsson, Miia.«Maailmankuulu taiteilijaonpoliittinentahtomattaankin: «Sotajahätä ovat pysyvä tilamaapallolla»», http://yle.fi/uutiset/3-9213199 yle uutiset,October7,2016. Galerie Chantal Crousel Poliittisten tulehdustilassa. Lisäksisen terveyttäuhkaatoinenihmisenaiheuttamakuume, ilmastonlämpeneminen. neonputkella. Teos muistuttaa, ettei kriisejä ole ainoastaan Lähi-Idässä, vaankokoplaneetta on jatkuvassa käsissä sanoistaonmuotoutunut suuri teräksinenpallokartta, johon mantereet on piirretty punaisella Sanapari ”hotspot”tarkoittaa kuumaa paikka,poliittista tai sotilaallista kriisipesäkettä. Hatoumin joka monestakinsyystäonvalikoitunuthänenlaajan näyttelynsätunnuskuvaksi. ylimmän kerroksen näköalaikkunassa. Kyseessäonbrittitaiteilija Mona HatouminteosHotSpot(2013), Kiasman liepeillä ilta-aikaan liikkuva ei voi olla huomaamatta punaisena hehkuvaa neonvaloa museon la 10–18,su10–17. Kuvataide. Mona Hatoum26.2. saakkaKiasmassa(Mannerheiminaukio 2). Ti 10–17,ke–pe10–20.30, Valjakka, Timo. «MonaHatoumin näyttely sekäraastavia tarjoaa tunteitaettävisuaalisiailoja–”Kiasmanylimmän kerroksen salieioleaikoihin konfliktien ja väkivallan uhan herättämä pelko ja ahdistus sekä tietoisuus elämän hauraudesta näyttänyt näinhyvältä”», HS,October8,2016. http://www.hs.fi/arviot/a1475818114122 Galerie Chantal Crousel ovat terävät kuin veitset. Korviin käyvä särinähallitsee teosta Koti (1999),jossa sähkövirta yhdistää aikaan epämiellyttäviä mielikuvia vaarallisista paikoista ja tilanteista. Teräksisen pyörätuolin kädensijat Moni teoksistaperustuu huonekaluihin ja kodinkäyttöesineisiin, joita muuntelemalla Hatoum saa käsikranaateista. ironinen. Lumoavan kauniit esineet ovat vähemmän viehättäviä, kun huomaaniiden saaneen muotonsa Sarja pieniä metallivitriiniin suljettuja lasiesineitä teoksessa NaturaMorta (2012)ontoisella tavalla rakennettu ”vankila”,jonkakeskelläliikkuvavalo heittääseinillesynkkiävarjoja. (1992) nähdäännyttoistamiseen Suomessa. Huoneenkokoinen installaatio on verkkolokerikoista Hatoum eioleuusitulokasnykytaiteen kentässä. Jo 95 -näyttelyssäesillä ollut LightSentence ARS rajoittamiseen, valvontaan,tarkkailuunjavangitsemiseen. peräisin hänen taiteensa vahva ruumiillisuus sekä viittaukset ihmisoikeuksien ja perusvapauksien 1980-luvulla toteutetut performanssit loivat perustan Hatouminmyöhemmille teoksille. Niistä ovat jotka kertovat muun muassa siitä, millaista oli olla nuori palestiinalainen Margaret Thatcherin Britanniassa. ulkopuolisuuteen liittyviä kokemuksiaan. Näyttelyssä onesillä dokumentteja väkevistä performansseista, Lontooseen asettunut Hatoum käsitteli jo varhaisissa teoksissaan pakolaisuuteen ja kulttuuriseen sisällissota estihäntäpalaamastakotiinsa.Sotakesti15vuotta. joka oli paennut Israelista Libanoniin. Kun hänoli lomamatkalla Lontoossa 1975, Libanonissa syttynyt Mona Hatoumontavallaankaksinkertainenpakolainen.HänsyntyiBeirutissa1952palestiinalaisperheeseen, hän onnistuuuseinnostamaankokemuksensayleiselletasollejajakamaannekatsojankanssa. toistuvat Hatoumin teoksissa. Vaikka hänuseinkäsittelee omaan historiaansa liittyviä tilanteita ja tunteita, Valjakka, Timo. «MonaHatoumin näyttely sekäraastavia tarjoaa tunteitaettävisuaalisiailoja–”Kiasmanylimmän kerroksen salieioleaikoihin näyttänyt näinhyvältä”», HS,October8,2016. http://www.hs.fi/arviot/a1475818114122 Galerie Chantal Crousel Lue myösMonaHatouminkesällä2016julkaistu haastattelu,jossahänkertooomantarinansa. ovat tehneeterinomaistatyötä. näkyviksi sekämuodonettäsisällöntasolla.Näyttelyn koonneetChristinevan Assche jaMarjaSakari materiaaleista valmistetut teokset ovatmielekkäässä vuoropuhelussa keskenäänjatekevättoisensa Esimerkiksi Kiasman ylimmän kerroksen suurisalieioleaikoihin näyttänyt näin hyvältä. Suuret, eri Raastavien tunteiden ja vahvojenmielikuvien vastapainoksi näyttely tarjoaa paljon visuaalisia iloja. ja kytkevätnesamallalänsimaisen,käsitteellisesti painottuneenkuvanveistonkehykseen. kolkkojen tunteiden ilmaisemiseen. Geometriset perusmuodot antavat hänen teoksilleen lujan rakenteen Minimalismin keittiötarvikkeet. Valjakka, Timo. «MonaHatoumin näyttely sekäraastavia tarjoaa tunteitaettävisuaalisiailoja–”Kiasmanylimmän kerroksen salieioleaikoihin viileä ankaruus on oleellinen osa Hatoumin kuvakieltä, mutta vain välineenä usein näyttänyt näinhyvältä”», HS,October8,2016. http://www.hs.fi/arviot/a1475818114122 Galerie Chantal Crousel Valjakka, Timo. «MonaHatoumin näyttely sekäraastavia tarjoaa tunteitaettävisuaalisiailoja–”Kiasmanylimmän kerroksen salieioleaikoihin näyttänyt näinhyvältä”», HS,October8,2016. http://www.hs.fi/arviot/a1475818114122 Galerie Chantal Crousel at the Slade School of Art in London, the city where she still resides, and yet has made much of her of much made has by Mobilised situ. in methods craft yet traditional local utilising often globe, the across and residencies in work resides, still she where city the London, in Art of School Slade the at onset of civil war in Lebanon, which separated her from her family. Between 1979 and 1981 she studied born in Beirut in 1952 to Palestinian parents from Haifa and travelled was to identity. She of Britain exploration artistic in her 1975, defines that shortly complexity before the of the full is Hatoum’sbackground the from migration forced of climate Middle East. current this in significance renewed a on take diaspora, driven conflict- of experience the explored she which in 1980s, the of performances early visceral Hatoum’s Hatoum’s artistic engagement in some of the most of distressing longevity socio-political and issues depth, of the range, last the forty of years. account stunning a stages exhibition the retrospective, a as billed exactly not While Helsinki. Kiasma, in Friday on opened – Finland in held be to show solo first the – Hatoum. Mona of work the in deeply Following its display in the Centre Pompidou, Paris, and resonate Tate, London, the exhibition to of Hatoum’s work continue stage world the of horrors contemporary Sadly, the however, significant. less become have to artist’swork an wish might we that often not is It http://finlandtoday.fi/mona-hatoums-exhibtion-takes-on-a-renewed-significance-during-the-times-of-forced-migration/ Roberts, Donna.«MonaHatoum’s ExhibitionTakes OnaRenewed Forced Migration», SignificanceDuringthe Times of Finland Today, October9,2016. Galerie Chantal Crousel immersed us in an experience of live, visceral, physically clinical work porn. this It was pre-internet, an 1994, event In that stare. no and gallery-goer from stand that precariously we which over cavities bodily On entering, we are physically cramped and sensorially overwhelmed by the vertiginous descent into the the darkenedspacewith flickering, ambiguousimages,accompaniedby amplified bodilysounds. videos of the artist’s various orifices is projected in a large circular format. The work lures the viewer into cylindrical tall structure of three a metre diameter, of onto the floorconsisting of which a filminstallation spliced from endoscopyan and colonoscopy 1994), Body,the (Foreign of artworks étranger iconic Corps Hatoum’smost 1990s, the of one contains Kiasma at exhibition the repulsion, of matter the On attracts andrepelsus. simultaneously monde du Socle magnetised the inanimate, or animate ambiguously even metal, yet soft sharp, yet Feathery us. before actually is what understand to attempt our in touch on reliance (denied) a to us compelling thereby and confusion sensory with eye rationalising the disarming direction, female, Italian’sthe appropriates Hatoum object), another,in it takes and wise-crack Duchampian more perhaps of sleight (a Manzoni hand in which Pierro a metal plinth for by a sculpture is turned title upside down, implicitly making the same entire world its the of work 1961 iconic an on Playing paradox. of control effective Hatoum’shighly of exemplary is work a Such object’sconstruction. the in employed process the onto magnets matter with a brush-like dark instrument, conveying the a further sense of of the sensuous clumps ‘paints’and tangibly pleasurable Hatoum how records corner the around screened video A of magnetswhichtheartistshascoatedwithswirlingpatternsthicklyappliedironfilings. unnervingly uncanny. Is it silk? Is it dirt? Is it charred wood? The work, in fact, is made from large blocks and tantalising both is that confusion tactile and optical Werecognition. of defy moment to a encounter begins inspection closer on fabric, quilted sumptuous in draped block a like approach on appears What textured black, block standingtwometreshighinthecentreofupperfloorKiasma. massive a 1992-3), World,the of (Base monde du Socle is pieces alluring immensely yet and incomprehensible initially An objects. Hatoum’s of many so of presence physical threatening yet and accomplished aesthetically the of characteristic is warming. work global The and rage border of delineated by highly-charged, violently crackling orange neon tubes, referring to both the current climate zone. danger a as world entire Alandmass its plinth, a on large,precariously perches globe steel-framed Hatoum’sthe presents tenor.example, universal however,for a works, (2006/2013), have Spot also Hot diaspora, alertustotheextentofdevastatingprotractionmiseryinthisconflict-riddenzone. of effects desultory traumatic, the and war of violence the a loss, Hatoum and separation which of presents experiences in conveys Kiasma, inevitably in display East on Middle works early the Numerous œuvre. in Hatoum’s for war stage vivifying and migration forced of backdrop contemporary The than ever. on, years twenty which, to extent the shows Hatoum’s critique exhibition is still razor sharp, This her conceptual poignancy women. and material dexterity appearing of stronger oppression the and racism, displacement, migration, of problems address to experience personal on drawing incisive, politically as well as impressive physically and formally both were that works with 1990s the in prominence to rose anxiety.She cultural and social personal, of sense profound a articulate media to and the audience her of engage directness to the of advantage taking video, and performance with work to began Hatoum intense cultural dislocation, and the aggressive socio-political meltdown taking place in late-70s Britain, http://finlandtoday.fi/mona-hatoums-exhibtion-takes-on-a-renewed-significance-during-the-times-of-forced-migration/ Roberts, Donna.«MonaHatoum’s ExhibitionTakes OnaRenewed Forced Migration», SignificanceDuringthe Times of Finland Today, October9,2016. Galerie Chantal Crousel (hygienically, ritually)andfailto removeourselves. attempt constantly we beings civilised as which from form), uncertain of unspeakables such other and hair, fallen blood, menstrual fluids bodily faeces, in (represented abject the of presence lurking the by threatened forever is subject the of integrity the that and complete, fully never is separation of process this that was Kristeva’spoint analyses, key anthropological to Withlanguage. reference of realm the or the in stage necessary a development of the individual subject, as well as as the stage by which the child enters the Symbolic order, body mother’s the at) (revulsion of abjection child’s the defined Kristeva her publication as The Powers of Horror (1980). Drawing on the such psychoanalytic theories of Jacques Lacan, abjection, on writings Kristeva’s Julia via exegesis theoretical extensive to leading repulsion, attraction- of binary the of terms in analysed much was work Hatoum’s 1990s the In dynamic. primal very a from force its draws Hatoum’sthat of œuvre feature strong a of paradigmatic also is it audience, While the theme of surveillance ensures the ongoing effectiveness of this work on its twenty-first-century of ourcurrentagesaturatedintrusion. Hatoum’sreveals étranger Corps unseen, entirely presumed body the of area an exposing By prescience everywhere. cameras CCTV of presence ominous the by London in arrival her on alarmed been having continuity of the artist’s confrontational relation with her audience but also to her interest the in to surveillance, only not attention our draws close, up members its filming by audience her discomforts Hatoum which in (1980), camera! on you’re Don’tsmile, titled work performance early an of video adjacent An period hasforgotten anditisundiminishedinitsnauseatingpowerofengagement. http://finlandtoday.fi/mona-hatoums-exhibtion-takes-on-a-renewed-significance-during-the-times-of-forced-migration/ Roberts, Donna.«MonaHatoum’s ExhibitionTakes OnaRenewed Forced Migration», SignificanceDuringthe Times of Finland Today, October9,2016. Galerie Chantal Crousel compulsions/racism). (hygiene pathologies as emerge to begin extremes to taken and rationalized embodied, efforts such that distinction absolute at attempt every troubles so abjection primal of spectre coherency.The of illusion distinguishing are revealed as ultimately impossible, desperate and fearful of a threat to what is really an colonialism, war, migration, etc. Attempts, therefore, to identify (self or other) by exactly separating and people, of interactions and movements global the and etc.) toiletries, sex, (eating, lives our of processes boundaries are never exactly clear, but are blurred and muddied, they slip and disintegrate within the daily by and extension, race, gender, borders, nationality and identity. geographical What Hatoum’s demarcate work emphasises, however, is that such which or waste its from body individual the delineate which those they be Hatoum’swork, within tropes essential are uncertainties, their and therefore, Boundaries, hair- the work; her of woven scarf blurring dimension the boundaries Hatoum’sbetween polysemic male and female, of passive the and Typicalactive, domestic of and weaving). military.characteristic hair also of is it years expectations, six of suggests disruption date (the hair own her of out pattern grid to conflict, and yet Hatoum reinscribes it with distinctly female overtones by weaving the intricate black accessory male particularly a is keffieh the resistance, Palestinian of head-dress woven white and black well-known (1993-9). The Keffieh work the in exhibition this in potently hair,most own perhaps her of The troublesome matter of the abject is literally woven into Hatoum’s œuvre through her continuous use http://finlandtoday.fi/mona-hatoums-exhibtion-takes-on-a-renewed-significance-during-the-times-of-forced-migration/ Roberts, Donna.«MonaHatoum’s ExhibitionTakes OnaRenewed Forced Migration», SignificanceDuringthe Times of Finland Today, October9,2016. Galerie Chantal Crousel up in an electric circuit on top of a table (ambiguously wooden-topped but the metal frame and wheels and frame metal the but wooden-topped (ambiguously table a of top on circuit electric an in up actualized in the installation Home (1999). A collection of shiny steel domestic appliances has been Bourgeois’wired- powerful sense of the domestic uncanny), Hatoum’s political Louise charging course of of household objects (and is surrealism Oppeheim’s and Cahun of legacy feminist distinctly the Maintaining work, Hatoum’s in abound animating herobjectsthrough culturalandhistoricaloscillation. Associations tank. military a and disability amputee of classification a to Meret recall that Oppenheim’s saucers droll surrealist and intervention cups in household tea objects from white the 1930s, conjoined and yet two its T42, title both is refers it to Next objects. the construct to asked she which of makers local the nets, fishing bamboo traditional of form the took then and looking, of constraint and allure sexual between dynamic a from Japan, in her to came idea the that says Hatoum trap-like by substituted cylindrical protrusions. The eyerecoilssqueamishlyatthedirectphysicaleffect been ofthecage-like shapes. have lenses which in objects spectacle-like constructed delicately three Another nails. of row menacing with typically surrealist abrasion between object and title is presented in the works titled Eyecatchers (1997), underneath affixed iron flat regular a – Gift object 1921 Ray’s Man recalls that colander spiked viciously a are humour surrealist blackly a by moulded objects Other East fromwhereHatoumoriginates. both to an explosive device and a pomegranate fruit, a rich cultural symbol of the Mediterranean Middle refers grenade word French the how through however, further, carried is objects these of signification cultural The title. the of implication wry,morbid the and objects the of form hand-grenade-shaped the by affected immediately is horror and beauty of combination Hatoum’sarresting baubles. Again, glass Murano mirrored crafted, beautifully richly-coloured, twelve containing cabinet metal glass-fronted a of consists 2012, from cabinet), (medical morta Natura titled One, vitrines. glass in objects numerous displays exhibition the of corner curated concisely Aobjects. subversive Duchamp’s Marcel of legacy frequently conveyed through knowingly surrealistic references, particularly associated with the neo-dada While this may sound unremittingly dismal, there is also great wit and humour in Hatoum’s work. This is from thecomfortzonesofidentity, family, homeland. severed and dislocated, displaced, are who those of subjectivity the of expression vital a conveys work borders. With its paradoxical encounter of aesthetic pleasure and sensory, physical disturbance, Hatoum’s racial/national of issue the over conflict internal ugly an undergoing is which itself, Finland in least not acrossa Hatoum’sEurope, relevant, in Ever tension waves. heightened radio of time a at comes exhibition smeared latest American-voiced is North military-sounding which vague by out drowned (clay) up, matter breaks Bach dark screen; transparent some in floundering body, wavering indistinct, an of Gradually, however, familial harmony disintegrates; the restful bathroom is substituted by the movements harmonious accompanimentofJ.S.Bach’s Cello Suit No.4. long, slow shots of a homely tiled bathroom interior – mother’s hair with brush, constructed father’s mood, shaving intimate brush and – to serene the a with begins which work a in combine horror and beauty film titled Changing Parts (1984), allegorizes theshort trauma of physical andmonochrome geographical dislocation.a Again work, adjacent The daughter. her from separation mother’s a of pain the express from sent Beirut, which tell of the constant shelling that disrupts daily patterns of life and family visits, and which letters mother’s her from excerpts reads Hatoum (1988), Distance of Measures installation video the In home. and family from severed London in migrant a as integrity bodily/psychological of dissolution the enacted physically 1980s the of performances early her in having – individual-homeland child-mother/ – signifiers of chain associated fundamentally a to work her in much refers thus Hatoum http://finlandtoday.fi/mona-hatoums-exhibtion-takes-on-a-renewed-significance-during-the-times-of-forced-migration/ Roberts, Donna.«MonaHatoum’s ExhibitionTakes OnaRenewed Forced Migration», SignificanceDuringthe Times of Finland Today, October9,2016. Galerie Chantal Crousel driven characterofwhatbecameknownaspost-minimalism. away from the minimalists’ insistence upon the formal autonomy of the work of art to the more content- 1960s late the in shift crucial a to relation in historically work her situates it that in significant is work violently outwards to resemble the narrow side of a cheese grater. This allusion to resonant minimalism in the in horizontality of Hatoum’spieces like Daybed (2008), a broad black steel ‘bed’, its surface punctured (having domestic as well as martial implications). There is a brutal minimalism to these works, formally incarceration and torture with concerns Hatoum’srepresents the exhibition the of in section the Nonetheless, strained little a perhaps screen. domestic a is of manner the in hinged division grater cheese high two-metre a and (2002), Divide Grater work violence to objects domestic relating play word The top. table perilous this as charged equally as is Hatoum’sthat to work undercurrent an is repressed female a (1975), in which the demurely aproned artist enacted violent gestures with kitchen utensils. The return of Kitchen the of Semiotics performance feminist classic Rosler’s Martha as well as Objects”, Household of “Beware titled text a with Paris in Objects Surrealist of Exhibition 1936 the addressed who Cahun, charges through the current normally homely electric utensils. Hatoum amplified evokes here the the rallying cry as of vanguard violently surrealist Claude buzzes and illumination with surges that table, trap suggestive of a sinister medical context). A fence of taught steel cables protects viewers from this death- http://finlandtoday.fi/mona-hatoums-exhibtion-takes-on-a-renewed-significance-during-the-times-of-forced-migration/ Roberts, Donna.«MonaHatoum’s ExhibitionTakes OnaRenewed Forced Migration», SignificanceDuringthe Times of Finland Today, October9,2016. Galerie Chantal Crousel by thegrace ofGod. also reaches out with a call for empathy and engagement with the struggles of those who are only ‘other’ but years, fifty last the of artists global significant most the of one of career remarkable the reflects only not Kiasma at Hatoum Mona signed.” is that paper a Or / handshake a takes only it Sometimes / day a the British-Jamaican poet Benjamin Zephaniah writes: “We can all be refugees / Sometimes it only takes Big Questions, which addresses identities of the same and the other on a basic humanising level. Herein, Other Homes? And Their Leave People Makes What Migrants? and Refugees Who Are titled children, at aimed poetry of book a Younglaunched Annemarie and Rosen Michael which on day a UK, the celebrated in was Day Poetry National which on day same the on opened exhibition Helsinki Hatoum’s errant the and absent-mindedness political implicitly, or,recklessness ofthechild’s game. motion gravity, by undone frontiers their glass clear of thousands marbles, some of of which up have rolled made away, map no longer world demarcating (1999), borders a but slipping of off Map into form the oceans, piece, the in floor instability large-scale global represents the Hatoum In Other? unwelcome indistinct, an of those are oppression and migration incarceration, our conflict, of troubles the that stable deservingly are and unquestionably so lives all, empathy.After of necessity human and political the us upon impresses and work her range of developed depth long and extraordinary the Experiencing ambiguity. disquieting and severance, Hatoum has an immense skill at drawing us physically into proximity with the experience of fear, threat, buzzing deadly the by acute uncomfortably sound ofelectricityfromtheadjacentroom,noisepalpablyrattlingthroughwirecages. more even made horrors, political and social of all to manner associations physical in enveloped is viewer The constriction. and nauseating movement both a of with sensation giddy slightly and destabilised viewer the leaving walls, white the across shadows down to the floor and back up again. The slight movement of the bulb casts undulating, intricately gridded single bare light bulb is suspended on a motorised cable, which very slowly lowers the single light source as the viewer stands in a restricted room before a corridor of wire mesh lockers. In between the lockers, a The latter merges reference to minimalist and kinetic art with an oppressive physical sense of constraint, (1992). Sentence Light installation the and Home well-curated charged electrically the the containing rooms in the of apparent intersection is experience sensory and spatial unnerving with them overwhelms and The extent to which Hatoum submerges the viewer in a paradoxical appreciation of minimalist aesthetics and themenacingmassofsharp-edgedsteel. The defining tension of the piece arises from the binary of aesthetically satisfying, minimal, kinetic form from the ceiling by invisible fishing thread so that the finished form floats in space like atransparent cube. precariously five beds high, and the latter consisting of hundreds of rows of barbed steel wire, suspended beds, bunk shelf-like steel-framed be to appears what of arrangement imposing an of consisting former works. Quarters (1996) or Impenetrable (2009) represent the stripped down aesthetic of this dynamic; the bold and yet nuanced dynamic between the formal attributes and the semantic and tactile resonance of her Much influenced by the work of Eva Hesse (1936-70), Hatoum has developed her own carefully balanced, time negatingformalautonomybyinscribingworkswithsocio-politicalsemantics. the physical affectivity of mass and large spatial dimensions achieved by minimalism, while at the same presence, material the of much retain to sought it that in movement this to corresponds Hatoum’swork http://finlandtoday.fi/mona-hatoums-exhibtion-takes-on-a-renewed-significance-during-the-times-of-forced-migration/ Roberts, Donna.«MonaHatoum’s ExhibitionTakes OnaRenewed Forced Migration», SignificanceDuringthe Times of Finland Today, October9,2016. Galerie Chantal Crousel 07.10.2016 –26.02.2017 Kiasma Mona Hatoum http://finlandtoday.fi/mona-hatoums-exhibtion-takes-on-a-renewed-significance-during-the-times-of-forced-migration/ Roberts, Donna.«MonaHatoum’s ExhibitionTakes OnaRenewed Forced Migration», SignificanceDuringthe Times of Finland Today, October9,2016. Galerie Chantal Crousel est citoyenne dumonde. œuvre àson identité palestinienne et à sadémarche en faveur d’une région serait réducteur car l’artiste Tout letravail deMonaHatoumestétayé par les événements du monde.Ilenestl’écho. Restreindre son Szczelkun. marché dans les rues de Brixton en 1985 pour participer à une exposition collective organisée par Stefan qu’elle aattaché des DocMartinsàsespiedsnus(symbolela foisdelapoliceetdesSkinheads)a aux mille fenêtres danssatête, avance à grandspas.Elle marche tout comme sa vidéo l’indique alors Elle marche, marche, Mona Haoum. Comme si elle traversait la planète. Cette artiste aux vies multiples, 05/07/2016 Colette KHALAF(àLondres)|OLJ coin. 21 août.Unepetite visite vautledétourjusqu’au le sionestdans Les œuvres deMonaHatoumhabitentla Tate ModernàLondres, Rétrospective http://www.lorientlejour.com/article/994832/mona-hatoum-au-singulier-et-au-pluriel.html Khalaf, Colette. «MonaHatoum, ausingulieretpluriel»,L’Orient leJour, July 5,2016. Galerie Chantal Crousel questionnent l’utilitéetlaportéedes objetsquimeublentlavie contemporaine. l’esprit surréaliste de Magritte. Cet humour, onle retrouve souvent danslesœuvresdeMona Hatoum qui poils depubissurlesiège) –maisdontonretrouve la formedanstousles jardinspublics –, elle conjure travers unechaiseàformeféminine (avec un autreregistre,l’artisteinterroge cequiestpublic.À Dans Public vspublic et faitquestionnerl’individu. Hatoum essayederemettre en évidence en 1994parcette installation qui, insidieusement, hante l’esprit le bruit de fluides qui y circulent. Invasion du corps mais aussi des frontières d’autrui, c’est ce que Mona l’on estrévulséparcequ’onvoit. Au sol,unevidéosorted’endoscopieprojette des organes humainsavec Toujours dansl’esprit de surveillance, ce Corps étranger, sorte de capsule futuriste où l’on pénètre et où devenue omniprésente,voireplanétaire. imageries de corpsnus.Enseservantsonartcomme unearme,MonaHatoumfustigelasurveillance Don’t Smile, You’re onCameraen1980mélangeainsidesimagesvidéo live del’audience avec des puissantes. tour à tour physicienne, tisserande ou radiologiste dans des performances toujours aussi diverses que lence, la plus petite secousse. Danscette énorme rétrospective qui occupe les lieux, l’artiste deviendra elle en a pris les fondations, les outils. Elle est comme ce sismographe qui enregistre la moindre turbu- son corpsd’œuvre,d’unepoésieetd’unréalisme sans frontières. Autant del’Orientquel’Occident, routh etvoguantaujourd’hui entre les eauxbritanniques etberlinoises, a panaché durant trente-cinq ans Depuis qu’elle s’estétablie à LondresaprèslaguerreduLiban,cette originaire de Palestine,néeàBey « You’re oncamera» http://www.lorientlejour.com/article/994832/mona-hatoum-au-singulier-et-au-pluriel.html Khalaf, Colette. «MonaHatoum, ausingulieretpluriel»,L’Orient leJour, July 5,2016. - Galerie Chantal Crousel tranquillité. la (?) jamais peut-être connaît ne qui et continu danger en sphère une Spot, Hot Hatoum Mona appelé pemonde énorme brillant de mille feux rouges. Cesnéonsqui illuminent les continents réfèrent à ce qu’a sentiment d’instabilité. Comme une énergie... sombre. Enfin, le regard est attiré à la sortie par cette map- dans unmouvement rotatoire continu. Plus loin, de grossesbilles noires poséesausoltraduisent ce même de sable avec une grandeaiguille rotative, réalisé en 1994puis2004,aplanit puis disperse lesable monde et qui sont certainement les grands conflits qui génèrent sans cesse l’instabilité. Un grand module Mais au-delàdecesproblèmesrégionaux,Hatoumaimefaireunéclairage sur lesgrandsproblèmesdu par Inaash (2012-2013) et accrochées comme des fenêtres et qui représentent des régions de la Palestine. 1993 ; à travers une conversation intimiste avec sa mère mais aussi à travers ces douze broderies réalisées mille carrés de savons originaires de Naplouse, où une carte a été dessinée d’après les accords d’Oslo de la nostalgiedePalestine, sonpaysnatal, est évoquéeàtraverscette grande installation de plusdeux L’instabilité du mondeatoujoursétéaucentredespréoccupations de l’artiste pluridisciplinaire. Certes, l’espace. déstabiliser de afin mouvement le et ombres les lumière, la utilise Sentence Light elle, Pour barrière. en à lagéométrie ducubeainsiqu’àlasérialité, Hatoum peuttransformerlecubeenunecageetlagrille la monotonie et réveille les corpsalanguis.Danscesgrandesinstallations, où elle a recoursàdesgrilles, Hatoum Mona célèbres. aime tromper le regard et se jouer des intimes sensations. Elle sème le trouble dans tout esprit apaisé par prisons grandes les évoquent qui barbelés fils des que effet en sont ne liques dans cette structure légère de fils métalliques qui semblent léviter, appelée Light Sentence. Les fils métal Impenetrable en 2009. Toute impression d’aérien s’estompe laissant place à une incarcération effroyable Light sentence en 1992(réalisée donc avant Homebound) ;dansQuartersen1996maiségalement dans a qui Hatoum, Mona ce talent de lesexprimersousdifférents anglesetdedifférentes à manières.Emprisonnement dans cette chers thèmes de autant sont l’emprisonnement et l’étrangeté confinement, Le À l’écoutedumonde simples modèlescréésparl’hommelui-même. ustensiles de cuisine. Installés dans uncircuit électrique et fermé, ils témoignent de notre dépendance de à voir l’assemblage d’une chaise électrique, on découvre à notre grande surprise que ce ne sont que des l’espace et des mathématiques. Au loin, on entend un grésillement. En approchant de cette pièce qui offre la dextéritédel’artiste ainsi quesesnombreusesconnaissancesdelaphysique,géométrie dans ou non,danssonintime pour endevenir par lasuitel’esclave. Homebound, construit en 2000,traduit qui, quoique d’apparence anodine, semble menaçant. Chaque individu les a introduits, volontairement qu’un paravent en forme d’une râpe. Plus tard, en 2000, elle reprend cette même idée d’environnement grands meubles, censés être familiers : unlit métallique quin’assurepourtant que del’inconfort ainsi également une intrusion de notre intime ? En abordant ces questions, Mona Hatoum réalise en 1993 deux Que sont les objets quotidiens, quelle signification ont-ils dans notre vie de tous les jours ? Ne sont-ils pas http://www.lorientlejour.com/article/994832/mona-hatoum-au-singulier-et-au-pluriel.html Khalaf, Colette. «MonaHatoum, ausingulieretpluriel»,L’Orient leJour, July 5,2016. - Galerie Chantal Crousel though anomadic geneseesheraccept residenciesthroughout theworld. She completed artschool intheBritishcapital and nowdivideshertime between London andBerlin, has said. Then, in1975,Hatoum foundherselfstrandedinLondonwhencivilwar brokeoutinLebanon. Palestinian family were obliged to leave Israel in 1948 and “existed with a sense of dislocation”, Hatoum longing better than MonaHatoum.BorninBeirut1952,the artistexperienced a doubleexile.Her As Tate Modern’s triumphant new show demonstrates, no one has expressed the terrible beauty of unbe relocation. for exodus. Yet theSomali-British poetisheirtoalineage of artists whohavewrenchedlyricismoutof lines “No oneleaves home unless/home is the mouth of ashark,”hasmade her the 21st-century cantor Before there was Warsan Shire,there was MonaHatoum.Shire’s poem“Home”, which openedwiththe Photo: PhilippeMigeat Mona Hatoum’s ‘LightSentence’ (1992). Rachel Spence ‘Triumphant’ Mona Hatoum, Tate Modern,London,review— May 9,20166:07pm http://www.ft.com/intl/cms/s/0/42d1e3de-13b0-11e6-91da-096d89bd2173.html#axzz48GUMzsAV Spence, Rachel. «MonaHatoum, Tate London,review Modern, —‘Triumphant’», The Financial Times, May 9,2016. - Galerie Chantal Crousel into weapons. Meret Oppenheim andLouiseBourgeois, feminist artists whoalsoturnedthe tools oftheiroppression — hair, blood,urine—andhasapredilection for householdobjects which makesherthe daughter of However, Hatoum also sieves her sensibility through a surrealist filter. She often uses organic substances foundation stoneofgeometric abstractiontotemperovertemotion. a skein of political artists, including Cornelia Parker, Nadia Kaabi-Linke and Hajra Waheed, who use the cal elegance of Hatoum’s material repetitions and recalibrations.) such, Hatoumisinthevanguardof As tropes in her oeuvre. (Tate’s show, sensibly, doesnot adhere to chronology and thus maintains the cycli there can be no cage, no prison cell, no bed, no electric power and no map, all of which are recurring sions ofherouterworld.Hatoumputsmatrices to morepointeduse.Sheknowthatwithoutthegrid But the American painterdeclared that herlineswere“innocent as trees”—private, transcendent expres of a Tate retrospectivelastyear, wasarecentresident. autonomously beautiful, it hasanespecially powerful resonanceinagallery where Agnes Martin,subject wolf-grey shadows. At onceprisoncell, interrogation chamber and battery cage, yetalsoastoundingly, which hangs a single, swaying lightbulb, it envelops the spectator in an infinite grid of silky, fluctuating, of wire-meshlockersinbetween Sentence” isoneofherearliestinstallations. Consisting oftworows lutionary medium”.Butbythe1990sshehadoutgrownitsinnatemelodrama. Made in1992,“Light Taking her cuefromagenerationoffeministartistsbeforeher, Hatoumsawperformance as a“revo- an artestablishmentwhichhasdenudedwomenforcenturies. The unsettling sleight of eyespeaksanartist revenging herself — forthisviolating gaze is hers—on camera” (1980), creates the illusion that male bodies are being surreptitiously stripped by apryinglens. A layer-cake of imagery assembled from contact sheets and grainy footage, “Don’t smile, you’re on “Roadworks” (1985)thatsprangoutofherangerattheera’s raceriots. skinheads) as she trudges through Brixton is the legacy of a film — on screen in a later room — entitled white and black photograph of Hatoum’s bare feet tied to a pair of Doc Martens (footwear of choice for fashionable A performance. was language early her that us remind rooms first the Yetgrammar. By thetime she made“SocleduMonde”in1992-93,Hatoumhadadopted minimalist form ashermain Andre hadbeenreimaginedbyStevenKing’s Carrie. her feelings overwhelm her form, yet her tactile pelt whispers ofuncanny forces caged within, as if Carl Hatoum keepsthehermetic geometry, therebydeclaring herselfanartistwhohasnointention of letting echoed the Duchampian credo that all the world’s an artwork waiting for a museum to put it on display. planet was displayedonitssurface.Inasmoothmetal which anticipated minimalism, Manzoni’s work The intellectual jester of conceptualism, Manzoni placedaplinth upside downtosuggestthat our entire which isnamedaftera1961sculpturebyPieroManzoni. magnets, hidden to cling which filings iron black in covered cube a world”), the of (“Base Monde” du Despite herpersonaltrauma, Hatoum isfarfromaconfessionalartist. Tate’s exhibition opens with“Socle http://www.ft.com/intl/cms/s/0/42d1e3de-13b0-11e6-91da-096d89bd2173.html#axzz48GUMzsAV Spence, Rachel. «MonaHatoum, Tate London,review Modern, —‘Triumphant’», The Financial Times, May 9,2016. - - Galerie Chantal Crousel (1996), arectangle ofgolden soapbarswhichbears the fainttracingofamap ofPalestinianterritories as bound”, for example, is framedbyacolony ofexquisitely pared-down works including “Present Tense” Time and again these Plath-like howls offury are quietened by Hatoum’s rationalist architecture. “Home flare withominousindifference toourpresence. hamster cage,assortedlightbulbs andfurniture—electrically wired together so thatthey buzz,dimand child’s cot, colanders, — objects of installation an (2000), “Homebound” of whine the by intensified is (“Jardin Public”, 1993) sprouts a triangle of pubic hair from the holes in its seat. The unsettling menace At Tate, agiganticcheesegrater isblownuptoresembleahazardousdaybed. A Frenchgardenchair Photo: IainDickens,courtesy White Cube Mona Hatoum’s ‘GraterDivide’ (2002). http://www.ft.com/intl/cms/s/0/42d1e3de-13b0-11e6-91da-096d89bd2173.html#axzz48GUMzsAV Spence, Rachel. «MonaHatoum, Tate London,review Modern, —‘Triumphant’», The Financial Times, May 9,2016. - Galerie Chantal Crousel apocalyptic, we have “Projection” (2006), another map traced in flocks of cotton on a white ground white a on cotton of flocks in traced map another (2006), “Projection” have we apocalyptic, too getting it’s all as Just flames. in was world entire the if as neon red in outlined continents the with for surveillance, made for ideal Victorian prisons. Nearbyis “Hot Spot”(2013),astainless steel globe capacity its to thanks that, shape panopticon the in arranged and high five stacked frames mattress bare installations. The second half of this show introduces usto “Quarters” (1996), fourmetal beds with These diminutive interventions balance out the brutal violence that simmers in Hatoum’s monumental Photo: Agostino Osio,courtesyFondazioneQueriniStampaliaOnlus, Venice Mona Hatoum’s ‘HotSpot’ (2009). code. been burnt withtiny perforations that form stuttering, singed rowssuggestive of anindecipherable morse drawn upintheOslopeace accords.Onthewall,swatchesofburnttoilet paper (“Untitled”, 1989) have http://www.ft.com/intl/cms/s/0/42d1e3de-13b0-11e6-91da-096d89bd2173.html#axzz48GUMzsAV Spence, Rachel. «MonaHatoum, Tate London,review Modern, —‘Triumphant’», The Financial Times, May 9,2016. Spence, Rachel. «Mona Hatoum, Tate Modern, London, review — ‘Triumphant’», The Financial Times, May 9, 2016. http://www.ft.com/intl/cms/s/0/42d1e3de-13b0-11e6-91da-096d89bd2173.html#axzz48GUMzsAV

which imagines our planet as a pillowy, utopian phantom, the alter ego of those bleak, ascetic bunks.

As a songstress of home, clearly Hatoum is no Martha Stewart. Yet, despite critical attempts to pigeonhole her, she also isn’t the visual equivalent of Edward Said. Although Said, the pre-eminent witness to the Palestinian displacement, wrote a beautiful essay about her work in 2000, reproduced in Tate’s catalogue, Hatoum’s concerns venture further. The plight of her parents’ birthplace is always on her radar. But she’s also telling us that domesticity is death to female empowerment. And that few of us, regardless of gender, ever truly find a refuge.

The show closes with “Undercurrent (red)” (2008), a scarlet mat whose tight weave loosens into tentacles plugged into lightbulbs, their intermittent glow reminding us just how much blood there is on everybody’s carpet these days. It’s a strong piece, reminiscent yet not derivative of the Aids-related light works of Cuban-American artist Félix González-Torres.

A more subtle coup de foudre would have been delivered by “Measures of Distance”, which sits halfway through the exhibition. Made in 1988, this video is a palimpsest of sound and image, showing Hatoum’s mother as she takes a shower, her body barely discernible behind a curtain of Arabic writing. Fluid as a Galerie river, spiky as barbed wire, as inspired a grid as Hatoum ever devised, the calligraphy makes a perfect formal container for the sadness in Hatoum’s voice as she reads aloud the letters her mother wrote to her

Chantal Crousel during their separation.

As lines such as “Dear Mona, I have not been able to send you any letters because the local post office was destroyed by a car bomb . . . ” echo through the rooms before and beyond, we intuit that this exhibition will disrupt our own homecoming.

To August 21, tate.org.uk Galerie Chantal Crousel 1 sur 2 http://www.ft.com/intl/cms/s/0/da01ee54-112e-11e6-91da-096d... Tate explores exile, violence andvoyeurism in Hatoum exhibition... Pickford, James. «Tate explores exile, violenceandvoyeurism inHatoum exhibition», TheFinancial Times, installations and sculptures. fortheTurnerinstallations Shewasnominated Prize in1995, in theyear career shebecameknownfor exile Themes of FineArt. of the SladeSchool Lebanon Artonto prevented of beforegoing her return. ShawSchool Shestudied atByam after art civilwar herselfinthecountry inthe1970s study in butfound marooned to Wednesday. on summer whichopens show, gallery’s inthecontemporary the100 display implanted withseedsareof works on some andsandbags blocks, amapmade fromsoap video, Giant cheesegraters, anendoscopy retrospective theLebanese-born of artist’s work. TateModerninthefirst majorUK beexploredby isto career Hatoum The 35-year Mona of  James Pickford in Hatoumexhibition Tate exploresexile,violence andvoyeurism pm 3:33 2016 3, May http://www.ft.com/intl/cms/s/0/da01ee54-112e-11e6-91da-096d89bd2173.html#axzz48GUMzsAV Share   Author alerts , conflict, violence and voyeurism pervade her andvoyeurism work. violence parther Intheearly , conflict, of video and performance work, before moving on to large-scale andperformance to video work, on beforemoving Ms Hatoum, whose parents whose areMs Hatoum, Palestinian, theUK cameto  Print  May 3,2016. Clip ©Anna Gordon/FT ©Anna  Comments 10/05/2016 17:38 Pickford, James. «Tate explores exile, violence and voyeurism in Hatoum exhibition», The Financial Times, May 3, 2016. http://www.ft.com/intl/cms/s/0/da01ee54-112e-11e6-91da-096d89bd2173.html#axzz48GUMzsAV

Tate explores exile, violence and voyeurism in Hatoum exhibition... http://www.ft.com/intl/cms/s/0/da01ee54-112e-11e6-91da-096d...

which Damien Hirst won with his formaldehyde-preserved cow and calf.

Ms Hatoum makes use of everyday objects or materials — but transformed or presented in unusual or unsettling ways. In “Homebound” (2000), mundane kitchen utensils and household furniture are connected by wires through which an audible high-voltage current buzzes threateningly.

Simple mesh wire boxes piled up in a U-shaped structure are given a more eerie edge in “Light Sentence” (1992) by a slow-moving central lightbulb that casts complex, disorientating shadows on the gallery walls and viewers.

The human body — and in particular women’s bodies — is another focus of her work. One of her best known artworks is “Corps Etranger” (1994), in which Ms Hatoum used an endoscopic camera to probe the outside and inside of her own body, including images of her digestive tract as the camera journeys through her intestines and colon. The work, first shown at Paris’s Centre Pompidou, was intended to explore ideas of surveillance and Galerie invasion.

Chantal Crousel Clarrie Wallis, Tate curator of modern and contemporary British art, said the artist was less well known in the UK than on the continent, which the exhibition would help redress. “What she does is to transcend her [circumstances] and present her art as universal. Her work feels incredibly relevant in terms of the world today.”

“Mona Hatoum” runs from May 4 to August 31 at Tate Modern.

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2 sur 2 10/05/2016 17:38 Galerie Chantal Crousel Smith, Ali.«Never take anything forwhat itappearstobe. AliSmithonMonaHatoum», Tate ETC., Issue37, Summer 2016,pp.78-81. Galerie Chantal Crousel Smith, Ali.«Never take anything forwhat itappearstobe. AliSmithonMonaHatoum», Tate ETC., Issue37, Summer 2016,pp.78-81. Galerie Chantal Crousel Smith, Ali.«Never take anything forwhat itappearstobe. AliSmithonMonaHatoum», Tate ETC., Issue37, Summer 2016,pp.78-81. Galerie Chantal Crousel Smith, Ali.«Never take anything forwhat itappearstobe. AliSmithonMonaHatoum», Tate ETC., Issue37, Summer 2016,pp.78-81. Galerie Chantal Crousel Adrian Searle, Jonathan Jones, Oliver Wainwright andNancy Groves. «ArtandDesign.MonaHatoum», TheGuardian, Wednesday, May 4,2016,p.17. Galerie Chantal Crousel By SAMUEL SPENCER|MAY 05,2016 Agitprop at Tate Modern Review: MonaHatoumBlends Abstract, work like “Jardin public,” 1993, a chair featuring a ball of hair whose title is a pun on “public/pubic,” on pun a is title whose hair of ball a featuring chair a 1993, public,” “Jardin like work a making and conflict, Israel-Palestine the on comments making home at equally artist an is This ones. ring the word “unemployed” she stamped across Sheffield in one work), and bad puns, particularly sexual things thatHatoumlikes asanartisttheyaresimple,boldpolitical statements (likethefootprintsfeatu In practice, however, thiscanmakeforamuddled, yetalwayscompelling, experience. If therearetwo unlike thenumberofweaved worksmadeofhumanhairandotherunconventional materials that feature. of theexhibition,abstractandagitprop, the personalandpolitical, are woventogether, not accompanying brochure theycall“aseriesofjuxtapositions.” Intheory, this meansthatthemanystrands Rather thangoinginchronological order, thecurators havechosenasortofthematic display that inthe which runsuntil August 21. Hatoum, Mona Lebanese/Palestinian of retrospective UK first the presenting is London’sTateModern (© MonaHatoum.PhotoStefanRohner, CourtesyKunstmuseumSt.Gallen) «Undercurrent (red),»2008,byMonaHatoum Spencer, Samuel. «Review: MonaHatoum Agitprop BlendsAbstract, at Tate BlouinArt Info Modern», ,May 5,2016. http://uk.blouinartinfo.com/news/story/1393986/review-mona-hatoum-blends-abstract-agitprop-at-tate-modern

- Galerie Chantal Crousel “Mona Hatoum”runsuntil August 21at Tate Modern. which glowincandescently, sometimesliterallysoasinthelastpieceexhibition. Always skillfully done butoccasionally shallow, theexhibition is worthseeingforitsbestmoments, ped in the home and the house arrests political enemies can find themselves subject to all over the world. like a seriesofworksthat show theterror implicit in domesticity, acomment both onwomenfeeling trap comprised of hangingbarbed wire strands. Othersuccessfulworkstake a more oblique look at issues, These abstract works can also be her most effective political works, as with “Impenetrable,” 2009 a cube highlight. exhibition definite a create to circle revolving a in over smoothed and furrowed constantly is best moments.Onesuchworkis“+and-,”1994-2004,ayin-yang sculpture in whichacircle in sand However, it is whenthe artist gets awayfromthe personal andthe political that the exhibition has its the caseofonework,inside-the-body. mountaineer. In fact, visitors will see works not only on-the-nose, but on-the-breast, on-the-back, and in uses inworkstheexhibition, photographing herselfwithatoyclimber on herfacelikeaminimilitary and on-the-nose.However, perhapsthisisappropriate, as thenoseisoneofmanybodypartsHatoum photograph ofaman’s backhairarrangedintoStarryNight-like swirls, theyjustseemoverlysimplistic their bluntness tomake their impact, and whenshownnearlessseriousworklike “Van Gogh’s Back,” a lay seeminglymangled and bloodied under asheetasthesoundofwarreportage plays, mustrelyon like “Negotiating political Documents forperformanceworks works. Table,” 1983,inwhichtheartist Seeing thesetwosidesoftheartisttogether is certainly interesting, but itserves tocheapen the more creating arandyreadymadelikeMarcelDuchampwithdirtymind. Spencer, Samuel. «Review: MonaHatoum Agitprop BlendsAbstract, at Tate BlouinArt Info Modern», ,May 5,2016. http://uk.blouinartinfo.com/news/story/1393986/review-mona-hatoum-blends-abstract-agitprop-at-tate-modern

- Spencer, Samuel. «Review: Mona Hatoum Blends Abstract, Agitprop at Tate Modern», Blouin Art Info, May 5, 2016. http://uk.blouinartinfo.com/news/story/1393986/review-mona-hatoum-blends-abstract-agitprop-at-tate-modern Galerie Chantal Crousel

Mona Hatoum Homebound 2000 Kitchen utensils, furniture, electrical wire, light bulbs, dimmer unit, amplifier and two speakers Dimensions variable Courtesy Rennie Collection, Vancouver © Mona Hatoum Galerie Chantal Crousel Photo: Agostino Osio, CourtesyFondazioneQueriniStampaliaOnlus, Venice ©MonaHatoum Stainless steel,neontube 2009 Hot SpotIII Mona Hatoum Spencer, Samuel. «Review: MonaHatoum Agitprop BlendsAbstract, at Tate BlouinArt Info Modern», ,May 5,2016. http://uk.blouinartinfo.com/news/story/1393986/review-mona-hatoum-blends-abstract-agitprop-at-tate-modern

Galerie Chantal Crousel Photo: PhilippeMigeat©MonaHatoum Centre Pompidou,MuséeNationald’ArtModerne, Paris:Mnam-CCI/DistRMN-GP 198 x185490 Galvanised wiremeshlockers,electricmotorand lightbulb Light Sentence1992 Mona Hatoum Spencer, Samuel. «Review: MonaHatoum Agitprop BlendsAbstract, at Tate BlouinArt Info Modern», ,May 5,2016. http://uk.blouinartinfo.com/news/story/1393986/review-mona-hatoum-blends-abstract-agitprop-at-tate-modern

Galerie Chantal Crousel ©Courtesyoftheartist 204 x304 Inkjet onpaper 1988 Over MyDeadBody Mona Hatoum Spencer, Samuel. «Review: MonaHatoum Agitprop BlendsAbstract, at Tate BlouinArt Info Modern», ,May 5,2016. http://uk.blouinartinfo.com/news/story/1393986/review-mona-hatoum-blends-abstract-agitprop-at-tate-modern

Galerie Chantal Crousel © PhotoIainDickens,Courtesy White Cube©MonaHatoum 204 x3.5cmvariablewidth Mild steel 2002 Grater Divide Mona Hatoum Spencer, Samuel. «Review: MonaHatoum Agitprop BlendsAbstract, at Tate BlouinArt Info Modern», ,May 5,2016. http://uk.blouinartinfo.com/news/story/1393986/review-mona-hatoum-blends-abstract-agitprop-at-tate-modern

Galerie Chantal Crousel ©Mona Hatoum Tate. Purchased1999 Video, colourandsound,15min30sec 1988 Measures ofDistance Mona Hatoum Spencer, Samuel. «Review: MonaHatoum Agitprop BlendsAbstract, at Tate BlouinArt Info Modern», ,May 5,2016. http://uk.blouinartinfo.com/news/story/1393986/review-mona-hatoum-blends-abstract-agitprop-at-tate-modern

Galerie Chantal Crousel Tate. Presentedby Tate Patrons2012PhotoEdward Woodman, Courtesy White Cube©MonaHatoum 76.4 x108 Gelatin silverprintonpapermountedaluminium Performance Still1985/1995 Mona Hatoum Spencer, Samuel. «Review: MonaHatoum Agitprop BlendsAbstract, at Tate BlouinArt Info Modern», ,May 5,2016. http://uk.blouinartinfo.com/news/story/1393986/review-mona-hatoum-blends-abstract-agitprop-at-tate-modern

Galerie Chantal Crousel our favourite piecesintheshowshe and Hatoumco-curated. This morning we caught up withthe Tate Modern’s Clarrie Wallis and askedhertotell us about three of or introductiontoherwork tings andcritiques. We urgeas itwillserveagreatexplainer youtoget acopybeforevisitingtheshow Contemporary Artist SeriesbookMonaHatoumandisexplained in aseriesofinterviews,personalwri is aretrospective of the work she’s created since arriving in London in 1975. Some of it features in our architectonic spaces whichrelate to the body, language andthe condition of exile. The Tate Modern show exiled toLondonwhencivilwarbrokeoutinthemidSeventies.Shecreates Born intheLebanonshewas creating powerfulevocationsofdisplacement,denial andothermess. Hatoum’s artworkscombine states of emotion and alienation with the formal simplicity of Minimalism, We’ve beenlookingforwardtothenewMonaHatoum showwhichopenstomorrowat Tate Modern. Undercurrent (red) 2008-MonaHatoumat Tate Modern,photoMatSmith 3 coolMonaHatoumworksinthenew Tate show Clarrie Wallis, curatorofMonaHatoumat Tate Modern,talksusthrough3piecesinthenew retrospective http://fr.phaidon.com/agenda/art/articles/2016/may/03/3-cool-mona-hatoum-works-in-the-new-tate-show/ Wallis, Clarrie. «3coolMonaHatoum works inthenew Tate show», Phaidon, May 3,2016.

- Galerie Chantal Crousel continually caught upinconflictand unrest’.» the continents, the sculpture presentstheentire globe asadanger zone–whatMona describesasa‘world term hotspotreferstoaplace ofmilitary or civilunrest.Usingdelicate red neontooutline thecontoursof unrest andtheideathatit’sit’sa globalsituation,so not reallyabout thelocal,it’s about theuniversal. The and conflict in continually is that world a of idea an being it about talks Mona about. is work this what Mona ishowsheable to transcendlocal issues andcreate something thatisuniversal. And thisisreally Hot Spot2013«Thisis one ofmyfavouritepiecesintheshow. What is particularly important about Hot Spot http://fr.phaidon.com/agenda/art/articles/2016/may/03/3-cool-mona-hatoum-works-in-the-new-tate-show/ 2013 -MonaHatoumat Tate Modern,photoMatSmith Wallis, Clarrie. «3coolMonaHatoum works inthenew Tate show», Phaidon, May 3,2016. Galerie Chantal Crousel and exclusion.» conflict of connotations with heavy – wire barbed of rods it’s from actually made floor the across tating are dematerialised and reimagined. Although itlooksverylight and veryelegant because it’s sortoflevi Rafael) Soto.Here thecubes hanging cubesmadefrom colourfulrubbertubesbyanartistcalled (Jésus with minimalism, minimal strategies. In it she isreimagining a late Sixties work called Penetrables, Impenetrable 2009 «This relates to a particularly tense time for her. Once again it shows Mona engaging Impenetrable http://fr.phaidon.com/agenda/art/articles/2016/may/03/3-cool-mona-hatoum-works-in-the-new-tate-show/ 2009-MonaHatoumat Tate Modern,photoMatSmith Wallis, Clarrie. «3coolMonaHatoum works inthenew Tate show», Phaidon, May 3,2016. - Galerie Chantal Crousel Hatoum’s own notes,statementsandinterviews. from thenoted Italian post-war sculptor andperformance artist Piero Manzoni. The bookalso includes statement a as well as Said Edward author Palestinian influential the by text a chosen also has Hatoum tive analysisofRecollection,aworkshecommissioned forasixteenth-centurybeguinage. archive. And Director of the Kanaal Art Foundation Catherine de Zegher makes a complex and provoca tice in conversationwithMichael Archer, writer, curatorandco-founderofLondon’s Audio Arts sound in our Contemporary Artist Series book MonaHatoum.Hatoum herself describes a chronology of prac Want toknowmoreaboutHatoum’s work? The distinguishedartcritic Guy Brettexploresherkeythemes ideas thathavecomebefore.» very fitting and dramatic end to the exhibition (it’s in the last room) and is very much in keeping with the work which feels like it has a life of its own. It feels like it’s breathing and pulsating. So it feels like a floor extraordinary an create to cables electrical with worked has Mona «Here 2008 (red) Undercurrent Undercurrent (red) 2008-MonaHatoumat Tate Modern,photoMatSmith http://fr.phaidon.com/agenda/art/articles/2016/may/03/3-cool-mona-hatoum-works-in-the-new-tate-show/ Wallis, Clarrie. «3coolMonaHatoum works inthenew Tate show», Phaidon, May 3,2016. - - Galerie Chantal Crousel http://fr.phaidon.com/agenda/art/articles/2016/may/03/3-cool-mona-hatoum-works-in-the-new-tate-show/ Wallis, Clarrie. «3coolMonaHatoum works inthenew Tate show», Phaidon, May 3,2016. Galerie Chantal Crousel Julie etartisanat chezMonaHatoum», Hors Bertron. tisséeArtcorporel «Uneoeuvre d’Oeuvre, n°36 , May, 2016, p.9. Galerie Chantal Crousel H GMasters. «Heat Stroke», ArtAsiaPacific, vol. XI,Almanac2016,p. 55. Galerie Chantal Crousel Françoise-Aline Blain.«Rétrospective MonaHatoum», BeauxArts Magazine,n°41, July 1,2015. Galerie Chantal Crousel Clément Ghys. «MonaHatoum tranche dansl’art»,Libération, June, 30,2015,N°10609,p.30. Galerie Chantal Crousel Philippe Dagen. «Mona Hatoum, l’art en toute légèreté», LeMonde, «MonaHatoum, l’artentoutelégèreté», JunePhilippe Dagen. 26,2015. Galerie Chantal Crousel Philippe Dagen. «Mona Hatoum, l’art en toute légèreté», LeMonde, «MonaHatoum, l’artentoutelégèreté», JunePhilippe Dagen. 26,2015. Galerie Chantal Crousel Philippe Dagen. «Mona Hatoum, l’art en toute légèreté», LeMonde, «MonaHatoum, l’artentoutelégèreté», JunePhilippe Dagen. 26,2015. Galerie Chantal Crousel Philippe Dagen. «Mona Hatoum, l’art en toute légèreté», LeMonde, «MonaHatoum, l’artentoutelégèreté», JunePhilippe Dagen. 26,2015. Galerie Chantal Crousel Judith Benhamou-Huet.«Lesobjetsquiparlent deMonaHatoum», LesEchos, June 26,2015. Galerie Chantal Crousel Judith Benhamou-Huet.«Lesobjetsquiparlent deMonaHatoum», LesEchos, June 26,2015. Galerie Chantal Crousel Roxana d’incertitudeetjequestionnetoutautourdemoi»,LeQuotidien Azimi.«J’aiunsentimentgénéral l’Art, Monday, June 22,2015,pp. 5,6. Galerie Chantal Crousel Roxana d’incertitudeetjequestionnetoutautourdemoi»,LeQuotidien Azimi.«J’aiunsentimentgénéral l’Art, Monday, June 22,2015,pp. 5,6. Galerie Chantal Crousel Jim Quilty. «MonaHatoum», Flash Art, n°296,May June 2014,p. 129. Galerie Chantal Crousel PERFORMANCE IN OPPOSITION SHOWCASE 140 the artist and Galerie Chantal Chantal Galerie and artist the three black and white prints. prints. white and black three 51 x 65 cm. Image courtesy courtesy Image cm. 65 x 51 the the series. 1983. Digital print of of print Digital 1983. series. Negotiating Table Negotiating Performance Documents Documents Performance Mona Hatoum. Hatoum. Mona Chantal Crousel. «Opposition in performance», Canvas,Chantal Crousel. «Oppositioninperformance», May/June 2014,p. 140-141. Crousel, Paris. Paris. Crousel, Facing page: Facing , from from , The The M resonate today. Hatoum, Crousel Chantal 1995, or variety of materials, such as her own fallen hair (Hair Necklace, political andeconomicterritories. the between borders the course, of And, resistant. the and fragile the public, the and intimate the between other, the tures – those between the seen and the unseen, the self and na- different of borders breaks that work of range extensive place at the Western Front (an artist-run centre) in Vancouver, in centre) artist-run (an Front Western the at place Table Negotiating The the institutions. established circles ofart to limited not is that audience an reaching thus tions, ac- spontaneous and direct in presented were concerns her where territory a as body the on focusing works, video and performances live in expression found experiences ienating al- her 1990s, early the In UK. the to visit short a on was she in London in stranded 1975 after the being civil war broke of out in Lebanon experience while own her and exile of tory (1980–87/2013). works, performance early her are – vey exhibition at Doha’s Arab Mathaf: Museum of Modern Art name a few. Less known – and currently on display at her sur- (Turbulence, glass and 1992), Sentence, (Light bulbs (Undercurrent,cables electrical 2010); (Bourj,steel embroideries; Palestinian traditional carpets; Oriental 2008); Throughout her career, Hatoum has been exploring a vast This particular video documentation of the performance the of documentation video particular This Hatoum is a ‘displaced’ person because of her parents’ his- Hair Grids With Knots, The Negotiating Table. Negotiating The ona Hatoum is widely recognised for an (1983), is a live action piece that took took that piece action live a is (1983), surveys a performance by Palestinian-born artist Mona 2006); her nails (One Year (2007), Performance Documents Documents Performance Made over 30 years ago, it continues to 2004); light 2004); 2012), to 2012),

of of the gave performance nature static leaders. The Western between discussions peace the of and war civil the of reports news various of recording a where lay,the Hatoum table was set up at which ground level. to walk could members Audience gauze. surgical in veloped en firmly was head her and in plastic wrapped ered in entrails cov was body bloodstained her hours; three for chairs empty by on a surrounded large table motionless lying the artist with bulb, light single a by lit room, dark a in place took action The Beirut. of suburb a southern in Shatila and Sabra of camps gee refu Palestinian the in massacre 1982 the after months few a eeat s h isaiiy f h Mdl Es cnius to continues East leadersto fruitlessnegotiatingtables.bring Middle the of instability the as relevant nese Civil War andtheSabraShatilamassacre,Leba- itremains the of strife explosive the by inspired was it creation. Though its of date the at did it as strongly as today nates has lost nothing of its original power and its reso- pertinence Berkshire inJune1984. Bracknell, in Centre Arts Park Hill South the at Performance TableNegotiating The performed also Hatoum later. year one York New in Gallery Catharines, Furnace St Franklin the and in 1983) November in Centre (both Canada Artists Niagara the Gallery, SAW isolation. artist’s the lighted high leaders absent of voices and chairs empty the and feel The soundtrack that accompanied the performance was was performance the accompanied that soundtrack The Over Over 30 years later, this violent, yet beautiful performance Ottawa’s at shows solo at performed first was work This at the second International Festival of Festival International second the at The Negotiating Table

a a altar sacrificial - - - - Galerie Chantal Crousel Chantal Crousel. «Opposition in performance», Canvas,Chantal Crousel. «Oppositioninperformance», May/June 2014,p. 140-141. 141 Galerie

Chantal Crousel Sylvie Fontaine. deMonaHatoum Pompidou», auCentre monographie Artaissime, «Première n°10,May -September, 2015. Galerie Chantal Crousel Christine Van Assche. «MonaHatoum, FaireCodeCouleur22,May Corps», -August, 2015,pp. 32-37. Galerie Chantal Crousel Christine Van Assche. «MonaHatoum, FaireCodeCouleur22,May Corps», -August, 2015,pp. 32-37. Galerie Chantal Crousel Christine Van Assche. «MonaHatoum, FaireCodeCouleur22,May Corps», -August, 2015,pp. 32-37. Galerie Chantal Crousel Christine Van Assche. «MonaHatoum, FaireCodeCouleur22,May Corps», -August, 2015,pp. 32-37. Galerie Chantal Crousel Christine Van Assche. «MonaHatoum, FaireCodeCouleur22,May Corps», -August, 2015,pp. 32-37. Galerie Chantal Crousel Christine Van Assche. «MonaHatoum, FaireCodeCouleur22,May Corps», -August, 2015,pp. 32-37. Galerie Chantal Crousel Christine Van Assche. «MonaHatoum, FaireCodeCouleur22,May Corps», -August, 2015,pp. 32-37. Galerie Chantal Crousel Kaelen Wilson-Goldie. «MonaHatoumPompidou», Centre Artforum, Vol. 53,n°9,May, 2015,p. 197. SPÉCIAL MARSEILLE-PROVENCE 2013 EXPOSITION LE QUOTIDIEN DE L’ART / NUMÉRO 294 / VENDREDI 11 JANVIER 2013

PAGE 09 Mona Hatoum questionne le monde à Aubagne P AR R OXANA AZIMI

Conçu par Pascal Neveux, directeur du Fonds régional d’art contemporain Provence-Alpes-Côte d’Azur, le projet aussi pléthorique que polysémique « Ulysses, un itinéraire d’art contemporain » fera escale en 2013 dans une soixantaine de lieux. Cette polyphonie artistique offre une multitude d’entrées, permettant d’embrasser les thèmes du nomadisme, de l’immigration, de l’exil et du territoire, bref un questionnement du monde au gré d’une cartographie mouvante. Un cocktail que réunit la limpide mini-rétrospective de Mona Hatoum organisée dans la chapelle des Pénitents noirs à Aubagne, une ville communiste très atypique, ancrée dans la démocratie participative. L’ambiguïté sourd dès le début avec une performance filmée de 1985, Roadworks. L’artiste marche péniblement dans un quartier londonien, quelque temps après une émeute raciale, les pieds nus reliés à des Dr Martens, godasses portées aussi bien par les skinheads que par les policiers britanniques. Plus loin, un ensemble de trois sculptures épouse l’architecture de quelques bâtiments de Beyrouth. Ces maquettes reproduisent les stigmates des bombardements, comme si elles portaient déjà en elles leur destruction programmée. L’ambivalence pointe dans les Vue de l’exposition de Mona Hatoum « Mappings » à la Chapelle des Pénitents noirs, à Aubagne. Photo : D. R.

cartes de Bagdad, Kaboul et Beyrouth, jalonnées de cratères et de dômes, villes-Sisyphe enchaînant destruction et reconstruction. Les objets les plus familiers n’échappent pas à cette dualité. En sur-dimensionnant le chapelet paternel, Mona Hatoum transforme les perles destinées à prier ou à se calmer en boulets de canon. Ou comment un objet du quotidien le plus intime peut soudain devenir belliqueux. Mais l’intime ne se laisse pas apprivoiser ou instrumentaliser si facilement. Les mèches rebelles s’échappent du keffieh, féminisent le symbole d’une résistance palestinienne virile. Ailleurs, les cheveux se dérobent aux sages grilles dans lesquelles l’artiste tente de les cadrer. L’exposition s’achève sur un alignement de savons, achetés à Naplouse et sur lesquels des pointillés tracés par de petites billes de verre incrustées à la surface des savons dessinent la carte d’un état palestinien émietté, trois ans après les accords d’Oslo. « J’ai choisi un matériau transitoire, le savon, qui peut se dissoudre. J’espérais que ces frontières puissent aussi disparaître », confie l’artiste. Et d’ajouter : « les gens pensent souvent que je pars d’un concept. Ce n’est pas le cas. Je pars des matériaux ». Parfois, une petite exposition nous en apprend bien plus sur un artiste que de longs discours. MONA HATOUM, MAPPINGS, du 15 janvier au 17 mars, Chapelle des Pénitents noirs-Centre d’art Aubagne, Les Aires Saint Michel, 13400 Aubagne, tél. 04 42 18 17 26, www.aubagne.fr/penitentsnoirs Bertrand Dommergue. "Mona Hatoum", Artpress, n°408, February 2014, p.30. Galerie Chantal Crousel Anna Samson. «Taking it personally», Damn, January February 2014, p.68 Galerie Chantal Crousel Anna Samson. «Taking it personally», Damn, January-February, 2014, p.68-73. Galerie Chantal Crousel Anna Samson. «Taking it personally», Damn, January-February, 2014, p.68-73. Galerie Chantal Crousel Anna Samson. «Taking it personally», Damn, January-February 2014, p.68-73. Galerie Chantal Crousel Anna Samson. «Taking it personally», Damn, January-February, 2014, p.68-73. Galerie Chantal Crousel Anna Samson. «Taking it personally», Damn, January - February, 2014, p.68-73. Galerie Chantal Crousel Bettina Wohlfarth, «Gegenwartskunst in Paris», Faz, January 3, 2014. http://www.faz.net/aktuell/feuilleton/kunstmarkt/gegenwartskunst-in-paris-mit-haut-und-haar-und-knallroten- herzen-12736245.html

Gegenwartskunst in Paris Mit Haut und Haar und knallroten Herzen

03.01.2014 · Zwei Zeichensetzer in Paris: Cy Twombly wird bei Karsten Greve mit einer musealen Schau geehrt. Mona Hatoum zeigt ihre jüngsten Werke bei Chantal Crousel. Galerie Chantal Crousel

Die Werke von Mona Hatoum sind physisch. Schon in den achtziger Jahren erklärte sie ihren eigenen Kör- per zur Projektionsfläche politischer und sozialer Themen, heute benutzt die 1952 geborene Künstlerin die Materialität ihrer Werke, um diese Spannungen auszudrücken. Gleich der erste Raum der Galerie Chantal Crousel in Paris offenbart diesen Willen zur Körperlichkeit: Dort stehen schmale, geschlossene Käfige in vers- chiedenen Größen, versehen mit dem Titel „Zellen“. Hineinpassen würde ein Mensch, manchmal stehend, mal kauernd. Sie wurden aus grobem Stabstahl gearbeitet und wirken wie mittelalterliche Marterfallen. Doch Gefangene sind nicht zu sehen: Am Boden jedes Käfigs liegen orangerote Gebilde; es sind ballonartige Herzen aus mundgeblasenem Glas, die vom kalten Stahl der Gitterstäbe regelrecht eingequetscht werden.

Seit mehr als dreißig Jahren sondiert die britisch-palästinensische Künstlerin ihre Erfahrung von Krieg und Exil, von Körper und Weiblichkeit. Ihr OEuvre zeugt von einer Expedition, die jedoch vom persönlichen Erleben abschweift, um Geschichte, Welt und politische Machtverhältnisse zu bearbeiten. Ihre Werke sind von dem allgemeinen Gefühl des Fremdseins geprägt. Als Kind palästinensischer Eltern, die in den Libanon flüchten mussten, wurde Mona Hatoum in Beirut geboren. Ein zweites Exil erlebte sie als junge Frau, als sie nach einem Aufenthalt in London nicht mehr in den Libanon zurückkehrte, weil dort der Bürgerkrieg ausge- brochen war. Bettina Wohlfarth, «Gegenwartskunst in Paris», Faz, January 3, 2014. http://www.faz.net/aktuell/feuilleton/kunstmarkt/gegenwartskunst-in-paris-mit-haut-und-haar-und-knallroten- herzen-12736245.html

Mona Hatoum ist durch Krieg und Vertreibung zur Weltbürgerin geworden. Heute lebt sie in London und Berlin. In ihr international anerkanntes Werk investiert sie Haut und Haar. Seit 2003 verarbeitet sie ihr eigenes Haar - Metapher für Weiblichkeit, Sinnlichkeit und Intimität - in zarten „Hair-Drawings“ auf hand- geschöpftem Büttenpapier. In Paris ist nun „Hair-Mesh“ von 2013 ausgestellt: ein unfassbar feines, luftiges Gewebe, das wie ein durchsichtiger Wandteppich aus nichts als Haar gewebt wurde. Vis-à-vis löst sich schein- bar ein fast immaterielles Bild vor den Augen des Besuchers auf; es ist eine Fotografie, die Mona Hatoum auf drei Lagen Tüll gedruckt hat. Das Foto „Reflection“ zeigt ihre Mutter mit offenen Haaren bei der Handar- beit als irisierende Fata Morgana der Erinnerung im Jahr der Flucht aus der palästinensischen Heimat, 1948. Zeichnung und Foto führen einen Dialog zwischen Mutter und Tochter, zwischen Ursprung, Tradition und Gegenwart. So engagiert Mona Hatoums Kunst ist, in einigen jüngsten Arbeiten spürt man eine stärker wer- dende Melancholie. „Capello per due“ heißt eine Installation mit zwei Hüten, die von ihren Trägern verlassen auf einer Parkbank liegen, während am „Coat hanger“ ein Kleiderbügel baumelt, der zur Silhouette Palästinas gebogen wurde. (Werke auf Papier kosten von 3500 bis 12 000 Euro, Installationen und Skulpturen von 50 000 bis 450 000 Euro. Bis zum 22. Januar.)

Auf ganz andere Weise erkundet Cy Twombly die Tiefen der Erinnerung. Seine Arbeitsweise hat viel mit der eines Archäologen gemein, und das nicht nur, weil der amerikanische Künstler sich 1957, mit 29 Jahren, in Italien ansiedelte und zeitlebens die klassische Kulturgeschichte wie ein Schatzgräber auslotete. Twombly ist ein Künstler, der innere Gedankenbilder, Erinnerungen und Reminiszenzen zutage befördert und in einer nur scheinbar spontanen Zeichensprache auf dem Papier oder der Leinwand freilegt - wobei Verwerfungen und Galerie Radierungen, die Überlagerungen verschmierter Farben, zitternde Linien, unsicher gezeichnete Worte Teil des Werkes sind. Chantal Crousel

Die Ausstellung „On Paper“ bei Karsten Greve ist eine bewegende Hommage an den verehrten Künstler, der vor zwei Jahren gestorben ist. Die Sammlung umfasst Werke auf Papier aus mehr als drei Jahrzehnten, von Mitte der fünfziger Jahre mit den Anfängen in Rom bis Ende der achtziger Jahre. Drei Werke stehen zum Ver- kauf (Preise zwischen 170 000 und vier Millionen Euro). Hier zeigt Karsten Greve sein Herzstück.

Jedes Gemälde, jede Zeichnung ist bei Twombly das Ergebnis einer langen Auslese von Eindrücken, Lektüren, Empfindungen. Dem eigentlichen Arbeitsprozess als Synthese gehen lange Phasen der Vorbereitung voraus. Eine der „Sperlonga-Zeichnungen“, die 1959 während seines ersten Aufenthaltes in dem gleichnamigen italienischen Küstenstädtchen entstanden sind, ist konstruiert wie eine innere Landkarte, auf der Twombly die Schaumkronen des Meers und den weißen Anstrich der eng gruppierten Häuser verteilt, dann tauchen Geheimschriften seiner Erlebnisse auf, Spuren seiner Lektüren (Sappho). Zeichnungen wie „Venere Fran- chetti“ - 1959 hatte Cy Twombly Tatiana Franchetti geheiratet - oder „Venus + Adonis“ sind überschwängli- che, beschwingt obszöne Verarbeitungen sowohl von Ovids Metamorphosen oder Shakespeare als auch seiner Empfindungen. Wie die Seite eines Comic-Strip ist das Blatt in kleine Szenen gegliedert, die mit knallroten Herzchen und schwarzen Streichungen zensiert werden, dazwischen liest man „Dionysos“ und „Action“, „Life of the Emperor“ und „Battle of Issus“.

Cy Twombly ist einer der geheimnisvollsten Zeichensetzer. In einem dem Künstler gewidmeten Essay schrei- bt der Philosoph Roland Barthes: „Im Grunde sind die Leinwände Twomblys große, mediterrane Zimmer, warm und lichtdurchflutet, mit versprengten Elementen, die der Geist bevölkern will.“ (Bis zum 1. Februar.) Galerie Chantal Crousel Laura Mclean-Ferris.Laura “MonaHatoum: You ArtReview, StillHere”, Are Issue60,Summer2012, p.148 et149. Galerie Chantal Crousel Laura Mclean-Ferris.Laura “MonaHatoum: you ArtReview, stillhere”, are Issue60,Summer2012, p.148 et149. Galerie Chantal Crousel Mona Hatoum ByChantalCrousel, Canvas , Volume 8Issue2,March -April 2012,p.111. Galerie Chantal Crousel “Mona Hatoum/Interwined”, Some/ThingsMagazine, Chapter005/ShehasnostringApollo, September 2011,p. 128-139. Galerie Chantal Crousel “Mona Hatoum/Interwined”, Some/ThingsMagazine, Chapter005/ShehasnostringApollo, September 2011,p. 128-139. Galerie Chantal Crousel “Mona Hatoum/Interwined”, Some/ThingsMagazine, Chapter005/ShehasnostringApollo, September 2011,p. 128-139. Galerie Chantal Crousel “Mona Hatoum/Interwined”, Some/ThingsMagazine, Chapter005/ShehasnostringApollo, September 2011,p. 128-139. Galerie Chantal Crousel “Mona Hatoum/Interwined”, Some/ThingsMagazine, Chapter005/ShehasnostringApollo, September 2011,p. 128-139. Galerie Chantal Crousel “Five PlusOne”,Almanac2010,ArtAsiaPacific, 2010. Galerie Chantal Crousel Samah Hijawi. “The politics of home”,Canvas , SeptemberSamah Hijawi. -October2008,p. 77- 79. “The politicsof Galerie Chantal Crousel Samah Hijawi. “The politics of home”,Canvas , SeptemberSamah Hijawi. -October2008,p. 77- 79. “The politicsof Galerie Chantal Crousel Samah Hijawi. “The politics of home”,Canvas , SeptemberSamah Hijawi. -October2008,p. 77- 79. “The politicsof Galerie Chantal Crousel Samah Hijawi. “The politics of home”,Canvas , SeptemberSamah Hijawi. -October2008,p. 77- 79. “The politicsof