THE DEVICES OF MONA HATOUM

46 Anna C. Chave 47

When Mona Hatoum made her first visit to Europe—arriving in London in 1975 for a would-be brief stay that became effectively permanent—she left behind a “visually rich and sensual culture” in storied, cosmopolitan Beirut, one with “a very lively art scene” and “many new and young galleries showing contemporary art,” as she recalls.1

London thus came to serve as the aspiring artist’s main gateway to the contemporary Euro-American art scene, broadly deemed by its denizens to be the art world. And from the vantage point of those denizens, Hatoum appeared to have come from “nowhere,” as she puts it.2 Relative to New York (which she would first visit in 1979),3 London itself had actually long been seen as somewhat marginal to contemporary art practice, but by the time Hatoum arrived there, it could boast of a newsworthy Conceptual art scene, plus a complement of alert curators and institutions organizing significant shows.4

1. Hatoum, in “Interview with Chiara Bertola, 2014,” in Michael Archer et al., Mona Hatoum, 2nd ed. (London: Phaidon, 2016), 154. It is “typical of the post-colonial condition in the Arab and North African region” that “so many different cultural influences produce a richly complex sense of Mona Hatoum identity,” Hatoum explains further, 155. Despite the ravages of a protracted civil war, Beirut even No Way III, 1996 now reportedly boasts a lively art scene; see, for instance, “Mounting Resistance: Nasser Rabbat Stainless steel, 4 1/4 × 9 3/4 × 11 1/2 inches (11 × 25 × 29 cm). Courtesy of the artist on New Art in Beirut,” Artforum 55, no. 7 (March 2017): 216. The Devices of Mona Hatoum Anna C. Chave 49

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11 Conceptual Art in in Conceptual Art The Light at the End The (New York: New York University University York New York: (New And like many of her female And like many 12 Eva Hesse Eva , 115. Further, feminists are credited with having helped helped with having credited , 115. are feminists Further, own terms,” notes Wilson notes in his Introduction, 10–11. terms,” own Chiara with in “Interview level”; on a global of power and control Shaw and the Slade schools, and Hatoum counted herself herself counted and Hatoum schools, and the Slade Shaw politicize Conceptual art practices in Britain, where “political “political where politicize in Britain, art Conceptual practices effectively feminists as content”; surfaced rarely positions [had] art-educational milieu in Britain is underscored in Elena Crippa, in Elena art-educational is underscored in Britain milieu 136. Antoni, 1998,” with Janine “Interview and the West.” mounted “a critique of art conceptual within and using its from “a mounted fortunate for those contacts. Interview with author, July 25, 25, July those with author, fortunate for Interview contacts. all sorts mind to this opened and my groups feminist of situations text: Lucy R.text: Lippard, World the Third between as in the relationship terms then in wider in analyzing power structures, first in relation to feminism,to and relation in in analyzing power structures, first While at the Slade, Hatoum says that she “got involved with involved “got she that says Hatoum the Slade, at While Ibid. The book in question was likely Lippard’s foundational foundational Ibid. The book Lippard’s in question likely was and staffs European of the full-time when teaching In an era United States’ art schools remained almost exclusively male, male, art almost exclusively remained schools States’ United Press, 1976).Press, the Byam instructional at occasional made appearances Kelly “I became involved also how, She has recalled 157. Bertola, 2014,” Britain 2016. The importance2016. a masculinist of in altering feminists

  “Teaching Conceptual Art,” in Wilson, ed., Art,” Conceptual “Teaching

11. 13. 12. peers and (1960s and ’70s) predecessors, Hatoum did and ’70s) predecessors, Hatoum did peers and (1960s as Hesse—but a full complement of women might manage of women might manage a full complement as Hesse—but lively, and compelling body of work, ranging from intimate body of work, ranging from intimate and compelling lively, to Hatoum’s light, but instead with high heat. Returning human hair to marbles to mild steel—an exceptionally diverse, human hair to marbles to mild steel—an exceptionally René Magritte, nods to other artists, whether Duchamp or rigorously hands-off (or removed-looking) practices. removed-looking) (or hands-off rigorously unguarded back door onto manage to find a relatively sioned artisans or fabricators, in materials ranging from ranging from sioned artisans or fabricators, in materials bars, which space—a grill-like row of six glowing vertical systems of power and control (or patriarchy, in feminist dialect) control (or patriarchy, systems of power and solidarity—feminist approaches to deconstructing endemicsolidarity—feminist approaches go on to produce—by her own hands or those of commis go on to produce—by her own hands or prece or Carl Andre or Hesse, among others. Minimalist somehow factored in much have dents, for that (last) matter, of sorts to of her work, starting with a hellish homage in” by Minimalism, distinctive phrasing, that she was “taken community enlivening 1970s London, notably including London, enlivening 1970s community (and unremunerative) practicecomparatively unprestigious chiefly occupied her during theof performance art, which women’s Third World feminist discourses to of First World which she continued to feel a deepconstituencies—with Dan Flavin. Her now iconic 1989 Dan Flavin. Her now iconic 1989 Hatoum’s hopes that not only some rare exceptions—such exceptions—such some rare not only hopes that Hatoum’s to monumental in scale. Often her sculptures have made sly have made sly to monumental in scale. Often her sculptures Jannis Kounellis, the Arte Povera figures Piero Manzoni or exhibition featured—at the cul-de-sac of a dark-red-painted signature fluorescent turn out to be burning, not with Flavin’s including a form to be taken in can mean to find a refuge, to breach the male-dominated art world got bolstered, in in world got bolstered, male-dominated art to breach the feminist within the heady by her contacts the meantime, to speak, through the edgy yet the art-world stage, so Once she resumed her sculptural practice, Hatoum would Hatoum would Once she resumed her sculptural practice, Conceptual artist Mary Kelly. Conceptual would have a lingering effect on Hatoum’s artistic strategies. artistic on Hatoum’s would have a lingering effect

1980s. Although she came to be skeptical of the applicability Although 1980s.

, 1979 Mona Hatoum Night Air (8000 c.c.) Glass, lead, wood, and stainless inches steel, × 11 × 11 15 (38.1 cm) × 27.9 × 27.9 inches (13.3 cm). 4 / 1 , 1919 Marcel Duchamp Sculpture (50 cc of Paris) Glass ampulla (broken and later restored), height 5 Collection Arensberg Walter and Louise Art, The of Museum Philadelphia

6 5

(London: Tate (London: Tate Six Years: The The Six Years: 1979 – As a student in 1977, As a student in 1977, 9 . She prized also a That occurred about two That occurred about two 7 in a salute to Duchamp’s 1919 1919 in a salute to Duchamp’s 396 (May 2016): 396 (May 5.

10 Art Monthly , 143. Conceptual Art in Britain 1964 Britain in Art Conceptual Night Air 8000 c.c. (The Minimalists and 1960s Conceptualists owed Conceptualists owed (The Minimalists and 1960s 8 conversation, Hatoum credited Lucas Samaras as a further Lucas Samaras credited Hatoum conversation, or grudging relation to (especially) the precedent represented by by represented the precedent (especially) to or grudging relation point. Marcel Duchamp was the obvious art-historical source, source, the obvious art-historical Duchamp was point. Marcel reference point for this early project. point this early for reference Six Years: The Dematerialization of the Art Object from 1966 to 1972 1966 to from Object Art the of Dematerialization The Years: Six but in fact most of the artists did not find his work all that most of the artists all that but in fact work did not find his interesting.” Lucy R. Lippard, “Escape Attempts,” in Lippard, in Lippard, Lucy R. “Escape Lippard, Attempts,” interesting.” Conceptual artConceptual Wilson, see Andrew in Britain, Introduction, in Hatoum, interview with author, July 25, 2016. In the same In the same 25, 2016. July with author, interview Hatoum, In her introduction to her early survey of art, Conceptual survey In her introduction her early to Lucy Hatoum, in “Interview with Janine Antoni, 1998,” 141. Antoni, 1998,” with Janine in “Interview Hatoum, by Interviewed Hatoum Mona Ground: in “Unstable Hatoum, 136. Antoni, 1998,” with Janine in “Interview Hatoum, Hatoum, in “Interview with Chiara Bertola, 2014,” 152. Bertola, 2014,” with Chiara in “Interview Hatoum, Hatoum, interview with author, July 25, 2016. July with author, interview Hatoum, Regarding the unusual degree of institutional openness to degree the unusual Regarding Hatoum, in “Interview with Janine Antoni, 1998,” in Archer et al., al., et in Archer Antoni, 1998,” with Janine in “Interview Hatoum, Mona Hatoum Mona Duchamp’s readymades. Duchamp’s R. Lippard noted that the “question of sources” was “a sore sore “a was of sources” R. the “question that noted Lippard Britain, 2016),Britain, 10. (1973; rprt. Berkeley: University of California Press, 1997), ix. ix. (1973; rprt. of 1997), Press, California University Berkeley: Wilson, ed., The Minimalist cohort likewise had a complex, often ambivalent cohort often ambivalent The Minimalist likewise had a complex, Virginia Whiles,” Whiles,” Virginia         

5. 3. 7. 2.

8. 9. 6. 4. by the example of prior artists but also by particular texts. by the example of prior artists but also by but that once she discovered the paradigm-shifting Marcel Marcel but that once she discovered the paradigm-shifting plan to study studio art, their compromise being that she she being that studio art, their compromise plan to study publicly visible artists. But for a Third World female born in in female born Third World artists. But for a publicly visible his youngest daughter’s therefore vetoed practical father border in general on fantasy, even for those white Western Western those white even for on fantasy, in general border ampoule of Paris air. acknowledgement of other artists, Hatoum says her initial other artists, Hatoum says her initial acknowledgement of art school curricula—to acquaint her with the dominant acquaint her with the dominant art school curricula—to in Beirut, however, Hatoum managed to work her way way Hatoum managed to work her in Beirut, however, monograph on Eva Hesse, whose hands-on 1960s sculpture 1960s monograph on Eva Hesse, whose hands-on mirrored cubes inspired in part by the example of California of California mirrored cubes inspired in part by the example narratives of twentieth-century Western art. Forthright in her art. Forthright in her Western narratives of twentieth-century males whose numbers continue to swell the ranks of to swell the ranks of numbers continue males whose she was “completely taken in by Minimal and Conceptual and Conceptual she was “completely taken in by Minimal evinced a defiantly eccentric approach to the Minimalists’evinced a defiantly eccentric approach to completed instead a vocational course in commercial art. completed instead a Hatoum names as her own early “bible” Lucy Lippard’s Lippard’s Hatoum names as her own early “bible” Lucy Hatoum recalls having exhibited, for instance, some some Hatoum recalls having exhibited, for instance, Duchamp, “I never looked back.” Minimalist Larry Bell, but with one smoky glass box said glass box said Minimalist Larry Bell, but with one smoky to contain the Dadaist Duchamp some debts of their own that they own that they the Dadaist Duchamp some debts of their tended not to admit, it bears adding.) training served further—in the albeit scattershot ways of the albeit scattershot ways of training served further—in through successive studio art programs at the Byam Shaw art programs at the Byam Shaw through successive studio 10. Once stranded in London by the outbreak of civil war back by the outbreak of civil war back Once stranded in London School followed by the Slade School of Fine Art. That Slade School of Fine Art. That School followed by the

years into her art school training and, around the same time, the same time, years into her art school training and, around As artists come of age, they tend to be captivated not only As artists come of age, they tend to be captivated Art.” A youthful ambition to become a successful artist may may artist a successful to become ambition A youthful Dematerialization of the Art Object 1973 illustrated timeline of Conceptual art, 1973 illustrated timeline of Conceptual art, 1952, such an ambition was all but preposterous. Hatoum’s but preposterous. Hatoum’s an ambition was all 1952, such “point of entry into the art world was through Surrealism,” “point of entry into the Mona Hatoum: Terra Infirma Infirma Terra Hatoum: Mona 48 The Devices of Mona Hatoum Anna C. Chave 51

.

, 128. When Discipline 17 The Light Light The The Light at the at the Light The Surveiller etSurveiller punir 58, 10 (June no. 1984), Arts Mona Hatoum Mona we find deconstructed the 15

For her part, Hatoum’s status status For her part, Hatoum’s 14 16 59 (July/August 2008): 114. 2008): With 59 (July/August (New York: Pantheon Books, 1977) was originally originally was Books, 1977) Pantheon York: (New , which belies the hopeful platitude (strategically) (strategically) the hopeful platitude , which belies , more specifically, Hatoum notes that “when you experience experience you that “when notes Hatoum specifically, , more Discipline and Punish explains: “Instead of my delivering a message to the audience the audience to a message delivering of my “Instead explains: and uncertainty the physical through instability, threat, danger, be channeled, measured, and normalized, and a be channeled, measured, and normalized, productivity maximized. and hospitals, is revealed as a novel mechanism byand hospitals, is revealed as a novel mechanism means by which the unprecedented population of the means by which the unprecedented population had to put a fence up to keep visitors at bay. Interview with author, with author, Interview bay. at visitors keep up to put a fence had to published in France by Gallimard in 1975 as by Gallimard in France published great geometric orderings of industrial society. The great geometric orderings of industrial society. in cities,omnipresent unfolding of geometric structures and its emerging industrial era could be controlled forming the bars of a gate, you can almost feel the physical pain pain the physical almost feel can you of the bars a gate, forming would hopefully which trigger a situation I am…creating feel…. through my actions as a performer, I decided to set up situations set up situations to I decided actions as a performer, my through elements heating by the electric projected the intense heat of someone imprisonment that in a situation and torturecould with “Interview mind.” those associations in the spectator’s has subsequently Hatoum or barriers; signs no warning were there awareness Hatoum’s Regarding Army). Republican (Irish IRA the interaction with the work.” H.G. Masters, “Domestic Insecurities,” Insecurities,” “Domestic Masters, H.G. with the work.” interaction initially shown—init was with a small audience— a small venue and Punish and Claudia Spinelli, 1996,” Archer et al., et Archer Claudia Spinelli, 1996,” That is, of course “the light at the end of the tunnel.” Hatoum Hatoum is, of the end of “the the tunnel.” That course light at The Panopticon was the conceit of philosopher Jeremy Bentham. Bentham. of the conceit philosopher was Jeremy The Panopticon activity in question perpetrated mainly by was The terrorist In factories, and schools, in housing, transportation, Peter Halley, “The Crisis in Geometry,” “The in Geometry,” Crisis Halley, Peter where viewers could experience for themselves feelings of of feelings themselves for could experience viewers where www.peterhalley.com. Accessed March 30, 2017. 2017. 30, March Accessed www.peterhalley.com. which action and movement (and all behavior) could action which End July 25, 2016. July ArtAsiaPacific    

15. 17. 16. plan featuring a central viewing point intended to optimize to optimize plan featuring a central viewing point intended as a displaced person from an unstable region helped helped as a displaced person from an unstable region surveillance amplify her alertness to the prevalence of made reflexively apparatuses in an adopted city (London) including for Hatoum: leery by protracted experience with terrorism. mean to be seduced, deluded, or deceived, as may have may have as or deceived, deluded, to be seduced, mean toward initially to viewers impelled happened by its title. half iterated (grids, series, and modular modes of organization deeply embedded in the infrastructure repetition) that were surveillance efficiency. some of the key insights from a 1977 text by Michel from a 1977 text by Michel some of the key insights of aesthetic home ground. But to be taken in can also also taken in can But to be ground. home of aesthetic claims to a purely nonreferential general were the artists’ when all the while they were or autotelic practice In an influential 1984 tract, of the industrialized world. Key to Foucault’s text are design principles epitomized by Key to Foucault’s Foucault that proved for a time influential studio reading, for a time influential studio reading, Foucault that proved using (commonplace) materials, (geometric) forms, and materials, (geometric) forms, and using (commonplace) 14. at the End the Panopticon, an eighteenth-century model prison prison the Panopticon, an eighteenth-century model

What was arguably deceptive about Minimalism in Minimalism in arguably deceptive about What was “The Crisis in Geometry,” artist Peter Halley summarized Halley summarized artist Peter “The Crisis in Geometry,” , 1972–75 Dan Flavin untitled (to Barry, Mike, Chuck and Leonard) Yellow and pink fluorescent light, 8 × 8 feet (243.8243.8 × cm), installed in a corridor feet 8 × 16

× 56 × 2 inches 4 / 1 , 1989

Mona Hatoum The Light at the End Metal frame and six electric heating elements, 65 × 5 cm). × 142 (166 Installed at The Showroom, London, 1989 Mona Hatoum: Terra Infirma Infirma Terra Hatoum: Mona 50 The Devices of Mona Hatoum Anna C. Chave 53

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- , 20. But with 21

Homes for 19 Six Years Six or the loosely compa , with its electrically And she has underlined , Hatoum effectively effectively , Hatoum 20 Hearing , illuminated the dysfunction, Quarters —an enclosure of sorts made up , 104–05. for the show visiting After Quarters For that matter, in the United in the United For that matter, 18 conspicuously deploys Minimalist visual visual deploys Minimalist conspicuously was illustrated in Lippard, in Lippard, illustrated was , Hamburger Kunsthalle (Ostfildern-Ruit: Hatje Hatje (Ostfildern-Ruit: Kunsthalle , Hamburger has been said to reflect in part Hatoum’s awareness awareness in partHatoum’s has been reflect to said 25, no. 9 (November 2006): 9 (November 25, no. 32; with and “Interview Light Sentence Quarters evokes not individually housed families or citizens evokes not individually housed families or spelled out some real-life implications of the grid spelled out some real-life Mona Hatoum Mona of surveillance devices, see, for example, Michela Arfiero, Arfiero, Michela example, see, for devices, of surveillance of such complexes by Volker Adolphs, “The Body and the World,” “The Body Adolphs, and the World,” by Volker of complexes such Sculpture to author, July 31, July 2016. author, to Chiara Bertola, 2014,” 157. Bertola, 2014,” Chiara Homes for America Homes for  fully and more described in Wilson, ed., is illustrated This work 136. Antoni, 1998,” with Janine in “Interview Hatoum, in Conceptual Art in Britain Conceptual Art Cantz, 2004), 54. Light Sentence Light  which that catalogue was produced, Hatoum remarked, “It was was “It remarked, produced, was Hatoum catalogue that which very nice to see all these works that I was very familiar with and with and familiar very I was see that to nice all these works very [that] were part of the artistic landscape I ‘grew up’ in.” Email Email in.” up’ part were of artistic the [that] landscape I ‘grew   “Measure the Distances: A Conversation with Mona Hatoum,” Hatoum,” with Mona A Conversation the Distances: “Measure

21. by invoking, in a deadpan illustrated essay, the banality of illustrated essay, by invoking, in a deadpan as spokes radiating symmetrically from a central hub. By By from a central hub. radiating symmetrically as spokes its readily surveyed cluster of twenty stacked bed frames, its readily surveyed cluster of twenty stacked isolating—immigrant populations. its use of fabricated steel grids and of modularity and and of modularity and steel grids its use of fabricated water heated almost to boiling. its copper chair containing whose blunt 1966–67 in the Minimalist ambit, rable 1992 rable 1992 and “institu mobile light bulb—to “institutional structures” mass-market housing. housing complex rigidly organized on a grid. sheltering—or margins of some major European cities, often repetition, staged a panopticon by organizing four steel bunk-bed-like steel bunk-bed-like four by organizing a panopticon staged a quarter of the quarters— representing structures—each not that syntax to compose tactics. But in using syntax and of stacked wire-mesh lockers lit by one bare, disturbingly of stacked wire-mesh lockers lit by one bare, reflexively detainees. And if institutional accommodations conjure barracks-like or baldly functional, space-efficient desolate low-income housing complexes found on the desolate low-income housing complexes found connected, Minimalist-looking lead bed and zinc table, and connected, Minimalist-looking Kingdom a comparable exercise, Stephen Willats’s 1978 1978 Willats’s Kingdom a comparable exercise, Stephen by the spectacle of Hatoum was herself in time affected Hatoum summons less the argot of canonical Minimalism Hatoum summons less sinister 1972 Robert Morris’s In a version of her 1996 1996 of her In a version tional violence…in Western urban environments.” violence…in Western tional for an actual elderly resident, of a putatively practical public for an actual elderly resident, of a putatively the relation of works such as than of some of its offshoots. One might think, for instance, of One might than of some of its offshoots. One might remember also Dan Graham, an outlying figure One might remember 19. would-be abstract sculpture, but offbeat furnishings instead, instead, furnishings but offbeat would-be abstract sculpture, Living with Practical Realities Quarters (as in Graham’s or Willats’s projects), but clustered or massed or Willats’s (as in Graham’s 18. 20. America

The Works of Jeremy Bentham hour recorded tape, inches 54 × 144 × 144 2 / 1 , 1972 Diagram of the Panopticon from Robert Morris Hearing Zinc table, copper chair, lead bed, speakers, wood platform, water, batteries, and 3 × 366(137 × 366 cm) (1843)

inches cm). (275.5 × 517 × 517 2 / 1 × 203 2 / 1 × 203 2 / 1 , 1996 ,

Quarters Mild steel, 108 Installed at the Menil Collection, Houston, Dallas 2017. Museum of Art, Gift of the Friends of Contemporary Art Mona Hatoum Mona Hatoum: Terra Infirma Infirma Terra Hatoum: Mona 52 The Devices of Mona Hatoum Anna C. Chave 55

26 then

, 28 (June 1967); (June 1967); , ed. Gregory Battcock Battcock , ed. Gregory Artforum Double Steel Cage ; or in Richard Serra’s scaling scaling ; or in Richard Serra’s and some of the first Minimalist of the first Minimalist and some That threat can inhere in Minimalist That threat can inhere in Minimalist Hearing 25 27 64, 5 (January no. 1990): 44–63. Arts Minimal Art: A Critical Anthology A Critical Art: Minimal of my work,” observed Hatoum. “Interview with Claudia Spinelli, with Claudia Spinelli, “Interview Hatoum. observed work,” of my rprt. in Ibid. Also, “a sense of threat…is something that is present in a lot sense in a lot is present of something that threat…is Ibid. Also, “a Michael Fried, “Art and Objecthood,” and Objecthood,” “Art Fried, Michael 117. Insecurities,” “Domestic in Masters, Hatoum, and the Rhetoric of “Minimalism Anna C. Chave, See, especially, Power,” Power,” 1996,” 131. 1996,” (Berkeley: University of California Press, 1995), of Press, California 116–47. University (Berkeley:     25. 27. 28. pose physical risks to the viewer; or in certain works by works by pose physical risks to the viewer; or in certain props for experimental dance performances. Violating the the Violating dance performances. props for experimental accommodates, the human body. When presented in ways When presented in ways accommodates, the human body. at London’s Tate Modern.) Critic Michael Fried famously Fried famously Critic Michael Modern.) Tate at London’s instead “an undercurrent of hostility, danger and threat,” danger and threat,” instead “an undercurrent of hostility, for Winsor, in ways that would variously turn tables. Jackie imperative not to touch that is implicitly attached to all artwork, attached to all not to touch that is implicitly imperative 26. have argued elsewhere, Minimalism’s aggressiveness aggressiveness have argued elsewhere, Minimalism’s valences, may fairly be said to have some masculinist removed spectators. Extrapolating Minimalist strategies into removed spectators. some Minimalist sculptures, such as the metal floor “plains” as the metal floor “plains” sculptures, such some Minimalist objects had at times been made more or less explicit, as in less explicit, as in objects had at times been made more or deduced of Minimalist sculpture early on that it was was on that it early sculpture of Minimalist deduced actually Robert Morris—were by Simone Forti or objects—as meant for physical interaction with of Andre, were instead relation between the allow Hatoum to enunciate a effectively with them,” she points out; it follows established relationship Bruce Nauman, such as his 1974 Bruce Nauman, such as his 1974 generation of Hatoum may be counted among an ensuing underlines Hatoum. in ways that up of the Minimalist enterprise, including Morris’s treacherous treacherous Morris’s that “they can refer to the body even when it is absent.” that “they can refer to in her work. fabricated or found beds and other furnishings furnishings may reveal that render them “strange,” however, the realm of furniture—as Morris, Judd, Richard Artschwager, Morris, Judd, Richard Artschwager, the realm of furniture—as Ordinarily, furniture gives ease and rest to, or otherwise gives ease and rest to, or otherwise furniture Ordinarily, Since the 1990s, Hatoum has repeatedly incorporated Since the 1990s, Scott Burton, and others had variously done—would Scott Burton, and others

which confines a viewer in the narrow outskirts of one cage of one cage which confines a viewer in the narrow outskirts cage. If, as I while denying access to a second, enclosed including women who were drawn to remake that enterprise, we encounter in our everyday life so we already have an we encounter in our everyday viewers, who thereby got cast more as participants than as viewers, who thereby that body and the work. Furnishings are “objects viewer’s “theatrical” at its core; “theatrical”

× 34 × 34 inches 8 / 7 , 1977–78 Jackie Winsor PieceBurnt Cement, burnt wood, and wire mesh, 33 (86 × 86.4 × 86.4 cm). The Museum of Modern Art, New York, Gift of Agnes Gund

inches (457 × 185 × 330 cm). 8 / 7 × 129 × 129 , 1974 4 / 3 , 1992 × 72 8 / × 193 inches × 193 × 185 × 490 (198 cm). Installed at 7 4 / 3 Bruce Nauman Cage Steel Double Steel, 179 1980 Purchase: Beuningen, Van Boijmans Museum Mona HatoumMona SentenceLight bulb, light and motor, electric lockers, mesh Galvanized-wire 78 × 72 1994 Paris, Pompidou, Centre

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23

Quarters Quarters (2004), 20. Such a message Such a message 22 Mona Hatoum Hatoum Mona (Incidentally, it follows that Hatoum (Incidentally, 24 are made to scale, based on a photograph taken by the artist taken based of scale, on a photograph to made are Panhans- Ursula prison.” in a Philadelphia cell a dilapidated Hatoum, in Masters, “Domestic Insecurities,” 114. Insecurities,” “Domestic in Masters, Hatoum, Hatoum, in “Interview with Janine Antoni, 1998,” 141, Antoni, 1998,” 143. with Janine in “Interview Hatoum, According to one source, the “component parts” of the “component one source, to According Bühler, “Being Involved,” in “Being Involved,” Bühler,   

23. 22. by, if not taken in by, in Minimalism were its claims for the in by, if not taken by, and British citizenship papers, the grim reality for most papers, the grim reality for most and British citizenship and refugee camps.) appear practically inaccessible: “Have a bed! (You “Have a bed! (You inaccessible: appear practically immediate experience of the stark Minimalist object. Building immediate experience of the stark Minimalist practice, in a way from the bodily focus of her performance larly to “the emphasis on the material reality of the work” larly to “the emphasis on the material reality in Lebanon, where Hatoum was born and raised in a was born and raised in a in Lebanon, where Hatoum materials. And the artist recalls that she responded particu materials. And the artist recalls that she responded may summon visions of detention facilities, whether for of detention facilities, whether for may summon visions metal bunks offer scant headroom and the upper tiers tiers and the upper scant headroom offer metal bunks other words, taken in. between herdislikes the distancing barriers normally interposed of the Minimalists, as well as to its “economy of form.” of the Minimalists, as well as to its “economy displaced Palestinian family. (Though her father had been (Though her father had been family. displaced Palestinian in obtaining British employment comparatively fortunate or without European borders. Immigrants were a matter of borders. Immigrants were a matter of or without European convicts or for immigrants and refugees, whether within and refugees, whether within convicts or for immigrants can’t have a bed!) Sleep! (Don’t sleep!)” seems to be the to be the sleep!)” seems a bed!) Sleep! (Don’t have can’t of functionality have instead been nightmarishly amplified amplified been nightmarishly instead have of functionality Hatoum says that she aspired in works such as Hatoum says that she aspired in works such Prime Minister Margaret Thatcher, and so too were they they and so too were Thatcher, Prime Minister Margaret uprooted Palestinians was instead perennial statelessness was instead perennial statelessness uprooted Palestinians urgent public concern in the 1980s United Kingdom of United Kingdom of in the 1980s urgent public concern 24. transformative possibilities implicit in the viewer’s would-be transformative possibilities implicit in the viewer’s to evince a finely tuned sensitivity to the properties of to evince a finely tuned sensitivity to the properties furnishings’ cruelly twisted message. furnishings’ fixtures, in Hatoum’s Kafkaesque vision such trappings such trappings vision Kafkaesque in Hatoum’s fixtures, The weirdly elongated utter dysfunction. to a point of

works and the public in institutional settings, as I learned works and the public in institutional settings, survey exhibition while accompanying her through her 2016 which the experience is more physical and direct,” such that which the experience is more physical and viewers could end up “psychologically entrapped”—or, in viewers could end up “psychologically entrapped”—or, What she seems, moreover, to have been especially taken to What she seems, moreover, Among its winning qualities, the art of Mona Hatoum tends Among its winning qualities, the art of Mona “to implicate the viewer in a phenomenological situation in “to implicate the viewer in a phenomenological Mona Hatoum: Terra Infirma Infirma Terra Hatoum: Mona 54 The Devices of Mona Hatoum Anna C. Chave 57

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33

, 147. 147. , For that matter, For that matter, 30 Mona Hatoum Mona Nature morte aux grenades aux morte Nature —Rosler tersely identifies —Rosler tersely identifies 32 sculptures by Hatoum may sculptures by Hatoum may . In that performance cum video— , which are widely described as , which are widely described as Dada’s Boys: Masculinity After Duchamp After Boys: Masculinity Dada’s No Way works of 1996, Hatoum laboriously works of 1996, No Way The 31 No Way ) or Meret Oppenheim’s 1936 fur-covered teacup. fur-covered 1936 ) or Meret Oppenheim’s Gift of the post-war era seems both inarguable and hackneyed,” and hackneyed,” seemsof both era inarguable the post-war 25, 2016. July with author, in her interview emerged work early glass, like so many nightmarish Christmas ornaments, and ornaments, and Christmas nightmarish so like many glass, suitable either to an institutional kitchen or a morgue. an institutional kitchen either to suitable asserts David Hopkins, asserts Hopkins, David incongruously arrayed atop a wheeled metal table or gurney or gurney table metal a wheeled atop incongruously arrayed On Hatoum’s admiration for Gonzalez-Torres, see, for instance, instance, see, for Gonzalez-Torres, for admiration On Hatoum’s in ibid. Hatoum, mine comparison in “Interview the land made herself Hatoum “[T]he idea that the readymade is the central aesthetic principle principle aesthetic is the central readymade the that idea “[T]he with Jo Glencross, 1999,” Archer et al., et Archer 1999,” Glencross, with Jo in explicit becamewomen the more out of colorful crafted decoratively disarmingly, weapons are Hatoum’s intrigue with weaponry not typically deployed by by intrigue with weaponry not typically deployed Hatoum’s 2006–07. There, however, the facsimiles of the eponymous of the eponymous the facsimiles however, There, 2006–07. (New Haven: Yale University Press, 2007), 109. 2007), Press, University Yale Haven: (New     “Interview with Janine Antoni, 1998,” 141. Her interest in Koons’s 141. in Koons’s interest Antoni, 1998,” Her with Janine “Interview 31. 33. 32. professional life by trapping them as housewives. If only in professional life by trapping them as housewives. blocked with nuts and bolts all the many holes of a kitchen blocked with nuts and and she was impressed, too, by the early work of Jeff work of Jeff and she was impressed, too, by the early devices. As and crossly demonstrates an array of kitchen skimmer are not nearly so disconcerting as the thwarted and colander of era, the home kitchen threatened to waylay and Hatoum’s artwork something closely resembling a commonplace object, a commonplace resembling closely something artwork in aquariums. pioneering 1975 including especially Martha Rosler’s included an impressed Hatoum it may be counted a loosely Duchampian exercise. But exercise. Duchampian a loosely be counted it may as Duchamp commonplace objects—such instead actual she felt some artistic kinship with Felix Gonzalez-Torres, she felt some artistic kinship with Felix Gonzalez-Torres, to a London audience that shown around 1980–81 skimmer and a colander. The results tacitly acknowledge a The results tacitly acknowledge skimmer and a colander. commonplace lightbulbs strung together during the 1990s; during the 1990s; commonplace lightbulbs strung together certain feminist art initiatives however, conjure equally, respectively. evoking a medieval mace and a land mine conscripted for the very first readymades—objects that she that for the very first readymades—objects conscripted compelling Dada and Surrealist icons as Man debt to such mischievous Koons, such as his mid-1980s basketballs suspended afloat basketballs suspended afloat Koons, such as his mid-1980s Hatoum’s initial aesthetic foray into the kitchen involved aesthetic foray into the initial Hatoum’s tacks (the household iron botched by a row of metal Ray’s with a veritable generation of Hatoum has long shared unsettling as those devices tend to look in her hands, they her hands, they unsettling as those devices tend to look in for one, who made some subtly poignant works out of works out of for one, who made some subtly poignant

30. women and keep them from any prospect of a fulfilling women and keep them from any prospect would alter and so rendered (in Duchamp’s vocabulary) Duchamp’s and so rendered (in would alter (what might be termed) neo-Duchampians. (what might be termed)

Semiotics of the Kitchen To many feminists of bourgeois backgrounds from Rosler’s backgrounds from Rosler’s many feminists of bourgeois To The impulse to revisit the readymade paradigm is one that the readymade paradigm is one that The impulse to revisit 1921 1921 “assisted” readymades. More specifically, to produce her to readymades. More specifically, “assisted” , 1999 , × 19 × 25 inches × 19 (94.5 × 48.5 × 63.5 cm) 2 / 1 Mona HatoumMona II) (wheelchair Untitled rubber and steel Stainless 37 inches (15.8 × 9 × 9 cm). 2 / 1 × 3 2 / 1 × 3 4 / 1 , 1963 (original 1921) The Art Institute of Chicago, Through prior gift of Mrs. Gilbert Chapman W. Man Ray Gift (Cadeau) Flatiron and iron 14 tacks, 6

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Mass (Colder proffers as an proffers 29 (Italian for “dormant” or Dormiente Dormiente of 1992 Janine Antoni chewed for over a for over a Antoni chewed of 1992 Janine of 1997, Cornelia Parker approximated the approximated the Cornelia Parker of 1997, Gnaw Hatoum, in “Interview with Janine Antoni, 1998,” 141. Antoni, 1998,” with Janine in “Interview Hatoum, 

preferred devices for engaging, by disrupting, the viewer’s the viewer’s preferred devices for engaging, by disrupting, bodily compass. Inasmuch as bed consisting of a kitchen grater remade to outsize propor bed consisting of a kitchen grater remade positions and offer an ambiguity and ambivalence rather an ambiguity and ambivalence rather positions and offer 29. a white Western male will tend to resonate differently from from male will tend to resonate differently a white Western an empowered or a disempowered demographic: a demo an empowered or a disempowered is as well the X factor of the ways or degrees to which of the ways or degrees to which is as well the X factor is known of the artist’s subject position—whether from from subject position—whether is known of the artist’s instance, burnt and then dynamited cubes—an archetypal archetypal cubes—an and then dynamited burnt instance, has been kitchen devices, especially implements for cutting has been kitchen devices, especially implements herself says she hopes to prompt from viewers is some is some herself says she hopes to prompt from viewers month on two 600-pound cubes—one made of chocolate, made of chocolate, 600-pound cubes—one month on two shape of a cube with a fragile grid of threads dangling a fragile grid of threads dangling shape of a cube with or draining—functions in themselves metaphorically loaded. or draining—functions in themselves metaphorically oppressor? Or both? I want the work to complicate these these oppressor? Or both? I want the work to complicate one by, say, a Palestinian woman, just how it does so can be say, one by, What Hatoum calculated only by each of us in our turn. graphic historically versed in making and making good on in making and making good on graphic historically versed charred remnants of a church struck by lightning. a church struck by lightning. charred remnants of out of the foodstuff she spat out. And, in she spat out of the foodstuff Besides harsh furnishings, another favored theme of Hatoum’s theme of Hatoum’s Besides harsh furnishings, another favored How the threat of any given artwork resonates is bound given artwork resonates is bound How the threat of any us: Am I the jailed or the jailer? The oppressed or the or the us: Am I the jailed or the jailer? The oppressed Minimalist form—in works of 1978 and of 1980–82, respec of 1980–82, and of 1978 works form—in Minimalist In the case of the 2008 tions—manipulation of scale being another of Hatoum’s of Hatoum’s tions—manipulation of scale being another than concrete and sure answers.” threats, or one more apt to be on the receiving end. There apt to be on the receiving end. There threats, or one more a threat from threat may inhere in spectators’ lives. Whereas to hinge not only on its material specifics but also on what material specifics but also on what to hinge not only on its the other of lard—and then made artifacts such as lipsticks artifacts such as lipsticks lard—and then made the other of tively. In tively.

Darker Matter) “sleeping”), we find both themes at play at once: a cot-like “sleeping”), we find both themes at play at “self-examination” relative to “the power structures that control“self-examination” relative to “the power structures Mona Hatoum: Terra Infirma Infirma Terra Hatoum: Mona 56 The Devices of Mona Hatoum Anna C. Chave 59

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In the In the 39 , however, the artist the artist , however, Homebound and thereby “activated all sorts of all “activated and thereby 37 La grande broyeuse (Mouli-Julienne (Mouli-Julienne La grande broyeuse

38 of her 2000 57, no. 2 (Summer 1998): no. 13. 57, ne è , Hatoum would scale up an object filched from from , Hatoum would scale up an object filched experience. I was in tears the day I had to leave.” Janet A. Kaplan, A. Kaplan, Janet leave.” I had to the day in tears I was experience. Art, Contemporary Life, al., “The Everyday in the Land: et Quiet atmosphere” among the Shakers “was something I was missing “was missing something I was the Shakers among atmosphere” A. Kaplan,” with Janet A Conversation and the Shakers: rooted anywhere, that feeling of settledness that they have and and they have of that feeling settledness that anywhere, rooted that I had while living with them was a very strong emotional emotional strong living a very with them was I had while that in my own family…. Because I have been traveling and am barely barely and am been traveling Because I have family…. own in my Hatoum, in “Interview with Janine Antoni, 1998,” 144. Antoni, 1998,” with Janine in “Interview Hatoum, “Interview with Jo Glencross, 1999,” 147. Also: the “family-like Also: the “family-like 147. 1999,” Glencross, with Jo “Interview 148. 1999,” Glencross, with Jo in “Interview Hatoum, Art Journal Art    37. 38. 39. been more bound up with the home and its kitchen, such with the home and its kitchen, such been more bound up more charged for women. That an paradoxes may prove attributed only to their disparate visual vocabularies; the the vocabularies; attributed only to their disparate visual it. and all engulfing,” as she once described charged home audibly resembling electrocution: a literally sort of device that she would also of a map—a different and grinders—the cutting devices that have particularly devices that have particularly and grinders—the cutting instead subjected actual kitchen equipment, caged behind caged behind instead subjected actual kitchen equipment, to come. likewise go on to explore successfully for decades ideal, while it may equally spell a sort of trap. Confusing a sort of trap. Confusing it may equally spell ideal, while (for instance) graters, slicers, ically risky site, harboring never have been in the offing for Oldenburg remains mate never have been in the offing rial, too. In her 1999 food grinder her own childhood kitchen—a countertop menacing ment and so “turn the domestic into something implements but not only for her initial artistic use of kitchen my own existence is,” existence my own familial conjures vital the home kitchen typically matters, too, even as it remains an endem nourishment and pleasures shaped incongruously like a fanciful creature—into a monu shaped incongruously like a fanciful creature—into environment gets aggressively kept away from the from the environment gets aggressively kept away engaged Hatoum. Given that female identity has historically that female identity has historically engaged Hatoum. Given for instance, Claes produced by, outsized kitchen device Hatoum’s 1996 residency in Jerusalem proved generative 1996 Hatoum’s Even more for the displaced, home can present an elusive elusive can present an for the displaced, home Even more fact that a life consigned to the home and its kitchen could forgotten needs.” Hatoum—notwithstanding that her than such a device by mise-en-sc Oldenburg tends to get framed in far more playful terms framed in far more playful terms Oldenburg tends to get

work can also have its playful aspects—may not be playful aspects—may not be work can also have its visibly and wires and eerily lit from within, to something which reminded her just how “nomadic and undomesticated and undomesticated “nomadic her just how reminded which viewer—or are we viewers being kept instead from it? viewer—or are we viewers being kept instead x 17) × 8 /

1 × 20 8 / 3 , 1965 Claes Oldenburg Claes Soft Dormeyer Mixer Vinyl, wood, aluminum tubing, electrical cord, and rubber, 31 12 inches12 × 30.5 (79.7 cm). × 51.1 Whitney Museum of American Art, New York, Purchase, with funds from the Howard and Jean Lipman Inc. Foundation,

inches (27 × 230 × 100 cm). 4 / 1 × 39 2 / 1 × 90 4 / 3 , 2008 Mona HatoumMona Dormiente Mild steel, 10 Courtesy of the artist and Alexander and Bonin, New York

34

Mona

Plainly, the Plainly, 36 resulted in (North Adams, MA: MA: (North Adams, No Way In those surroundings she 35 got made, however, in a deeply pacific got made, however, as a response to that.” “Michael Archer in in Archer “Michael as a response that.” to No Way No Way , 29. never granted Lebanese citizenship), Hatoum has been back has been back Hatoum Lebanese citizenship), granted never the title the title teaching at the Art Academy in Ramallah. Email to author, April April in Ramallah. the Art at author, Email to Academy teaching twice to Palestinian territory, including in 2008 to do some do in 2008 to including territory, Palestinian to twice Conversation with Mona Hatoum,” (1997), Archer et al., et Archer (1997), Hatoum,” with Mona Conversation Self-identified as Palestinian (though (though born in Beirut,was she Palestinian as Self-identified in Heon, ed., the Mill,” for Heon, “Grist Steward Laura Hatoum, in “Interview with Jo Glencross, 1999,” 147. (Eventually, (Eventually, 147. 1999,” Glencross, with Jo in “Interview Hatoum, who likes to cook. Interview with author, July 25, 2016.) July with author, cook. Interview to likes who Mona Hatoum: Domestic Disturbance Domestic Hatoum: Mona Hatoum, “The saddest thing in Jerusalem was the policy was of thing in Jerusalem “The saddest Hatoum, Hatoum would take the wise feminist tack of marrying a man of the wise marrying a man tack would take feminist Hatoum Hatoum Massachusetts Museum of Contemporary Art, 2001), 17. Recalls Recalls of Art, Museum Contemporary 2001), 17. Massachusetts 12, 2017. 12, 2017. ‘closure’ that restricted movement for the Arabs. I gave a piece a piece I gave the Arabs. for movement restricted that ‘closure’  

35. 36. place, during an artist’s residency in Maine at the Shaker place, during an artist’s and all its contents during The Nakba, or Catastrophe, as and all its contents during The Nakba, or Catastrophe, accrues more complex valences in this light, as the work of accrues more complex valences in this light, region—indeed, one whose parents an artist from a war-torn an itinerant life. The first iteration of iteration of location before mounting a show there (including in location before mounting had been forced to abandon their former home (in Haifa) had been forced to abandon their former home refused blandishments to learn “the art of cooking as part of to learn “the art of cooking as part of refused blandishments hand, and of professional possibilities on the other, that on the other, of professional possibilities hand, and might help quell incipient female desperation; and “No way!” “No way!” and desperation; incipient female help quell might to the abiding pressure reflexive response to might be a sect’s last surviving active community. Hatoum has recalled community. last surviving active sect’s specter of a kitchen tool as a weapon or explosive device specter of a kitchen tool as a weapon or explosive superintended by military police, who ensured there was “no superintended by military police, who ensured shows far more internationally than most of her peers—in shows far more internationally 34. experiencing there “a wonderful feeling of being settled,” experiencing there “a wonderful feeling of generally to do some type of artist’s residency at a given residency type of artist’s generally to do some generally of quite another order than those confronting, say, say, than those confronting, quite another order generally of don an apron. The range of cultural constraints on the one constraints on the The range of cultural don an apron. Palestinians call the devastating 1948 conflict that Israelis term Palestinians call the devastating 1948 Houston in advance of the Menil exhibition). Given that she Houston in advance of extent, the Europe and the Middle East and, to a lesser Hatoum’s preferred way of undertaking exhibitions is preferred way of undertaking exhibitions Hatoum’s their War of Liberation or Independence. One colander their War fact from Hatoum’s inaugural trip to Palestinian territory, trip to Palestinian territory, inaugural fact from Hatoum’s the process of being primed for marriage”; and, for that matter, for marriage”; and, for that matter, the process of being primed faced First World women such as Rosler, however, were were however, such as Rosler, women World faced First fantasy, the kitchen tools’ hazardous, even lethal potential lethal even tools’ hazardous, the kitchen fantasy,

way” through many areas, especially for Arabs. which occurred as she was preparing a show for an East which occurred as she was preparing a show roadblocks was reportedly struck by the prevalence of Americas—that preference tends to have afforded her quite her quite afforded Americas—that preference tends to have Arab women. For her own part, Hatoum recalls having Arab women. For her Jerusalem gallery in 1996. “spending any time in the kitchen is something I resisted.” “spending any time in Mona Hatoum: Terra Infirma Infirma Terra Hatoum: Mona 58 The Devices of Mona Hatoum Anna C. Chave 61

, 1999 , Mona Hatoum Map Glass marbles, each 1.4 × 1.4 × 1.4 cm (0.5 × 0.5 × 0.5 in.), 2007 Luxembourg, Casino at Installed variable. dimensions overall

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, see A , Hatoum works of Mona Hatoum Mona Map Projection of 2006 and Present Tense , 118. , —marbles likewise spread Projection To make To Six Years Six 40 Map (clear) of 2013 she has deployed a particular of 2013 , for one, featured a map of an area of Wiltshire , for one, featured a map considered by many…as a prerogative of the West.” Ibid. Hatoum Ibid. Hatoum of the West.” a prerogative by many…as considered conclusion that a pro-Third World map, as it was then described, then described, map, as it was World a pro-Third that conclusion divisions arrived at under the Oslo Agreement, and it represented Agreement, and it represented the Oslo under at divisions arrived says that she initially chose the map “for formal reasons but but reasons formal the map “for initially chose she that says then I understood the significance of it being more egalitarian.” egalitarian.” of it then I understood the significance being more the first phase of returning land to the Palestinian authorities. authorities. Palestinian to the land phase the first returning of Christine Van Assche and Clarrie Wallis, eds., eds., Wallis, and Clarrie Assche Van Christine In Hatoum’s description: “It was the map showing the territorial the territorial the map showing was “It description: In Hatoum’s Reproduced in Lippard, Reproduced in Lippard, issued this map, first in 1973, and Regarding would be adopted, at a time when global mapping was mapping was global a time when would be at adopted, But really it was a map about dividing and controlling the area.” the area.” a map about dividing it was and controlling really But (London: Tate Publishing, 2016), 106. “It was not a foregone Publishing, 2016), not a foregone was “It (London: 106. Tate Whiles,” 4. Whiles,”

  “Unstable Ground: Mona Hatoum Interviewed by Virginia by Virginia Interviewed Hatoum Mona Ground: “Unstable “Michael Archer in Conversation with Mona Hatoum,” 25. Hatoum,” with Mona in Conversation Archer “Michael

41. by Yasser Arafat in 1993. Arafat in by Yasser and who has had to suffer the consequences, as well as who the consequences, as well as who and who has had to suffer and explored the trope of the journey, incorporating of the journey, and explored the trope longer appear so outsized in comparison to southern ones. longer appear so outsized in comparison to relative sizes than the maps more commonly circulated, and relative sizes than the maps more commonly mutability of mapping. And in making many of her maps from intrinsically transitory or making many of her maps from intrinsically masterminded, for that matter, largely by the British. By masterminded, for that matter, has been empowered to draw and redraw global borders has been empowered to draw and redraw maps in some of his ensuing installations; his 1969 installations; his 1969 maps in some of his ensuing 42. on which the (historically wealthier) northern continents no on which the (historically wealthier) northern calculated to be more scrupulous in rendering the continents’ calculated to be more scrupulous in rendering over a floor, Hatoum deftly, poetically evinces the historical Hatoum deftly, over a floor, crafting the map is one whose parents’ home got sacrificed crafting the map is one whose parents’ home gets to travel most freely over borders and whose movementsgets to travel most freely over borders and when the artist get restricted, becomes all the more charged onto the surface of thousands of bars of Nablus soap bars of Nablus soap of thousands of onto the surface By the time Hatoum began deploying them, maps had alreadyBy the time Hatoum began Her first sculptural map was of the dispersed or scattered scattered or of the dispersed map was sculptural Her first unstable materials, such as soap or—in her unstable materials, such as soap or—in her used tiny red glass beads to delineate that bizarre map that bizarre map glass beads to delineate used tiny red to imperialist exercises in the redrawing of borderlines— to imperialist exercises in the redrawing of the amount of each square. time it had taken him to walk factored in myriad ways in Conceptual art practice. Thus, factored in myriad ways Richard Long had variously enactedfor instance, British artist the artist from her childhood) laid out on the gallery floor. laid out on the gallery floor. the artist from her childhood) territories that Palestinians were pushed to accept through through to accept were pushed that Palestinians territories interim measure signed as a would-be the Oslo Accords, 40.

world map format (the so-called Gall-Peters Projection) world map format (the so-called Gall-Peters with concentric squares drawn on it and a typed inset stating with concentric squares Where maps are concerned, the matter of who, historically, the matter of who, historically, concerned, are maps Where Projection (velvet) (a Palestinian product fabricated from olive oil and familiar to from olive oil and familiar product fabricated (a Palestinian Sculpture

1998–99 and 2015 and 2015 1998–99 Mona Hatoum: Terra Infirma Infirma Terra Hatoum: Mona 60 The Devices of Mona Hatoum Anna C. Chave 63

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contrapuntal it had for so long, it had for so long, or beyond the the or beyond world objets d’art objets * Rather than ever having appeared Rather than ever having appeared (London and New York: Routledge, 1994), Routledge, York: (London and New 46 , 110. Exiles enjoy “plurality of vision…an enjoy “plurality Exiles , 110. Mona Hatoum Mona canonization of the ‘idea’ of aesthetics, to engage with culture with culture engage to of aesthetics, ofcanonization the ‘idea’ et al., et of in non-canonical social marginality—as cultural it emerges and practices, demands often composed of incommensurable produced in the act of social survival,” noted Homi Bhabha, Bhabha, Homi noted produced in the act of social survival,” suggest that it is from those who have suffered the sentence the sentence of suffered those have it is from who that suggest awareness of simultaneous dimensions” that is “ that of simultaneous dimensions” awareness production of and value, meaning incomplete as an uneven, history—subjugation, domination, diaspora, displacement—that diaspora,history—subjugation, domination, displacement—that further suggested Said. Ibid. (Emphasis in original.) Said. Ibid. (Emphasis further suggested us confront to forces It strategies. forms—transforms our critical the concept of culture outside of outside the concept culture Hatoum, in “Unstable Ground: Mona Hatoum Interviewed by by Interviewed Hatoum Mona Ground: in “Unstable Hatoum, Edward W. Said, “Reflections on Exile, 1984 (extract),” in Archer in Archer 1984Exile, (extract),” on Said, “Reflections W. Edward we learn our most enduring lessons for living lessons for and thinking. our most enduring learn we 246–47. There is even a growing conviction that the affective experience experience the affective that conviction a growing is even There The Location of Culture of Location The Virginia Whiles,” 3. A “range of contemporary critical theories theories critical of contemporary 3. A “range Whiles,” Virginia   45. break barriers of thought and experience,” he added. break barriers of thought and experience,” that may inhere pointed up instead a degree of provinciality became instead among the most respected artists of her her respected artists of among the most became instead at the outset to become at best a marginal figure. That she she a marginal figure. That to become at best at the outset however—as variously emerges a sort of foreign accent, is. Other realities and other systems of belief force you force you is. Other realities and other systems of belief and peers. in the work of her Euro-American forerunners idioms of contemporary Euro-American art practice. For Euro-American art practice. For idioms of contemporary here—in which she effec in all the instances described rather than restricted.” art has often effectively marginal or provincial, Hatoum’s contempo has been steadily helping to remake the West’s rary art scene as more truly the art neo-avant-garde generation (as it tends to be labeled). Yet Yet to be labeled). (as it tends generation neo-avant-garde its geographic purview. been expanding however belatedly, so unconvincingly, pretended to be. so unconvincingly, strategies with the benefit of insights accrued through her strategies with the benefit complexly global or transnational subject position. complexly global or transnational “Exiles cross borders, exile,” as Edward Said once affirmed; cultures…makes you realize how relative everything different For all the refugee’s struggles and misery, it turns out that it turns out that struggles and misery, For all the refugee’s “working within Hatoum has likewise acknowledged that, Hatoum has also consistently remained something of a of a something remained consistently has also Hatoum uttered avant-garde idioms with Hatoum has all along there may also be advantages to and even “pleasures of “pleasures of there may also be advantages to and even feel expansive to remain open and fluid and it makes me figure apart. As a female artist raised far beyond the pale of pale of raised far beyond the As a female artist figure apart. was seemingly doomed art scene, she the Euro-American command of some dominant due in part to her time is surely outsiders such mastery is generally demanded of that matter, and amplified neo-avant-garde tively adapted, complicated, 46.

within a realm that has, since the late twentieth century, since the late twentieth century, within a realm that has, All the while she has been coming to prominence, Hatoum Hatoum All the while she has been coming to prominence,

, 2008 (detail) Mona HatoumMona LandscapeInterior

, 2008 Mona HatoumMona LandscapeInterior Steel bed, pillow, human hair, table, cardboard tray, cut-up map, metal rack, and wire hanger, dimensions variable. Installed at Darat al Funun, 2008 Amman,

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Interior 82, no. 1 (March 2000): 149–63. 2000): 82, 1 (March no. , she incorporated a dozen tradi The Art BulletinThe 44 , 122. (an installation made for Darat al Funun in (an installation made Twelve Windows Twelve Even as she has steered art writers away from her Even as she has steered 43 cultures.” “Interview with Sara Diamond, 1987,” Archer et al., et Archer 1987,” Diamond, with Sara “Interview cultures.” excluded, being defined as ‘Other’ or as one of ‘Them.’ I work work I ‘Other’ or as one of ‘Them.’ being as defined excluded, of living in the West as a person from the Third World, about about World, as a person the Third from of living in the West and Biography,” and Biography,” being an outsider, about occupying a marginal position, occupying about being a marginal being an outsider, On this issue, see, for instance, Anna C. Chave, “Minimalism “Minimalism Anna C. Chave, instance, On this issue, see, for imperialism, racism and the stereotyping of and the stereotyping imperialism, other people from racism In 1987, while she was working principally as a performance principally artist, working was she while In 1987, with black groups in London on shared issues of in London on shared colonialism, groups with black Mona Hatoum Mona Hatoum observed: “in general my work is about my experience experience is about my work my “in general observed: Hatoum  

benefit the glaring deficit initially (seemingly) attaching to her benefit the glaring deficit initially (seemingly) biography, however, Hatoum has intermittently proceeded however, biography, pivot narrowly around her life story or that would tend to pivot narrowly around as devices of a sort. Behind the repertoire of objects of objects as devices of a sort. Behind the repertoire attaching to Hatoum’s devices, I have been in part narrating devices, attaching to Hatoum’s an example, includes (among other charged elements) a an example, includes (among other charged all, to occupy a charged cultural space. For her part, Hatoum space. For her part, a charged cultural all, to occupy 43. lie her strategic devices. She has continually revisited a revisited a lie her strategic devices. She has continually in describing here some of the complex poetic resonances in describing here some of the complex poetic range of avant-garde strategies in ways that have made her have made her range of avant-garde strategies in ways that how she has all along managed to recast as a resounding how she has all along managed to recast as her own hair on a pillow. And in a collaborative work of her own hair on a pillow. may tend to restrict unduly the dimensions of their contribu may tend to restrict unduly has mostly discouraged approaches to her work that would to her work that discouraged approaches has mostly more conspicuous cause of the world’s forcibly displaced. forcibly world’s cause of the more conspicuous mapping in subtly loaded ways has at times been used by used by times been has at loaded ways in subtly mapping subject position. exoticize her despite her longtime residency in Europe. For exoticize her despite critics to help frame her as a sort of figurehead for the ever of figurehead for the frame her as a sort critics to help Furnishings, kitchen equipment, maps: all may be counted may be counted Furnishings, kitchen equipment, maps: all utterly recognizable as a figure of her postmodern or or utterly recognizable as a figure of her postmodern ually and reliably exceed the reach of her life story, then, story, ually and reliably exceed the reach of her life In view of her family’s history, Hatoum’s penchant for penchant Hatoum’s history, of her family’s In view that Mona Hatoum invokes or deploys in her work, however, her work, however, that Mona Hatoum invokes or deploys in that story has remained inextricable from her practice. And, that story has remained inextricable from her tional textiles skillfully embroidered by displaced Palestinian tional textiles skillfully embroidered by displaced fragile map of Palestine’s historical outlines delineated with fragile map of Palestine’s tions. ways in her art. Her 2008 to inscribe it in compelling that matter, female artists have long been more subject than female artists have long been more subject that matter, framed accounts, which their male peers to biographically 44.

women. Even as the implications of Hatoum’s oeuvre contin women. Even as the implications of Hatoum’s 2012–13, 2012–13, Landscape addresses the Palestinian diaspora), as Amman, Jordan, that

To be, or to have been, a Middle Eastern immigrant is, after a Middle Eastern be, or to have been, To Mona Hatoum: Terra Infirma Infirma Terra Hatoum: Mona 62 MONA TERRA HATOUM INFIRMA

MICHELLE WHITE

WITH CONTRIBUTIONS BY ANNA C. CHAVE ADANIA SHIBLI REBECCA SOLNIT

The Menil Collection, Houston Distributed by Yale University Press, New Haven and London Published in conjunction with the exhibition Mona Hatoum: Terra Infirma All works listed below are by Mona Hatoum unless otherwise noted. Installation Organized by the Menil Collection shots listed below are from Mona Hatoum: Terra Infirma at the Menil Collection, Curated by Michelle White Houston, 2017, unless otherwise noted.

pp. 4–5 The Menil Collection, Houston Foreground, + and –, 1994–2004 (see p. 96); background, La grande broyeuse October 13, 2017–February 25, 2018 (Mouli-Julienne x 17), 1999 (see p. 69); right, Chain, 1999 (see p. 145)

Pulitzer Foundation for the Arts, St. Louis pp. 6–7 April 6–August 11, 2018 Homebound, 2000 (detail; see p. 108) CONTENTS

pp. 8–9 In Houston, major funding for this exhibition is provided by The Andy Warhol Foundation Cappello per due, 2013. Straw, wood, and metal, 31 × 53 × 19 inches (78.7 × for the Visual Arts, National Endowment for the Arts, and The Levant Foundation. 134.6 × 48.3 cm). Courtesy of the artist Additional support comes from The Brown Foundation, Inc./Herman L. Stude; Leslie and Brad Bucher; Bettie Cartwright; Day for Night; Nijad and Zeina Fares; Scott and Judy pp. 16–17 Nyquist; Clare Casademont and Michael Metz; Adelaide de Menil; Franci Neely; Leslie Turbulence (black), 2014 (see p. 140) and Shannon Sasser; Anne Schlumberger; and the City of Houston. p. 40 Left, Interior/Exterior Landscape, 2010 (detail; see p. 117); right, Victor Brauner, Foreword 13 Published by Over There (Là-bas), 1949 The Menil Collection Acknowledgments 14 1511 Branard Street p. 41 Houston, Texas 77006 From left to right, Hair Necklace, 1995 (see p. 87); Eyecatchers, 1997; René Magritte, Untitled, 20th century (on wall); T42 (gold), 1999 (see p. 27); unknown 19 All That Is Solid…An Introduction © 2017 by Menil Foundation, Inc., Houston maker, glove, ca. 1840–80; Untitled (2), 2003 (on wall); Marcel Duchamp, Mona Hatoum: Terra Infirma to the Work of Mona Hatoum “The Devices of Mona Hatoum” © 2017 by Anna C. Chave Wedge of Chastity (Coin de chasteté), 1954/63 “Six Key Movements…” © 2017 by Adania Shibli Michelle White pp. 42–43 “Crossing Over” © 2017 by Rebecca Solnit Left, René Magritte, The Listening Room (La chambre d’écoute), 1952; center, Artwork by Mona Hatoum © by Mona Hatoum, reproduced with her permission René Magritte, Memory of a Journey III (Souvenir de voyage III), 1951; right, 47 The Devices of Mona Hatoum Jardin public, 1993 (see p. 83) Anna C. Chave All rights reserved. This book may not be reproduced in whole or in part in any form (beyond that permitted by Sections 107 and 108 of the U.S. Copyright Law and other pp. 44–45 than by reviewers for the public press) without written permission from the publisher. Far left, Jardin public, 1993 (see p. 83); center left, Van Gogh’s Back, 1995 67 WORKS (see p. 95); right, René Magritte, The Rape (Le viol), 1934 Distributed by Yale University Press pp. 64–65 171 Crossing Over 302 Temple Street + and –, 1994–2004 (detail; see p. 96) Rebecca Solnit P.O. Box 209040 New Haven, Connecticut 06520-9040 pp. 176–77 www.yalebooks.com/art Nature morte aux grenades, 2006–07 (detail; see p. 125) 179 Six Key Movements to Unlock

pp. 184–85 a Possible History of Materials Top, from left to right, Do unto others…, 1997; Untitled (tin grater), 2015; Why Not Adania Shibli ISBN 978-0-300-23314-8 Squeeze…, 2009. Middle, from left to right, No Way III, 1996 (see p. 47); No Way, Library of Congress Control Number: 2017958053 1996 (see p. 38); How to turn your ordinary kitchen utensils into modern electrical appliances, 1996 (see p. 110); Untitled (meat grinder), 2006 (see p. 75); Medal Produced by the Publishing Department of the Menil Collection: of Dishonour, 2008 (see p. 128); One Year (2006), 2007. Bottom, from left to right, Biography and Further Reading 186 Joseph N. Newland, director, and Sarah E. Robinson, associate editor Untitled (∞), 1991; Untitled (glass) 1–3, 2017 Index 188 Manuscript editor: Sheryl Conkelton Proofreader: Ted Gilley Installation photography: Fredrik Nilsen p. 170 Graphic design: Michael Worthington, Counterspace Waiting Is Forbidden, 2006. Enameled metal plaque, 11 3/4 × 15 3/4 inches (30 × Reproductions: Echelon, Santa Monica 40 cm). Installed at Townhouse Gallery, Cairo Printing and binding: Conti Tipocolor, S.r.l., Firenze Typefaces: Didot Elder, Akzidenz Grotesk p. 178 Book paper: GalerieArt Volume, Favini EchoBianco Conversation Piece II, 2011. Six period chairs, wire, and glass beads, 32 1/4 × Printed and bound in Italy 112 1/4 × 112 1/4 inches (82 × 285 × 285 cm). Installed at Galleria Continua, San Gimignano, Italy

Endpapers Front, Turbulence (black), 2014 (detail; see p. 140); back, Quarters, 1996 (detail; see p. 52)

Cover Impenetrable, 2009 (detail; see p. 101)