Académique Documents
Professionnel Documents
Culture Documents
Hatoum
1952
-
Video: Hatoum talking about Suspended, and about the mo>va>ons behind her work in general.
Current
Disturbance,
1996,
280
x
550
x
504
cm
x
35
cm,
wood,
wire
mesh,
light
bulbs
This
work
was
rst
shown
at
the
Wa3s
Centre
for
Contemporary
Art
(at
the
California
College
of
the
Arts,
San
Francisco).
In
1996
Hatoum
was
invited
to
be
the
resident
ar>st
of
the
Capp
Street
Project,
an
ar>st
residency
sponsored
by
the
CCA.
Current
Disturbance
was
the
work
she
created
during
her
residency.
Read
the
PDF
(cri>que
of
Current
Disturbance)
by
Program
Director,
Mary
Ceru>
(page
8).
Video:
Current
Disturbance,
1996,
280
x
550
x
504
cm
x
35
cm,
wood,
wire
mesh,
light
bulbs
Current
Disturbance
is
a
room-lling
environment
made
from
stacked
wire
cages,
light
bulbs
and
the
amplied
sound
of
electric
currents.
As
the
bulbs
light
up
and
fade
out
at
irregular
intervals,
they
sporadically
illuminate
the
surrounding
room
and
the
unruly
mass
of
wiring
covering
the
oor.
This
installa>on
by
renowned
Bri>sh-Pales>nian
ar>st
Mona
Hatoum,
whose
ambi>ous
work
in
sculpture
and
video
is
rooted
in
her
early
performances,
emanates
a
pervasive
sense
of
threat
as
much
as
it
generates
an
alluring
spectacle
Combining
references
to
the
body
and
abstract
art,
Hatoums
installa>on
creates
an
uneasy
sense
of
threat
that
provides
an
open-ended
commentary
on
the
state
of
the
world
today.
hZp://www.whitechapelgallery.org/exhibi>ons/keeping-it-real-an-exhibi>on-in-4-acts-act-3-
current-disturbance
Wa3s
Centre
for
Contemporary
Art
Program
Director,
Mary
Ceru>,
on
the
subject
of
Current
Disturbance:
hZp://www.google.com.au/url?
sa=t&rct=j&q=&esrc=s&source=web&cd=6&ved=0CFsQFjAF&url=hZp%3A%2F
%2Flibraries.cca.edu%2Fcapp%2Fprop_r96d001.pdf&ei=gZQzU9-
pKM3AkQXs24DQAQ&usg=AFQjCNFTiDyC5iiJtX17YukgNtva3SKHHw&sig2=ZDyAlSu5uJM4aoNiHr1
tTA
ARTIST
Mona
Hatoum,
1952,
Beirut
TITLE
Impenetrable
DATE
2009
MEDIUM
Steel
and
nylon
monolament
DIMENSIONS
118
1/8
x
118
1/8
x
118
1/8
inches
(300
x
300
x
300
cm)
EDITION
edi>on
3/3
Impenetrable
From
a
distance,
Impenetrable
appears
to
be
an
ethereal
cube
levita>ng
in
the
gallery.
When
approached,
the
work
reveals
a
menacing
aspect:
the
cube
is
composed
of
hundreds
of
barbed
wire
rods
dangling
from
shing
wire.
Like
many
of
Mona
Hatoums
installa>ons
since
the
early
1990s,
Impenetrable
takes
the
form
of
a
grid.
Yet
the
austere
geometric
form,
which
recalls
Minimalist
sculpture,
also
harbors
a
psychological
charge.
The
steel
lancework
appears
to
be
as
delicate
as
it
is
threatening,
and
the
barbed
wire
evokes
architectural
forms
fences,
prisons,
campsdesigned
both
to
conne
and
repel.
Such
images
are
evoca>ve
of
conict,
violence,
and
state
authority,
and
Hatoums
work
is
open
discussed
in
rela>on
to
her
own
experience
as
a
Pales>nian
exile.
S>ll,
the
ar>st
herself
suggests
that
the
signicance
of
her
work
extends
beyond
biographical
references:
I
nd
it
more
exci>ng
when
a
work
reverberates
with
several
meanings
and
paradoxes
and
contradic>ons.
The
human
body
remains
an
axial
thread
throughout
Hatoums
ar>s>c
prac>ce,
though
the
late
80s
marked
a
departure
from
the
usage
of
her
own
body
to
the
construc>on
of
phenomenological
situa>ons
for
the
viewer,
as
in
Impenetrable.
In
a
turn
of
dark
humor
not
uncommon
in
Hatoums
work,
the
>tle
refers
directly
to
the
open
brilliantly
colored,
monochroma>c
cubes
of
Venezuelan
kine>c
ar>st
Jess
Rafael
Sotos
Penetrables
(196797)
that
are
composed
of
masses
of
hanging
plas>c
cords
into
which
spectators
are
welcome
to
enter.
In
contrast
to
Sotos
exuberant
blurring
of
the
sta>c
and
dynamic,
the
interior
and
exterior,
Hatoum
erects
an
impasse,
a
cube
of
space
par>>oned
by
wire,
which
spectators
may
view
but
never
penetrate.
Lauren
Hinkson
1.
Mona
Hatoum
quoted
in
Michael
Archer,
Mona
Hatoum
(London:
Phaidon
Press
Limited,
1997),
p.
25.
hZp://universes-in-universe.org/eng/nafas/ar>cles/2009/mona_hatoum
Mona
Hatoum,
Impenetrable
(2009),
work
from
a
series
of
installa>ons,
called
Interior
Landscapes,
at
the
Fondazione
Querini
Stampalia,
Venice,
2009.
Change
somethings
scale
and
you
might
change
its
essence.
Hatoum
was
an
exile
from
Lebanon
during
its
bloody,
15-year
civil
war.
This
experience
gave
her
a
dis>nct
perspec>ve
on
what
happens
when
the
familiar
changes
or
disappears.
Here,
just
by
making
it
bigger,
she
transforms
a
kitchen
utensil
into
something
sinistera
screen
for
hiding
and
dividing.
hZp://www.mfa.org/collec>ons/object/grater-divide-389531
Ar>cle
from
The
Guardian
newspaper,
London
hZp://www.theguardian.com/artanddesign/2010/dec/12/mona-hatoum-interview
Text
fro
Exhibi>on
at
White
Cube
Gallery,
which
regularly
shows
Hatoums
work.
hZp://whitecube.com/exhibi>ons/mona_hatoum_grater_divide_hoxton_square_2002/