Published by Holzwarth Publications. Text by Konrad Bitterli, Nadia Veronese.
This catalogue accompanies a vast survey of the work of Mona Hatoum (born 1952) at Kunst-haus St.Gallen in Switzerland. The pieces range from the artist's body-centered early performances of the 1980s, through large sculptures of threatening household objects, to more recent, politically charged installations.
Published by Silvana Editoriale. Edited by Sam Bardaouil, Till Fellrath.
Mona Hatoum: Turbulence, published to accompany the artist's first major exhibition in the Arab world, highlights the diverse artistic output of Mona Hatoum (born 1952) over the past 30 years. Its centerpiece is the work Turbulence. Placed exactly at the exhibition space's center, this installation comprises a 13 x 13-foot square composed of thousands of glass marbles laid directly into the floor. The notion of "turbulence" as a conceptual framework for the exhibition is derived not only from this key piece, but also from the thematic and formal dichotomies and unexpected juxtapositions within Hatoum's work at large. As collected in this volume, "turbulence" arises on three levels: the internal, as a questioning of her own identity, confused by alienation and displacement; the public, as a reflection upon common notions of belonging and collective memory; and formal, as an inquiry into ways of expanding artistic expression.
Published by Holzwarth Publications. Text by Patricia Falguières.
Published for a show at Galerie Max Hetzler, Shift concentrates on recent politically charged work by Palestinian artist Mona Hatoum (born 1952), sculptures of black steel cages holding biomorphic glass forms, iron barricades riddled with bullet holes and a curtain made from barbed wire.
Published by Hatje Cantz. Edited by Ingvild Goetz, Rainald Schumacher, Larissa Michelberger. Text by Ingvild Goetz, Leo Lencsés, Rainald Schumacher.
Mona Hatoum (born 1952) has established herself as a truly transnational artist: born in Beirut, and working in Berlin and London, her multimedia work explores the dangers inherent to the borderlines between nation and body. This multi-authored and richly illustrated publication reveals all of the different facets of the artist’s career, from her overtly political performances of the 1980s to her later installations, photographs, sculptures and videos that examine the human body as a metaphor for oppression in a broader sense. Hatoum’s unusual blend of Surrealism and Minimalism both seduces and repels: her endoscopic videos of her organs, blood-red lights, the crackling electricity of wired furniture and glowing globes, a variety of cages and the murderous possibilities of kitchen utensils present us with an alienating intimacy that questions our relationship to our bodies and to the world.
Published by Charta. Edited by Chiara Bertola. Text by Réda Bensmaïa, Chiara Bertola.
Beirut-born artist Mona Hatoum has been known, since the early 1990s, for large-scale poetic and politically-minded installations in which she transforms domestic objects such as chairs, cots and kitchen utensils into implements that connote torture or incarceration. This volume documents Hatoum's works shown at the historic Fondazione Querini Stampalia Museum. Included here are photos of the museum, of the cities where her meetings with biennial curators took place (Venice, Berlin, New York, London and Amman) and images from Lebanon of historical documents used in the project. In addition to this new commission, the book illustrates other recent works, in a diverse range of media, including installation, sculpture, video, photography and works on paper that demonstrate Hatoum's nimble fusion of Minimalism's pared-down aesthetics and the absurdist spirit of Surrealism.
BOOK FORMAT Paperback, 6.5 x 9.5 in. / 168 pgs / 97 color.
PUBLISHING STATUS PUB DATE 10/31/2009 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2009 p. 82
PRODUCT DETAILS ISBN 9788881587353TRADE LIST PRICE: $39.95 CDN $50.00
AVAILABILITY Not available
STATUS: Out of print | 00/00/00
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Published by Holzwarth Publications. Text by Kirsty Bell.
The works of Beirut-born artist Mona Hatoum, who currently lives in London and Berlin, incorporate very real topics. Many of her sculptures deal with conditions in the world's crisis regions, or exile; others show that familiar objects from everyday life can become very alien things. Hatoum's works appeal to the body as a common site of experience of scale, material, place and pain. “So while they may be read specifically in terms of her own personal history and the extreme experience of alienation and instability that is the fate of the exile, they also refer to the themes of memory, home, movement, location and space that are part of everyone's physical existence," as Kirsty Bell writes in her essay. Regardless of whether Hatoum works with barbed wire or sandbags, or magnifies kitchen graters into human-scale sculptures, she always succeeds in turning a familiar object into something else, something eerie, something unhomely.
Published by Hatje Cantz Publishers. Essays by Christoph Heinrich, Volker Adolphs, Richard Julin, Ursula Panhans-Bler, and Nina Zimmer.
Each of Mona Hatoum's works can be read as a formula for human existence, expressed in a penetrating visual language that is both complex and puzzling. As the artist herself points out, “One's first experience of a work of art is physical. I appreciate works that have sensual as well as intellectual impact. Meanings, connotations, and associations begin to emerge only after the initial physical experience, when the imagination, the intellect, and the psyche are ignited by what one has seen.” The daughter of Palestinian parents, Hatoum has long been regarded in Great Britain and the U.S. as one of the most important artists of her generation. Born in Lebanon in 1952 and a resident of London since 1975, her sensitivity to themes of power and identity has been heightened by a life lived outside her homeland. Many of her objects, video pieces and installations deal with aspects of institutionalized violence and the vulnerability of the individual; her central point of reference is the body, in many cases her own. This is the first book to document the full breadth of Mona Hatoum's oeuvre, up to and including her most recent projects.