Mona Hatoum | + and - by winsingartplace

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1 | + and 2021 Wood, sand, stainless steel and electric motor 62.5 x 50 x 50 cm Winsing Arts Collection / 文心藝術收藏

2 | Still Life 2008 - 2009 Glazed ceramics, wood and steel 87.5 x 180 x 90 cm Winsing Arts Collection / 文心藝術收藏

3 | A Pile of Bricks lV 2019 Bricks, wood and metal 82 x 121 x 82 cm RC Art Collection / RC 藝術收藏

4 | A Pile of Bricks ll 2019 Bricks, wood, metal and plastic 54 x 71.5 x 51 cm Winsing Arts Collection / 文心藝術收藏

5 | Remains (play space) 2019 Wire mesh and wood Dimensions variable Winsing Arts Collection / 文心藝術收藏

6 | Cappello per due 2013 Straw, wood and steel 83 x 90.5 x 48 cm Winsing Arts Collection / 文心藝術收藏

Mona Hatoum + and –

Mona Hatoum In 2022, the world is still in turmoil, with nations and people unable to reach consensus over conflicting interests such as territor y, borders or religion, choosing instead to go to war. The war between Russia and Ukraine, which broke out at the end of February this year, has once again raised fears, with its images of artillery fire and smoke broadcast daily on news channels all across the world. Many families have been forced to leave their homes and have become displaced, and the conflict has caused political and economic turmoil worldwide. It is hard to imagine cities and towns, normally peaceful and quiet, reduced to ruins overnight. This tense, uncertain condition is a theme that runs throughout the work of Mona Hatoum, the subject of this exhibition; an artist who reflects on the state of our current global situation.

Hatoum was born in 1952 to a Palestinian family in Beirut. During a visit to London in 1975, The Lebanese Civil War broke out, preventing her from returning and resulting in her living and working for the most part in the UK from that period onwards. Experiencing the cultural shock of a new, foreign country, Hatoum began to feel out of place, and was compelled to re-examine her position as an "outsider". Hatoum's works often draw on her personal experience, while alluding to broader issues of rootlessness, alienation and social unrest. With reference to both minimalism and conceptual art, she frequently transforms familiar objects such as chairs, cribs and kitchen utensils into unfamiliar, dangerous and even threatening objects, juxtaposing conflicting emotions of desire and repulsion, fascination and fear to challenge the viewer's perception. "Cappello per due", for example, which is in essence a wry comment on the idealized state of coexistence, seamlessly transforms a familiar object – a straw hat – into a hat for two, uncanny in its subtle, formal alteration. This exhibition features several of Hatoum's major works. The sculpture "+ and -", evokes contradictory forces through the continuous mechanical process of inscribing and erasing a series of lines into a circular bed of sand. Two versions of the work "A Pile of Bricks" are also on display. Comprising a stack of red bricks, dented and concave, piled up on a wooden builder's trolley, they recall the damaged buildings and bombed out structures of war-torn cities and the instability of life in conflict while at the same time, the potential for rebuilding and reconstruction. Hatoum's skill at altering the definition and appearance of everyday items is exemplified in "Still Life", in which bright, harmless ceramic objects, on closer inspection reveal forms resembling hand grenades. Glazed in an array of alluring colors, the threat of violence and destruction that the grenades embody, here remains embedded within their shiny, sugar-colored surface.

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"I was trying to make something which would merge with its surroundings, something beautiful and ethereal which would be both there and not there. But it became frightening. Now I realize that these kind of paradoxes were just what I was looking for." - Mona Hatoum

In "Remains (play space)", an ensemble of domestic furniture is burnt and destroyed, now just a fragile tracery of delicate wire mesh and shattered charcoal pieces. Subverting the understanding of "home" as a place of comfort and security, the installation evokes deep trauma, as if a scene of sudden abandonment resonant with war, exile and the loss of homeland. Since 1979, Hatoum has been exploring a number of dangerous experimental sculptures using electrical currents that run through a series of lightbulbs or through strings of metal household utensils. During the 1980s, she became well known for her video and performance works, utilizing the body as a vehicle for political and personal expression. Hatoum once said, "I have always been dissatisfied with work that just appeals to your intellect and does not actually involve you in a physical way. For me the embodiment of an artwork is within the physical realm; the body is the axis of our perceptions, so how can art afford not to take that as a starting point?" Focusing on issues of the body and surveillance, "Look No Body!" examines the relationship between physical behavior and society by featuring the artist drinking water and then urinating in a nearby toilet, filmed by a surveillance camera above. The artist has also filmed her own body inside and out, using endoscopic cameras, presenting its orifices and surfaces as abstract entities to confront the taboos of the body that exist in life and society. "The Light at the End", created in 1989 was Hatoum's first installation with light, drawing the viewer through a confined tunnel-like space towards a glowing, red-hot gate-like structure at its end. Tempting the viewer to navigate the space, despite its potential threat, the installation, which uses bars of heating elements, points to themes of imprisonment, torture and temptation all at the same time. Hatoum has developed many installations since the 1990s using a variety of materials: metal, wire mesh, light, electricity, glass and even bodily discards such as nails and hair, interweaving these everyday elements into works that poetically muse on the uncanny or on themes of unrest and conflict. Hatoum's artworks are currently housed in several internationally renowned institutions and have been on display at many major museums and galleries including the Museum of Modern Art, New York; the Hiroshima City Museum of Contemporary Art; the Joan Miró Foundation, and the Ullens Center for Contemporary Art, Beijing. In 2015, her solo exhibition at the Centre Pompidou toured to Tate Modern, London and the Kiasma Museum of Contemporary Art, Helsinki. Her works have also been showcased at Documenta Kassel, the Moscow Biennale of Contemporary Art, the Istanbul Biennial, the Biennale of Sydney, and the Venice Biennale.

Mona Hatoum + and –

Mona Hatoum 2022 年，這個世界局勢仍動盪不安，當國家、民族因領土、國界、宗教等利益衝突無法達成共識，最終選擇走上戰爭一途。今年 2 月底爆發的俄烏戰爭，再次喚起了大眾對戰爭的恐懼，每日新聞上撥放著砲火連綿、煙硝瀰漫的畫面，許多家庭被迫離開家園、流離失所，紛亂的情勢也造成了全球政治與經濟的動盪。很難想像平時寧靜安詳的城鎮，會在一夕之間變為斷垣殘壁。而這種緊繃、不確定的狀態，正是本次展出藝術家莫娜 · 哈透姆最常表達的主題，反映了我們當前全球狀況所產生的問題。

莫娜 · 哈透姆於 1952 年出生於貝魯特的巴勒斯坦家庭。1975 年拜訪倫敦期間，黎巴嫩內戰爆發，導致哈透姆再也無法回到家園，長期在英國居住與工作。異地的文化衝擊，開始感受到自己格格不入，不得不重新審視她作為「局外人」的角色。因此常見哈透姆的作品中，融入了個人的經歷，隱射大環境關於無根漂泊、異化、失落、社會動亂不定的議題。她也受到極簡主義和觀念藝術的影響，擅長將日常熟悉的用品像是椅子、嬰兒床、廚房用具等物件改造為看似陌生、危險甚至令人感到威脅的樣貌，試圖將慾望和壓迫、迷戀和恐懼等對立的情緒並置，挑戰觀者的感知。本次展出哈透姆重要系列作品，《+ and -》利用機械裝置，在沙床上製造和消除痕跡的連續性過程，喚起矛盾的對立性。展間中展出兩個版本的《A Pile of Bricks》，堆起的紅磚與木製手推車傳遞不穩定性和恐懼，隱喻飽受戰爭蹂躪的城市和顛沛流離的生活狀態。哈透姆改變日常物件原有定義和樣貌的創作手法，在《Still Life》與《Remains (play space)》得以體現，外表看似亮麗、無害的陶瓷物件，仔細觀察是類似於手榴彈的形體，暴力和死亡的語彙暗藏在五彩繽紛的糖衣之中。往往穩固支撐的家具，轉化為脆弱的鐵絲網和支離破碎的木炭，將家庭的定義顛覆為令人不安、流離失所之場域，喚起深深的創傷，彷彿像一個突然被遺棄的戰爭場景。而看似平靜的《Cappello per due》作品裡，實質上卻是對理想化共存狀態的諷刺。

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「我試圖創造和周圍環境融為一體的東西，一種既存在又不存在，美麗且脫俗的東西。但它變得令人恐懼。如今我意識到這些悖論正是我在尋找的。」 - 莫娜．哈透姆

哈透姆從 1979 年開始進行許多具有危險性的實驗性雕塑，像是使用電流通過燈泡或金屬製的家用物品。1980 年代，一系列的錄像和表演作品在這段時間廣為人知，她將身體作為載體，哈透姆曾提及：「我一直對於只喚起心理層面，卻沒有以身體方式參與的作品不滿意。對我來說，藝術作品的體現包含生理的領域，身體是感知的軸心，藝術怎麼能不以此為出發點呢 ?」，作品《Look No Body!》聚焦在身體和監視 (surveillance) 的議題，哈透姆在展間裡不斷地喝水、如廁，觀眾則透過馬桶上方監視器的影像觀察，進而探討身體行為與社會的關係。藝術家也曾透過內窺鏡從裡到外拍攝自己的身體，以窺視的角度，將其變得陌生、抽象，挑戰在社會框架之下，觀眾對身體禁忌的反思。

1989 年創作的《The Light at the End》是哈透姆第一件運用燈光的裝置，透過空間、光線和溫度引起觀眾注意，當慢慢穿越狹窄的隧道時能感受到明顯高溫，觸摸甚至會灼傷，作品探討有關監禁、酷刑同時卻誘人的主題。1990 年代後發展許多裝置作品，她的創作元素涵蓋了多種材質：金屬、鐵絲網、燈光、電力、玻璃，甚至是指甲和頭髮等身體的廢棄物，作品交織日常生活中和大環境不穩定的因子，詩意地闡述令人感到不安的衝突。哈透姆的作品為多個國際知名機構所珍藏。曾在紐約現代美術館、廣島市現代美術館、胡安 · 米羅基金會、北京尤倫斯當代藝術中心等眾多大型美術館和機構展出，2015 年在龐畢度藝術中心的重要個展曾巡迴至倫敦泰德美術館及赫爾辛基當代美術館。作品也曾參與卡賽爾文件展、莫斯科當代藝術雙年展、伊斯坦堡雙年展、雪梨雙年展，以及威尼斯雙年展。

Mona Hatoum + and –

+ and 2021 Wood, sand, stainless steel and electric motor 62.5 x 50 x 50 cm Winsing Arts Collection / 文心藝術收藏 Hatoum has created several versions of "+ and -", the first being a small sculpture entitled "Self-Erasing Drawing" in 1979. In this version from 2021, a mechanised metal arm inscribes and then erases a series of neat grooves in a circular bed of sand. Rotating at five revolutions per minute, the simultaneous action of the arm, first drawing and then removing, becomes deeply hypnotic in a continual, neverending process of creation and dissolution.

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"Often the work is about conflict and contradiction – and that conflict or contradiction can be within the actual object."

Mona Hatoum + and –

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哈透姆製作了許多版本的《+ and -》，最初的作品是 1979 年的小型雕塑《Self-Erasing Drawing》。在 2021 的這個版本中，是以電動齒型金屬臂和圓形沙床組成，不斷製造痕跡和消除。裝置以每分鐘自轉五圈的速度，一邊將沙子留下溝槽，一邊則是撫平沙床，這樣連續性的動作喚起對於建造、破壞，存在、消失與置換、遷移的對立性。

Mona Hatoum + and – 10

A Pile of Bricks ll 2019 Bricks, wood, metal and plastic 54 x 71.5 x 51 cm Winsing Arts Collection / 文心藝術收藏 Mona Hatoum's "A Pile of Bricks" consists of a pile of terracotta bricks arranged on a wooden trolley. The holes in the bricks remind us of windows, and the bricks have been stacked to resemble a large office-type building or apartment block. The bricks have been partially gouged and indented, their flat façade caved in, as if from the damage of war or perhaps from inherent structural failure. Ready to be moved at any time, their presentation on a trolley further emphasizes a condition of temporality, suggesting a nomadic or even homeless form of living while also recalling the commonplace sight of bricks being transported around a building site.

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"I’m really interested in modern ruins: ruins of architecture affected by war or urban decay or even buildings collapsing because they’ve been shoddily built...It makes you realise how impermanent everything is, even those structures that are supposed to be solid, to contain you, they can collapse."

Mona Hatoum + and –

©Florian Kleinefenn

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A Pile of Bricks lV 2019 Bricks, wood and metal 82 x 121 x 82 cm RC Art Collection / RC 藝術收藏

作品由成堆的紅陶磚塊置於木製手推車組合而成。磚塊上的孔洞聯想起窗戶，它們被堆疊起來，像是一個建築群。磚塊局部被鑿開的痕跡和向內退縮的表面，像是戰爭的破壞或失誤的結構而塌陷。磚塊置於推車上強調了隨時可移動的暫時性條件，隱喻一種流浪甚至無家可歸的生活，同時也讓人想起在建築工地運送磚頭的常見景象。

Mona Hatoum + and –

Still Life 2008 - 2009 Glazed ceramics, wood and steel 87.5 x 180 x 90 cm Winsing Arts Collection / 文心藝術收藏 Hatoum often employs the language of Minimalism to reflect on the hidden violence in societ y, and the contradictor y impulse of at traction and repulsion is a common thread throughout her work. "Still Life" is a collection of ceramic objects presented in a scattered fashion on the surface of a table. These small objects, which are glazed in vivid, sugarlike colors, are actually formed in the shape of hand grenades: lethal tools of destruction and dismemberment. The work was produced in collaboration with a ceramic workshop in Iraq al Amir Craft Village, Jordan, where a collective of women make reproductions of the Hellenistic & Byzantine urns and artifacts that have been unearthed in nearby archaeological sites. Seductive and tactile and disguised as alluring decorative objects, Hatoum here subverts the conventional associations of hand grenades with violence, war and death. The title of the work, an inversion of the Dutch still life or "nature morte", further highlights themes of transience and mortality.

Courtesy of the artist and Galerie Chantal Crousel, Paris © Sebastiano Pellion di Persano

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"People often talk about the sense of threat or danger in my work, but for me the feeling of precariousness is more important, I try to reveal an undercurrent of hostility within something that usually looks inoffensive. It’s a way of making people question everything around them."

Courtesy of the artist and Galerie Chantal Crousel, Paris © Sebastiano Pellion di Persano

Mona Hatoum + and –

Courtesy of the artist and Galerie Chantal Crousel, Paris © Sebastiano Pellion di Persano

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哈透姆經常以極簡主義 (Minimalism) 的語彙反思隱藏於社會中的暴力，二元、矛盾性的手法為常見的創作方式。此作品為一組陶瓷物件均勻地散落在桌面上。這些看似包裹糖衣的小物件其實是手榴彈的造型，代表著破壞和肢解的工具。作品與約旦 Iraqi al Amir Craft Village 陶瓷工作坊的婦女合作製作，這些婦女在附近遺址中複製的小骨灰罈和考古文物可追朔至希臘和拜占庭時代。色彩繽粉的陶瓷物件被製成各種形狀的手榴彈，顛覆了傳統對戰爭、死亡的連結。作品的標題為荷蘭靜物或「自然死亡 (nature morte)」的倒置，強調了短暫和死亡的主題。

Mona Hatoum + and –

Remains (play space) 2019 Wire mesh and wood Dimensions variable Winsing Arts Collection / 文心藝術收藏 Hatoum is adept at using everyday objects to create a profound sense of unease through subtle visual and material alterations. For the works in the "Remains" series of installations, the artist presents old wooden furniture and domestic objects – ranging from a large, queen-sized bed to a tiny child's toy – into domestic-type arrangements. After carefully wrapping the objects in chicken wire and burning them, until only black charcoal traces remain, she creates a graphic, ghostly installation; a set of ruins that are mere outlines of once-solid forms and which intimate some past and sudden trauma. This installation continues Hatoum’s frequent use of furniture and domestic objects throughout her practice in ways that transform and question the notion of home, presenting it as a threatening and disconcerting environment with connotations of violence and loss.

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"I’m working with feelings of displacement, disorientation, estrangement — when the familiar turns into something foreign or even threatening. It ’s about shattering the familiar to create uncertainty and make you question things that you normally take for granted. I suppose this is what critical awareness is about."

Mona Hatoum + and – 20

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哈透姆擅長運用日常生活物件，透過視覺和材質的改變創造深刻的不安感。在 Remians 系列中，她收集了從大型雙人床到小型的兒童玩具，將這些物件小心地以鐵絲網包裹，燃燒直到木料變成黑色木炭，創造了圖形化、如幽靈般的裝置。由於物體本身大部分已被燒毀，只有金屬絲保持其原始形狀，猶如留下一絲暴力的痕跡，暗示了過去和突然的創傷。此系列延續藝術家一貫的創作手法，顛覆對家具和家居物品的固有聯想，將家變成了具威脅性和令人不安的環境，引申出關於家庭暴力與和流離失所的涵義。

Mona Hatoum + and – 22

Cappello per due 2013 Straw, wood and steel 83 x 90.5 x 48 cm Winsing Arts Collection / 文心藝術收藏 "Cappello per due (Hat for Two)" appears to encapsulate the memory of a moment of perfect happiness; and an idealization of coexistence. Two straw hats, their rims seamlessly woven together, are placed on an old bench. Appearing as if it had always been there, the sculpture is perhaps more complex than it first appears, suggesting that the quest for coexistence might contradict our singular existence: an interwoven state that while desirable is at the same time, ensnaring.

作品似乎講述著完美幸福時刻的記憶和共存的理想化。兩頂草帽，邊緣無縫地編織在一起，放在一張舊長凳上。看似寧靜的狀態，實質上是質疑個體和被迫共存的討論，交織在一起的狀態，隱射當下令人安心又窒息的矛盾生存狀態。

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"Cappello per due evokes the themes of intimacy but also ambiguity and forced coexistence. Two hats, the brims of which are woven together to form a single piece, become a metaphor for our existential condition that is both reassuring and suffocating at the same time."

Mona Hatoum + and – 24

Biennials and International Exhibitions (selection) 2019 2017 2016 2014 2013 2012 2011 2008 2007 2006 2005 2004 2002 2001 2000 1999 1998 1997 1995 1994

An instant before the world, Rabat Biennale 2019, Morocco Documenta 14, Fridericianum, Kassel, Germany Not New Now, 6th Marrakech Biennale Dead Reckoning: Whorled Explorations, Kochi-Muziris Biennale, Kerala, India More Light, 5th Moscow Biennale of Contemporary Art The Unexpected Guest, 7th Liverpool Biennial Double Take, 2nd Mardin Biennale, Turkey Untitled, 12th Istanbul Biennial Being Here: Mapping the Contemporary, Bucharest Biennale 3 Ekko Echo Ecco, U-TURN Quadrennial for Contemporary Art, Copenhagen Turbulence, 3rd Auckland Triennial, New Zealand STILL LIFE: Art, Ecology and the Politics of hange, 8th Sharjah Biennale, United Arab Emirates Zones of Contact, 15th Biennale of Sydney Always a Little Further, 51st Venice Biennial Love It or Leave It, Cetinje Biennial V, Montenegro Documenta 11, Kassel, Germany El Mundo Nuevo/The New World, Bienal de Valencia, Spain Friends and Neighbours, 4th EV+A Biennial, Limerick City Gallery of Art Looking for a Place, SITE Santa Fe Biennial III, New Mexico XXIV Bienal de São Paulo, Fundação Bienal de São Paulo 7th International Cairo Biennale Unmapping the Earth, 2nd Gwangju Biennale, South Korea Identity and Alterity, Italian Pavilion, 46th Venice Biennial Orient/ation, 4th Istanbul Biennial Espacios Fragmentados, 5th Havana Biennial

Awards (selection) 2020 2019 2017 2011 2010 2008

Julio González Prize Praemium Imperiale 31st edition - Sculpture 10th Hiroshima Art Prize Joan Miró Prize, Barcelona Käthe Kollwitz Prize Bellagio Creative Arts Fellowship Rolf Schock Prize Ismail Shammout Prize 2004 Roswitha Haftmann Prize 2004 Sonning Prize 2000 George-Maciunas-Preis 1995 Shortlisted for the Turner Prize, Tate Gallery, London

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