Mona Hatoum was born in Beirut, Lebanon in 1952. In 1995, She was shortlisted for the Turner Prize. As one of the most important female artists in the world.
She was born in a Palestinian family in Beirut and was forced into exile in 1975; she now allocates time between London and Berlin. Some of the more thought-provoking items on display, focusing on the Middle East, explored the displacement and her traditions. In fact, when she interrogated her country's politics, she was the most successful.
she described her work : "You first have a physical experience with the work. But I hope that the work can open two levels of sensibility and rationality: the meaning, the association, the combination through the body's perception to the spirit or It is a realm of pure imagination, so that what you see can be combined with what you want."
Her works are constantly changing. Her works are more related to her personal experience, which is also the source of my works and the concept of my works . The concept of non-repeatability is because each person's experience is completely different, which leads to great differences in understanding and concept of each person, which is a valuable difference for art. Sometimes I have a strong feeling that the works of artists who from relatively turbulent countries are more attractive to me. I think that's because I have the same situation, and I feel more empathetic.
Corps éstranger, 1994
Her early works were based on behavior and video, and in the late 1980s she began to get involved in sculpture and installation. "Unfamiliar body" [Corps éstranger, 1994] is a typical example of her early exploration of physical experience. Using the endoscopic camera, this video recorded a trip that took place inside the artist. The work itself, in the form of a huge projection, is placed in a circular viewing room that resembles the internal structure of the body, and the video itself explores the internal structure of the body. The audience seems to be 'placed' in the body, and the front of the eye is the artist's body structure, and is very close. "Corps éstranger" means foreign body in French. It can express two meanings: one is something that invades the body. Here, it can refer to the endoscope camera. The other meaning is the person coming from the outside. Here, it can be understood as The audience, like one who enters the artist's body, is encouraged to be a peeping person. In this work, the artist shows the audience that although it looks strange at first sight, it is actually something we are familiar with.
Over My Dead Body, 1988-2002
This is a billboard project. The picture shows the artist's provocative gesture against the balance of a toy soldier on her nose. This work uses a typical advertising visual language, but the work itself expresses a critique of the power structure. As far as the concept is concerned, the female body is portrayed as the battlefield of daily life, and Mona Hatoum examines the authoritative proposition of equality between men and women. Mona Hatoum used her work to express her concerns, such as identity, sex, and social power structure.
The "hanging garden" consists of 770 jute sacks stacked on top of the head. They form a 10-meter-long wall that looks like a sandbag roadblock, used as a gunshot of the enemy during the battle and other theaters, such as checkpoints and border crossings. Although we are associated with the image in these roadblocks, the sacks are full of seeds, which sprout and green walls, expressing more image of growth and prosperity. This installation works to discuss the friction between the family, safety, warmth and their opposites.
She uses an object that we usually think of as warm, supportive, and protective—the child's cot, and adds elements that are not family, such as steel bars and wire. This work also reminds us of the proposition that Harbin has always been concerned with: identity, oppression and opposition. She denies the meaning of the items we see everyday, and loads new content, so even a child’s cot implies fear and danger.
The four-meter-long diameter disc is filled with gravel, and the middle shaft has a clockwise rotation of the rigid shaft, such as a nail target. When one side draws a time mark on the sand table, the other end of the shaft radius is a stroke. The "killer" of the flat mark. Here, the artist touches the society's attitude towards the event through the concept of "time" and how people try to erase the process that has happened. She is not just a singer with a low sentiment, but more inclined to show the society with art. A patriotic and unfair flag bearer. She is not willing to cover the eyes as ordinary people, but instead continues to pull out the inner contradictions and struggles to be figurative. Just like this work "+ and–" also tells the dominance of world power.