Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
For many who have stumbled upon it, Mona Hatoum's "Impenetrable" (2009) is an abiding meta-phor of the Palestinian condition.This 300x300x300 cm cube hangs suspended some 10 cm above the ground, its density appearing to shift as it's approached. The artist says "Impenetrable" was inspired, in part, by Venezuelan artist Jesus Rafael Soto's "Penetrable" series."Impenetrable" is one of 70-odd works now on show in "Mona Hatoum: Turbulence," a retrospective spanning some 30 years of creativity, hosted by Doha's Mathaf Arab Museum of Modern Art. Curated by Art Reoriented's Sam Bardaouil and Till Fellrath, the show has a characteristically nonchronological structure, clustering Hatoum's work thematically to highlight formal continuities and shifts in her practice.Hatoum acknowledges that political awareness underpins a lot of her work, but she dislikes being pigeonholed as a Palestinian political artist. The importance of formal considerations in Hatoum's practice is clear as she recounts the gestation process of "Impenetrable," which she created especially for her 2009 solo show at Venice's Querini Stampalia.Movement, along with confinement, was also a theme of the provocative performance works Hatoum took to the streets in the 1980s. The artist herself sees continuities linking her performance and visual art."Turbulence" embraces the wide range of media Hatoum has taken up in her move from performance to visual art, drawing upon amusingly lighthearted work as much as the profound pieces for which she's best known.
Marwan and portraiture as landscape
Khcheich marks Al-Madina’s two decades
The Louvre’s ghosts speak to power
FOLLOW THIS ARTICLE