Mona Hatoum’s Provocative Art Opens in Seoul: A Deep Dive into Conflict and Identity

SEOUL — British Palestinian multimedia artist Mona Hatoum, renowned for her impactful installations, is currently showcasing her work in her first solo exhibition in Korea.The exhibition, which opened at the White Cube art gallery in Gangnam District, southern seoul, on March 5, features 20 works spanning the past 20 years of her career. Hatoum’s art often transforms everyday objects to explore complex themes such as conflict, surveillance, and displacement, challenging viewers to reconsider their perceptions of safety and stability. The 73-year-old artist’s exhibition presents a diverse collection of pieces that reflect her unique perspective on the world,designed to provoke thought and spark dialog.

Mona hatoum’s first solo exhibition in Korea, now open at the White Cube gallery in Seoul’s Gangnam District, offers a powerful exploration of conflict, surveillance, and displacement through transformed everyday objects. The exhibition, which debuted on March 5, showcases 20 years of the British Palestinian artist’s thought-provoking installations. The 73-year-old artist challenges viewers to reconsider their perceptions of safety and stability through her unique perspective.

Challenging Perceptions: “Untitled (wheelchair II)”

One of Hatoum’s most striking installations is “Untitled (wheelchair II),” created in 1999. This piece subverts the conventional understanding of a wheelchair as a symbol of mobility and support. By modifying a stainless steel wheelchair to lean forward and replacing its handles with serrated knives, Hatoum presents a disturbing image of potential danger and resentment.

Hatoum explained her inspiration behind the piece, stating she “imagined a scenario in which the user would start feeling resentment instead of gratitude toward the person pushing the chair around.” This unsettling vision reflects her broader skepticism about the stability and safety of the world, drawing inspiration from the saying, “biting the hand that feeds you.” The modification of a familiar object into something menacing forces a critical engagement with the socio-political message embedded within the art itself.

contrasting Safety and Danger: “Divide”

Another compelling installation featured in the exhibition is “Divide,” one of Hatoum’s latest works. This piece exemplifies her talent for juxtaposing contrasting concepts. “Divide” takes the form of a three-panel hospital ward screen, but instead of fabric, the panels are filled with barbed wire.

fence and grid structures are recurring motifs in Hatoum’s art, often evoking feelings of confinement and restriction. At a press preview held at the gallery on Wednesday, Hatoum noted, “It inevitably brings up associations of restricted movements through barricades or borders in war zones.” The barbed wire, a symbol of danger and restriction, contrasts sharply with the intended purpose of a hospital screen – to provide privacy and safety. This juxtaposition highlights the precariousness of safety and the ever-present threat of violence and confinement.

Reflecting on the State of Mind: “Mirror”

The exhibition also includes “mirror,” an arrangement of steel bars hung on a wall. Contrary to what the name suggests, the installation lacks a reflective surface. Hatoum describes the installation as a “psychological construct,” metaphorically encouraging viewers to reflect on their own state of mind.

Hatoum’s art frequently enough reflects her concerns about contemporary social and political issues. She expressed her views on the current state of the world, stating, “I feel like in these troubled and polarized times, many people in power and oppressive regimes are creating divisions, discrimination and exclusion. So, in many ways, our lives are being more and more restricted and controlled as if we are in prison.” The absence of a reflective surface in “Mirror” forces viewers to look inward, confronting their own biases and assumptions in a world increasingly defined by division and control.

Transforming the Mundane: “Hair Necklace (silver)”

In “hair Necklace (silver),” another new piece on display, hatoum transforms strands of her own silver hair into a unique piece of jewelry. She joked about the abundance of silver hair she now possesses,explaining that the piece represents her way of “elevating” hair from a simple material to an ornamental object. Hatoum has been collecting and transforming her hair into art for three decades, with the first version of this concept displayed in a Cartier shop window in Bordeaux, France, in 1995.

hatoum also incorporates hair into othre works, weaving it into toilet paper or handmade paper as a substitute for ink. She noted that the handmade paper she uses, while made from cotton, is reminiscent of hanji, traditional Korean mulberry paper, and expressed her intention to bring some home for future projects. “I have an idea for them, which I can’t wait to try,” she teased. This transformation of the personal and mundane into art highlights Hatoum’s ability to find meaning and beauty in the everyday, while also subtly referencing her own identity and experiences.

Exhibition Details

Mona Hatoum’s solo exhibition at White Cube Seoul offers a compelling look into the artist’s unique perspective on the world. The exhibition continues until April 12. White Cube Seoul is open from 10 a.m. to 6 p.m. Tuesdays through Saturdays, and admission is free.

Conclusion

Mona Hatoum’s first solo exhibition in Korea at the White Cube art gallery in Gangnam District, Seoul, presents a

Unmasking Power: An Exclusive Interview on Mona HatoumS provocative Seoul Exhibition

“Mona Hatoum’s art isn’t just about viewing objects; it’s about confronting the systems of power that shape our perceptions of safety,identity,and the everyday.”

World-Today-News Senior Editor (WTN): Dr. Anya Sharma, renowned art historian specializing in contemporary installation art, welcome.Hatoum’s Seoul exhibition has sparked significant global interest. What makes her work so compelling and enduring?

Dr. Sharma: Thank you for having me.Hatoum’s enduring power lies in her ability to transform the mundane into potent symbols of conflict, surveillance, and displacement. her installations aren’t simply aesthetically pleasing; they are visceral experiences that force viewers to confront uncomfortable truths about the world. Her genius lies in her selection of everyday objects – wheelchairs, barbed wire, mirrors – and twisting their familiar meanings into something deeply unsettling and thought-provoking. This resonates with audiences globally, transcending cultural boundaries. This is because her themes – the experience of displacement, political oppression, anxieties about safety and security – are universal human concerns.

WTN: The exhibition features pieces like “Untitled (wheelchair II)” and “Divide.” Can you elaborate on the socio-political commentary embedded within these powerful installations?

Dr. Sharma: Absolutely. “Untitled (wheelchair II),” with its serrated knives replacing the handles, isn’t just about physical injury; it’s a potent metaphor for the betrayal of trust and agency and the potential for violence embedded within seemingly supportive systems. The wheelchair, typically a symbol of assistance, becomes a portrayal of vulnerability and potential harm. Similarly, “Divide,” using barbed wire within a hospital screen, highlights the jarring juxtaposition of supposed safety and the ever-present threat of violence and division. It masterfully illustrates how fragile our sense of security can be, notably in times of conflict and political unrest. These pieces brilliantly exemplify the artist’s skill in using seemingly simple objects to unpack and express complex socio-political realities and anxieties around the human condition.

WTN: Hatoum frequently enough incorporates personal elements into her work,as seen in “Hair Necklace (silver).” How does this personal touch enhance the broader themes of her art?

Dr. Sharma: The inclusion of personal elements,such as her own hair in “Hair Necklace (silver),” grounds these larger themes in individual experience. It adds a layer of intimacy and vulnerability, inviting the viewer to connect with the artist on a deeper level. This personalization doesn’t diminish the socio-political critique; it enriches it, demonstrating how these large-scale concerns profoundly impact individuals. By using her own hair, for instance, she connects the issues of the body, personal identity, aging and the manipulation of the personal and individual memory in the public sphere, and the larger narrative of conflict and displacement. It’s a powerful reminder that these are not abstract ideas but lived realities.

WTN: “Mirror,” a seemingly simple piece, carries a significant psychological weight. What is its deeper meaning?

Dr. Sharma: “Mirror,” with its absence of a reflective surface, compels viewers to engage in self-reflection, rather than a literal reflection. it’s a powerful metaphor for the need for introspection in a world often characterized by division and control. It challenges us to confront our own assumptions and biases; to examine our individual roles in perpetuating systems of oppression and inequality. The work invites a deep exploration of the emotional and psychological impact of political and social structures, challenging audiences to grapple not just with what they see, but who they are, as individuals and agents of change.

WTN: What are some key takeaways from Hatoum’s overall body of work and specifically this Seoul exhibition for museum curators, art enthusiasts, and the broader public?

Dr. Sharma: several key takeaways emerge:

The power of change: Hatoum expertly transforms common objects, imbuing them with new and unsettling meanings.

The universality of displacement: Her themes – conflict,surveillance,the experience of displacement – powerfully transcend cultural boundaries.

The importance of self-reflection: Her works prompt introspection, calling us to confront our own biases and roles in systems of power.

The enduring relevance of social commentary: Her art remains urgently relevant in a world still grappling with political crises and social injustices. This art demands continuing critical engagement and open dialog.

WTN: Thank you, Dr. Sharma, for these insightful observations. Hatoum’s work undoubtedly leaves a lasting impression. We encourage our readers to share their own interpretations of her art in the comment section below. And don’t forget to share your thoughts on Twitter and Instagram using #MonaHatoumSeoul!