TY - BOOK ID - 25781186 TI - Mona Hatoum PY - 1997 SN - 0714836605 9780714836607 PB - London Phaidon DB - UniCat KW - Hatoum, Mona KW - Art KW - Lebanon KW - Great Britain KW - video art KW - Hatoum, Mona, KW - Michael Archer, Guy Brett, Catherine de Zegher KW - Mona Hatoum °1952 (°Beirut, Libanon). Leeft en werkt in London. KW - Installaties ; performances ; beeldhouwkunst ; Mona Hatoum KW - performances KW - Palestinië KW - Said Edward KW - lichamelijkheid KW - ballingschap KW - 7.071 HATOUM KW - Beeldhouwkunst ; beeldhouwers A - Z KW - Kunstgeschiedenis ; 1950 - 2000 KW - performance art KW - assemblages [sculpture] KW - furniture making KW - installations [visual works] KW - Iconography KW - Film KW - photography [process] KW - Photography KW - art [fine art] KW - anno 1900-1999 KW - Performance art KW - Installations (Art) KW - Art de performance KW - beeldhouwkunst KW - Groot-Brittannië KW - Hatoum Mona KW - installaties KW - kunst KW - Manzoni Piero KW - twintigste eeuw KW - video KW - videokunst KW - 7.038 KW - 7.07 KW - 73.07 KW - Intermedia KW - Mona Hatoum °1952 (°Beirut, Libanon). Leeft en werkt in London KW - Videokunst KW - Installation art KW - Art, Modern KW - Environment (Art) KW - Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z KW - Ḥāṭūm, Muná, KW - Criticism and interpretation. KW - #breakthecanon KW - Hatoum, Mona, - 1952 KW - -Performance art KW - Beeldhouwkunst KW - Perfomances KW - Kunst; 20ste eeuw KW - Palestina KW - -Hatoum, Mona KW - -Installations (Art) KW - art [discipline] KW - Artists KW - Book UR - https://www.unicat.be/uniCat?func=search&query=sysid:25781186 AB - Mona Hatoum creates events, videos, sculptures and installations that relate to the body, to language and to the condition of exile. Her most famous work Corps Etranger, first shown at the Tate Gallery when she was nominated for the Turner Prize in 1995, takes the viewer on a journey through the inner passages of the artist's body. Her audience is thrown into a dimension in which anything is possible, as in The Light at the End, which lures viewers down a long tunnel towards a light that will literally burn them. While her video work is often visceral and emotive, her sculptures and environments are ultra cool and minimal in their aesthetic. They often mimic domestic or institutional furniture, yet their designs and materials have a threatening edge. Exquisitely beautiful, Hatoum's works are at the same time powerful evocations of statelessness, anxiety, denial and otherness. Since Hatoum was exiled to London, where she has lived and worked since the 1970s, she has exhibited her work around the world, including the Centre Pompidou in Paris and the Venice Biennale. This book surveys all her work, ranging from early performances, through to her videos, objects and full-scale environments. The distinguished art critic Guy Brett, author of Through Our Own Eyes: Popular Art and Modern History (1986), explores key themes around a sense of place, the body and communication that emerge from Hatoum's range of work. The artist describes a chronology of practice in conversation with Michael Archer, writer, curator and co-founder of London's Audio Arts sound archive. Director of the Kanaal Art Foundation Catherine de Zegher makes a complex and provocative analysis of Recollection, a work she commissioned for a sixteenth-century beguinage. Hatoum has chosen a text by the influential Palestinian author Edward Said as well as a statement from the noted Italian post-war sculptor and performance artist Piero Manzoni. The book also includes Hatoum's own notes, statements and interviews. ER -