Hatoum will present a new sculpture entitled "Hot Spot" that interrogates the notions of 'boundaries' through the depiction of a world map - an ongoing theme in the artist’s work. Using delicate neon to outline the contours of the world on its surface, the work buzzes with an intense energy, bathing its surroundings in a luminescent red glow.
Hot Spot
White Cube Mason’s Yard is pleased to present an exhibition of new works by Mona
Hatoum, her first solo exhibition in London since 2002.
In the ground floor gallery, Hatoum will present a new sculpture entitled Hot Spot
that interrogates the notions of ‘boundaries’ through the depiction of a world map -
an ongoing theme in the artist’s work. Hot Spot is a cage-like globe, approximately
the size of a person’s height and arm span, which tilts at the same angle as the
earth. Using delicate neon to outline the contours of the world on its surface, the
work buzzes with an intense energy, bathing its surroundings in a luminescent red
glow. Compelling and seemingly dangerous, Hot Spot suggests that it is not simply
contested border zones that are political hot spots but an entire global situation:
what Hatoum describes as a ‘world continually caught up in conflict and unrest’. The
gallery will also contain another map in the form of a work on paper entitled
Projection. A white on white work that uses cotton and abaca to create its image,
Projection presents what to most viewers is an unfamiliar image of the world since
it uses the ‘Peters’ projection, an egalitarian representation of land mass in true
proportion as opposed to the more usual visualisation of the globe from a dominant
northerly perspective. The image in Projection presents a positive-negative
reversal, where the continents appear like fissures or gaps, as if they have been
etched or corroded away.
For the basement gallery, Hatoum has created a delicate and minimal spider’s web - a
total environment that is full of metaphoric association. Made from delicate,
transparent crystal spheres that appear like drops of dew, the work softens and
transforms its surrounding architecture and is hung low enough so that it becomes
both a visual ‘field’ and an engulfing, nest-like enclosure. Web appears to have
emerged organically, re-working ideas of mental entrapment in what has been
described as ‘an expanded object in process’.
Hatoum will also present Cube, a sculpture that is constructed from wrought iron
using an interlaced technique employed since medieval times for use in window
grills. A cage with no entrance or exit, the work nods to the industrial materials
and reduced forms of minimalism while implicitly referencing the artist’s body,
which determined the size of its interior space. As Andrew Renton has noted,
although Hatoum has consistently employed the shape of the cube in works such as
Socle du Monde (1995), Current Disturbance (1996) or Cage-a'-Deux (2002), this
sculpture ‘seems to be called Cube not just to indicate what it is, but to mark how
far from the form it is able to stray while retaining cognitive markers’.
Mona Hatoum was born into a Palestinian family in Beirut, Lebanon in 1952 and now
lives and works in London and Berlin. She has participated in numerous important
group exhibitions including The Turner Prize (1995); Venice Biennale (1995 and
2005); Documenta, Kassel (2002) and the Biennale of Sydney (2006). Solo exhibitions
include Centre Pompidou, Paris (1994); Museum of Contemporary Art, Chicago (1997);
The New Museum of Contemporary Art, New York (1998); Castello di Rivoli, Turin
(1999); Tate Britain, London (2000); Hamburger Kunsthalle, Hamburg; Kunstmuseum
Bonn; Magasin 3, Stockholm (2004) and Museum of Contemporary Art, Sydney (2005).
A fully illustrated book, with an essay by critic and curator Andrew Renton, will
accompany the exhibition.
For further information please contact Honey Luard or Sara Macdonald on + 44 (0) 20 7930 5373.
Private View Thursday 23 November 2006, 6-8pm
White Cube
48 Hoxton Square - London
Open Tuesday to Saturday, 10am to 6pm