Mona Hatoum’s poetic and visceral work—realized in a diverse range of media, including installation, sculpture, video, photography, and works on paper—reflects on subjects that arise from our current global condition, including systems of confinement, the architecture of surveillance, and themes of conflict and displacement.
Hatoum began her career in London in the early 1980s, making performances that touched on social and political issues. Using herself as both subject and tool, she located the body as a battleground: the fulcrum of political, social, and gender conflict. In the 1990s, Hatoum turned her attention to largescale installations and sculptures that aimed to engage the viewer in conflicting emotions of desire and revulsion, fear and fascination. In works such as Homebound (1999), Grater Divide (2002), and Daybed (2008), familiar, domestic, everyday objects have been transformed into foreign, threatening, and dangerous things.
More recently, in the series Remains of the Day (2016–19), a project first conceived for the 10th Hiroshima Art Prize exhibition, the ghostly remains of burnt and charred furniture are barely held together by a delicate wrapping of chicken wire. Here the idea of “home” is not as a place of refuge and established order but a site of upheaval and devastation. Hatoum also uses cartography to explore instability and precariousness in today’s political landscape.
Hatoum was born to a Palestinian family in Beirut in 1952 and has lived in London since the 1975 outbreak of the Lebanese Civil War. She has participated in numerous important group exhibitions including the Turner Prize (1995), the Venice Biennale (Italy, 1995 and 2005), Documenta (Kassel, Germany, 2002 and 2017), the Biennale of Sydney (Australia, 2006), Istanbul Biennial (Turkey, 1995 and 2011), and the Moscow Biennale of Contemporary Art (Russia, 2013).
Her solo exhibitions include the Museum of Contemporary Art (Chicago, IL, US, 1997); the New Museum of Contemporary Art (New York, US, 1997); Modern Art Oxford (UK, 1998); the Scottish National Gallery of Modern Art (Edinburgh, UK, 1998); Tate Britain (London, UK, 2000); Hamburger Kunsthalle and Kunstmuseum Bonn (Germany, 2004); Magasin III (Stockholm, Sweden, 2004); Fondazione Querini Stampalia (Venice, Italy 2009); Beirut Art Center (Lebanon, 2010); Kunstmuseum St Gallen (Switzerland, 2013); Mathaf: Arab Museum of Modern Art (Doha, Qatar, 2014); Centre Pompidou (Paris, France, 2015); Tate Modern (London, 2016); KIASMA (Helsinki, Finland, 2016); The Menil Collection (Houston, TX, US, 2017); and the Pulitzer Arts Foundation (St. Louis, MO, US, 2018).
As winner of the 2011 Joan Miró Prize, Hatoum held a solo exhibition at Fundació Joan Miró, (Barcelona, Spain, 2012) and exhibited at Hiroshima City Museum of Contemporary Art, having been awarded the 10th Hiroshima Art Prize (Japan, 2017). Just recently, Hatoum was awarded the Praemium Imperiale (2019) and will be the recipient of the 2020 Julio González Prize, Institut Valencià d’Art Modern (Spain), where a solo exhibition of her work will be held in the same year.
The following conditions of sale describe the relationship between the Institute for Palestine Studies-USA and the buyers, prospective buyers, and bidders for the Keyword: Palestine II Art Exhibition and Auction which will begin on March 2nd, 2020, and end on December 31st, 2020. By using this website to buy, bid, or inquire about any artwork, you agree to be bound by these conditions.
When you place a bid on any artwork, you are accepting personal liability for the purchase price, any applicable taxes, any and all shipping and packing costs, and all other applicable charges. Any artwork bought by residents of the District of Columbia will be subjected to a 6% sales tax on the market value of the artwork. All U.S. resident buyers can claim tax deductions on amounts that exceed the market value of the artwork. Market value of artwork is their starting value.
Bid winners can pick up the artwork they bought from the Institute for Palestine Studies-USA or have the Institute arrange for shipment, however, reiterating, that the buyer is responsible for all packing and shipment costs.
There will be ten (10) bidding cycles. Each cycle will close on the last day of the month at 11:59 p.m. Eastern Time (USA) at which time the highest bidder for the art will be notified of their winning bid.
Please note that all bids are final once submitted and may not be cancelled or modified by you, except with our express written consent under circumstances that we consider appropriate at our sole discretion. Please also note that all sales are final.