グッゲンハイム美術館のインスタグラム(guggenheim) - 3月8日 22時43分

As a Palestinian artist living in exile, Mona Hatoum is attuned to the nuanced differences between migration, immigration, deportation and resettlement, which are used interchangeably but are distinct in their separate realities. While her art never specifies meaning, she draws upon her own experience in a world where ideas of departure, return, and what constitutes home are contingent. Home is a contested site for Hatoum; the reality of its fragile state plagues her work. The installation, “Home,” 1999, embodies this tension. An array of kitchen utensils on a table is connected via copper wire that conducts electricity to turn light bulbs on according to the fluctuating current. This is visible only through a fence of stretched wire designed to protect from the live cables that crackle with the modulating light. The kitchen is rendered as a kind of death trap, exactly the opposite of its customary (and feminized) function. In “Impenetrable,” 2009, Hatoum uses barbed wire—seductive from a distance in its seeming fragility but on close examination, viscerally threatening—to create a floating cube. To enter it would mean intense bodily harm. Yet the idea beckons. Though it sways in space as viewers encircle its form; “Impenetrable” is just that. You can see through to the other side, an invitation to traverse its grid, but the structure, in the end, does not yield.
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