Friday, 6 December: Identifying Epistemic Injustice. In the annotated catalogue raisonné of Hatoum’s performances curator Christoph Heinrich described how the later photographic iteration also altered the symbolic resonance of Roadworks: ‘As a result of the edition of Performance Still (1985–95) published ten years later, the Roadworks performance became a synonym for Mona Hatoum’s work’.9 Performance Still is no longer an image of a single work, Roadworks, but one that embodies Hatoum’s practice. PERMISSION REQUIRED: We will need to seek approval from the artist’s estate before the high-resolution file can be released. 3 years ago. What is she up to? 1952) Performance Still (Roadworks) gelatin silver print mounted on aluminum 30 x 42½ in. Exhibitions at Magasin III. Upcoming Programs. Mona Hatoum’s works explore themes of home and displacement through the perspective of the Palestinian exile, using common domestic objects that often, on closer inspection, reveal menacing qualities. Working in sculpture, photography, performance, and video, Mona Hatoum—like her peers Robert Gober, Felix Gonzalez-Torres, Doris Salcedo, and Rachel Whiteread—defamiliarizes ordinary domestic objects and transforms them into minimalist, conceptual, and performative art objects. The composition of the photograph plays with dualities and thus accentuates the fragility of the bare feet against the roughness of the street and the heavy boots. The artist recalled the audience’s reactions to her piece: ‘One comment I really liked was when a group of builders, standing having their lunch break, said ‘What the hell is happening here? into something strange, threatening and dangerous. Keep up to date with Tate events, exhibitions and news, Capucine Perrot, 'Mona Hatoum, Performance Still 1985–95', in, Performance at Tate: Into the Space of Art, http://bombmagazine.org/article/2130/mona-hatoum. She is known for her work on Measures of Distance (1988), Bodysong (2003) and … This video dates from the early stages of Hatoum’s practice, though she had already been living in London, where she is still based, for ten years. The piece was recorded and the video documentation later edited into a six-minute color video. In the 1980s Brixton was the site of serious social and economic conflict, specifically because its largely Afro-Caribbean community suffered from high unemployment, crime and poor housing. The performance consisted of the artist walking barefoot through the streets of Brixton for nearly an hour, with Doc Marten boots, usually worn by both police and skinheads, attached to her ankles by their laces. For this performance she walked out of the gallery – with bare feet and wearing a black work overall rolled up to her calves – through the market and arcades of Brixton and back to the gallery, dragging behind her a pair of black Dr. Martens boots tied to her ankles by their laces. Executed in 1985-1995. Hatoum added: ‘One guy came up to me and said: Excuse me. 1. Mona Hatoum Roadworks 1985 (Photo Stefan Rohner) Wed, Mar 24, 2021. In 1985 Hatoum used her own body in this work; she was the performer, the one at the centre of the action and the one conveying the message to onlookers. Widespread rioting broke out in 1981, sparked by the disproportionate application of ‘stop and search’ procedures by the police in this area, and then again in in 1985 following the shooting of a local black woman by the police, while they were searching for her son. Although born in Lebanon, Hatoum was ineligible for a Lebanese identity card and does not identify as Lebanese. Mona Hatoum, 'Roadworks' "Hatoum is portrayed in the photograph barefoot and strolling along the neighbourhood streets with a pair of heavy Doc Marten’s boots tied to her ankles. In the first action, Szczelkun and Hatoum created a human chain by lying on the ground and drawing police-like … Mona Hatoum’s Roadworks and Measures of Distance’. Based on Mona Hatoum's walking piece, Roadworks. The unusual mode of presentation draws parallels between the pavement of the street on which the action once took place, and the floor of the exhibition space on which the photograph is now displayed. Show Sizes Sizes available. Do you know you’re being followed?’7 Hatoum’s black boots were (and are) a symbol of the punk movement, but were also part of the uniform of the often violent and racist groups of skinheads as well as the police. She’s being followed by the police’. The works of Mona Hatoum early performances, such as Roadworks 1985 and Changing Parts, 1984 where the artist is videoed for seven hours naked in a plastic cell of muddy clay which she is viewed trying to escape.I feel this sense of exposure to the world yet a … Color DVD with sound. In 1985, Hatoum executed two remarkable performances in Brixton as part of an event called 'Roadworks', organised by her friend and 'happening partner', Stefan Szczelkun. In 1985 Mona Hatoum performed Roadworks, a one-hour performance in which she walked through the streets of Brixton in London. For a still image from the video recording of Mona Hatoum’s performance of Roadworks please contact the press office: [email protected]], Limited-Edition Prints by Leading Artists, Gelatin silver print on paper mounted on aluminium, Discover, buy, and sell art by the world’s leading artists, To download, scan this code with your phone’s camera, Photo Edward Woodman, Courtesy White Cube
 © Mona Hatoum. La fotografía en blanco y negro de unos pies arrastrando unas botas Doctor Marten sobre un áspero pavimento dice tanto por sí sola que estoy seguro de que ver la performance estropearía todas las ideas que he proyectado sobre ella: la incomodidad y la claustrofobia que se asocian a tener que andar … Hatoum’s collection of sculptures and installations incorporates motifs of containment and violence, from steel cages and sandbag walls to barbed wire and grenades. While this might be an antagonistic invitation, it may also be a call for solidarity, for the viewer to join her in a protest march. Could these be interchangeable, transforming the exhibition space into the site of the action? Abbas Akhavan has invited Mona Hatoum to present the film Roadworks (1985). Ten years later Hatoum extracted a still from the video, cropped the image and printed it as a black and white photograph before mounting it on aluminium. She continued to draw throughout her childhood, though, illustrating her work from poetry and science classes. The day after, she performed Untitled 1985 with Stefan Szczelkun. All Programs. It encapsulates the traumatic and political themes of her work, her performance-based practice as well as her departure from it, and her desire to engage more directly with the audience. Wainwright, Leon (2019). 1985. As she grew up, her family did not support her desire to pursue art. The work asks the viewer to consider what it would be like to follow the performer’s footsteps or put themselves in her place, without shoes. Mona Hatoum was born in 1952 in Beirut, Lebanon, to Palestinian parents. Performance Still 1985 records one of three street performances which Hatoum carried out in Brixton for the Roadworks exhibition organised in 1985 by the Brixton Artists Collective. Presented by Tate Patrons 2012
 [Please note this photograph records the performance …. The protests had been spurred on by the then Prime Minister - Margaret Thatcher's newly-introduced police enforced stop-and-search laws that unfairly targeted the low-income Afro-Caribbean communities living in the area. Wearing a black jumpsuit, the artist walks barefoot in London through the multi-ethnic, working-class neighbourhood of Brixton. Wikidata Q273696 View or edit the full Wikipedia entry. 1/5/2017. As a result, the exhibition changed daily and expanded continuously. Before it was the name of Hatoum’s live work, ‘roadworks’ was the title for the three-week-long group exhibition of which it was a part.3 ROADWORKS was initiated by the artist Stefan Szczelkun and took place at the Brixton Art Gallery in South London between 18 May and 8 June 1985.4 Ten artists – Rasheed Araeen, Marc Elmes, Mona Hatoum, John Hewitt, Kasia Januszko, Roland Miller, Carlyle Reedy, Ian Sherman, Kumiko Shimizu and Gennaro Telaro – were invited to present works outside the gallery, to document them, and to then display the documentation, drawings and photographs related to the performances in the gallery. Most of the actions presented by the ten artists were unannounced. Mobile Home (2005), an installation arranged between two steel barriers, features nondescript pieces of furniture and household items framed above and below by a pulley system. As such Performance Still is not only a photograph, but also a sculptural object. MONA HATOUM (B. Wellness Video Series 2020–2021. The Place is Here: Black Art in 1980s Britain. Guy Brett, ‘Roadworks’, Artscribe, no.53, 1985, p.61.Mona Hatoum, ‘Body & Text’, Third Text, vol.1, no.1, Autumn 1987, pp.26–33.Guy Brett, ‘Tissues of Thought’, Third Text, vol.22, no.2, March 2008, pp.237–56. Find more prominent pieces at Wikiart.org – best visual art database. The focus of the exhibition was to make art-making public and consequently to reach a wider audience. Mona Hatoum Roadworks, 1985 Documentation of performance for Roadworks, Brixton Art Gallery, London Colour video with sound, 6 min 45 s Courtesy of the artist The video Roadworks documents a performance by Mona Hatoum in May 1985. Performed in Grassmarket, Edinburgh. In this sculptural photograph, the roles are reversed: it is now the audience’s feet – their location and mobility – that come into focus. On 24 May, Hatoum then stood behind a screen of newspaper stretched between two pillars and, following a series of actions using red paint and a brush, she revealed herself by breaking through the paper. This work is number fourteen from an edition of fifteen. Mona Hatoum (Arabic: منى حاطوم‎; born 1952) is a Palestinian multimedia and installation artist who lives in London. ‘Roadworks’ was created in 1985 by Mona Hatoum in Performance Art style. In this piece the footwear can be seen as a signifier of a measure or condition that keeps someone under control, a symbol of oppression. Magasin III Frihamnen Frihamnsgatan 28 SE-115 56 Stockholm +46 8 545 680 40. The resulting work, Performance Still 1985–95 (Tate P80087), is always displayed directly on the floor and leaning against a wall.2 The translation of this work from live performance, to video and then photographic documentation exemplifies how the audience and context of an artwork changes through different media. Conversation on Chloë Bass: Wayfinding Thu, May 13, … 1 This video, which has the same title as the performance, was then shown in exhibitions, usually on a television monitor. Mona Hatoum: Terra Infirma is accompanied by a scholarly catalogue with essays by Anna Chave, Adania Shibli, Rebecca Solnit, and Michelle White. Mona Hatoum / Roadworks The curatorial character of the course at the Slade School of Fine Art where Mona Hatoum studied in London no doubt motivated the artist to turn towards alternative artistic practices, such as performance. For that piece she and Szczelkun fell onto the floor one after the other, drawing the outline of the other’s body with chalk onto the pavement. Find more works of this artist at Wikiart.org – best visual art database. The work continues to provoke questions about control and social conditioning, but as the figure is now isolated from its surroundings, it loses the site-specificity of the social and political context of south London in the 1980s. 6 min 45 sec Private collection. I also found that I was working ‘for’ the people in the streets of Brixton rather than ‘against’ the indifferent, often hostile audience I usually encounter.’6. Hatoum created several live works including Roadworks on 21 May 1985. Mona Hatoum’s works explore themes of home and displacement through the perspective of the Palestinian exile, using common domestic objects that often, on closer inspection, reveal menacing qualities. Hatoum discussed the effect of this presentation this way: ‘the fact that the audience was basically all the other people on the street, a non-specialised, chance audience experiencing casually the artists’ actions while passing by, gave the work a more ephemeral, immediate and less precious character’.5 The work also responded to the particular context of the streets in this London neighbourhood. In 1985 Mona Hatoum performed Roadworks, a one-hour performance in which she walked through the streets of Brixton in London. The photograph is mounted on a rigid aluminium sheet so that it can be displayed directly on the floor, leaning against a wall. The exhibition will travel to the Pulitzer Arts Foundation in St. Louis, where it will be on view beginning April 2018. Nunca he visto la performance de Mona Hatoum titulada Roadworks y no pienso hacerlo. In: Aitken, Nick and Robles, Elizabeth eds. Hatoum carried out two performances pertaining to an action organised by another artist Stefan Szczelkun entitled 'Roadworks', in which the intention was to create a relationship between a specific group of artists intervening in an impoverished community. In her sculptural installations, Mona Hatoum has used the resource of the transformation of the familiar and the everyday (household objects such as chairs, tables, kitchen utensils, etc.) Performance Still creates a situation to which the audience can bring their own experience. Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License. The result is an evocation of home that is both comforting and untenable, suggesting transience and vulnerability. (76.5 x 108 cm.) Biography. A recreation of Mona Hatoum's work: roadworks. Her feet appear naked and vulnerable compared to the sturdy boots traditionally worn by the police or by skinheads. Join Tamara H. Schenkenberg, curator at the Pulitzer Arts Foundation, and Monika Weiss, New York-based artist and associate professor at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis, for a screening and discussion of three short films by Mona Hatoum: Don’t smile, you’re on camera! Opening Celebration for Chloë Bass: Wayfinding Sat, Apr 17, 2021. Mona Hatoum manages the rare feat of creating art about politics and the human condition without dry didacticism, but with barbed wit, elegance and subtlety. And has done so for over four decades. What's new Vimeo Record: video messaging for teams Vimeo Create: quick and easy video-maker Get started for free The hour-long performance was carried out in the afternoon of Mar 6, 2018, in the Downtown Eastside of Vancouver, British Columbia. Director | Additional Crew + Add or change photo on IMDbPro » Mona Hatoum was born in 1952 in Beirut, Lebanon. She explained this transition: ‘In the early performance work I was in a sense demonstrating or delivering a message to the viewer. Hatoum's Road Works performance first took place in 1985 in Brixton, London, after a series of race riots. Low-Res (842x573px) 0.2MB JPG; High-Res (3508x2391px) 2.83MB JPG; Low-Res Watermark (842x573px) 0.2MB JPG; Master (8709x5937px) 147.98MB TIF; Restrictions. This activation of the viewer is representative of a change in Hatoum’s practice from the early 1990s when she shifted from working in performance and video to making installation and sculpture. The artist cropped the image, so that it shows only the bottom half of her legs and the boots on the pavement. (1980), Roadworks (1985), and Measures of Distance (1988). Well, take my performance piece Roadworks, for instance. Header: Mona Hatoum, So much I want to say, 1983. Presented by Tate Patrons 2012
 [Please note this photograph records the performance Roadworks 1985. Reenactment - "Roadworks" by Mona Hatoum (Gallery Loop) from Sai Di Plus . During the 1980s she thus produced a series of performances with strongly political content. Mona Hatoum’s works explore themes of home and displacement through the perspective of the Palestinian exile, using common domestic objects that often, on closer inspection, reveal menacing … The piece was recorded and the video documentation later edited into a six-minute colour video. The piece was recorded and the video documentation later edited into a six-minute colour video.1 This video, which has the same title as the performance, was then shown in exhibitions, usually on a television monitor. ... Roadworks. I walked around the streets of Brixton dragging heavy Dr. Martens boots — the boots that the police and skin heads used to wear — behind my bare feet so that you have the symbol of vulnerability, this woman being followed by the boots of the state and racist thugs. In 1985 Mona Hatoum performed Roadworks, a one-hour performance in which she walked through the streets of Brixton in London. Likewise this mode of display means that the feet in the photograph mirror those of the viewer, an effect compounded by its life-size scale. Roadworks documents a performance which took place in Brixton, London, during which the artist walked through the streets, barefoot, with Dr Martens boots laced around her ankles. Mona Hatoum, Roadworks, 1985, Performance © Mona Hatoum, Courtesy the artist (Photo: Patrick Gilbert). Mona Hatoum stepped away from the conception of the walk as a source of inspiration for the lone artistic genius when, in her performance Roadworks (1985) she walked barefoot through Brixton dragging a pair of heavy Doc Martens in her wake. Born in Beirut in 1952 to Palestinian parents, she became marooned in London by the 1975 Lebanese war, having recently arrived there to study art. Mona Hatoum Undercurrent 2004 Magasin III Production Mona Hatoum Nature morte aux grenades 2006-2007. Roadworks was concerned with ideas of control, individual struggle and social conditioning, which resonated both generally and specifically in the local context. 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