'Don't smile, you're on camera!', 1980


In 1975, Mona Hatoum, born in Beirut to a Palestinian family, visited London as a 23-year-old tourist, only to become stranded here indefinitely when civil war broke out back home in Lebanon. A sense of rootlessness and the quest for a home familiar from myth, legend and the movies still courses through her work to this day.
That’s not the only thing which courses through Hatoum’s art. She’s known for wiring metal furniture and objects – cots, chairs, colanders – up to the mains, so that things which ought to provide comfort become potentially lethal. Easy viewing her art isn’t. Yet there’s a dose of surrealism to what Hatoum does. Humour, too, as in the ballsy billboard self-portrait ‘Over My Dead Body’ (1988, pictured above) in which she eyeballs a toy paratrooper perched on her nose. ‘The more people can relate to the stuff, the happier I am,’ she says.
Here's what she had to say about some of the key works in her new Tate Modern retrospective.
'This piece is called "Hanging garden". It's a structure of sandbags with grass growing out of them. It's a comment on the fact that these are supposed to temporary war structures. But they've stayed around so long, at least they do in the Middle East, that they become part of the landscape and life starts growing from them. So, it's kind of a hopeful, poetic piece with life sprouting out of this most inhospitable environment.'
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