Mona Hatoum (b. 1952)
Entrails Carpet
silicone rubber
1¾ x 78 x 117 in. (4.4 x 198.1 x 297.1 cm.)
Executed in 1995. This work is number one from an edition of three.
Jay Jopling Gallery, London
M. Archer, G. Brett and C. de Zegher, Mona Hatoum, London 1997, p. 19 (illustrated).
Athens, Gasworks, Private Face--Urban Space, October-November 1997.
Milan, Castello di Rivoli, Museo d'Arte Contemporanea, Mona Hatoum, March-May 1999, p. 18 (illustrated; another example exhibited).
Bremen, Neues Museum Weserburg Bremen, Sense and Sensuality,May- August 2000, p. 61 (illustrated).
Madrid, Museo Reina Sofia, Visiones de Latinoamerica, December 2000-13 February 2001
Athens, Deste Foundation for Contemporary Art, Monument to Now, June 2004-March 2005, pp. 170-171 & 344 (illustrated).
Athens, Nicosia Municipal Arts Centre associated with Pierides Museum of Contemporary Art, the Deste Foundation and the Laiki Group Cultural Centre, Shortcuts, November 2001-March 2002, p. 76 (illustrated).

Lot Essay

Entrails Carpet (1995), a rubberized version of a Middle Eastern rug, would never be mistaken for one that is used for prayer, since its undulating composition and pearlescent surface refer specifically to the shape and consistency of human intestines. Although on one level Hatoum intends to remind us of the unique human entity who might deploy a more conventional rug as part of a ritual of worship, she also tempts us to imagine that the barrier separating us from the work's human subject is not one of religion or ethnicity, but rather of simple biological difference. In the end, she succeeds in converting the pseudo-anthropological category of "other"--which is often wielded by those who fear the emancipation of the-into an unsubstantiated fiction supported mostly by prejudice and fear on the part of those who have long since taken freedom for granted.

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