Mona Hatoum (b. 1952)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Mona Hatoum (b. 1952)

Doormat II

Mona Hatoum (b. 1952)
Doormat II
stainless steel, nickel-plated pins, glue and canvas
1 1/8 x 28½ x 16½in. (3 x 72.5 x 42cm.)
Executed in 2000-01, this work is number two from an edition of three
White Cube, London.
Anon. sale, Christie's London, 1 July 2008, lot 314.
Acquired at the above sale by the present owner.
M. Archer, G. Brett & C. de Zegher, Mona Hatoum, London 1997 (another variation illustrated in colour, p. 14)
Mona Hatoum: The Entire World as a Foreign Land, exh. cat., London, Tate Britain, 2000 (another variation illustrated in colour, p. 16).
Santiago de Compostela, Centro de Arte de Salamanca and Centro Galego de Arte Contemporanánea, Mona Hatoum, 2000 (another from the edition exhibited, illustrated, p. 36).
Hamburg, Hamburger Kunsthalle, Mona Hatoum, 2004 (another from the edition exhibited, illustrated in colour, p. 30).
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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Lot Essay

'The first thing I noticed when I came here was how divorced people were from their bodies, although recently the art world has become far more preoccupied with the body. I am convinced that this is a direct result of the AIDS epidemic which has forced everyone to become aware of the body's vulnerability. Since my early performances, the body has been central to my work. Even before that I was making small works on paper using bodily fluids and the body rejects as materials. I have always been dissatisfied with work that just appeals to your intellect and does not actually involve you in a physical way. For me, the embodiment of an artwork is within the physical realm; the body is the axis of our perceptions, so how can art afford not to take that as a starting point? We relate to the world through our senses. You first experience an artwork physically. I like the work to operate on both sensual and intellectual levels.' (The artist quoted in 'Mona Hatoum Michael Archer in Conversation', in Press Play; Contemporary Artists in Conversation, London 2005, p. 288).

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