Curtain/wall/door; screen/image/light. Every wall is a door, every image a passage; the invisible wall, imperceptible at first sight, becomes visible and perceptible only when you crash into it: with an embossed stamp, the paper takes on traces of things, and through the heat, manifests the potential, implanting the hair strands inside its own body. It’s the incredible strength of the fragile in the last instance that keeps us upright after all. 

Even though we don’t immediately recognize the potential violence concealed in an ordinary household, the invisible hand that appears every time we open our mouths, the threat of war right under our noses, we are all under siege. Mona Hatoum’s Bunker invisibly invades riverrun’s bunker: just as traces of the past, destruction and great suffering appear like open scars here and there among the modules made out of steel box profiles, the works in the bunker appear in like manner, subtly, quietly, showing us that every sound can be a noise, every piece of paper a body, every wall a door.

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Stream (Rough), 2013

Human hair on toilet paper 

Paper: 10 x 20 cm, 27.5 x 37 x 3.5 cm (framed)

 

Drawing Heat I-V (4), 2017

Parchment paper, 28.5 x 29.5 x 3.5 cm (framed)

 

Every Door a Wall, 2003

Inkjet print on voile 

200 cm. x variable length  

Ed. 6/6 

 

Over my Dead Body, 2005

Heliogravure, 70 x 100 cm

Ed. III/XXXV

 

3D, 2015

Blind embossed print, 28.5 x 35 cm

Ed. 13/16 

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So much I want to say, 1983

Black and white video with sound 

4 min 41 sec

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