default title

Mona Hatoum's captivating exhibition, titled 'Over, Under, and In Between,' at the Fondazione Prada in Milan, invites viewers into a multi-sensory journey through a series of evocative installations. Her artwork delves into profound themes of human connection, societal constraints, and global fluidity, utilizing diverse materials like hand-blown glass and kinetic metal. The exhibition, housed within the historic Cisterna building, which once functioned as an alcohol distillery, leverages the unique architectural volume to create an immersive experience that resonates deeply with its audience.

Upon entering the Cisterna, visitors are greeted by a delicate celestial display: numerous hand-blown glass spheres suspended overhead, meticulously arranged to resemble a sprawling spider's web. This recurring motif in Hatoum's artistic practice serves as a potent symbol. It simultaneously suggests the intricate bonds that tie individuals together, forming a sense of belonging and community, while also hinting at the potential for entanglement, isolation, and neglect. Hatoum herself views this overhead web as possessing a cosmic significance, with the luminous glass orbs evoking both the fragile beauty of dewdrops and the vast, interconnected tapestry of the universe. This duality underscores the complex nature of existence and relationships.

Further into the exhibition, the central space features an expansive installation on the concrete floor. Here, a multitude of translucent red glass spheres are meticulously placed to form a world map. Significantly, these spheres are arranged without borders, symbolizing the artist's commentary on the artificiality of political and geographical divisions. The deliberate absence of fixed boundaries highlights a desire for a more unified global perspective. The spheres, numbering over 30,000, are not permanently affixed, suggesting the transient and undefined nature of territories and perhaps the constant flux of geopolitical landscapes. Hatoum also subtly references the Gall-Peters projection map, a cartographic representation known for accurately depicting land area proportions but often seen as distorting shapes. This reference alludes to the power dynamics and historical biases inherent in the portrayal of various regions, particularly making Africa, South America, and Southeast Asia appear smaller than their true size, thereby questioning dominant narratives and global hierarchies.

The exhibition culminates with a dynamic kinetic metal structure. This impressive installation consists of nine levels of open, stacked cubes, mimicking the skeletal framework of scaffolding or a nascent building. Initially appearing static, the structure soon begins its mesmerizing dance, oscillating between a controlled collapse and a majestic re-erection, powered by hidden motors. The accompanying sounds of creaking and clanking amplify the organic nature of its movements, as it sways and zigs-zags with an almost human-like quality. After reaching its full height of 8.6 meters, it gracefully returns to its original state, completing its performance. For Hatoum, these open cubes are more than mere geometric forms; they embody feelings of unease, claustrophobia, and the pervasive sense of being trapped. The installation brilliantly captures the endless tension between opposing human conditions, symbolizing the continuous cycle of rising, falling, and reforming that characterizes both individual experience and broader societal structures.

Mona Hatoum's 'Over, Under, and In Between' at Fondazione Prada offers a compelling exploration of interconnectedness, boundaries, and the human condition. Through delicate glass constellations, a borderless global map, and a mesmerizing kinetic sculpture, the exhibition transforms the historical Cisterna building into a space of profound reflection, challenging perceptions and inviting contemplation on our place within a complex world.