If you looked carefully, you might have found Cuba hanging from America in Palestinian artist Mona Hatoum’s large glass mobile ‘Map’ with the different continents slowly twirling round the gallery space 0x9x9 at the White Cube at Bermondsey. It has, along with the other works in her recent exhibition, now been packed up and moved out, in this case to make room for Anselm Kiefer’s ‘Superstrings, Runes, The Norns, Gordian Knot’ which, if his last exhibition at the White Cube is anything to go by, will be a fascinating review of his most recent work.
As you entered another gallery of Mona’s work, broken lumps of concrete hung on steel reinforcement bars, as if a building had exploded but had been caught in a perfect alignment at a particular point in time, while elsewhere bunk beds were grouped in uncomfortably close proximity to each other. What was Hatoum trying to say about congestion, confinement and control in modern cities?
Then, most worrying of all were the burnt remains of furniture and toys from a home that was once full of life, but all that remained were charcoal remnants transforming the home that should have been a place of safety and happiness to a sinister place of sadness, loss and decay.
Hanoun last had a London exhibition at Tate Modern in 2016 and her current exhibition at the White Cube showed recent work exploring themes of confinement, the architecture of surveillance, mobility and conflict.