My hyperessay will revolve around one of Mona Hatoum’s works, Pull(1995). Viewers are required to interact with her(in this case, a braided ponytail attached to her own hair) in order to get a live reaction on screen. The ponytail is made from Hatoum’s own hair, collected over 6 years. It is interesting how technology is used as a ‘screen’ between her and the viewer, a platform or information conveyor. It can interestingly be argued that without the role of technology, the piece is incomplete, even if both viewer and Hatoum are present.

This work also explores how technology can affect the human condition: Is she a real person, or merely a projection of someone on screen? Would viewers still pull her hair if there was no screen to separate them and Hatoum? The existence of technology in this case affects how viewers would think and react to the art.

In this case, viewers determine the outcome of the work. Tugging at her hair will result in a more drastic reaction from her, and not tugging at all will not trigger anything. The outcome of this work is therefore quite limited; Hatoum either reacts or not. However, if we take into account the viewers’ reactions, whether they will gasp or keep a straight face, stop tugging or mercilessly continue tugging; this further pushes the work into a collaborative-like nature.

Below are some related readings:

http://www.artnews.com/2015/08/21/making-the-ordinary-anything-but-mona-hatoum-on-her-unnerving-sculptures-in-2005/

https://www.varsity.co.uk/culture/9528

https://bombmagazine.org/articles/mona-hatoum/

Mona Hatoum incorporates technology and often engages the viewers to participate in her work. Hatoum uses materials that resonate with her, but also makes sure the materials or how she portrays the materials also resonate similarly to the audience.

I choose to revolve my hyperessay around her as her works often explores how technology can affect the human condition. As per discussed in class on interactivity, her works require the involvement of viewers and technology (as a medium to convey her message).

Hatoum believes that ‘nothing is a finished project’, since ideas are pushed and evolve into something new. Of Palestinian origin, Hatoum experienced a shifting polycultural identity as an adult and often incorporates a sense of displacement, alienation and longing in her works.