Paper

Student Artwork Guide

Routes AP

Name Class Date

Mona Hatoum, Routes AP, Kochi-Muziris Biennale. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Mona Hatoum originaluniqueart.com/en/artists/mona-hatoum/
Artist’s dates
1952 –
Held at
Kochi-Muziris Biennale originaluniqueart.com/en/museums/kochi-muziris-biennale-kochi/

In context

Routes AP — Mona Hatoum

When might this have been painted?

  1. 1950
  2. 1960
  3. 1970
  4. 1980
  5. 1990
  6. 2000
  7. 2010

Row above: the years. Row below: how old the artist was at the start and at the end of each span, counting 0 from birth.

every dated painting, decade by decade

First works: up to 1993 Main working years: 1993–1999 Late works: from 1999

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/mona-hatoum-routes-ap-D73M8D-en/

Colours

Measured from the image

    Main colour

    Gray #75726c

    Catalogued palette

    • #75726C
    • #181612
    • #403D38
    • #B8B6AC

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Mona Hatoum over the last twelve months — 3 countries in all. Where these figures come from

    The ten leading countries

    1. 1 Chile 33.3%
    2. 2 China 33.3%
    3. 3 United States of America 33.3%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 6 most looked-at works by Mona Hatoum

    1. 1 Incommunicado, 1993 28.6%
    2. 2 Routes AP this painting 14.3%
    3. 3 3-D Cities, 2010 14.3%
    4. 4 Keffieh, 1993 14.3%
    5. 5 Performance Still, 1995 14.3%
    6. 6 Home, 1999 14.3%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 12 works by this artist, of which 6 were looked at at least once. This painting ranks 2 of them, with 14.3% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Routes AP — Mona Hatoum

    Cartographic themes find expression in a large number of works by Mona Hatoum, a British artist of Palestinian descent. Born to exiled Palestinian parents in Beirut, Lebanon, Hatoum was in the UK when a civil war broke out in Lebanon, preventing her return. It is perhaps her experience as an exile that prompts Hatoum’s interest in the relationship between power and cartographic constructions of space.In 1996, during a visit to Jerusalem, she made Present Tense (1996) an installation made of locally produced soap bars on which Hatoum etched with red beads the fragmented map of Palestine drawn up under the Oslo accord. Maps recur in several of Hatoum’s works, such as Hot Spot (2006), where she outlined continents on a steel globe using neon tubes that glowed like heated wires, or Projection (2006), a deceptively simple map of the world made on off-white cotton that follows Peters Projection–a controversial representation of continental masses that rejects the traditional world map with its inflated Northern Hemisphere.Exhibited at the Biennale, Routes AP (2003) is a playful intervention on maps found in in-flight magazines. For these drawings, Hatoum filled with colour the spaces that lie between lines denoting aircraft movement. The resultant mesh resembles a complex climatic map that disrupts national boundaries and liberates the landscape.

    Artist and museum

    Artist

    Mona Hatoum

    Born in Beirut, Lebanon

    A Life Shaped by Displacement: The Art of Mona Hatoum

    Born in Beirut, Lebanon, in 1952 to Palestinian refugee parents, Mona Hatoum’s artistic journey is inextricably linked to the themes of displacement, identity, and belonging. Her early life was steeped in a sense of rootlessness, navigating a politically volatile landscape where her family's status as refugees meant existing perpetually on the periphery. This foundational experience would profoundly shape her creative vision, imbuing her work with a poignant exploration of what it means to be unmoored from a homeland and constantly negotiating one’s place in the world. Initially pursuing graphic design at Beirut University College, Hatoum's path was dramatically altered by the outbreak of the Lebanese Civil War in 1975. Forced into exile in London, she found herself confronting not only the trauma of displacement but also the complexities of constructing an identity within a new cultural context. This pivotal moment marked a turning point, propelling her towards a career as one of contemporary art’s most compelling and politically charged voices.

    From Performance to Sculpture: A Shifting Landscape of Expression

    Hatoum's artistic development began with a focus on performance and video art in the late 1970s and early 1980s, often directly confronting audiences with visceral statements about her Palestinian heritage and the turbulent political realities of Lebanon. These early works were intensely personal and politically charged, utilizing her own body as a medium to convey vulnerability and resistance. The Negotiating Table (1983) stands as a powerful example of this period—a stark depiction of the artist lying prone on a table covered in simulated blood and gauze, symbolizing the helplessness of civilians caught in conflict. This work, and others like it, were not merely representations of suffering but rather embodied experiences designed to provoke empathy and challenge viewers’ complacency. However, by the mid-1990s, Hatoum began a significant shift in her practice, transitioning from performance to sculpture and installation art. This evolution allowed her to explore broader themes beyond direct political protest, delving into concepts of nomadism, exile, and the unsettling potential hidden within everyday objects. She started transforming familiar domestic items into disorienting and potentially threatening forms, challenging conventional notions of comfort, security, and belonging.

    Deconstructing Domesticity: Unsettling the Familiar

    A defining characteristic of Hatoum’s mature work is her ability to subvert the seemingly innocuous realm of domestic space. She frequently employs objects associated with home—furniture, kitchen utensils, bedding—and manipulates them in ways that evoke unease and anxiety. Home (1999), for instance, features a collection of kitchen appliances wired with electricity, creating a palpable sense of danger and highlighting the precariousness of belonging. This work isn’t simply about the physical space of home but rather explores the psychological weight it carries—the longing for security, the vulnerability inherent in intimacy, and the potential for disruption within even the most familiar environments. Similarly, her large-scale installations often play with scale and proportion, transforming everyday objects into monumental forms that overwhelm and disorient the viewer. This manipulation of space forces a reevaluation of our relationship to the objects around us, prompting questions about power dynamics, control, and the hidden anxieties embedded within domestic life. The use of materials is also crucial; Hatoum often juxtaposes soft, organic textures with hard, industrial components, creating a visual tension that mirrors the emotional complexities she explores.

    Themes of Identity and Recognition

    At the heart of Mona Hatoum’s artistic practice lies an enduring exploration of identity and displacement. Her own experiences as a refugee inform her investigation of borders—both physical and psychological—boundaries, and the persistent longing for home. She doesn't offer easy answers or resolutions; instead, she presents open-ended works that invite multiple interpretations and encourage viewers to confront their own emotional responses. The human body and its relationship to space are also central concerns in her art. Hatoum’s installations often engage with our sense of scale and proportion, creating environments that feel both inviting and claustrophobic, familiar and alienating. This interplay between the body and space explores how physical surroundings shape our perceptions, emotions, and ultimately, our understanding of ourselves. Throughout her career, Mona Hatoum has received widespread critical acclaim and numerous prestigious awards, including the Rolf Schock Prize in Visual Arts (2008), the Joan Miró Prize (2011) and the Praemium Imperiale (2019). Her work is held in major museum collections worldwide, including MoMA, Tate Modern, and the Centre Pompidou.

    A Lasting Legacy

    Mona Hatoum’s contribution to contemporary art extends beyond her individual artworks; she has fundamentally shaped discussions surrounding identity, displacement, and globalization. Her ability to evoke powerful emotional responses through seemingly simple forms—a chair, a table, a cage—solidifies her position as an important voice in international art. Her work challenges us to confront uncomfortable truths about the world we inhabit, prompting critical reflection on issues of power, belonging, and the human condition. By refusing to offer easy answers or simplistic narratives, Hatoum encourages viewers to engage with their own experiences and biases, fostering a deeper understanding of the complexities that define our contemporary moment. She remains an active artist, continuing to push boundaries and inspire new generations of artists to explore the intersection of art, politics, and personal experience.

    Museum

    Kochi-Muziris Biennale

    On show in Kochi, India

    The Kochi-Muziris Biennale: A Dialogue Between Tradition and Innovation

    Nestled on Kerala’s Arabian Sea coast, the Kochi-Muziris Biennale isn't merely an art exhibition; it’s a carefully orchestrated encounter between centuries of history and a vibrant pulse of contemporary artistic expression. Founded in 2012 by artists Bose Krishnamachari and Riyas Komu, this ambitious project sought to reposition India on the global stage as a locus for creative dialogue—a mission that has been spectacularly fulfilled.

    The Biennale’s genesis lies firmly rooted in Muziris’ legacy. For over 600 years, this ancient port served as a nexus of trade between East and West, fostering an astonishing exchange of ideas, cultures, and commodities. From Roman merchants to Persian emissaries, Chinese sailors to Arab traders—Muziris welcomed travelers from across continents, shaping its identity and enriching its artistic traditions.

    The Biennale’s curators deliberately chose this historical backdrop as inspiration, prompting artists to grapple with themes of globalization, migration, and cultural heritage. Unlike conventional museums that showcase static collections, the Biennale operates as a dynamic constellation of exhibitions—each cycle presenting fresh perspectives on art’s evolving language. Installations sprawl across repurposed warehouses like Aspinwall House and Mattancherry Palace, transforming public spaces into immersive canvases for artistic exploration.

    Notable Exhibitions:

    The Biennale has hosted groundbreaking shows featuring artists from around the globe—spanning sculpture, painting, performance art, film, and digital media.

    Architectural Significance:

    The Biennale’s venues are themselves architectural treasures—reflecting Kerala’s rich heritage and showcasing innovative design approaches.

    Community Engagement:

    Beyond artistic presentations, the Biennale fosters connections between artists and local communities, sparking conversations about social issues and cultural identity.

    Sustainability Initiatives:

    Recognizing its role as a catalyst for change, the Biennale champions environmentally conscious practices—utilizing solar energy and minimizing waste throughout its operations.

    A Celebration of Kerala’s Artistic Spirit:

    The Biennale embodies Kerala's enduring tradition of artistic engagement—drawing inspiration from ancient crafts and fostering creativity within the region.

    The Biennale’s impact extends far beyond the art world, bolstering local tourism and stimulating economic growth in Kochi. It serves as a beacon for cultural innovation—demonstrating that art can illuminate complex narratives and inspire visions of a more inclusive future.

    Exploring Kerala's Artistic Heritage

    Kerala’s artistic traditions are deeply intertwined with its history—particularly Muziris’ role as a crossroads of cultures. From Kathakali performances to intricate wood carvings, Kerala’s art forms reflect the influences of Persia, Arabia, and Europe—a testament to the region’s openness to new ideas.

    The Biennale actively seeks to revive these traditions—supporting artisans and fostering creativity within local communities. Artists draw inspiration from Muziris' legacy—incorporating motifs and techniques that echo its ancient splendor.

    Site-Specific Installations: Transforming Public Spaces

    Unlike traditional museums, the Biennale eschews confined galleries—embracing a decentralized model that utilizes diverse venues throughout Kochi. These installations transform public spaces into immersive canvases for artistic exploration—creating unexpected encounters between art and everyday life.

    Artists collaborate with architects and designers to craft experiences that resonate with their surroundings—blurring boundaries between art and urban environment.

    The Biennale's Commitment to Dialogue

    At its core, the Biennale champions a spirit of intercultural exchange—bringing together artists from across continents. It encourages conversations about social justice, political unrest, and environmental concerns—challenging conventional perspectives and fostering empathy.

    The Biennale’s curators strive to create spaces for dialogue—where artists can share their visions and inspire audiences to contemplate complex issues.

    Where to read more

    • The artist Mona Hatoum originaluniqueart.com/en/artists/mona-hatoum/
    • The museum Kochi-Muziris Biennale originaluniqueart.com/en/museums/kochi-muziris-biennale-kochi/
    • Similar works More works to compare originaluniqueart.com/en/art/similar/mona-hatoum-routes-ap-D73M8D-en/

    Find this online

    QR code linking to the download page for Routes AP

    originaluniqueart.com/en/art/download/mona-hatoum-routes-ap-D73M8D-en/

    Cite this artwork

    MLA
    Hatoum, Mona. Routes AP. n.d., Kochi-Muziris Biennale. https://originaluniqueart.com/en/art/mona-hatoum-routes-ap-D73M8D-en/
    APA
    Hatoum, Mona (n.d.). Routes AP [Painting]. Kochi-Muziris Biennale. https://originaluniqueart.com/en/art/mona-hatoum-routes-ap-D73M8D-en/
    Chicago
    Mona Hatoum. Routes AP. n.d. Kochi-Muziris Biennale. https://originaluniqueart.com/en/art/mona-hatoum-routes-ap-D73M8D-en/
    Harvard
    Hatoum, Mona (n.d.) Routes AP. Kochi-Muziris Biennale. Available at: https://originaluniqueart.com/en/art/mona-hatoum-routes-ap-D73M8D-en/

    Look closely

    Routes AP — Mona Hatoum

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Prayer Mat (1995), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. What might the artist have wanted you to feel?
    5. If you could ask the artist one question about this work, what would it be?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Is "Routes AP" by Mona Hatoum a portrait, landscape or square composition?

    The format of "Routes AP" is landscape. This is useful when planning where a reproduction will be placed.

    Can I preview "Routes AP" by Mona Hatoum before ordering?

    The Preview page of "Routes AP" lets you preview the artwork before ordering.

    How saturated is the palette of "Routes AP"?

    The colors of "Routes AP" by Mona Hatoum have a muted saturation. Saturation describes how vivid or muted the colors are.