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Cunt Meetingstrippeddevi Q Affair En 1 Meeting Stripped Devi Seeing Feminism in Exile; The Imaginary Maps of Mona Hatoum

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For Spivak, this story represents the mistaken internalization of restraints as responsibility, "the very basis of gender-ethics." [42] She writes that "internalized gendering perceived as ethical choice is the hardest roadblock for women the world over." [43] Responsibility to others is a gendered concept women unwittingly internalize as part of their gender identity. Devi's story provides a tangible image of Doulouti's generosity: "...Doulouti untied the knot at one end of her cloth and took out a rupee. She said, 'Uncle Bono? Have a little something to eat with this, yes?'" [44] Incredulous, Bono attributes this unfathomable gesture to the maternal instinct: "'My little mother, you gave me money? Gave me money?'" [45] Doulouti's "choice" to give money to her Uncle Bono, the man who should be helping her, reveals how gender-ethics contributes to women's victimization.

Hatoum's work is important to attend to within the complicated contexts these texts raise because in her early work she graphically "prostrates" herself, not only "before" but within, in Khanna's words, "narratives of exploitation." [46] Her early pieces dramaticize the internalized gendering within her attempts to witness and ethically respond to the trauma of exile—her family's, her country's, her own. By immersing herself in scenarios and materials that signify exploitation, and then subsequently finding new ways to continue her ethical commitment to representing her exile, Hatoum's work not only upsets clear theoretical demarcations between exile, trauma, and the feminist critiques of essentialized representations of the female body, but provides a model for moving from a position of internalized gender ethics to provoking the possibility of recognizing moments of ethical singularity within the imaginary, discursive, and material spaces of transnational feminism.

III. Stranded in the Flesh: Trauma in Exile

When asked to comment on the circumstances leading to her education and subsequent career in London, Hatoum replied:

Reading this statement, it might be easy to think that Hatoum makes her work a haven away from the politics she is physically distanced from but inevitably inherits from across political borders and through familial generations. Indeed, Hatoum was able to see the artwork in these prestigious British museums "in the flesh," but the cruelest and most ethically demanding part of her education was her inability to physically witness the war. The work from Hatoum's first years in London can be described as spectacles of suffering dramatic in their attempts to make the trauma of exile visible. In response to exile's physical displacement, Hatoum's work almost hysterically proves that she will inscribe the trauma she can't immediately see or thoroughly know on to the materiality of her own body.

A series of performances entitled Variations on Discord and Division (1984) is emblematic of this entire period; Hatoum renders herself as anonymous as possible with black clothes and masks to represent the helpless anonymity of the subject before the super ego of exile and its laws of division and discord. In one installment of Variations on Discord and Division (figure 1)Hatoum prostrates herself on top of a floor and before a wall covered with English-language newspapers; she is completely covered in black; her head, face, and eyes are enclosed in a black mask; her hands and body lean on two scrub brushes. Is this an image of a woman forced to scrub away the traumatic excess ceaselessly produced by the language of politics the West reads, consumes, and reproduces everyday? Lacan's theorization of the superego seems relevant to this scene of masochistic cruelty because the superego is an image of patriarchal law once removed. The superego isn't the actual castrating father, but it is the real father's disappearance and the emergence of the imaginary father, the "someone who would really be someone." [48] The formation of the superego entails incorporating this detested imaginary father, and the betrayal of language he represents, into the self. Lacan states that the superego has a "senseless, blind character of pure imperativeness and simple tyranny" and is "the law and its destruction." [49] Hatoum's submission to the brute super ego of exile stages women's particular divisions within exile, drawing attention to the possibility that women's gendered identity is invisibly sustained by the imperative to prostrate oneself before the narrative of exploitation as a sign of ethical commitment.

In one of her early pieces entitled Under Siege (1982, figure 2), Hatoum placed herself in a transparent glass box full of mud. For seven hours, the naked Hatoum struggled to stand up, only to continue to slip and fall. Low temperatures in the glass box required her to keep moving. As a result of her continual, repeated struggling, Hatoum's hands left large splattered prints of mud on the glass, indexical traces of her struggle that eventually made the glass walls opaque. Not only is this piece a dramatic representation of the physical helplessness and isolation military aggression enforces, Under Siege also has a complex relationship to the political situation that informed it and its traumatic repetitions in time. When asked to comment on this piece, Hatoum remarked that "Under Siege happened before the Israeli invasion and siege of Beirut; it was almost like a premonition." [50] Because trauma cannot be comprehended in its immediacy, it upsets linear representations of time. Therefore, it is difficult to know whether a representation of trauma reaches into the past or foretells of past's inscription into the future.

As Under Siege attests, even though she is distanced by exile, Hatoum's views herself as embedded within the aggressive politics of the Middle East. The way the mud and box covers, encloses, and continually defeats her becomes an expression of the way that once someone becomes an exile, she is forever tied to that displacement. Hatoum may have survived threats of the Israeli invasion, but Under Siege suggests she has just barely done so. Her body, made increasingly fragile and worn because of the freezing mud, is placed in direct conflict with the viewer's inability to "rescue" her. And because the masochistic performance took place in galleries and museums in London, Under Siege is a metonymic link to Hatoum's own powerlessness to rescue her family. The photographs of this performance piece show viewers bewildered and solemn, reluctant to get close to the glass box, but staring nonetheless. A particularly dramatic close-up photograph of Under Siege (figure 3) renders Hatoum almost unrecognizable; she has become a gesture of survival. It is unclear whether she is vanishing into formlessness or coming into the materiality of being and form.

In The Negotiating Table (1983, figure 4), Hatoum posits the flesh as the traumatic excess of political rhetoric. On a table in a performance hall, Hatoum's head was strapped to a table; her body was covered with plastic; bloody bandages cover her eyes; entrails were spilled all over her. Tracked above this flesh are various political speeches addressing peace. In The Negotiating Table, the body folds in on itself into a dense materiality, and the political discourse mapping imaginary spaces above it emphasizes the body's muteness. The only "voice" the body has is its pattern of breathing, echoed by slight movements in the plastic. What can the voices in their insistence on peace do for the body if they can't see it? What can viewers do even though they can see this spectacle yet can also clearly see that the piece is a performative representation? Do the viewers identify with the repressive idealism of the voices or the body on the table? Even the title negates the body's presence; the voices do not negotiate across the body, but across a table. What do the voices negotiate and exchange across this body besides words, "good" political intentions, and continual repressions? Do mirroring enunciations of peace repress the third material term between them? What does the body on the table understand? And perhaps most importantly, what can a body (in exile) do?

In The Negotiating Table the body bears the burden of responsibility and solitude, violently and gruesomely. In Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History, Felman emphasizes solitude as an ethical dimension of witnessing: "To bear witness if to bear the solitude of a responsibility and to bear the responsibility precisely, of that solitude" (original emphasis). [51] Caruth's analysis of Alain Resnais' and Marguerite Duras' film Hiroshima Mon Amour is pertinent to the ethical responsibility The Negotiating Table displays. In Hiroshima Mon Amour, a French woman loses her lover—a German officer—to death on the day of France's liberation from Germany. In order not to betray her lover's death by celebrating freedom, she goes mad. Her madness and the subsequent punishment of isolation "...maintain the event of death against the understanding of liberation." [52] She becomes "the faithful monument to death" by refusing "sight and understanding...in relation to her own body." [53] Again, Caruth does not call attention to the gendered dimension of this gesture, the ease with which women use their bodies as signs of the ethical imperative to witness. In The Negotiating Table Hatoum makes an analogous gesture in order not to betray the trauma her country and family suffer. The flesh in The Negotiating Table isn't necessarily gendered, and isn't obviously a victim of gendered violence, but the piece provokes us to ask if victimized flesh is perceived as feminine because of women's internalization of the ethical imperative.

Like The Negotiating Table, the five-minute video entitled So Much I Want to Say (1983) represents and comments upon the impediments exile imposes upon one's sight, agency, and voice. There is no mistaking the gendered dimensions of this restraint: a man's hands cover her mouth over and over again while her voice, detached from her mouth, repeats the title obsessively as though never heard. Hatoum places her struggling face in the intermediary place between the faceless agents of repression and the helplessly witnessing viewer, forcing the viewer to experience the exile's failure. In So Much I Want to Say Hatoum actively subjects herself and her viewers to the traumatic repetitions of failure the distance and proximity exile enforces. She is close to the screen, made visible by the screen, but also restrained by the metonymic hands of physical repression behind her as well as the screen of representation in front of her.

IV. Measures of Distance: A Desiring Production

Raw, violent, confrontational, Hatoum's early work reveals a need of the exiled to prostrate herself before the brute laws of exile's symbolic order. And yet, even the symbolic order of exile is not sealed into completion; it has its cracks and fissures, interstitial, imaginary spaces that Hatoum works generatively within. In Imagining Desire, oCunt Meetingstrippeddevi Q Affair En 1 Meeting Stripped Devi Seeing Feminism in Exile; The Imaginary Maps of Mona Hatoumv q Www.allasians.com Meeting Meeting Stripped Devi Single kCunt Meetingstrippeddevi Q Affair En 1 Meeting Stripped Devi Seeing Feminism in Exile; The Imaginary Maps of Mona Hatoumo m Meeting Stripped Devi Adult q Meeting Stripped Devi Meeting Stripped Devi