Mona is a contemporary artist working with three-dimensional forms such as sculpture and installation. She is informed by the post-structuralist theory and medieval mysticism.

Result #1

Her work is heavily worked and colored with chalk dust, which smells of earth and decomposition. The chalk dust has been collected in various locations. In the gallery space, three small tables supported by small wooden columns were placed on the floor. On them, chalk dust was spread onto pieces of paper or notepad, turning the paper into a loose sketch of the chalk dust. A second table supported by a tree branch was placed one in front of another on a wooden table, so that the chalk dust covered the wooden table. A third wooden table stood in a different place. On it, a light and a small heater had been placed, forming a bed on which various personal effects, a banner, a chair, and a dish covered by paper sat. The furniture was made of materials from the past four years. Two of these pieces were furniture for the room; the third, which rested on the floor, was a wooden dollhouse with a sawed and painted wooden figure. The sculptures—a circular metal trough on top of a circular steel rack, with a pile of chalk dust on top—were also displayed on the walls, under a small desk.The space was completely furnished with the sound of a bell and a knock at the door. These sounds created a gentle buzzing rhythm in the room, with the sound of an electric piano. The title of the exhibition, Made in Düsseldorf, refers to the exhibition of the work of Mona in Düsseldorf, which was organized in the spring of 2003 and then held there. However, this exhibition is not the final show; the artist will be moving to Tüzco, Mexico, in the fall. After that, it will be kept in the gallery, where it will be visible for the foreseeable future.Translated from German by Gerrit Jackson.

Result #2

Mona is a contemporary artist working with three-dimensional forms such as sculpture and installation. She is informed by the post-structuralist theory and medieval mysticism. ˇ¤Amorous negations. Spatial constructions. Space in general. The presence of time as an element in the relationship between drawings, which are permanent, and landscapes, which are fleeting, but capable of being drawn in a continuous, transitive manner, are not negated by the immediate presence of work.What separates this yearbook-like series of paintings from the usual installation-type image-based work on display? The datebooks seem like a particularly sanitized version of the works at the Neue Galerie. The dates are just as the paintings are, and the images are the same, but separated by allusions to previous years. The datebooks are not merely reproductions of the paintings. They have been enlarged to the dimensions of the works, and their cover is faded, with out the usual sticker. The paintings are smaller than the datebooks, and on the one hand they can be considered in their entirety, in which case they have become an enhanced and simplified version of the paintings. The paintings are about a year old.The only space in the gallery that was left bare was the floor. Most of the gallery space was covered with film, and all the windows were broken. With a heavy black shadow looming over the gallery floor, only a few of the gallery windows were open. The only illumination came from a small gray light, which was transmitted by a stray lamp. All the paintings were on paper. They hung on the wall, and the frame of one of them, Untitled (Oil on paper), was on the floor at a slight angle, with a small mirror at the far end of the frame. Untitled (Oil on paper), is a work in oil on paper. It is not a reproduction. What we have here is a proof of the printed word—an idea that is repeated endlessly in written communication. The paintings are not simply documents. They are copies of paintings, their reproductions. They are not drawings.

Result #3

Mona is a contemporary artist working with three-dimensional forms such as sculpture and installation. She is informed by the post-structuralist theory and medieval mysticism. One piece is composed of carved wooden arches and two pillars supporting a chest of glass. The glass contains a mist and a jewel, a conceptual and poetic manifestation of the fragility of the material and the painters hand, which brings forth the hidden essence of a things existence. The other piece is called Corridor and consists of two pillars and a combination of carved and molded wooden pillars, supported by steel pillars on the floor. The figurines of the sculptures are layered on top of one another so that they emerge as sets of sharply pointed objects. The viewer enters into an empty space. Nothing is left except the sculpture. Here, the simple building blocks are used to create something with a sensual aspect. It is a kind of ecstatic space that can be experienced by the viewer as a subjective experience of experience.The other piece, Fountain, is based on a glass-bottomed tank that is inscribed with a text. This piece is also made up of carved wooden pillars. In addition, a combination of carved wooden and stone pillars, which seem to fall from the ceiling, are set in the tank. The statue thus evokes the emptiness of the tomb, where death once stood. The sculptural presence of the pedestal evokes the physicality of the container. Here, a third piece stands in a small room; it is a sculpture that is suspended on three steel pillars. And it has been painted with a mixture of black and white acrylics, one that is applied to the marble base of the sculpture. The black acrylics give the sculpture a charred look. The white acrylics color creates a still-life quality to the sculpture. The figures that have been gathered from the painting can be seen in the glass vitrine sitting on the three pillars. One can imagine these figures gazing at the colorful stream of water. And one senses the presence of a small or medium size viewer.

Result #4

The idea that the self is as fundamental as the universe is suggested by the nature of letters. The vowels are suspended within the letters and not on top of them; so the viewer is confronted with the primary elements of being, that is, letters and their function as signs. Moreover, Mona displays an awareness of the strong linkage between art and consciousness.

Result #5

Mona is a contemporary artist working with three-dimensional forms such as sculpture and installation. She is informed by the post-structuralist theory and medieval mysticism. This exhibition consists of four works, made between 1981 and 1983, on view at the Guggenheim Museum in New York. The four pieces are loosely connected. The first piece is a play on the figure of the magician, which covers three pieces of paper. The figure is adorned with a glass, which opens the form; the glass opens up an inner landscape, inhabited by a series of small circular glass spots on the paper. The circles are actually one kind of circles, a sort of world of reflection. The area of reflection is set into the paper to give the illusion of an illusion of the illuminated region. The circles also reflect the spectator, thus changing the position of the spectator in relation to the circles. The projection of the circles mirrors the projection of the mirrors. The circles, however, do not reflect, so that the circle becomes a visual, one-sided figure. The projection of the circles mirrors the projection of the mirrors, changing the spectators position in relation to the circles. The piece is also titled Pedestall, a reference to the mirrors used by J. G. Ballard in his essay on the mirror in the Psychedelic Experiments of 1951. Pedestall is a reference to the mirror in the Psychedelic Experiments. The mirror seems to function as a glass, which projects itself onto the circle and thus controls its position in relation to the mirror, which projected itself upon the glass.The second piece is an installation consisting of a piece of blue Plexiglas placed on the floor. On the back of the piece is printed a text in English and Chinese that is translated into English, and then translated into Chinese. On the front of the piece is written the Chinese text in English, Chinese, and then translated back into English. The second part of Pedestall consists of two large Plexiglas placed on the floor, which is also on the back of the piece. The large piece contains a block of green marble covered with tiny drawings.