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HAROON MIRZA

هارون ميرزا
哈龙·米尔扎
ハルーンミルザ
ХАРУН МИРЗА

HAROON MIRZA

source: lissongallery

Haroon Mirza has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. He devises kinetic sculptures, performances and immersive installations, such as The National Apavillion of Then and Now (2011) – an anechoic chamber with a circle of light that grows brighter in response to increasing drone, and completely dark when there is silence. An advocate of interference (in the sense of electro-acoustic or radio disruption), he creates situations that purposefully cross wires. He describes his role as a composer, manipulating electricity, a live, invisible and volatile phenomenon, to make it dance to a different tune and calling on instruments as varied as household electronics, vinyl and turntables, LEDs, furniture, video footage and existing artworks to behave differently. Processes are left exposed and sounds occupy space in an unruly way, testing codes of conduct and charging the atmosphere. Mirza asks us to reconsider the perceptual distinctions between noise, sound and music, and draws into question the categorisation of cultural forms. “All music is organised sound or organised noise,” he says. “So as long as you’re organising acoustic material, it’s just the perception and the context that defines it as music or noise or sound or just a nuisance” (2013).

Haroon Mirza was born in London in 1977 where he lives and works. He has a BA in Painting from Winchester School of Art, an MA in Design Critical Practice and Theory from Goldsmiths College (2006) and an MA in Fine Art from Chelsea College of Art and Design (2007). Solo exhibitions include The Hepworth, Wakefield, UK (2013), MIMA, Middlesbrough, UK (2013), The New Museum, New York (2012), Kunst Halle Sankt Gallen, St Gallen, Switzerland (2012), University of Michigan Museum of Art, Ann Arbor (2012), Camden Arts Centre, London (2011) and A-Foundation, Liverpool, UK (2009). His work was included in the 7th Shenzhen Sculpture Biennale, China (2012) and the 54th Venice Biennale (2011), where he was awarded the Silver Lion. Among other awards he won the Northern Art Prize in 2011 and the DAIWA Foundation Art Prize in 2012.
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source: art11

Révéler les potentiels sonores du monde et en éclairer les lectures : tel serait le leitmotiv traversant l’oeuvre de l’artiste britannique Haroon Mirza, qui déploie ses installations comme des paysages sculptés dans le son.
Beaucoup d’accessoires peuplent cet univers: des objets du quotidien usagés, des meubles vintage, des vidéos YouTube, du matériel électronique…. Souvent, ces éléments sont détournés de leur fonction initiale : l’artiste les ausculte, les met en relation et en libère de nouvelles fonctionnalités. Ses sculptures naissent ainsi de dispositifs mécaniques et électroniques qui génèrent des compositions esthétiques, visuelles et sonores proches de l’expérimentation. Les interférences et la boucle – visuelle et sonore – reviennent souvent dans l’oeuvre, comme pour mieux mettre sous tension des espaces où sons amplifiés, images lancinantes et objets singuliers se rencontrent pour former un tout, à l’impact physique puissant.
Egalement fasciné par l’impact du son sur l’architecture, Haroon Mirza déploiera au Grand Café une partition en temps mêlant à ses dernières recherches des références au passé du lieu.