||Haroon Mirza I Residency from June to July 2013
> Dossier de presse
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 pavillion 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.
A master of interference (in the sense of electromagnetic 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
After Haroon Mirza’s summer 2013 residency at the Atelier Calder in Saché, France, the
Atelier Calder and the Calder Foundation present The Last Tape, a performance by
Mirza presented on the occasion of FIAC 2013.
The Last Tape (2010/2013) is a spoken word performance and sculptural installation
based on an unrealized Ian Curtis song about William S. Burroughs, “Johnny 23.” The
piece is performed by cult musician and actor Richard ‘Kid’ Strange, and is set within a
stage format borrowed from Samuel Beckett’s “Krapp’s Last Tape.” The Last Tape utilizes a range of different media to create a single musical composition, layering
multiple narratives to reflect music’s capacity to convey the complexities of the human
condition. Originally presented at Chisenhale Gallery, London, in 2011, this performance
has been developed for its presentation at the Brownstone Foundation with new
Haroon Mirza / Solo Exhibition / Le Grand Café Contemporary Art Center
(Saint-Nazaire, France). www.grandcafe-saintnazaire.fr
February 1st until May 4th 2014 / Opening on January 31st