Haroon Mirza

ZuordnungKünstler_in
Mann
Verbundene Person(en)
URLsWikipedia
Website Künstler_innen
Dokumentation


Auszeichnungen
Preis2015Calder PrizeCalder FoundationNew YorkThe Calder Foundation, a nonprofit organization founded in 1987 by Alexander S. C. Rower and the Calder family, is dedicated to collecting, exhibiting, preserving, and interpreting the art and archives of Alexander Calder.
Preis2010 - 2013Zurich Art Prize, DAIWA Foundation Art Prize, Silver Lion, 54th Venice Biennale, The Northern Art Prize


Ausstellungen
Einzelausstellung2014Haroon MirzaMuseum Haus KonstruktivZürich
Einzelausstellung2014Harron MirzaVilla SavoyePoissy
Einzelausstellung2012Harron MirzaUniversity of Michigan Museum of ArtAnn Abor


Bibliograpie
Monographisch2014Irish Museum of Modern Artare jee be?13: 978-1909792050Dublin Irish Museum of Modern Art
Monographisch2017Published by Zabludowicz CollectionHaroon Mirza /HRM199: For a Partnership SocietyElizabeth NeilsonLondon 


2020
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Wohnorte

London, Vereinigtes Königreich
Mirza lebt und arbeitet in London.

2020
2011
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Projekte

Glasgow, Vereinigtes Königreich
Mirza has collaborated with actor, musician, writer and curator Richard Strange on two major works: "A Sleek Dry Yell" and "The Last Tape", with unrecorded lyrics by Ian Curtis of Joy Division performed by Strange in the style of Samuel Beckett's Krapp's Last Tape.

2011
2011
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Ausstellungen

London, Vereinigtes Königreich
Lisson Gallery hosted Mirza's solo show in early 2011. In the same year his work was also displayed at the 54th Venice Biennial, as well as in the British Art Show 7.

2011
2006 - 2007
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Ausbildung

London, Vereinigtes Königreich
MA Fine Art, Chelsea College of Art & Design

2006 - 2007
2002 - 2006
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Ausbildung

London, Vereinigtes Königreich
MA Design Critical Practice and Theory, Goldsmiths College

2002 - 2006
1977
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Geboren

London, Vereinigtes Königreich

1977

Haroon Mirza has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. He devises 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).Melbourne (2019) gezeigt.

https://www.lissongallery.com/artists/haroon-mirza (26. 03. 2020)

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A Chamber for Horwitz photo A Chamber for Horwitz 2015 Haroon Mirza 
āāā - Fear of the Unknown remix photo āāā - Fear of the Unknown remix 2016 Haroon Mirza