Haroon Mirza
| Zuordnung | Künstler_in Mann |
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| Verbundene Person(en) | |
| URLs | Wikipedia Website Künstler_innen Dokumentation |
| Auszeichnungen | |||||
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| Preis | 2015 | Calder Prize | Calder Foundation | New York | The 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. |
| Preis | 2010 - 2013 | Zurich Art Prize, DAIWA Foundation Art Prize, Silver Lion, 54th Venice Biennale, The Northern Art Prize |
| Ausstellungen | |||||
|---|---|---|---|---|---|
| Einzelausstellung | 2014 | Haroon Mirza | Museum Haus Konstruktiv | Zürich | |
| Einzelausstellung | 2014 | Harron Mirza | Villa Savoye | Poissy | |
| Einzelausstellung | 2012 | Harron Mirza | University of Michigan Museum of Art | Ann Abor |
| Bibliograpie | ||||||||||||
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| Monographisch | 2014 | Irish Museum of Modern Art | are jee be? | 13: 978-1909792050 | Dublin | Irish Museum of Modern Art | ||||||
| Monographisch | 2017 | Published by Zabludowicz Collection | Haroon Mirza /HRM199: For a Partnership Society | Elizabeth Neilson | London |
Wohnorte
London, Vereinigtes Königreich
Mirza lebt und arbeitet in London.
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.
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.
Ausbildung
London, Vereinigtes Königreich
MA Fine Art, Chelsea College of Art & Design
Ausbildung
London, Vereinigtes Königreich
MA Design Critical Practice and Theory, Goldsmiths College
Geboren
London, Vereinigtes Königreich
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 | 2015 | Haroon Mirza | |
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āāā - Fear of the Unknown remix | 2016 | Haroon Mirza | |