7 October 2011 - 8 January 2012
Using an eclectic range of objects and elements including used furniture, outdated electric appliances, electronic materials, light and the appropriated work of other artists, Haroon Mirza creates complex audio installations which investigate the moment where noise becomes music.
For his installation, Mirza brings together a number of instruments traditionally associated with bands including a keyboard, drum kit and synthesisers fused with turntables, LED lighting, lamps and radios in order to create a minimal audio composition.
In Mirza’s assemblages each element plays a specific part; objects affect each other and are reconfigured in different ways. Similarly to a band there is no singular focus, rather the work is a constantly moving combination of elements which merge through discordant and harmonious beats and rhythms. Through an investigation of both sculptural assemblage and musical composition Mirza reveals the formation of music in the course of an autonomous live experience.
Part of his installation for Camden Arts Centre re-uses an idea originated in a work by Angus Fairhurst, Underdone / Overdone Paintings (1998) where he allowed the audience to play the drums while looking at his paintings. Mirza is exhibiting a number of these paintings as well as a drum kit in order to honour Fairhurst’s original intention for the work. Visitors will be able to make their own rhythmic contribution of noise, sound or music to Mirza’s controlled acoustic environment.
Mirza views his use of other artists work in the same way as he views the found objects and musical equipment in an installation; each containing their own social and political history so when combined together new contexts are formed. He is interested in taking art to the peripheries of music and his work is informed by the history of both art and music – specifically the avant-garde musicians Edgar Varèse and Karlheinz Stockhausen, who pushed music into the language of visual art.
This exhibition is organised in collaboration with Spike Island, Bristol and is supported by the Henry Moore Foundation, Stanley Thomas Johnson Foundation and Outset Contemporary Art Fund.