On 3 April at 3pm CEST Fabrica presents an online lecture by Haaron Mirza, a contemporary artist known for his complex installations in which the sound and the visual elements are closely connected to create a new type of perception.
In this lecture he will talk about his practice of combining furniture – new or vintage – electronics, video and music to generate sound sculptures in an unified art form.
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, or the Dyson Sphere (2022) – an earthbound version of a hypothetical, off-world megastructure in which a sun-like central tungsten light powers a carapace of photovoltaic panels.
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).
Haaron Mirza’s lecture is part of Fabrica’s “Archaism” residency program curated by Carlos Casas.
