Lisson Gallery

Current exhibitions

Richard Deacon: Deep State
Richard Deacon: Deep State
London, 20 November 2019 – 29 February 2020
Tony Cragg: Stacks
Tony Cragg
London, 20 November 2019 – 29 February 2020
Christopher Le Brun: Diptychs
Christopher Le Brun: Diptychs
Shanghai, 6 November 2019 – 29 February 2020
Anish Kapoor
Anish Kapoor
New York, 31 October – 20 December 2019
Anish Kapoor opens new exhibition this November across two major sites in Beijing: Central Academy of Fine Arts & the Imperial Ancestral Temple
Anish Kapoor
Beijing, 10 November – 28 December

News

Spotlight

Haroon Mirza Tones in the Key of Electricity

Haroon Mirza has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. An advocate of interference (in the sense of electro-acoustic or radio disruption), he devises sculpture, performances and immersive situations that purposefully cross wires. Mirza's solo exhibition ‘Tones in the Key of Electricity’, currently on view at the Sifang Art Museum in Nanjing, is the artist’s first solo museum exhibition in China. Using electronic sound and light installations as a means of challenging and widening perception, the exhibition explores notions of the copy, artistic identity, constructs of value, and how the meanings of these vary across Eastern and Western cultures.

Particular reference is made to the Chinese concept of 复制品, or fuzhipin, the first main theme of the exhibition. The phrase describes an exact copy of an original that retains an equivalent value, defying any hierarchy that may be perceived through more Western ways of thinking. The show’s second focus is an exploration of ‘tone’. Aside from simply conveying emotion in speech, tone can often produce entirely alternate meanings to words or phrases in Asian, Pacific and African dialects.

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Haroon Mirza has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. An advocate of interference (in the sense of electro-acoustic or radio disruption), he devises sculpture, performances and immersive situations that purposefully cross wires. Mirza's solo exhibition ‘Tones in the Key of Electricity’, currently on view at the Sifang Art Museum in Nanjing, is the artist’s first solo museum exhibition in China. Using electronic sound and light installations as a means of challenging and widening perception, the exhibition explores notions of the copy, artistic identity, constructs of value, and how the meanings of these vary across Eastern and Western cultures.<div>Particular reference is made to the Chinese concept of 复制品, or <i>fuzhipin</i>, the first main theme of the exhibition. The phrase describes an exact copy of an original that retains an equivalent value, defying any hierarchy that may be perceived through more Western ways of thinking. Several site-specific works, such as <i>Copy of Pavilion for Optimisation </i>(2019), occupy Sifang as second versions of a previous work produced by Mirza, rebuilt with reference to the originals but using materials and equipment sourced locally in China. Also on view is <i>Rules of Appropriation (Rules of Appropriation 6)</i> (2019).&nbsp;In this new iteration of the work, miniature recreations&nbsp;of iconic works by other artists are suspended above solar panels. Through these reimagined works, Mirza highlights the realities of outsourcing production to China (which, according to the UN, is the origin of almost 65% of all counterfeit goods seized globally) and brings to attention the double-standards of the fashion industry.</div><div><br>In response to recent exchanges between Mirza and fashion labels over claims of appropriation, a series of special ‘un‐collaborative collaborations’ are available at the museum for purchase. These include a limited edition <i>fuzhipin</i> collaborative collection between Haroon Mirza and Louis Vuitton, produced by the artist along with visitors to the exhibition.</div><div><br>The show’s second focus is an exploration of ‘tone’. Aside from simply conveying emotion in speech, tone can often produce entirely alternate meanings to words or phrases in Asian, Pacific and African dialects. Thinking through ways of hearing as a means for widening cultural scope and offering altered modes of perception for the audience, Mirza utilises the framework of tonality, the experience of the artworks, and soundscape of the building, in works such as Copy of 9/11‐11/9 (2019). The work’s installation – comprised of four video screens and 8 sound channels which are this time spread throughout Sifang – uses the building’s architecture to allow for different experiences of the sounds it produces, depending on visitors’ positions.&nbsp;</div><div><br>Also in reference to the architecture of the Museum, Mirza has created a new series of site-specific ‘light works’. These works, which Mirza considers as ‘wall drawings’, explore his interest in compositions using electricity and light. A type of ‘anti‐form’, these silent works use geometric lines of coloured LED strips and cables to highlight their spatial environment and the surrounding architecture.</div><div><br>‘Tones in the Key of Electricity’ is on view at Sifang Art Museum until 8 December. Find out more about Haroon Mirza <a href="https://www.lissongallery.com/artists/haroon-mirza" target="_blank">here</a>.<br><br></div>
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