Haroon Mirza, the British-Pakistani contemporary visual artist born in South London, whose ground-breaking sculptural installations don't just occupy space, they breathe with intricate audio compositions. A true innovator in his field, Mirza's electrifying vision earned him the prestigious Silver Lion for Most Promising Artist at the Venice Biennale in 2011, solidifying his place as a compelling voice in modern art. His installations, sculptures, music, and performances often incorporate diverse elements like video, found objects, and solar energy, predominantly focusing on the manipulation and composition of electrical signals.
With Asian Voice, he talks about how his art becomes a tool for depolarisation by combining both its spiritual and political characteristics.
Embracing the unpredictable: Control, chaos, and the role of failure
Ultimately, Haroon Mirza identifies himself simply as an artist, a broad term encompassing his roles as a composer and explorer. He views time and space as interconnected in his work, where installations create pure perception, allowing the audience to become aware of their own awareness within the experience. Through his unique blend of art, science, and philosophy, Mirza consistently strives to create works that resonate deeply and contribute to a more depolarised world.
Mirza readily embraces the inherent unpredictability of electricity, considering it the most intriguing aspect of his work. He views electricity as a natural phenomenon. He states, “It's the same as looking at the ocean. You see waves and flow of the water going up and down and that's how electricity is and those waves are completely chaotic." His artistic process involves setting up scenarios where these natural phenomena-light, sound, or their combination can unfold organically. To manage the potential issues arising from this unpredictability, Mirza utilises technology, creating a tension between technological intervention and nature.
Failure, for Mirza, is an essential part of the creative process, a necessary step towards the next stage. Philosophically, he likens failure to death, from which rebirth and new forms emerge. Practically, an artwork that fails might transform into a new sculpture, or lead to innovative solutions, such as using gold plating to prevent corrosion in electrical circuits. For Mirza, giving up is not an option; his artistic exploration of the world through materials and processes is fundamental to his being.
Unifying the world: The relevance of art in a fractured society
Mirza expresses a profound hope that his art is relevant to the current societal landscape. For him, art is vital for understanding the complexities of a politically fractured world, where varying, often colliding, ideologies and historical narratives lead to polarisation. His work aims to depolarise, to offer a form of resistance against the increasing fragmentation.
He critically examines the historical trajectory of art criticism, noting how art became intrinsically linked with critique, often leading artists to become political figures or activists. However, Mirza feels this criticism went to an extreme, contributing to the polarisation of communities. He advocates for a shift away from this model, suggesting that while art should still highlight societal issues, it should do so without antagonism or extreme polarisation. His ambition for his work is to foster depolarisation and serve as an insight into diplomacy.
Mirza sees spirituality as an antidote to political turmoil. He believes that a spiritual experience itself may be disconnected from politics, but the choices made and shared based on that experience are profoundly political. He states that his art is both spiritual and political, as no artwork can be divorced from the political context in which it is created. He emphasises that individuals, be they imams, artists, or shamans, have a choice to either ignore or address the dysfunctionality of the world, and he chooses to address it. He also adds that “a spiritual experience has nothing to do with politics. But
then what you do with that experience in the world is completely political. Mirza's work with specific frequencies in his sound-based installations, like those utilising Tibetan singing bowls, goes beyond superficial engagement. He researches and works with frequencies known to have neurological and physiological effects. This methodical approach underscores his dedication to exploring the profound impact of his chosen mediums.
Art as techno-shamanism: Bridging the Spiritual and Political
Mirza's recent work incorporates living systems, reflecting a turn towards ecological thinking and what he terms ‘techno-shamanism, which is a concept combining ancient shamanism and technology. He became familiar with this term through Chinese art theorist and writer Q (Qi), who discussed it in relation to the work of Nam June Paik, an artist with whom Mirza feels a strong affinity to. He believes artists are inherently shamans, engaging with something beyond human thought and language and then communicating that dialogue to their communities for their benefit. When asked if his art is a ritual offering, Mirza agrees, but clarifies that his rituals are not repeated in the traditional sense; instead, he creates ‘new rituals’ that build an archive of potential future rituals.
