Haroon Mirza
Regaining a Degree of Control, 2010
Upon walking into the Nottingham Contemporary Gallery, the initial component of Haroon Mirza's artwork, 'Regaining a Degree of Control', which grabs my attention is the fact that it is heard before it is seen. (1) Stepping through the gallery doors I was both intrigued and seduced by the mysterious sounds; a mixture of clicking, booming and static interference. You feel a sense of uncertainty when you are contemplating where the sound is coming from, it engulfs and circulates the room but there is no initial sense of direction.
What first catches the viewers engrossment is the blinding flash of a strobe light which both offends the eye yet encourages you to learn more. I found myself excited by the assemblage of the sculptural installation; created from furniture, household electronics, video footage and lights, they combine together to generate a complex audio composition. I love how all of these objects are connected like a circuit, each kinetically enhancing one-another. For example, when circling the piece you view a light bulb come in contact with an old radio which erupts a shrieking high-pitched screech. I feel that Mirza is trying to reflect how hearing and listening is just as important as seeing and looking. He attempts to isolate the perceptual distinctions between noise, sound and music and further explores the possibility of the visual and acoustic as one singular aesthetic form. By taking these existing materials and positioning them within a specific context, Mirza alters the functionality of the objects entirely. (2)
I can also see the ideas of controlling and the uncontrollable. I like the fact that Mirza has reassembled 'ready-mades' which have material and functional values to create a dislocated and disjointed environment, yet there is still a clear sense of connection. The materials used in comparison to the format of composition questions the values of structures within in art. The fact that the wires and plug sockets are exposed tells me that this artist is not concerned with perfection. Also, there is a wide gap in the centre of the piece, I think that this negative space is purposefully left so that you can really interact with the work and engage with the different motions and sounds on display. I really love the pause where everything is silent for just a few moments, before the piece restarts again, it gives me sense of meditation and I experience a short period thoughtful reflection upon the raised issues within the work.
It became clear to me later that the narrative and subject matter of this work pivots around the 1970's post-punk band 'Joy Division'. At first I wondered if the sound was simply used to play a part in forming a larger musical composition. However, I discovered by evaluating both the title of the piece and the flashing images of Ian Curtis that the subject matter was based on the lead singer himself. By having a personal interest in the band, I am aware of the issues that concerned Ian Curtis's epilepsy before his death; how he struggled with the burden of the illness and the effects which it had on his performances. I further realised references to this within the artwork by the constant flashing of the strobe light, a metaphor and reflection of the fits from which he used to suffer. The circuit expresses a sense of movement through the digital technology, a cycle of transforming noise into sound and sound into words. There's a sense of connection between the senses, an interest in enhancing the visual and acoustic to create one sensorial mode of perception.
The strobe is precisely positioned behind the shelves so that it shines through a small gap and hits the back of a screen, it illuminates images of Curtis performing his signature dance movements. Within the clip you see him stop with exhaustion, crouch towards his feet, hands limp but then he picks himself up and continues; a battle with his illness and a sign of his strength and determination to carry on. His movements are jerky and unsettling, aided by the flash of the strobe which adds to the sinister tone of the installation. There is a continuous theme of dark colours throughout the structure of the piece which includes; a black table, a black set of empty shelves, a black screen and a black speaker, perhaps in memorial of Ian Curtis's death.
The only part of this piece that I do not fully appreciate or understand is a portable DVD Player that is situated at the rear of the artwork; on which there is a short repeated film of weights being moved onto a keyboard to create an unsettled rhythm, there is a hand moving the weights which I assume is the artist's. Although this fits into the theme of sound and visual, I do not comprehend how it relates to the other pieces of household electronics and equipment within the installation. The DVD player seems to be disjointed from the rest of the objects as visually I feel that it is too modern. Therefore, I feel that the film itself seems unrelated and disconnected to the issues raised on 'Joy Division' and Ian Curtis within the work. However, I wonder if this is the artist's way of placing a part of himself within the artwork, Mirza admits that his failures as a musician subconsciously has had a large influence on the work which he creates, I feel that this notably shows that he is connected to the art and I find that this increases my appreciation of this piece. (3)
References:
(1) - Nottingham Contemporary: British Art Show 7: In the Days of the Comet: Visitation, Leaflet and Guide
Attended a 'walk-through' :http://www.nottinghamcontemporary.org/event/wednesday-walk-throughs
(2) - http://www.lissongallery.com/#/artists/haroon-mirza/works/
(3) - http://www.artreview.com/profiles/blog/show?id=1474022%3ABlogPost%3A996868
