Sunah Choi / Haroon Mirza
08 Sep - 20 Nov 2011
SUNAH CHOI / HAROON MIRZA
Is This Where It Ends?
with a performance by Richard `Kid` Strange
8 September - 20 November, 2011
We are almost always surrounded by noise, by sounds, by music. Hearing is the sense that is most difficult not to use.
The artists Sunah Choi (*1968, Busan, Korea) and Haroon Mirza (*1977, London) are concerned with the translation mechanisms of noise, and in IS THIS WHERE IT ENDS? Choi and Mirza sound out the exhibition space phonetically as well as kinetically.
In Haroon Mirza’s “A Sleek Dry Yell” (2008-11) simple objects mutate into veritable sound machines and never seem to miss their cues in the artist’s theatre of sound. Mirza’s work explores the ways in which sound and the visual blend into a single aesthetic form. The Berlin-based artist Sunah Choi, on the other hand, uses the specific soundscape of the Kunstverein located in the Harburger Bahnhof and translates it into a kinetic installation. The continual movements of sound found just outside the Kunstverein are transported into the exhibition space and then translated into the visible phenomenon of circulation, where the sound machine rotates around itself in an eternal loop of silence.
Is This Where It Ends?
with a performance by Richard `Kid` Strange
8 September - 20 November, 2011
We are almost always surrounded by noise, by sounds, by music. Hearing is the sense that is most difficult not to use.
The artists Sunah Choi (*1968, Busan, Korea) and Haroon Mirza (*1977, London) are concerned with the translation mechanisms of noise, and in IS THIS WHERE IT ENDS? Choi and Mirza sound out the exhibition space phonetically as well as kinetically.
In Haroon Mirza’s “A Sleek Dry Yell” (2008-11) simple objects mutate into veritable sound machines and never seem to miss their cues in the artist’s theatre of sound. Mirza’s work explores the ways in which sound and the visual blend into a single aesthetic form. The Berlin-based artist Sunah Choi, on the other hand, uses the specific soundscape of the Kunstverein located in the Harburger Bahnhof and translates it into a kinetic installation. The continual movements of sound found just outside the Kunstverein are transported into the exhibition space and then translated into the visible phenomenon of circulation, where the sound machine rotates around itself in an eternal loop of silence.