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failed transcendence | group show

viewing_room
  • failed transcendence

    all photos: Dirk Tacke | unless otherwise stated
  • The group exhibition failed transcendence features works by Niko Abramidis &NE, Helga Dóróthea Fannon, Nicolás Lamas, Haroon Mirza, and Jeremy...

    The group exhibition failed transcendence features works by Niko Abramidis &NE, Helga Dóróthea Fannon, Nicolás Lamas, Haroon Mirza, and Jeremy Shaw, engaging in a multi media exploration of traditional concepts of truth, reality, and the attainment of higher states of consciousness.

     

    This viewing room foregrounds the five individual artistic positions and offers an insight into the artists' practices beyond the works in the exhibition. Please click on the works for further information, texts and photos.

  • The title is drawn from a concept by the contemporary British writer Tom McCarthy, who in the manifesto of the...

    The title is drawn from a concept by the contemporary British writer Tom McCarthy, who in the manifesto of the same name and his novels examines the potential of (failed) transcendence in connection with temporal, historical, economic and technological aspects of human life. According to McCarthy, human beings, in their quest for transcendence, perfection, and meaningful self-realization, are destined to fail and instead find themselves trapped in endless series of repetitive actions. McCarthy suggests that art emerges from this endeavor to grasp the incomplete nature of humanity and achieve transcendence. In the exhibition, failed transcendence is explored on various levels, including Shaw‘s exploration of altered states of consciousness, Lamas‘ examination of the relationship between nature and artificiality, Mirza‘s and Fannon‘s fusion of technology and spirituality, and Abramidis &NE‘s imaginations of physical and virtual worlds.

  • Nicolás Lamas

  • Nicolás Lamas
    Artists

    Nicolás Lamas

    "In the end everything changes and moves, everything is in transition to another state or level. In that sense, conditions such as the living and the inert, the unique and the massive, the organic and the synthetic, the material and the virtual, the transcendent and the banal, the human and the non-human, are categories that are constantly mutating and relativizing."

  • Nicolás Lamas (*1980 in Lima, PE) works at the intersection of art, science, technology and everyday culture, combining diverse materials,...

    Nicolás Lamas (*1980 in Lima, PE) works at the intersection of art, science, technology and everyday culture, combining diverse materials, life forms, technological artefacts and linguistic references. His sculptural assemblages deconstruct established views that determine the way we perceive, interpret and interact with the environment. By fusing and recontextualising everyday fragments with historical artefacts, Lamas creates sculptures that blur temporal boundaries, appropriating archaeological aesthetics while drawing on digital technologies. 

     

    Nicolás Lama's works were most recently on view at the Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Museum Moderner Kunst Stiftung Ludwig (MUMOK) in Vienna, MAAT Museum of Art, Architecture and Technology in Lisbon, HOW ART Museum in Shanghai. 

     

    His works are shown in cooperation with Meessen De Clercq, Brussels. 

     

    Installation view Times in collapse, Centre de Création Contemporaine Olivier Debré, Tours (2021) | Photo: Josépha Blanchet

  • Posthuman ecologies (2023) is an installation composed of used everyday items and organic objects, such as bones, wasp nests and corals, which Nicolás Lamas relates to each other in a vitrified industrial refrigerator as a cabinet. This creates hybrid fossils fused from human objects and animals, with plastic as a synthetic material, resembling a new kind of bone, defying time and weather and inscribing itself in the geological history of the planet. Thus the used motorcycle helmet acts as a protective shell for the wasp nest, sneakers in various stages of decay combined with coral, uniting oceanic organisms with human consumer production. At first the various materialities appear to be at odds with one another, but upon closer examination they reveal similarities in form and context. In his works, the artist analyzes and deconstructs the relationship between human and non-human objects and the associated power structures that determine how we perceive, interpret, and interact with our environment. In his works, there is a constant dialogue between opposing forces that produce a hybrid body of work that cannot be defined or oriented in a single direction.

  • Here, the refrigerator represents a system of organization, a realm of regulation in which different elements and disordered processes can...

    Here, the refrigerator represents a system of organization, a realm of regulation in which different elements and disordered processes can coexist. The individual sculptures are heterogeneous assemblages that can engage in open dialogues about transience, hybridity, and a holistic worldview in this shared space. Thus, the torso of a mannequin and the exoskeleton of a puffer fish combine to raise questions about hierarchy and mortality and the separation of culture and nature. For the artist, the individual elements possess a power of their own, rendering a distinction between man-made and organically grown obsolete. "Through these encounters, I try to put the function and value of things into perspective and open up other ways to redefine their existence."

  • Installation view Times in collapse, Centre de Création Contemporaine Olivier Debré, Tours (2021) | Photo: Josépha Blanchet (View more details about this item in a popup).
    Installation view Loss of symmetry, Loods12, Wetteren (2016) | Photo: Alexandra Colmenares (View more details about this item in a popup).
    Installation view Assemblage and circulation, De Vereniging, Ghent (2021) | Photo: Josepha Blanchet (View more details about this item in a popup).
    Installation view Assemblage and circulation, De Vereniging, Ghent (2021) | Photo: Josepha Blanchet (View more details about this item in a popup).
    Installation view Times in collapse, Centre de Création Contemporaine Olivier Debré, Tours (2021) | Photo: Josépha Blanchet (View more details about this item in a popup).
    Installation view Every object is a temporal space, Espai 13 - Fundació Joan Miró, Barcelona (2017) | Photo: Pere Pratdesaba (View more details about this item in a popup).
    Installation view Precarious networks, Centre del Carme Cultura Contemporània Valencia (2019) | Photo: © Iván Navarro © Juan Peiró © Nicolás Lamas (View more details about this item in a popup).
    Installation view The form of decay, P/////AKT, Amsterdam (2017) | Photo: Charlott Markus (View more details about this item in a popup).
    Installation view Mixed up with others before we even begin, Mumok, Vienna (2023) | Photo: Oliver Ottenschläger (View more details about this item in a popup).
    Installation view Ocaso, Galería Lucía de la Puente, Lima (2017) | Photo: Juan Pablo Murrugarra (View more details about this item in a popup).
    Installation view Permafrost. Forms of Disaster, MO.CO. Panacée, Montpellier (2020) | Photo: Marc Domage (View more details about this item in a popup).

    Installation view Times in collapse, Centre de Création Contemporaine Olivier Debré, Tours (2021) | Photo: Josépha Blanchet

  • Rotational friction 1 (2022) and Rotational friction 2 (2023) are sculptures made of mechanical car parts connected to collected vessels,...

    Rotational friction 1 (2022) and Rotational friction 2 (2023) are sculptures made of mechanical car parts connected to collected vessels, in which Nicolás Lamas addresses ideas about rotation, friction and fragility. Likewise, they reflect the artist's interest in archaeology and the interpenetration of temporal aspects. The works act as hybrid artifacts that unite different timelines and important milestones of human progress. "Technology evolves and looks to the future, while archaeology is a discipline that, by definition, constantly collects data from the past through the material traces left by our ancestors. Sometimes, however, we forget that both the past and the future are constantly evolving." The artist seeks to break down rigid concepts in his works, bringing together art, science, technology and everyday culture by drawing from a trove of collected objects. In this way, the collaged sculptures form a new perspective on their original contexts and offer the possibility of always drawing new conclusions from the past, which forms the basis for imagining possible futures.

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    Nicolás Lamas, The shape of time, 2022 (View more details about this item in a popup).
    Nicolás Lamas, Rotational friction 2, 2023 (View more details about this item in a popup).
    Nicolás Lamas, Rotational friction 1, 2022 (View more details about this item in a popup).
    Nicolás Lamas  Posthuman ecologies, 2023  Refrigerator and diverse objects  193 x 112 x 60 cm 76 x 44 1/8 x 23 5/8 in (View more details about this item in a popup).
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    Nicolás Lamas, The shape of time, 2022

  • Jeremy Shaw

  • Jeremy Shaw
    Artists

    Jeremy Shaw

    "I’m perpetually researching altered states and new developments around them, in neuroscience, the reemergence of psychedelics in therapy, in culture, as well as in history, cinema, literature, etc. The human aspiration toward these states and the attempts to map them remain a primary motivation but it seems to get buried deeper and deeper within the work as I carry on, perhaps similar to how it’s playing out in my life, as well."



    Photo: Alex de Brabant

  • Jeremy Shaw (*1977 in North Vancouver, CA) focuses on altered states of mind in his multimedia works by creating speculative...

    Jeremy Shaw (*1977 in North Vancouver, CA) focuses on altered states of mind in his multimedia works by creating speculative worlds that reflect transcendental experiences. He is interested in human desire to approach things not only through a purely cognitive and quantifying way, but to encounter the world in a more holistic way – beyond the limit of what can be experienced through rationality. Shaw addresses these ideas through the study of ecstatic bodily practices, combining scientific knowledge and references to cultural practices. Using strategies from conceptual art, documentary film, music video and scientific research, the artist‘s work deals with a range of topics from the consumption of psychedelic drugs and time travel to scientific imaging procedures.

     

    Shaw has most recently had solo exhibitions at the Musée d’art contemporain de Montréal, the Centre Pompidou in Paris, and the Julia Stoschek Collection in Düsseldorf. He was also represented at the 57th Venice Biennale (2015) and Manifesta 11 (2016).

     

    Installation view Quantification Trilogy, Julia Stoschek Foundation, Düsseldorf (2021) | Photo Timo Ohler

  • The photographs in the series Towards Universal Pattern Recognition reflect Jeremy Shaw's exploration of altered states of consciousness and transcendent...

    The photographs in the series Towards Universal Pattern Recognition reflect Jeremy Shaw's exploration of altered states of consciousness and transcendent experiences. He draws on archival photographs depicting individuals in a state of supposed spiritual, hedonistic, or technological ecstasy. The photographs are framed under faceted prisms of plexiglas, designed by Shaw to kaleidoscopically refract certain elements in the image and create multiplicities. This fragmentary visual experience is an approximation of altered states of consciousness while also heightening awareness of the camera's perspective. The focus is thus not only on the subject of the image, but also on us as viewers, as well as on the initial situation in which the photograph was taken. Through the visual shifts, we enter an altered state of observation that no longer permits a sober view. Shaw therefore also addresses notions of witnessing, authenticity, and the representability of ecstatic experiences. The individual titles of the works are derived from notes or archival classifications on the back of the photographs.

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    Jeremy Shaw, Towards Universal Pattern Recognition (Dave Bitner, Admin. Dir, Poses w/MRI. 27 JAN 88), 2022 (View more details about this item in a popup).
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    Jeremy Shaw, Towards Universal Pattern Recognition (Paris. 6 Dec 1965), 2022 (View more details about this item in a popup).
    Jeremy Shaw, Towards Universal Pattern Recognition (Revolutionary Christian 12- 29-69), 2022 (View more details about this item in a popup).
    Jeremy Shaw, Cathartic Illustration (Virtuality, L/2), 2021 (View more details about this item in a popup).
    Jeremy Shaw, Towards Universal Pattern Recognition (INNER SPACE — Zenith Radio Corporation’s anechoic chamber near Chicago. 9-11-77), 2023 (View more details about this item in a popup).
    Jeremy Shaw, Cathartic Illustration (Beneficial Effect, L/1), 2022 (View more details about this item in a popup).

    Jeremy Shaw, Towards Universal Pattern Recognition (Dave Bitner, Admin. Dir, Poses w/MRI. 27 JAN 88), 2022

  • Cathartic Illustration is a series of screen prints by Jeremy Shaw in which he draws from documentary images from newspaper...

    Cathartic Illustration is a series of screen prints by Jeremy Shaw in which he draws from documentary images from newspaper archives in which the subjects depicted are in excessive or altered states of mind. Shaw re-photographs the archival images in analog with an effect lens, distorting the subjects' poses and proportions. Shaw chooses a coherent aesthetic for his manipulation of historical photographs, so that through paper choice and framing, the contemporary alienation is not immediately apparent. He subtly inserts another level of viewing, emphasizing the ecstatic moment of the subjects depicted through distortion and focusing on the fleeting nature of these states of consciousness. The titles of the artworks (Virtuality, L/2) in parentheses are taken from text fragments that can be found on the back of the original archival photographs, but do not provide any information about the context of creation or chronology. The focus is on the ecstatic bodily practices that span broad time horizons of human cultural history and that Shaw highlights. The artist describes his works as parafictional or post-documentary, blurring realities with social imaginaries through his defamiliarizations.

  • "I think contemporary art is inherently political. In co-opting the aesthetics of documentary cinema — something that’s recognised for its veracity, its apparent truth or transparency as a medium — I am creating works that manipulate our relationship to history and media and, oftentimes with that, the politics of yesterday, today and tomorrow."

    – Jeremy Shaw

     

     

    Video: Phase Shifting Index, Frankfurter Kunstverein (2020)

  • Installation view Phase Shifting Index, Frankfurter Kunstverein (2020) | Photo: Norbert Miguletz, ©Frankfurter Kunstverein, Courtesy: der Künstler und KÖNIG GALERIE (View more details about this item in a popup).
    Installation view Phase Shifting Index, Centre Pompidou, Paris (2020) | Photo: Timo Ohler, Courtesy of the artist and Macaulay and Co. Fine Arts © Jeremy Shaw (View more details about this item in a popup).
    Installation view Phase Shifting Index, Frankfurter Kunstverein (2020) | Photo: Norbert Miguletz, ©Frankfurter Kunstverein, Courtesy: der Künstler und KÖNIG GALERIE (View more details about this item in a popup).
    Installation view Phase Shifting Index, Centre Pompidou, Paris (2020) | Photo: Timo Ohler, Courtesy of the artist and Macaulay and Co. Fine Arts © Jeremy Shaw (View more details about this item in a popup).
    Installation view Quantification Trilogy, Julia Stoschek Foundation, Düsseldorf (2021) | Photo: Timo Ohler (View more details about this item in a popup).
    Installation view Phase Shifting Index, Frankfurter Kunstverein (2020) | Photo: Norbert Miguletz, ©Frankfurter Kunstverein, Courtesy: der Künstler und KÖNIG GALERIE (View more details about this item in a popup).
    Installation view Quantification Trilogy, Julia Stoschek Foundation, Düsseldorf (2021) | Photo: Timo Ohler (View more details about this item in a popup).
    Installation view Phase Shifting Index, Centre Pompidou, Paris (2020) | Photo: Timo Ohler, Courtesy of the artist and Macaulay and Co. Fine Arts © Jeremy Shaw (View more details about this item in a popup).
    Installation view Quantification Trilogy, Julia Stoschek Foundation, Düsseldorf (2021) | Photo: Timo Ohler (View more details about this item in a popup).

    Installation view Phase Shifting Index, Frankfurter Kunstverein (2020) | Photo: Norbert Miguletz, ©Frankfurter Kunstverein, Courtesy: der Künstler und KÖNIG GALERIE

  • Niko Abramidis &NE

  • Niko Abramidis &NE
    Artists

    Niko Abramidis &NE

    "In entrepreneurial aesthetics, I move through the hybris of modernity and postmodernity. Cryptographically searching, speculating, material and immaterial. Designing corporate identities along mythological paths."

     

     

    Photo: Katharina Poblotzki for Interview with Collectors Agenda

  • Niko Abramidis &NE (*1987 in Europe) opens up a diverse spectrum dealing with economic structures and visions of the future....

    Niko Abramidis &NE (*1987 in Europe) opens up a diverse spectrum dealing with economic structures and visions of the future. Within his drawings, paintings, sculptures and room installations, Niko Abramidis &NEs develops parallel universes in which he creates fictitious corporate identities and appropriates forms of expression from financial economics. This also includes the play with words through signs, symbols and ciphers, via which he transfers his artistic ideas of myth and literary fiction. The artist develops a semiotics of archaic symbols paired with sketchy drawings, which he puts together using the latest technologies.

     

    Abramidis &NE's works have been exhibited at the Salzburger Kunstverein, the Kunstmuseum Bern, and the KAI 10 | Arthena Foundation in Düsseldorf, among others. In 2019 he received an artist-in-residency fellowship on Fogo Island, Canada.

     

     

    Installation view CORECON, Kunstmuseum Bern (2019) | Photo: NA&NE

  • GEN PNL (DYOR U 3) (2023) is a digital collage on aludibond in which Niko Abramidis &NE combines pigment print...

    GEN PNL (DYOR U 3) (2023) is a digital collage on aludibond in which Niko Abramidis &NE combines pigment print and spray paint to explore different time horizons. In the series of works, the artist uses image-generating artificial intelligence to create unreal temple architectures inspired by Greek mythology and the Odyssey by the ancient poet Homer. Abramidis &NE combines these motifs with images of stock prices, microchips, and film stills from science fiction movies, and sets them in spherical color worlds that he works on with spray paint and brushes. "For me, these images are also testimonies from the future, when our civilization, like that of the Egyptians, the ancient Greeks, the Mayans and the Incas, will eventually have perished. You can't look into the future without looking at the past. In a way, my way of working is a future archeology." In Abramidis &NE's works, different times collide that are not (yet) clearly decipherable - thus the artist distorts comprehensible time horizons and thus refers to our present, which has become impenetrable due to its complexity.

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    Niko Abramidis &NE, GEN PNL (DYOR U 3), 2023 (View more details about this item in a popup).
    Niko Abramidis &NE  GEN PNL (DYOR U 1), 2023  Pigment print and spray paint on dibond and wood  130 x 100 cm 51 1/8 x 39 3/8 inches (View more details about this item in a popup).
    Niko Abramidis &NE, Plinth DYOR U, 2023 (View more details about this item in a popup).
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    Niko Abramidis &NE, Dystopian Talisman, 2022 (View more details about this item in a popup).

    Niko Abramidis &NE, GEN PNL (DYOR U 3), 2023

  • Plinth DYOR U (2023) is a sculpture made of steel panels whose surfaces have been modified with laser and welding...

    Plinth DYOR U (2023) is a sculpture made of steel panels whose surfaces have been modified with laser and welding torch and from which a plant grows. Like hieroglyphics, the welded symbols evoke associations with architectural elements of bygone times; simultaneously, Plinth DYOR U's materiality is reminiscent of ventilation shafts in modern office buildings. This impression is reinforced by the yellow-green light that penetrates through the slits from the inside, creating a strangely machine-mystical atmosphere. Niko Abramidis &NE lets different times collide here, forming an archaeology of the future that is not yet decipherable for us. The depiction of creatures, architectures and mathematically appearing formulas compose a series of signs that are reminiscent of ancient characters on the one hand and contemporary logos and symbols on the other. Inspired by the contemporary economic world, the Plinth DYOR U seems to depict stories of a past high culture of the future and at the same time looks like an object that could stand as an insignia of power in the entrée of a corporate headquarters.

  • Installation view DYOR U, CAS - Center for Advanced Studies, Munich (2023) | Photo: Dirk Tacke (View more details about this item in a popup).
    Installation view GENHR, Salzburger Kunstverein (2023) | Photo: kunst-dokumentation (View more details about this item in a popup).
    Installation view MYST ECON, Kai-10 Athena Foundation, Düsseldorf (2018) | Photo: NA&NE (View more details about this item in a popup).
    Installation view Vision HQ, Brienner Str. 12, Munich (2021) | Photo: Dirk Tacke (View more details about this item in a popup).
    Installation view MYST ECON, Kai-10 Athena Foundation, Düsseldorf (2018) | Photo: NA&NE (View more details about this item in a popup).
    Installation view DYOR U, CAS - Center for Advanced Studies, Munich (2023) | Photo: Dirk Tacke (View more details about this item in a popup).
    Installation view MYST ECON, Kai-10 Athena Foundation, Düsseldorf (2018) | Photo: NA&NE (View more details about this item in a popup).
    Installation view CORECON, Kunstmuseum Bern (2019) | Photo: NA&NE (View more details about this item in a popup).
    Installation view MYST ECON, Kai-10 Athena Foundation, Düsseldorf (2018) | Photo: NA&NE (View more details about this item in a popup).
    Installation view New World Node, max goelitz (2022) | Photo: Dirk Tacke (View more details about this item in a popup).

    Installation view DYOR U, CAS - Center for Advanced Studies, Munich (2023) | Photo: Dirk Tacke

  • Helga Dóróthea Fannon & Haroon Mirza

  • Helga Dóróthea Fannon (*1984 in Gothenburg, SE) is an Icelandic-British moving image artist whose films combine delicate narratives with fictional...

    Helga Dóróthea Fannon (*1984 in Gothenburg, SE) is an Icelandic-British moving image artist whose films combine delicate narratives with fictional content. In her work, the artist uses fiction, sound and writing as narrative devices, drawing on phenomenology, mythology and nature to weave together dreams, confessions, the historical, the lost and the found. Drawing on a growing collection of speech, performance and textual material, Fannon‘s film practice explores issues of performativity, investigating memory as a creative act of personal reinvention through playful enactments combined with visual illusions.

     

    The artist graduated from Wimbledon College of Art (Print and Time-based Media) in 2015 and completed her Masters (Moving Image) at the Royal College of Art in London in 2021.

     

    Photo: Rebecca Douglas

  • Haroon Mirza
    Artists

    Haroon Mirza

    British-Pakistani artist Haroon Mirza (*1977 in London, UK) views himself as a composer and utilizes sound, video, electronic circuits and psychoactive plants to develop a complex body of work in which he examines the function of the components used while changing the significance of their cultural and social code. Mirza challenges the categorization of artistic expression with his strong collaborative approach and draws on diverse scientific, historical, art historical, pop cultural as well as spiritual influences. In his multi-sensory installations, he forces the viewer to evaluate the relationship between the elements and the surrounding space and formally refers to fundamental strategies of minimal art and allows for contemporary technologies to merge with environmental issues.
     

    Solo exhibitions of the artist's work have been shown at the New Museum, New York, the Museum Tinguely, Basel, and the Australian Centre for Contemporary Art, Melbourne, among others.

     

    Photo: David Bebber

  • The video and sound installation The Ancients call it Ataraxia by Haroon Mirza and Helga Dóróthea Fannon is a continuation...

    The video and sound installation The Ancients call it Ataraxia by Haroon Mirza and Helga Dóróthea Fannon is a continuation of Mirza's series of works Modular Operas and forms a meditative composition of two video works, three large-scale solar panels with two halogen spotlights and a pair of bongo drums. The videos, some of which appear to be documentary, accompany various characters, including a group of children, as well as Mirza and Fannon themselves during ritual acts, centred around a tea ceremony with Amanita muscaria mushrooms. The artists draw on the rich mythology and folklore surrounding the poisonous fly amanita, which is used in shamanistic practices as a remedy or portal to other universes. The video work shows, among other things, their (apparent) harvesting and preparation, with the camera capturing dreamlike sequences of natural representations and engineered objects, as if guided by vertigo. 

  • ''Ataraxia' is a kind of un-word; it means calming of the mind – rather like meditation – but is something...

    "'Ataraxia' is a kind of un-word; it means calming of the mind – rather like meditation – but is something we don’t experience much anymore, at least not in normal western life. 'The Ancients call it' brings in the history of shamans summoning spirits. The films are based on true life stories, including the murder of a shaman in the Amazonian basin, whose character is combined with another type of shaman in Siberia."

     

    - Haroon Mirza

  • Installation view |||, Lisson Gallery, London (2023) | Photo: Lisson Gallery (View more details about this item in a popup).
    Installation view |||, Lisson Gallery, London (2023) | Photo: Lisson Gallery (View more details about this item in a popup).
    Installation view |||, Lisson Gallery, London (2023) | Photo: Lisson Gallery (View more details about this item in a popup).
    Installation view |||, Lisson Gallery, London (2023) | Photo: Lisson Gallery (View more details about this item in a popup).
    Haroon Mirza and Helga Dórórthea Fannon at Verbier 3-D Foundation (2023) | Photo: Melody Sky (View more details about this item in a popup).
    Haroon Mirza and Helga Dórórthea Fannon at Verbier 3-D Foundation (2023) | Photo: Melody Sky (View more details about this item in a popup).
    Haroon Mirza and Helga Dórórthea Fannon at Verbier 3-D Foundation (2023) | Photo: Melody Sky (View more details about this item in a popup).
    Haroon Mirza and Helga Dórórthea Fannon at Verbier 3-D Foundation (2023) | Photo: Melody Sky (View more details about this item in a popup).

    Installation view |||, Lisson Gallery, London (2023) | Photo: Lisson Gallery

  • Mirza and Fannon are interested in different strategies of perception and thus the installation itself can be understood as a...

    Mirza and Fannon are interested in different strategies of perception and thus the installation itself can be understood as a meditative journey. Viewers can switch between the individual videos, which are connected by the rhythm of drums that are periodically activated by the lighting of spotlights on a triptych of solar panels - though not all of the content can be grasped simultaneously. Mirza's and Fannon's immersive installation combines themes of mystical divination and childlike fantasy with the vocals of soprano Sarah-Jane Lewis, technoid sounds, and the meditative-healing effects of an electroacoustic "gong bath", for which Mirza recreated the sound frequency of 111 Hz using synthesizers and Far Eastern instruments. Mirza and Fannon deliberately use sound to highlight its meditative and healing effects, which have been used for centuries, and to influence the viewer's state of mind through the installation itself.

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    Haroon Mirza & Helga Dóróthea Fannon, The Ancients call it Ataraxia, 2023 (View more details about this item in a popup).
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    Haroon Mirza & Helga Dóróthea Fannon, The Ancients call it Ataraxia, 2023

  • Haroon Mirza

  • Haroon Mirza's Solar Cell Circuit Compositions are composed of solar cells and copper strips to form a geometric mandala with...

    Haroon Mirza's Solar Cell Circuit Compositions are composed of solar cells and copper strips to form a geometric mandala with a miniature painting integrated in the center. Mirza cooperated with the miniaturist Brishna Amin Khan from Lahore in Pakistan, who translates Mirza's descriptions of various scenes into traditional miniature paintings. An LED strip is inserted above the painting, which is linked to the solar cells via the energy circuit of the copper strips, which in turn influence the intensity of the LEDs depending on the ambient light. Mirza works on the glass surface with semi-transparent foils and polyurethane resin, giving a water-like apparence. In this series of works, Mirza combines traditional painting and mandalas as meditation objects with technoid elements, and through the alienation creates a contemporary transformation that links to phenomena embedded in myth and shamanistic rituals and brings together references between technology, nature and consciousness.

  • In lluminated Amanita Harvest (2023) the light of the LEDs seems to illuminate the scenery like a halo, in which...

    In lluminated Amanita Harvest (2023) the light of the LEDs seems to illuminate the scenery like a halo, in which a person picks fly amanita growing on trees. The image is related as a storyboard to the video work The Ancients call it Ataraxia (2023), in which, in preparation for a shamanistic tea ceremony in nature, the mushrooms are gathered for a mind-expanding experience.

  • Haroon Mirza, Ogdoad iV - Terence McKenna, 2023 (View more details about this item in a popup).
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    Haroon Mirza, Illuminated Revelations in a Cave (Solar Cell Circuit Composition 29), 2023 (View more details about this item in a popup).
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    Haroon Mirza, Illuminated Amanita Harvest (Solar Cell Circuit Composition 22), 2023 (View more details about this item in a popup).
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    Haroon Mirza, Ogdoad iV - Terence McKenna, 2023

  • 'It wasn’t until a couple of years ago that I figured out that electricity is actually my main medium. Originally...

    "It wasn’t until a couple of years ago that I figured out that electricity is actually my main medium. Originally I got hooked on the sound of electricity as a teenager. I remember first encountering electronic music—Acid House music—whilst under the influence of LSD. It was then that my infatuation with the sound of electrical signals began. And that slowly evolved into two things: a love of music in general, as well as the sound of the electrical signals, and then that spawned a practice. But what’s always going on underneath all that is a relationship to power, and to energy, and to the relationship between the two."

     

    – Haroon Mirza

     

     

  • Installation view \|\|\|\| \|\|\ (2012), Kunst Halle Sankt Gallen | Photo: Gunner Meier (View more details about this item in a popup).
    Permanent Installation, Standing Stones, Marfa Texas | Photo: Jennifer Boomer (View more details about this item in a popup).
    Installation view Haroon Mirza: ACIDGEST, Perez Art Museum Miami (2018) | Photo: Oriol Tarridas (View more details about this item in a popup).
    Installation view \|\|\|\| \|\|\ (2012), Kunsthalle Sankt Gallen | Photo: Gunner Meier (View more details about this item in a popup).
    Installation view |||, Lisson Gallery, London (2023) | Photo: Lisson Gallery (View more details about this item in a popup).

    Installation view \|\|\|\| \|\|\ (2012), Kunst Halle Sankt Gallen | Photo: Gunner Meier

  • available works (selection)

    for further information click on the images
    • Haroon Mirza & Helga Dóróthea Fannon, The Ancients call it Ataraxia, 2023
      Haroon Mirza & Helga Dóróthea Fannon, The Ancients call it Ataraxia, 2023
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      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3EHaroon%20Mirza%20%26%20Helga%20D%C3%B3r%C3%B3thea%20Fannon%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3EThe%20Ancients%20call%20it%20Ataraxia%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2023%3C/span%3E%3C/span%3E
    • Nicolás Lamas, Posthuman ecologies, 2023
      Nicolás Lamas, Posthuman ecologies, 2023
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      %3Cspan%20class%3D%22artist%22%3E%3Cstrong%3ENicol%26%23225%3Bs%20Lamas%3C/strong%3E%3C/span%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3Cspan%20class%3D%22title%22%3E%3Cem%3EPosthuman%20ecologies%3C/em%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E2023%3C/span%3E
    • Haroon Mirza, Illuminated Amanita Harvest (Solar Cell Circuit Composition 22), 2023
      Haroon Mirza, Illuminated Amanita Harvest (Solar Cell Circuit Composition 22), 2023
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      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3EHaroon%20Mirza%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3EIlluminated%20Amanita%20Harvest%20%28Solar%20Cell%20Circuit%20Composition%2022%29%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2023%3C/span%3E%3C/span%3E
    • Jeremy Shaw, Towards Universal Pattern Recognition (Dave Bitner, Admin. Dir, Poses w/MRI. 27 JAN 88), 2022
      Jeremy Shaw, Towards Universal Pattern Recognition (Dave Bitner, Admin. Dir, Poses w/MRI. 27 JAN 88), 2022
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      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3EJeremy%20Shaw%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3ETowards%20Universal%20Pattern%20Recognition%20%28Dave%20Bitner%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3EAdmin.%20Dir%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3EPoses%20w/MRI.%2027%20JAN%2088%29%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2022%3C/span%3E%3C/span%3E
    • Nicolás Lamas, Rotational friction 1, 2022
      Nicolás Lamas, Rotational friction 1, 2022
      Enquire
      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3ENicol%C3%A1s%20Lamas%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3ERotational%20friction%201%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2022%3C/span%3E%3C/span%3E
    • Niko Abramidis &NE, GEN PNL (DYOR U 1), 2023
      Niko Abramidis &NE, GEN PNL (DYOR U 1), 2023
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      %3Cspan%20class%3D%22artist%22%3E%3Cstrong%3ENiko%20Abramidis%20%26amp%3BNE%3C/strong%3E%3C/span%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3Cspan%20class%3D%22title%22%3E%3Cem%3EGEN%20PNL%20%28DYOR%20U%201%29%3C/em%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E2023%3C/span%3E
    • Haroon Mirza, Illuminated Revelations in a Cave (Solar Cell Circuit Composition 29), 2023
      Haroon Mirza, Illuminated Revelations in a Cave (Solar Cell Circuit Composition 29), 2023
      Enquire
      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3EHaroon%20Mirza%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3EIlluminated%20Revelations%20in%20a%20Cave%20%28Solar%20Cell%20Circuit%20Composition%2029%29%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2023%3C/span%3E%3C/span%3E
    • Nicolás Lamas, The shape of time, 2022
      Nicolás Lamas, The shape of time, 2022
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      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3ENicol%C3%A1s%20Lamas%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3EThe%20shape%20of%20time%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2022%3C/span%3E%3C/span%3E
    • Jeremy Shaw, Towards Universal Pattern Recognition (Revolutionary Christian 12- 29-69), 2022
      Jeremy Shaw, Towards Universal Pattern Recognition (Revolutionary Christian 12- 29-69), 2022
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      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3EJeremy%20Shaw%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3ETowards%20Universal%20Pattern%20Recognition%20%28Revolutionary%20Christian%2012-%2029-69%29%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2022%3C/span%3E%3C/span%3E
    • Niko Abramidis &NE, GEN PNL (DYOR U 3), 2023
      Niko Abramidis &NE, GEN PNL (DYOR U 3), 2023
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      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3ENiko%20Abramidis%20%26NE%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3EGEN%20PNL%20%28DYOR%20U%203%29%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2023%3C/span%3E%3C/span%3E
    • Niko Abramidis &NE, Plinth DYOR U, 2023
      Niko Abramidis &NE, Plinth DYOR U, 2023
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      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3ENiko%20Abramidis%20%26NE%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3EPlinth%20DYOR%20U%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2023%3C/span%3E%3C/span%3E
    • Jeremy Shaw, Cathartic Illustration (Beneficial Effect, L/1), 2022
      Jeremy Shaw, Cathartic Illustration (Beneficial Effect, L/1), 2022
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      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3EJeremy%20Shaw%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3ECathartic%20Illustration%20%28Beneficial%20Effect%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3EL/1%29%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2022%3C/span%3E%3C/span%3E
    • Nicolás Lamas, Rotational friction 2, 2023
      Nicolás Lamas, Rotational friction 2, 2023
      Enquire
      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3ENicol%C3%A1s%20Lamas%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3ERotational%20friction%202%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2023%3C/span%3E%3C/span%3E
    • Jeremy Shaw, Towards Universal Pattern Recognition (Paris. 6 Dec 1965), 2022
      Jeremy Shaw, Towards Universal Pattern Recognition (Paris. 6 Dec 1965), 2022
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      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3EJeremy%20Shaw%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3ETowards%20Universal%20Pattern%20Recognition%20%28Paris.%206%20Dec%201965%29%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2022%3C/span%3E%3C/span%3E
    • Haroon Mirza, Ogdoad iV - Terence McKenna, 2023
      Haroon Mirza, Ogdoad iV - Terence McKenna, 2023
      Enquire
      %3Cspan%20class%3D%22title%22%3E%3Cspan%20class%3D%22artist%22%3EHaroon%20Mirza%3Cspan%20class%3D%22artist_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22title%22%3EOgdoad%20iV%20-%20Terence%20McKenna%3Cspan%20class%3D%22title_comma%22%3E%3Cspan%20class%3D%22comma%22%3E%2C%20%3C/span%3E%3C/span%3E%3C/span%3E%3Cspan%20class%3D%22year%22%3E2023%3C/span%3E%3C/span%3E
  • further information

    • Niko Abramidis &NE
      Artists

      Niko Abramidis &NE

    • Nicolás Lamas
      Artists

      Nicolás Lamas

    • Haroon Mirza
      Artists

      Haroon Mirza

    • Jeremy Shaw
      Artists

      Jeremy Shaw

    • failed transcendence
      Exhibitions

      failed transcendence

      8 September - 11 November 2023 Munich
      The group exhibition failed transcendence presents works by Niko Abramidis &NE, Helga Dóróthea Fannon, Nicolás Lamas, Haroon Mirza and Jeremy Shaw. Their dialogue creates a multimedia exploration of traditional notions of truth, reality, the achievement of higher states of consciousness, and the notion of failure.
    • Becoming a New Entity | Niko Abramidis &NE
      Viewing rooms

      Becoming a New Entity | Niko Abramidis &NE

      3 September - 24 October 2020
      Niko Abramidis &NE (*1987 in Europe, lives and works in Munich and Berlin, DE) opens up a diverse spectrum dealing with economic structures and visions of the future. Within his drawings, paintings, sculptures and room installations, Abramidis &NEs develops parallel universes in which he creates fictitious corporate identities and appropriates forms of expression from financial economics.
    • energy/power | haroon mirza
      Viewing rooms

      energy/power | haroon mirza

      Haroon Mirza views himself as a composer and utilizes sound, video, electronic circuits and everyday objects to develop a complex body of work in which he examines the function of the components used while changing the significance of their cultural and social code. Mirza challenges the categorization of artistic expression with his strong collaborative approach and draws on diverse scientific, historical, art historical, pop cultural as well as spiritual influences.

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