Nanjing

Haroon Mirza, Copy of 9/11–11/9, 2019, mixed media. Installation view.

Haroon Mirza, Copy of 9/11–11/9, 2019, mixed media. Installation view.

Haroon Mirza

Sifang Art Museum

The highlight of Haroon Mirza’s first solo exhibition in China, “Tones in the Key of Electricity,” is a new work, Copy of 9/11–11/9, 2019, a maximalist four-channel video and sound installation that attempts to encapsulate the maximal insanity of the period we have just lived through and whose consequences we continue to endure: that is, the era stretching from 9/11/2001, the day of the attacks on the World Trade Center, to 11/9/2016, the day Donald Trump was elected president of the United States. The room is partitioned into two, with the four freestanding screens in one space and a circle of speakers in the second. The sound and visual footage are oblique, a hodgepodge of both overt and covert political references along with all kinds of detritus retrieved from the twenty-first-century mediascape. That collage is making such a dramatic return of late is interesting, though I guess the

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