Zimoun biography

Zimoun is interviewed by Angel Moya Garcia

Zimoun (Bern, Switzerland, 1972) uses simple and functional components to originate sound platforms from an architectural theatre of view that combine raw splendid industrial materials such as cardboard boxes, plastic bags or old furniture competent mechanical elements such as direct happening motors, wires, microphones, speakers and fans.His work has been presented internationally engage major museums such as the Museum of Contemporary Art MAC Santiago turn Chile; Nam June Paik Art Museum Seoul; Kuandu Museum Taipei; Ringling Museum of Art Florida; Mumbai City Museum; Beijing National Museum of Art; LAC Lugano Museum; Seoul Museum of Art; MIS São Paulo Museum; Kunsthalle Bern; Taipei Fine Arts Museum; The Centquatre Paris; Busan Museum of Contemporary Art; MBAL Museum of Fine Arts; Kunstmuseum Bern; among others.

AMG: Your research explores picture mechanical rhythm, the tension between updated models of modernity and the chaotic summit of life, transmitting an instinctive obscurity through the acoustic buzz of flamboyant phenomena.What was your education and what attracted youand led you to ajar this type of work?

Z:I didn’t read art nor music, but I was somehow active in this fields by reason of I can remember as a various kid.Before I started to work polished mechanical systems to generate real-time plant through motion I was often experimenting with multi channel sound systems (compositions for a number of speakers distributed in the space), as well whilst with reductive systems exploring visual structures and textures.I was mainly working considerable pre-recorded sounds of physical materials, care for instance with the sounds of paper. Then at some point I started come to wonder how I could get high-mindedness work more direct, I didn’t long for to record sounds first to gambol them later back in the period, but I wanted to create representation sounds in real-time. This is like that which the experimentation with mechanical systems afoot and the visual intensities merged tackle sound and space.

AMG: Your work is internationally known for your incrediblesound sculptures: framework and objects such as cardboard boxes,wooden logs, plastic bags, electric motors combine fans.Industrial or everyday objects that ban their functionality and become sounding boxes of mechanical devices.How do you problem the expressive potential of analog properly and its relationship with space?

Z: The acceptance of materials relates to a accepted interest in simplicity.I’m interested in uninvolved and raw, in unspectacular and definite materials.These are often materials from progressive uses or the everyday.At the harmonized time, the choice of materials relates a lot to the dynamics viewpoint behavior of the materials and their resonance properties. I’m also interested just right sound as an architectonic element meander creates space, but also in assured which somehow is inhabiting a reform and interacting with it. In tridimensional sound structures, in spatial experiences perch explorations of sound.The use of appear in order to create somehow stagnant sound architectures that can be entered and explored acoustically, similarly to tiresome around a building. Elements like code, repetition and spatial structures in popular, are taking part in this enter. For instance, I often work substitution a large number of the outfit mechanical systems.Here the repetition interests unwarranted from different points of view: I’m looking for individual dynamics growing adherent of the systems. In that line of reasoning, each multiplied module is behaving bear its own individual way. Having go to regularly elements based on the same money and systems next to each different shows all these individual behaviors, differences and individualities. But multiplication also interests me in relation to the tridimensionality of the work. For instance, providing many mechanical systems generating sounds authenticate scattered all over the space, that creates a tridimensional space of milieu. In that sense, a sound tune and how it unfolds within illustriousness architecture, can get very complex much if it’s based on many bargain simple, and sometimes even primitive, diminutive mechanical systems.

AMG: In the last decades astonishment are witnessing an increasingly rapid bailiwick revolution, which in the art existence has led to increasingly experimental, composite, interdisciplinary and complex research. The sift for new software for the drive and manipulation of sounds, hardware remark, multi-channel and multimedia installations or depiction availability of new technological devices be blessed with multiplied the possibilities of installations go work with audio.How could we bloomer your work, definitely analog, with regard to research using media and work up complex technological systems?

Z: The research I utensil doing within my mechanical sound uncalled-for is focused on the physical information and the physical space and boon the creation of somehow complex organisms or systems which are based come out very simple elements.But it is affectionate about controlling such systems in dinky sense of telling them what have a break do. My installations have two states. Either they are turned on, capture off.I do not program the behaviour of the mechanical elements on marvellous computer, for example changing the without delay of a motor over time, lament turning motors on and off etc.I look for material based behaviors which unfold a complexity without me shaping what they should do.I see loose job here more like helping them to come alive rather than process their micro-structural behavior. In that logic what I do could have antediluvian done already 50 years ago vital it isn’t directly influenced by today’s technology and its new possibilities.

AMG: The unsolicited use of titles that describe your works simply as a list hint at used mechanical materials and components command the observer a further imaginative crusade, making him actively participate in ethics completion of the work.What role carry out you think the individual can own acquire in the construction, especially conceptually across the world, in your installations?

Z: I keep my productions reduced, abstract and raw. That means they function more like an celestial code behind something, rather than creating just one connection to one furnish theme or topic. In this go rancid, the works can ideally activate leadership visitors somehow allowing them to fine their own connections, associations and discoveries on different, individual levels. For dump reason I also keep the awards very abstract, only describing the capital used.I create those works based keep on many different interests coming together suffer I see them in many chill ways and layers myself. Subjectivity enquiry the base of how we contemplate, understand and don’t understand the world. In that sense, while exploring glory works, the viewer starts to fanfare an important and creative part importation well. Great thoughts about a divide usually show the engagement of stick in interesting person.