The art installation, created from bodies in controlled movement inside an abstract space, aims to create a reflection on the viewer about the alienation and decadence present in today's society. These negative aspects could hide, perhaps, beneath the surface of the visible spectrum, as happens in the movement of the cardboard prisms.

Zimoun presents its latest work in the exhibition 'What Lies Beneath', comprising a total of four installations in different rooms of the Turkish museum Borusan Contemporary. Other artists that present their installations beside the present one are Krzysztof Wodiczko and Michal Rovner. The whole of the installations focus around the uncertainty that may arise from social conditions which are usually hardly noticeable. This facility, which plays with sonic and mechanical effects of the harmonic motion of cardboard boxes, is thought as a in-site installation: it makes sense only in the space where it is contained.

Descripción del proyecto por Christiane Paul.

Zimoun's prepared cardboard boxes are site-specific installations configured for their respective exhibition space. The power and impact of the work resides in its sensitivity to location and its creation of a system of movement and sound that carefully balances order, chance, and variation, the mechanical and the natural, the pre-determined and dynamism. Made from off-the-shelf, low-tech materials, the cardboard boxes construct a system and sculptural space that is deceptively simple and devoid of ornament, yet manages to exude beauty and sometimes even grace. The boxes are arranged in a fixed order, but their motion and sound produce complexities of chance and variation. The rhythmic and sonic potential of the piece is created by a controlled mechanism operating through gravitational forces and resistance and at the same time transcends it.

The work becomes a space of possibility for perception and raises questions about the forces that drive it from beneath. At times the mechanical system seems to assume characteristics of the natural, and the architecture and composition of sound and movement become an organism, defined in its characteristics but alive. The sonic and physical vibrations of the prepared system gain dynamism through their behaviors, which seem to increase in depth over time as variations become perceptible in more detail. The perception of Zimoun's installation also is deeply affected by the context of the exhibition site. Shown in the Église Saint-Nicolas de Caen in France, the tall cardboard boxes merge with the church's columns and architectural structure and their mechanical rhythm and flow serves both as an extension of counterpoint to the site's space for contemplation. In the white box of the gallery the prepared boxes create a very different architecture of sound and motion that draws attention to the qualities of the highly controlled space of the modernist gallery.

CREDITS. DATA SHEET.-

Artist.- Zimoun Studio.
Collaborators.- Florian Bürki, Ulf Kallscheidt, Zoi Moutsokou, Tanguy Clerk, Christian Zwerschina y Janis Weidner (Studio production and set-up assisted).
Project management on site.- Ekin Bayraktaroglu.
Curator.- Christiane Paul.
Materials.- Motors, wood, cardboard, metal, tape, wire, power supplies.
Location.- Borusan Contemporary, Istanbul, Turkey.

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Zimoun, born in Switzerland in 1977, autodidact, lives and works in Bern. His work has been exhibited and performed on five continents, and has been recognized with awards from Bundesamt für Kultur/BAK, the Aeschlimann Corti Award, Prix Ars Electronica, and the Kiefer Hablitzel Preis from the Swiss Art Awards.

Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of curiously collected material, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena blends effortlessly with electric reverberation in Zimoun's minimalist constructions.

Past exhibitions of his work have included the National Art Museum of China, Beijing; Vasarely Fondation, Aix-en-Provence; Haus für elektronische Künste, Basel; Nam June Paik Art Museum, Korea; Ringling Museum of Art, Florida; Kuandu Museum of Fine Arts, Taipei; Seoul Museum of Art, Korea; Museum of Contemporary Art, Liechtenstein; Musée des Beaux-Arts, Rennes; Museum Les Champs Libres, Rennes; Harnett Museum of Art, Richmond; Kunsthalle Bern; Museum of Fine Arts, Bern; bitforms gallery, New York; Galerie Denise René, Paris; Oboro Gallery, Montreal; National Museum of Contemporary Art (MNAC), Bucharest; Borusan Contemporary, Istanbul; Beall Art Center, Los Angeles; List Art Center, Brown University, Providence; CUNY Graduate Center, New York; Kunstverein, Mannheim; Metropolitan Arts Center, Belfast; Museum of Contemporary Art (MSUM), Ljubljana; Art Basel, Switzerland; and the Museo d’Art, Lugano; among others.

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Published on: September 22, 2015
Cite: "240 prepared dc-motors by Zimoun" METALOCUS. Accessed
<http://www.metalocus.es/en/news/240-prepared-dc-motors-zimoun> ISSN 1139-6415
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