Compilation Video V.3.7 / Updated: August, 2017
HD 1920 x 1080 px
'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 simple and functional materials, 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 in Zimoun's minimalist constructions effortlessly reverberates.'
«The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the «artificial» and the «organic». It‘s an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns.» Tim Beck
«Zimoun is best compared to a watchmaker of a self-reproducing time constructing his own gauging station.» Radjo Monk
«The clean, elegant sound sculptures combine visual, sonic, and spatial elements in an organically balanced entirely artwork. Using simple and well- conceived mechanical systems, Zimouns‘s work transforms and activates the space.» Jury Prix Ars Electronica 2010
«Zimoun creates complex kinetic sound sculptures by arranging industrially produced parts according to seemingly simple rules. Using motors, wires, ventilators, etc.., he creates closed systems that develop their own behavior and rules similarly to artificial creatures. Once running, they are left to themselves and go through an indeterminable process of (de)generation.
These quasi autonomous creatures exist in an absolutely synthetic sphere of lifeless matter. However, within the precise, determinist systems creative categorioes suddenly reappear, such as deviation, refusal and transcience out of which complex patterns of behavior evolve.» Node10
«It is a poetic and humorous absurdity we find in Zimoun’s work, which opens up a wide, refreshing and enriching space for discoveries, associations and a multitude of approaches.» Nina Terry
«The components used in Zimoun’s work are simple, functional and raw, whereas only aesthetically high-level and purposefully chosen elements and materials are used in minimalist fashion. Through radical reduction, Zimoun creates works of art which allow for a plethora of associations without being pinned down to a specific direction. Radical abstraction functions rather like a code in the background of things, thus elegantly avoiding an insinuation of direct, concrete attribution. Thanks to the abundance of mechanical activity, the range of perception, possibilities and interpretations is wide open.» Amanda Neumann
«Indeed, one of the refreshing elements of this work is the immediacy with which one can understand the sound-making process, where each micro-event is present, visible, and concrete. Yet at the same time the resulting complexity of the total system, conjured before your eyes, defies any attempt to dissect it. You might find yourself feeling there is a «prime mover» at work behind the scenes, but in fact it is just the characteristic reaction of materials behaving together and in unison with the space of their activity. A magic of the real.» Xymara
Scenocosme (Gregory Lasserre & Anais met den Ancxt), ‘Akousmaflore’, Interactive installation, Sensitive and interactive musical plants.
‘Akousmaflore’ is an interactive installation, a small garden composed of living musical plants, which react to human gestures and to gentle contact. Each plant reacts in a different way to contact or warmth by producing a specific sound. The plant “language” or song occurs through touch and the close proximity of the spectator. Our invisible electrical aura acts on the plant branches and encourages them to react. The plants sing when the audience is touching or stroking lightly them. A plant concert is created.
For more information: http://www.scenocosme.com/akousmaflore_en.htm
All images are the copyright of the artist and cannot be used "in any way" without their expressed consent.
As part of a two week festival 'Triptych: The music of Eliane Radigue, presented by Sound and Music, London', June 2011, Sonic Bed_Scotland was installed at Rich Mix playing Omnht (1970), one of Radigue's early tape and feedback works. Mixed by Matthews in the Bed using Philip White's software instrument, the clarity of space and landscapes created from stereo are extraordinary; undulating bass vibrations underneath, varieties of horizontal and vertical highs occasionally corkscrewing over elliptical.
Sonic Bed_Scotland is the fifth in the music for bodies worldwide Bed series, is a localized version of Sonic Bed_London, and was commissioned by Le Weekend Festival supported by PRSF foundation, launched on May 25th 2007 at the Tolbooth Scotland.