Zimoun is a sound artist based in Berna, one of the Swiss city of which we speak less and that we could be called almost provincial. His studio is located in a central nineteenth-century building (former barracks first and then school) converted to a cultural hub and artistic center, and renamed PROGR.
The impression is that, from there, going away hundreds of boxes full of electric motors, cotton balls, woods, screws and cables of all sorts to go to make sound installations around the world.
Poor materials, readily available, which are the starting point of the artist’s research, and that, intelligently combined, manage to transform the space into a visual, architectural and sound suggestion.
Zimoun is a smart artist always against the tide. In an era increasingly technological and digitized, he makes the simplicity of analog a very complex system, ironic, infinite/finite, where each element is a cell of a larger body that conforms to space. A body that is anxious and almost catches the eye several times in a continuous visual deadlifts path between single item and the big picture.
I followed him for so long, I rummaged through my eyes inside his studio in Berne with No Holes No Bears, I met him in person, and, at last, I lived live his installations.
The opportunity was his first exhibition organized in Italy during the NODE Festival. In the spaces of the Palazzina dei Giardini to speak were five installations, in a chorus simply made of 605 prepared dc-motors, cardboard boxes.