plastic bags ventilators

source: nilsvoelker

One Hundred and Eight is an interactive wall-mounted Installation mainly made out of ordinary garbage bags. Controlled by a microcontroller each of them is selectively inflated and deflated in turn by two cooling fans.

Although each plastic bag is mounted stationary the sequences of inflation and deflation create the impression of lively and moving creatures which waft slowly around like a shoal. But as soon a viewer comes close it instantly reacts by drawing back and tentatively following the movements of the observer. As long as he remains in a certain area in front of the installation it dynamically reacts to the viewers motion. As soon it does no longer detect someone close it reorganizes itself after a while and gently restarts wobbling around.
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source: zimounnet

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.

Zimoun, born in Switzerland in 1977, lives and works in Bern. His work has been presented in solo and group shows as well as performances wolrdwide. Zimoun has been awarded different art prizes and residencies and has served as a guest lecturer.

Recent displays of his work include exhibitions at the Nam June Paik Art Center in Korea; Kuandu Museum of Fine Arts, Taipei; Art Basel; Galerie Denise René Paris; Ringling Museum of Art, Florida; Harnett Museum of Art, Richmond; bitforms gallery New York; Kunsthalle Bern; Kunstmuseum Liechtenstein; Contemporary Art Museum MNAC Bucharest; Musée des Beaux-Arts Rennes; Museum of Fine Arts Bern; Museum of Contemporary Art MSUM, Ljubljana; Art Museum Lugano; Seoul Museum of Art; among others.
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source: usthemyours

Usando semplici e funzionali componenti, Zimoun costruisce piattaforme sonore architetturalmente-pensate. Esplorando il ritmo meccanico e il flusso in sistemi preparati, le sue istallazioni incorporano oggetti industriali comuni. In un’ossessiva visualizzazione di materiali semplici e funzionali, questi progetti scandiscono una tensione tra ordinati modelli del Modernismo e le caotiche forze della vita. Il ronzio acustico dei fenomeni naturali, nelle minimali costruzioni di Zimoun, riverbera senza sforzo, trasmettendo una profonda emozione.

Nato in Svizzera nel 1977, Zimoun vive e lavora a Berlino. I suoi progetti sono stati presentati attraverso mostre personali e collettive in Europa, Nord America, Asia, Africa e Sud America. Ha ricevuto diversi premi artistici e ha partecipato in molte occasioni come docente ospite.

Recentemente i suoi progetti sono stati esposti al Nam June Paik Art Center in Korea; al Kuandu Museum of Fine Arts di Taipei; all’ Art Basel; alla Galerie Denise René Paris; al Ringling Museum of Art in Florida; alla Bitforms Gallery di New York; al Kunsthalle Bern; al Kunstmuseum Liechtenstein; al Contemporary Art Museum MNAC di Bucharest; al Museum of Contemporary Art MSUM di Ljubljana; al Seoul Museum of Art; e in molti altri musei/gallerie d’arte.
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source: edgargonzalez

A partir de componentes comunes, simples y funcionales, Zimoun construye mapas de sonido en base a un pensamiento arquitectónico, explorando el ritmo mecánico y el flujo en los sistemas. Sus esculturas sonoras e instalaciones, en su simplicidad estructural, revela una serie compleja e intrincada de relaciones, una interacción permanente entre el “artificial” y “orgánico”: una investigación artística en base a sistemas simples (¡que no sencillos!) y elegantes para el estudio de comportamientos complejos en el sonido y el movimiento, y la creación y degeneración de los patrones.
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source: artcompoundru

Цимуна (Zimoun) сравнили с часовщиком собственного отсчета времени, создающего персональную гидрометрическую станцию. Используя простые и функциональные компоненты, Цимун воссоздает так называемые архитектурные платформы звука. Самые тривиальные индустриальные объекты, включенные в его инсталляции исследуют механических ритм и циркуляцию заранее подготовленных систем. Звуковые скульптуры и инсталляции Цимуна так изящны, это поистине механизированные работы игровой поэзии, их структурная простота раскрывается подобно промышленному соцветию, указывающему на сложные и замысловатые сплетения их взаимоотношений, непрерывное взаимодействие между «искусственным» и «органическим».