Poppy

source: fileorgbr

Abstract:
As a giant poppy flower, this piece of tarpaulin unfolds itself above the viewer to show an elegant dance of waves and curls while within this dance a violent battle emerges between gravity, friction and centrifugal forces.
Financial support from Mondriaan Fund.
Biography:
Zoro Feigl’s (1983) installations seem to be alive. His materials dance and twist. Placed together in a space, the separate works become one: large and ponderous in places, nervous or gracious elsewhere.
Feigl’s forms are constantly changing, sometimes slowly, sometimes quickly. The exhibition space becomes an enlarged microscope: single-cell creatures, primitive organisms are twisting, groaning and convulsing. Without beginning or end the objects seem to be locked into themselves. As a viewer you become entangled in their movements: they embrace and amaze, but sometimes also frighten you…
.
.
.
.
.
.
.
source: fileorgbr

Abstract:
Assim como uma papoula gigante, esta lona encerada se desdobra acima do observador em uma elegante dança ondulante. Ao mesmo tempo, dentro dessa dança, uma batalha violeta surge em meio à gravidade, fricção e forças centrífugas.
Apoio: Mondriaan Fund
Bioraphy:
As instalações de Zoro Feigl (1983) parecem vivas. Os materiais dançam e se contorcem. Colocadas juntas em um só espaço, diferentes obras se unem: grandes e graves aqui, inquietas e graciosas ali.
As formas de Feigl estão sempre mudando, às vezes rápido, às vezes devagar. O espaço da mostra se transforma num grande microscópio: criaturas unicelulares e organismos primitivos se contorcendo, gemendo, em convulsão. Sem um começo ou um fim, os objetos parecem lacrados dentro de si mesmos. Como observador, você se envolve nesses movimentos: eles abraçam e surpreendem, mas às vezes também assustam.
.
.
.
.
.
.
.
source: zorofeiglnl

As a giant poppy flower this piece of tarpaulin unfolds itself to show an elegant dance of waves and curls while within this dance a violent battle emerges between gravity, friction and centrifugal forces.
.
.
.
.
.
.
.
source: zorofeiglnl

The installations of Zoro Feigl (1983) seem to be alive. His materials dance and twist. Placed together in a space, the separate works become one: large and ponderous in places, nervous or gracious elsewhere.

Feigl’s forms are constantly changing, sometimes slowly, sometimes quickly. The exhibition space becomes an enlarged microscope: single-cell creatures, primitive organisms are twisting, groaning and convulsing. Without beginning or end the objects seem to be locked into themselves. As a viewer you become entangled in their movements: they embrace and amaze, but sometimes also frighten you.

Zoro Feigl lives and works in Amsterdam. He graduated from the Rietveld Academie, Amsterdam and the Hoger Instituut voor Schone Kunst, Gent. His work has been shown internationally at various exhibitions including the National Art Museum of China, Galeria de Arte do SESI Sao Paulo, Artplay Moscow, A+B Contemporary Italy, 0gms Sofia, Verbeke Foundation Belgium, Kulturhuset Stockholm, Self Surface Stuttgart, Black Door Istanbul and several institutes in the Netherlands such as Stedelijk Museum Schiedam, MU, DordtYart, Het Nieuwe Instituut, W139, Arti et Amicitea and Fons Welters. He has curated several exhibitions and has been a part of De ServiceGarage and founding member of Kafana.

On How I Work

Moving parts tend to break down, they wear, they give way, they destroy themselves, they do not do what you want them to do. This is what I do.
In trying to make a physical manifestation of movement, both the mechanical and the forms it produces are what I consider to be my work. I’m not discovering anything new, I’m discovering the amazingness of what is already there, right in front of us. The results of this two-part process, be the end products or the effects it may have on the ones who are willing to look at it, are not fully within my reach.

While intentionally aiming to produce and control a more or less predictable outcome, I am aware and of course counting on the elements of reality to help me finish my projects.

The discrepancy between thought and object, what is allowed in and that what forces itself upon the work, are the things I try to manage, its results will be mine, but never fully.

Although the work manifests itself as a pure visual experience there is another layer, sometimes poetical sometimes critical. As a result of the location or the materials used, a hint of the bigger world is given.

Documentation will hopefully never do justice to the work. An honest anecdote of the experience will give more credit than any registration of it can do.
.
.
.
.
.
.
.
source: uniehasseltgenkbe

Zoro Feigl crée dans l’étang Molenvijver une sculpture sous-marine mouvante. Des vagues et des ondulations figurées témoignent d’une activité sous l’eau, mystérieuse et surprenante : s’agit-il de carpes qui dansent ou d’anguilles en pleins ébats nuptiaux?

Zoro Feigl
Né en 1983, Zoro Feigl réside et travaille à Amsterdam.

Il crée des installations mouvantes qui prennent vie – elles flottent, tournoient, ondulent et rebondissent. Par le biais de ses œuvres, Feigl explore les manières selon lesquelles l’énergie se manifeste visiblement. Ses installations, composées de matériaux industriels, oscillent toujours entre contrôle et hasard, physique et poésie. À la suite de sa résidence au FLACC de Genk, Zoro Feigl crée une nouvelle œuvre pour De Unie Hasselt-Genk.

Le Molenvijver
À l’origine, le Molenvijverpark était une zone très humide, traversée par le Dorpsbeek. Ce Dorpsbeek assurait le drainage de la zone et alimentait à l’époque un moulin à eau. En 1967, la zone fut aménagée en parc urbain. Les marais ont été remblayés et les prés humides drainés. L’étang près de l’ancien moulin, dénommé Molenvijver, a été conservé et approfondi, et un second étang a été aménagé. Le Dorpsbeek s’est fait un lit permanent. Il servait à alimenter l’étang en eau fraîche. Plus vers l’est, une vaste plaine herbeuse a été drainée et restaurée. L’ancien moulin à eau datant d’avant le IXe siècle est demeuré opérationnel jusqu’aux alentours de l’année 1930. Aujourd’hui, il a été transformé en brasserie. Outre la beauté de la nature, le Molenvijverpark possède encore bien d’autres sites d’intérêt. Le rôle que joue cette zone en tant que parc urbain est ainsi de plus en plus accentué.