CYLAND Audio Archive proudly presents work by Zimoun on its CAA#19 release. Zimoun is a Swiss artist who lives and works in Bern, Switzerland. A self-taught artist, he is most known for his sound sculptures, sound architectures and installation art that combine raw, industrial materials such as cardboard boxes, plastic bags, or old furniture, with mechanical elements such as dc-motors, wires, microphones, speakers and ventilators.
200 prepared dc-motors, 2000 cardboard elements 70x70cm Zimoun in collaboration with Architect Hannes Zweifel 2011 – Installation view: Museum für Zeitgenössische Kunst (MNAC) Bucharest, Rumänien
Although he was never formally trained in the arts, Zimoun has received numerous prizes for his work and has exhibited internationally. “Since a little kid I have been interested in exploring sound, playing instruments and creating compositions in addition to visual arts such as paintings, cartoons, photographs and so on,” Zimoun explains in an interview, “from a very early age I was fascinated and somehow obsessed by being active in all these fields; sound, music and visually realized projects. Now, through my sound sculptures and installations many of these interests are coming together.”
Through the use of industrial objects and found materials, Zimoun’s work reconsiders the place technology holds in daily life, conjuring nostalgia for obsolete devices. His sculptures reference the chaos of the modern day, while retaining the order of minimalism. His oeuvre includes his celebrated architectural interventions and sound sculptures, as well as a variety of audio works that expand on the traditions of lowercase music, sound art, and minimal techno.
Lathe cut of Room 5.52 is limited to 300 with all the details can be found on CAA Bandcamp
“I am interested in a selective mix between “living“ structures that evolve by chance and/or chain reactions — in contrast to the pre-determined and contained space, in which these events unfold. The composition manifests through my deliberate containment and cautious monitoring. Thus, I do not intentionally stage chance factors or generative systems in order to discover unexpected results, but rather I aim to cultivate the vitality of the compositions.
What I call “room“ or “sound architecture” signifies a space to enter, but also a sound composition that functions more like an organism, something that is not changing into something else over time, but rather full of variations in its details and potent in its sonic possibilities. It’s not about a beginning or an end; it could even be endless. It’s not narrative. It’s not going somewhere and not coming from anywhere — even if it is continuously changing in its microstructures. It is more about creating a situation and focusing on the vibrations happening at the current moment.”
Images sources taken from Wikipedia