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Art Museum Lugano: Switzerland


Even though the swirling of the polystyrene in the depth of each of the windows is actually limited to that space, we have the impression that the movement is propagating to the whole length of the Limonaia. To the visual effect adds the ticking of chips on the window panes, which could remind a thin but insistent rain. If, instead, we cross the threshold and get inside the space, the perception produced by the ebb and flow of the chips changes radically becoming more abstract; the movement appears mechanical rather than natural, the buzzing of the ventilators covers up the ticking of the polystyrene on the windows and thus reveals the artificial origin of the motion. The whirling of the flakes is in fact the product of the of thirty-six ventilators, four in each window. As illustrated in this catalogue, the use of mechanical devices and the bewildering visual and acoustic effects they produce, are a common feature in Zimoun’s work. This is not the place to analyse in detail the origin of Zimoun’s style and his relationship to other artists of today or of the recent past; a few indications are nonetheless useful. Zimoun’s research is triggered by the curiosity for sound and its reproduction. His works must therefore be considered, in the first place, as visualizations of acoustic effects. Carsten Nicolai and Ryoji Ikeda, two artists working with the elementary units of sound and their optical translation, can be mentioned among Zimoun’s closest relatives in the realm of art. A comparison can also be drawn with the work of Gianni Colombo dealing with elementary structures and with constructions interfering with the perception of space, even though the artist’s works rely on visual effects only. In Zimoun’s installations, on the contrary, the reverberation of sound plays a fundamental role in the perception of space. And such perception must be as free as possible, unbiased by elements which are independent from the work itself: also for this reason the title of the installation in the Limonaia – 36 Ventilators, 4.7 m3 Packing Chips – is not evocative, but plainly descriptive, just like those of all his previous creations.

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