212:(2009), which amplified the sound of live woodworms. "In the style of the endlessly repeating metronome (the direct nature of Zimoun's pieces makes "real time" the main protagonist of his work) that is simultaneously playful and stressful, Zimoun plays with various materials that stand out for their simplicity (...) These ordinary, functional elements are drawn from daily life, often recycled, and generally of industrial origin. The properties of each of them — resistance, volatility, elasticity, friction, resonance — serve as pretexts for every new form of experimentation. The piece 600 Prepared DC-Motors, 58 kg wood, 2017 (in Zimoun's work, titles are never anything but a strict description of the materials used) comprises 600 mechanically activated wooden rods and is part of the discourse devoted to passing time. Meanwhile, 30,000 Plastic Bags, 16 Ventilators, 2010 employs literally 30,000 clear plastic bags adhered to the walls of a room that vibrates with a sparkling rustle thanks to a stream of air jointly propelled by 16 fans", according to Swiss art historian Karine Tissot, who curated Zimoun's exhibition at Kunsthalle Palazzo in Liesthal, Switzerland.
175:, make the sound of a "drenching rainstorm - a trigger for associations of threat and cozy shelter." His work also brings to mind the constant hum of machines and electronics in modern life. By "re-contextualiz material as much it does sound", Zimoun's work shifts the viewers' relationship with technology and reminds them of the motors and materials that move everyday life. "Every attempt to describe Zimoun's work includes comparisons to nature, to urban landscapes, and to music, to minimalism, and to technology." As Maya Allison, curator of Zimoun's solo exhibition at NYUAD Gallery in Abu Dhabi (2019) and group exhibition Nostalgia Machines (2011) at David Winton Bell Gallery, (2011) explains, "the meeting between materials, meticulously arranged in a large room, not only intervenes spatially, through modular and repetitive visuality, it also confronts us with the magnificence and evocative power of sound." According to artist and co-curator Moníca Bate of Zimoun's exhibition at the
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possibilities – in an uncontrolled manner as soon as they are mechanically activated. As if in a clinical study, the pattern and the systematic approach enable an overview, so that the chaos generated by the mechanical process can be better analyzed. Mass and individuality also belong among these oppositional positions. The artist often employs a large number of identical elements, but each element develops its own individuality and unique nature through the dynamic interplay of mechanism, rotation and material. The mechanical elements, prepared by hand in the studio, which have a consistently reduced, minimalistic form, function and aesthetic, possess only apparent precision, because the manual production creates divergence from the ideal treatment of the material, allowing imprecisions that emphasize the emerging individual behavior of the materials, enable it or indeed provoke it."
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instruments. His works are often defined using the term of sound architectures, based on the principles of
Minimal Music, to which he brings a visual aspect while insisting on a simple, reduced design without embellishment or additional colour. Although Zimoun conceives of his installations as compositions in a musical sense, he does not actively intervene in the development of their sound. He does not direct the mechanical systems implemented either in an analogue manner or digitally, via a microcontroller or a computer, instead merely activating them by turning on or off their electricity supply. He sees the moment of activation and the dynamic of the materials themselves as a sculptural and performative approach and names the principle behind these works 'primitive complexity'." In his 2012 solo show in NYC at
208:(2015) and another exhibition at the Museo d'Arte Lugano (2014), "Zimoun's creations are characterized by very simple moving elements repeated in series: cardboard boxes gently rustling against one another or serving as drumming surfaces for swirling shafts; beams of wood occupying the whole surface of the exhibition space and rhythmically hitting the floor; plastic bags in countless numbers flickering in the air stream produced by electric fans. The works, therefore, have a twofold effect that is visual as well as acoustic." His work explores the nature in industrial materials, and the industrial in nature. He not only evokes, or mimics the sounds of nature through the use of archaic materials, but at times even combines elements of nature with equipment, as in
126:. Zimoun is best known for his installative, generally site-specific, immersive works. He employs mechanical principles of rotation and oscillation to put materials into motion and thus produce sounds. For this he principally uses simple materials from everyday life and industrial usage, such as cardboard, DC motors, cables, welding wire, wooden spars or ventilators. For his works Zimoun develops small apparatuses which, despite their fundamental simplicity, generate a tonal and visual complexity once activated – particularly when a large number of such mechanical contraptions, generally hundreds of them, are united and orchestrated in installations and sculptures. Zimoun creates three-dimensional sonic spaces the visitor can actively explore.
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first, both emerge from the artist's interest in creating spaces and acoustic states which are composed of microscopically small sounds and noises. Largely related to his sound sculptures are Zimoun's audio works, often engineered with a similar variety of found industrial and natural materials. Zimoun explains that his compositions "create static sound architectures and spaces, to enter and explore acoustically like a building." Since 2006 most of his compositions and performances are based on
183:(2019) explains, "through Zimoun's work, we can find some clear signals of sound's constructive purpose. His constructions, or "micro-worlds", behave as a never-ending flux of sound, and these become eloquent and corporeal presences. The artist's interest lies in creating sounds by very specific means: his operation is rooted in creating sound from simple technological devices, serial and modular." Ulf Kallscheidt, who worked at Studio Zimoun during several years and who is quoted at
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273:, Donaueschingen, Germany (2018), Telefónica Museum Lima, Peru (2018), Rå Hal, European Capital of Culture, Aarhus, Denmark (2017), Museum of Fine Arts MBAL Le Locle, Switzerland (2016), Calgary Contemporary, Calgary, Canada (2016), Mumbai City Museum, India (2016), Knockdown Center NYC, New York, USA (2015), Museum of Fine Arts, Lugano, Switzerland (2014), at Galerie Denise René, Paris, France (2012),
200:(2012), just as the title suggests, is composed of card board boxes, each with a small motor attached to it, from which hangs a wire with a cork ball on the end. The motors cause the balls to continuously bounce against the boxes. As Hannah Daly of Art Slant notes, "the effect is initially so ambient, so close to the near constant aural din we intake at every moment, you could miss it." As
139:(2010). "Once running, they are left to themselves and go through an indeterminable process of (de)generation. These quasi autonomous creatures exist in an absolutely synthetic sphere of lifeless matter. However, within the precise, determinist systems creative categories suddenly reappear, such as deviation, refusal and transcience out of which complex patterns of behavior evolve." Or, as
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or other generative systems, and a specifically delimited and contained space in which these events are allowed to happen. The compositional intentions are manifesting themselves through my deliberate containment and cautious monitoring. So I'm not using chance to discover unexpected results, but to elevate the works to a higher level of vitality."
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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." Zimoun also mentioned composer and artist
261:, a Swiss composer and musician, showed it in his art space TONUS-MUSIC Labor several times (2000, 2001, 2002). Later on, as his notoriety has increased, Zimoun has gained international recognition, especially in Europe and the United States, later as well in North and South America and Asia. Most notably he's had solo shows at the
179:(2016), "the sound experience that Zimoun delivers through his installations enables the unhurried viewer to sharpen their listening, discovering those differences within the sonic body that at first seems just a single mass." Or as Alessandra Burroto, curator of Zimoun's large solo exhibition at the
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In addition to his installative compositions, Zimoun also develops purely acoustic works. Although the two genres – visual, un-controlled, accidental compositions and musical compositions for sound recording and performance that are laboriously constructed in the studio – may seem quite different at
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Regarding often used elements of chance in his work, Zimoun explains in an interview (2011), "I'm interested in a mix of living structures on the one hand, and control about decisions and details on the other. A combination of structures continuously generating or evolving by chance, chain reactions
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Zimoun's sound sculptures and architectural interventions combine visual, sonic, and spatial elements. He's using simple mechanical systems to transform and activate the space. "By arranging industrially produced parts according to seemingly simple rules, he creates closed systems that develop their
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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,
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techniques using multi channel technology. Through the implementation of multiple loudspeakers, listeners are placed within a three-dimensional sonic architecture which cannot be discovered visually, but only acoustically. Zimoun also works on recordings with other artists from music and the visual
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and the chaotic forces of life". According to creative director of Holo magazine
Alexander Scholz, "Visually, the Swiss artist Zimoun's kinetic sculptures are architectural manifestations of the machine age: hundreds of simple, meticulously assembled, and methodically distributed contraptions whir
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explains, "when naming his works Zimoun consistently follows the principle of listing the materials used one after another. With this he brings materials to the fore; in addition, the titles signal the 'prepared' mechanism, indicating the connection to intentionally tonally manipulated musical
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whose work and thoughts he often studied during his younger days. 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
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it is said, "Zimoun's works continually embrace oppositional positions, such as the principles of order and chaos. Works may be arranged in a geometrical pattern or ordered and installed according to a system, yet they behave chaotically and act – within a carefully prepared framework of
233:, which provides a "platform for creative exchange among artists, designers, architects who use reductive principles in their work." Zimoun has also performed at contemporary music and art venues such as the List Art Center, Providence (2012), Mois Multi, Quebec (2011),
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explains, "Zimoun builds architecturally-minded platforms of sound to explore mechanical rhythm and flow in prepared systems. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of
237:, Berlin (2009), Elektra, Montreal (2008), Sonic Acts, Amsterdam (2008), and ISEA Singapore (2008), among others. Various Contemporary Art Museums have Zimoun's work in their collection, such as the Museum of Contemporary Art Moca Busan, Korea;
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away in concert. Enter these pristine formations and their mechanical pulse reveals an unlikely pattern. Trickling rain, rustling leaves, babbling brooks—the lush soundscapes that swell within evoke the majesty of nature." In the
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explains, Zimoun's sculptures create "unique sensory experiences redefining traditional notions of sculpture and sonic performance." As stated by Guido Comis, who curated the exhibition of Zimoun at
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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.
293:, Taipei, Taiwan (2016), Contemporary Art Museum MAC, Santiago de Chile (2016), Museum of Fine Arts, Thun, Switzerland (2016), BIAN Biennale, Montreal, Canada (2016),
169:(2011), consists of small motors hanging at the ends of wires attached to the wall, causing the motors to bang against the wall and, according to Cate McQuaid of the
249:; Museum of Fine Arts, Thun, Switzerland; Borusan Contemporary Istanbul, Turkey; or the Museum of Contemporary Art Kunst (Zeug) Haus in Switzerland, among others.
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Rodda, Corey Rae, "Zimoun modern art exhibition opens at
Ringling Museum of Art," New College of Florida student newspaper, October 23, 2011, web.
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Klanten, S. Ehmann, V. Hanschke (ed.), A Touch of Code: Interactive
Installations and Experiences, (Berlin: Gestalten, 2011), pp. 42–43.
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in Paris, France (2017), NYUAD Art
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289:, Liechtenstein (2010). He's also been included in group shows at the Muxin Art Museum, Wuzhen, China (2019),
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1015:. United Arab Emirates Abu Dhabi: New York University Abu Dhabi Art Gallery and Akkadia Press. p. 38.
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1129:. United Arab Emirates Abu Dhabi: New York University Abu Dhabi Art Gallery and Akkadiapress. p. 18.
1083:. United Arab Emirates Abu Dhabi: New York University Abu Dhabi Art Gallery and Akkadiapress. p. 13.
880:. United Arab Emirates Abu Dhabi: New York University Abu Dhabi Art Gallery and Akkadiapress. p. 42.
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own behavior and rules similarly to artificial creatures", as Node10 describes his work in the exhibition
965:. United Arab Emirates Abu Dhabi: New York University Abu Dhabi Art Gallery and Akkadiapress. p. 8.
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990:. United Arab Emirates Abu Dhabi: New York University Abu Dhabi Gallery and Akkadia Press. p. 37.
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In 2003 Zimoun and Marc
Beekhuis, a Swiss graphic designer, formed the record label,
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Mancuso, Marco, "Sound
Organisms in Evolution," Digimag, No. 61, February 2011, web.
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It may require cleanup to comply with
Knowledge's content policies, particularly
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Kenneth
Kirschner + Zimoun «July 29, 2004 (4.1)» (4.1 multi channel DVD, 2007).
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305:, Taipei, Taiwan (2012), Vasarely' Fondation, Aix en Provence, France (2010),
285:, FL (2011), Contemporary Art Museum MNAC, Bucharest, Romania (2011), and the
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Mahmoud Refat, Pe Lang + Zimoun «Statics III» (4.1 multi channel DVD, 2008).
320:(2011) was his first solo museum exhibition in the United States. Curated by
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Museum of
Contemporary Art Kunst(Zeug)Haus, Rapperswil, Switzerland, 2017.
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Burroto, Alessandra (2019). "The Expanse of Movement, Sound, and Space".
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297:, Beijing, China (2014), 21_21 Design Sight Museum, Tokyo, Japan (2015),
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42:
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Comis, Guido (2019). "Zimoun, Sound Art, and Programmed Expressionism".
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Poviña, Oscar Gomez, "Noise Structures," Vnfold Magazine, July 12, 2010.
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Photoforum Centre Pasquart, Biel/Bienne, Switzerland, 2002, 2003 + 2004.
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included five large installations spanning five of the museum's rooms.
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114:, as well as a variety of audio works that expand on the traditions of
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Rife, Susan, "Sculpting Sound," Herald Tribune, October 14, 2011, web.
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Richard Garet + Zimoun «21.21» (5.1 multi channel composition, 2015).
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Gray Area Foundation for the Arts, Swissnex, San Francisco, USA, 2011.
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24 sound contributions in an automat – Zimoun 2005, Exhibition view:
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Zimoun's work was a success at first in his hometown of Bern, where
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Fourm + Zimoun «Primary Structures» (5.1 multi channel DVD, 2008).
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Asher + Zimoun «Untitled Movement» (5.1 multi channel DVD, 2008).
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List Art Center, David Winton Bell Gallery, Providence, USA, 2011.
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Leerraum «Sound Contributions I» (5.1 multi channel DVD, 2007).
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McQuaid, Cate (Feb 7, 2012). "Mechanics Laid Bare For Thought".
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2008 Sitemapping/Mediaprojects award, Budesamit für Kultur (BAK)
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294 prepared dc-motors, cork balls, cardboard boxes 41x41x41cm
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Centre pour l'image contemporaine, Geneva, Switzerland, 2008.
1208:. The John and Mable Tingling Museum of Art. Archived from
1056:. The John and Mable Ringling Museum of Art. Archived from
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Zimoun «feat. Helena Gough» (5.1 multi channel DVD, 2010).
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European Capital of Culture, Rå Hal, Aarhus, Denmark, 2017.
265:(2019), Museum Collection Lambert, Avignon, France (2019),
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Allison, Maya (2019). "Curating Zimoun: an Introduction".
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CAN, Centre d'Art Neuchatel, Neuchatel, Switzerland, 2012.
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Museum of Contemporary Art Busan, Republic of Korea, 2018.
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Mahmoud Refat, Pe Lang + Zimoun «Statics II» (cd, 2006).
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2007 New York Residency, Bern Canton, Cultural Department
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Joel and Lila Harnett Museum of Art, Richmond, USA, 2013.
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Oren Ambarchi + Zimoun «18.58» (5.1 composition, 2016).
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includes his celebrated architectural interventions and
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Mise en Scene + Zimoun «28.26» (5.1 composition, 2018)
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Contemporary Art Museum MNAC, Bucharest, Romania, 2011.
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Andy Graydon + Zimoun «16.06» (5.1 composition, 2018)
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Museum of Fine Arts Lugano, Lugano, Switzerland, 2015.
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A major contributor to this article appears to have a
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Zimoun «Borrowed Sounds I» (stereo mixdowns), 2008).
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Zimoun «Borrowed Sounds II» (stereo mixdowns, 2015).
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Zimoun «Borrowed Sounds III» (stereo mixdowns, 2018)
76:(born 1977) is a Swiss artist who lives and works in
1125:Tissot, Karine (2019). "A Perfect Disorientation".
798:Wright, Mark Peter (January 1, 2011). "Interview".
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National Art Museum of China, Beijing, China, 2014.
241:, Switzerland; LAC Art Museum Lugano, Switzerland;
80:. As self-taught artist, he is most known for his
667:Zimoun feat. Mik Keusen «Prepared I» (cd, 2007).
592:, Digital Music & Sound Art, Honorary Mention
433:MAC international, Belfast, United Kingdom, 2014.
360:Museum Collection Lambert, Avignon, France, 2019.
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511:Deaf Biennale, Rotterdam, The Netherlands, 2012.
263:Museum of Contemporary Art MAC Santiago de Chile
247:Museum of Contemporary Art MAC Santiago de Chile
181:Contemporary Art Museum MAC in Santiago de Chile
177:Contemporary Art Museum MAC in Santiago de Chile
130:Architectural interventions and sound sculptures
682:Mahmoud Refat + Zimoun «Statics I» (cd, 2006).
646:Zimoun «Room 5.52» (stereo composition, 2015).
530:Kunsthalle Palazzo, Liestal, Switzerland, 2011.
418:21_21 Design Sight Museum, Tokyo, Japaqn, 2015.
1234:. project page on the Bitforms Gallery website
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625:Zimoun «Room 1-3» (stereo compositions, 2018)
430:Kunstverein Mannheim, Mannheim, Germany, 2014.
1232:"[KE] 3, February 8 – March 15, 2015"
604:2006 Kiefer Hablitzel Preis, Swiss Art Awards
508:BIAN Biennale, Oboro, Montreal, Canada, 2012.
448:Tower's Art Gallery, Brussels, Belgium, 2013.
412:Borusan Contemporary, Istanbul, Turkey, 2015.
986:Bate, Mónica (2019). "From Micro to Macro".
514:Meta.Morf Biennale, Trondheim, Norway, 2012.
210:25 woodworms, wood, microphone, sound system
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1036:Kallscheidt, Ulf. Zimoun (2019), in SIKART
901:Kallscheidt, Ulf. Zimoun (2019), in SIKART
837:Kallscheidt, Ulf. Zimoun (2019), in SIKART
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685:Fm3 + Zimoun «live 19.06.2004» (cd, 2005).
415:Knockdown Center, New York City, USA, 2015.
397:Contemporary Calgary, Calgary, Canada, 2016
167:150 prepared dc-motors, filler wire 1.0 mm.
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876:Scholz, Alexander (2019). "Motor Cities".
427:Geumcheon Art Factory, Seoul, Korea, 2014.
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607:2005 Aeschlimann Corti Award, Förderpreis
595:2009 Aeschlimann Corti Award, First Prize
554:Kunstraum Kreuzlingen, Switzerland, 2010.
548:Vooruit Arts Center, Gent, Belgium, 2010.
505:Le Centrequatre, Paris, France, 2012-2013
463:Galerie Denise René, Paris, France, 2012.
313:, Switzerland (2008), among many others.
283:The John and Mable Ringling Museum of Art
61:Learn how and when to remove this message
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347:Stadtgalerie, Saarbrücken, Germany, 2020
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1152:SIKART Lexikon zur Kunst in der Schweiz
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640:Zimoun «28.34» (5.1 composition, 2016)
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545:, Schichtwechsel, Liechtenstein, 2010.
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575:Tonus Labor, Bern, 2002, 2003 + 2004.
539:Kunsthalle Luzern, Switzerland, 2011.
357:Muxin Art Museum, Wuzhen, China, 2019
165:(2011) at David Winton Bell Gallery,
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1150:Kallscheidt, Ulf. Zimoun (2019), in
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731:Zimoun Artist Page, bitforms gallery
613:2000 Mention Swiss Youth Photo Award
551:La Rada, Locarno, Switzerland, 2010.
493:, New York, USA, 2009 + 2012 + 2015.
436:Beall Center, Los Angeles, USA, 2014
363:NYUAD Arts Gallery, Abu Dhabi, 2019.
239:Haus der elektronischen Künste Basel
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736:Zimoun Video Page, bitforms gallery
711:Zimoun's Vimeo Page (video archive)
676:Zimoun «Kabel 0.1/0.2» (cd, 2006).
572:DDM Gallery, Shanghai, China, 2004.
536:Lydgalleriet, Bergen, Norway, 2011.
451:Auditorium Arte, Rome, Italy, 2013.
442:, Nottingham, United Kingdom, 2013.
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445:Nowy Teatr, Warszaw, Poland, 2013.
243:The John and Mable Ringling Museum
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569:, Switzerland, 2004, 2006 + 2008.
1038:Lexikon zur Kunst in der Schweiz
903:Lexikon zur Kunst in der Schweiz
839:Lexikon zur Kunst in der Schweiz
726:Audio Works of Zimoun on Discogs
610:2004 Residency in Beijing, China
372:, Donaueschingen, Germany, 2018.
301:, Seoul, Republic Korea (2012),
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41:. Please discuss further on the
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691:Zimoun «Flachland» (cd, 2003).
1155:. Retrieved February 27, 2020.
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842:. Retrieved February 27, 2020
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774:Lexicon on art in Switzerland
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1042:Retrieved February 27, 2020.
935:Daly, Hannah (Feb 6, 2012).
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694:Zimoun «Viskos» (cd, 2003).
366:Telefónica, Lima, Peru, 2018
309:, Linz, Austria (2010), and
295:National Art Museum of China
281:, São Paulo, Brasil (2012),
161:Featured in the group show,
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697:Zimoun «Drums» (cd, 2003).
560:, Switzerland, 2005 + 2009.
487:, Switzerland, 2011 + 2012.
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1291:Swiss contemporary artists
479:Kuandu Museum of Fine Arts
475:, São Paulo, Brasil, 2012.
303:Kuandu Museum of Fine Arts
202:The Ringling Museum of Art
84:, sound architectures and
1206:"Zimoun: Sculpting Sound"
1054:"Zimoun: Sculpting Sound"
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543:Kunstmuseum Liechtenstein
521:, Sarasota FL, USA, 2011.
331:Exhibitions (selection):
688:Zimoun «Nå» (cd, 2004).
473:Museu da Imagem e do Som
467:Nam June Paik Art Center
407:Fine Arts Museum, Taipei
394:, Santiago, Chile, 2016.
299:Nam June Paik Art Center
287:Art Museum Liechtenstein
279:Museu da Imagem e do Som
206:LAC Art Museum in Lugano
1256:Official website Zimoun
716:Images of Zimoun's Work
481:, Taipei, Taiwan, 2012.
457:, Rennes, France, 2013.
403:, Moscow, Russia, 2016.
354:, Santiago, Chile, 2019
326:Zimoun: Sculpting Sound
291:Taipei Fine Arts Museum
102:retaining the order of
1276:Experimental musicians
1185:. bitforms gallery nyc
1166:"Leerraum [ ]"
937:"Spectacular Kinetics"
519:Ringling Museum of Art
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318:Ringling Museum of Art
721:Detailed CV of Zimoun
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316:His solo show at the
39:neutral point of view
590:Prix Ars Electronica
455:Musée des Beaux-Arts
392:Contemporary Art MAC
382:Le Centquatre, Paris
352:Contemporary Art MAC
245:of Art Florida; the
1204:McLendon, Matthew.
1052:McLendon, Matthew.
517:The John and Mable
500:Seoul Museum of Art
1183:"Zimoun Biography"
401:Polytechnic Museum
344:
163:Nostalgia Machines
1286:New media artists
1136:978-1-9160020-0-5
1090:978-1-9160020-0-5
1022:978-1-9160020-0-5
997:978-1-9160020-0-5
972:978-1-9160020-0-5
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558:Kunstmuseum, Bern
137:abstrakt Abstrakt
78:Bern, Switzerland
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905:. Retrieved
861:3 September
620:Discography
253:Exhibitions
1265:Categories
1238:2018-10-20
782:References
390:Museum of
350:Museum of
223:ambisonics
216:Audio work
104:minimalism
1216:24 August
1189:23 August
1110:23 August
1064:23 August
946:23 August
822:23 August
705:Resources
485:ART Basel
342:, Schweiz
231:Leerraum
146:Modernism
120:sound art
99:John Cage
43:talk page
941:ArtSlant
800:Ear Room
767:"Zimoun"
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884:
878:Zimoun
772:SIKART
583:Awards
259:Don Li
226:arts.
194:Volume
122:, and
108:oeuvre
106:. His
74:Zimoun
588:2010
1218:2012
1191:2012
1131:ISBN
1112:2012
1085:ISBN
1066:2012
1017:ISBN
992:ISBN
967:ISBN
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