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Listening to art.
Playing with audio.
Sounding out technology.
Composing in code.

46 Seconds in Heaven

Amid a recent Zimoun work

A new glimpse of an installation piece by the artist Zimoun is always a cause for attention. His work often achieves a mix — a contrast, more to the point — of sizable dimensions and aesthetic intimacy. This balance is thanks to his frequent combination of inexpensive materials and the lulling repetition of speedy mechanical activities. The effect, as witnessed here, is a robot lullaby at an industrial scale.

This work, a video document of which appeared in the past week, consists of “99 prepared dc-motors, felt balls, 297 m steel wire, 2018” (such is, in effect, the title of the work — a plainness that matches the materials). The result is a mix of fierce geometry and sympathetic droning, of rapid motion amid an otherwise static field.

The vertical lines are like grid-minded painter Agnes Martin paying tribute to Richard Lippold’s wire sculptures. The base is like the structure of one of Bruce Nauman’s fluorescent bulbs — which emit their own drone byproduct — repurposed as a support mechanism. The video lasts just 46 seconds, seen from various angles. It’s intriguing to consider whether the audio perfectly matches the image, or if it even matters, given the mechanical nature of the proceedings and the extremely narrow — imperceptible, likely — range of variation therein. And then you hit repeat.

Video originally posted at Zimoun’s Vimeo account. More from Zimoun at www.zimoun.net.

By Marc Weidenbaum

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