«Zimoun is transforming everyday materials, devices and objects, invisibly present around us, in aesthetic environments, defining the space, sound and atmosphere of the beholder’s experience. His process is one of the engineer, architect, craftsman, researcher, arranger, conductor so it is no wonder that his studio is somewhere in between scientific lab and the workshop. Self-taught, obsessed with the simplicity of things, movements and sound he is stubbornly opposing the dictation of new media and technology, reminding us of the capacity of the artist to transform our perception of the surrounding world. His mission, ideology and idea is discreetly summarised in the titles of each piece. Deconstructing the very nature of his work, he is stating the exact list of materials, amounts and components of each installation. Not unaware of the irony, he is confronting the mystery of the artistic process and inspiration with ‘Do-It-Yourself’ logic. The results we encounter, the sonic and spatial environments composed of 36 ventilators, 956 prepared dc motors, 691 cardboard boxes, 31.5kg packing paper, 515 cotton balls, 48l water, 5.3 cm3 wire etc., reveal a hardcore perfectionist in search of the beauty of simple.» Milica Pekić

«Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun's minimalist constructions effortlessly reverberates.» bitforms nyc

«The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the «artificial» and the «organic». It's an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns.» Tim Beck

«Zimoun creates work that connot possibly be heard over headphones. He doesn't use microphones or speakers, but instead creates mechnical sound works from rigorous interactive displays of commonplace industrial objects such as plastic bags, cardboard boxes, and tubing activated by motors. His sculptures create sonic and visual chaos out of a seemingly ordered system. Inspired by the sciences of generative systems, robotics, and swarm behaviors, he creates very simmple synthetic structures, which unfold into complex, almost biological systems. Licht differentiates Zimoun's particular type of minimalism from the work of musicians like La Monte Young and Steve Reich, describing "hive-like structures which remove the factor of duration by physically stracking the repetitions on top of each other." The sound is the essence of his artistic practice; the form of the sculpture develops from the function of its sound production. What you hear is what you see, an electromechanical sound-making organism.» Collins, Schedel, Wilson «Electronic Music» Cambrigde University Press.

«Zimoun breaks the distance we think exists between structure and chaos. Ordered, structured, and temporal-minded work enables the organic creation of noise by pared-down elements that evoke a Minimalist ethos. Though the works are by definition noise, they involve quietening in order to listen. They are gentle reminders that when you stop to listen, you hear what you might have missed. Planned and ordered mechanisms enable minimal materials to make the noise they happen to make. This causes us to think about what structure means for creative production. Does creative freedom benefit from planned organisation?» Kowtow 

«The clean, elegant sound sculptures combine visual, sonic, and spatial elements in an organically balanced entirely artwork. Using simple and well conceived mechanical systems, Zimouns‘s work transforms and activates the space.» Jury Prix Ars Electronica 2010

«Zimoun creates complex kinetic sound sculptures by arranging industrially produced parts according to seemingly simple rules. Using motors, wires, ventilators, etc.., he creates closed systems that develop their own behavior and rules similarly to artificial creatures. 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 categorioes suddenly reappear, such as deviation, refusal and transcience out of which complex patterns of behavior evolve.» Node10

«Zimoun blends elements of sound, sculpture, mechanics, and engineering into unique sensory experiences redefining traditional notions of sculpture and sonic performance.» Ringling Museum of Art

«Zimoun's sound installations are in fact wonderful complex systems, composed by mechanic motorized units, organized by very rigid project and exposition rules: these works are vivacious living organisms, capable of inhabiting their space through a smart and never banal relationship among sound and measurement of volume. A careful study on the composition potentialities of the sound superimposition produced by the different used materials, and a strong irony in his mechanisms’ kinetics, almost seeking for the observers’ attention, are further chances of analysis and reflections. Voluntarily composed without a title and described to the public only on the basis of their mechanical components and materials, Zimoun’s kinetic sculptures may require the observer to make an effort of imagination, acting subjectively on the completion of the work.» Marco Mencuso

«Art that creates these intense, simple experiences is my favorite, it makes you appreciate the universe.» Mitchell Callahan

«Rhythm and chaos, silence and noise are some of the opposites that characterize the installations of Swiss Sound Architect Zimoun.The simplicity and complexity of the sculptures form a poetic whole. The attractive visual appeal and the alienating rhythmic sounds are distinctive characteristics of his work. He uses them to reveal a total experience of sound in a new context.» Dots Magazine

«There's a poetic and humorous absurdity we find in Zimoun’s work, which opens up a wide, refreshing and enriching space for discoveries, associations and a multitude of approaches.» Nina Terry

«Zimoun presents work that is minimalist in its thinking and construction, yet spectacular in effect.» Hannah Daly

«Zimoun's installations are marked by their minimalism: he often uses simple elements such as cardboard boxes, cotton balls, or ventilators in aggregate ways that begin to define an architecture of a different dimension. Coupled with the experiential and spatial sound environment a totally unique experience begins to emerge as one enters his orchestrated architecture.» Katrin Kalden

«With the use of minimal and mundane materials, Zimoun generates space by creating humming sounds with the collisions of his elements. Zimoun uses the rigid order of Modernism while incorporating the inconsistencies of nature to produce his work.» Nick Cusimano

«The results, powered by simple DC motors in kinetic musical action, recall some kind of natural, organic colony. Assembled in structures sculptural and architectural, this is real-world synthesis, constructed mechanically in motion.» Peter Kirn

«Zimoun creates more than moving structures; he develops a space where the oeuvre, once it’s set in motion, can create itself.» Oscar Gomez Poviña

«I perceive Zimoun’s work as a unique, playful, light-hearted, and utterly complex approach and examination of the present.» Tom Gray

«The components used in Zimoun’s work are simple, functional and raw, whereas only aesthetically high-level and purposefully chosen elements and materials are used in minimalist fashion. Through radical reduction, Zimoun creates works of art which allow for a plethora of associations without being pinned down to a specific direction. Radical abstraction functions rather like a code in the background of things, thus elegantly avoiding an insinuation of direct, concrete attribution. Thanks to the abundance of mechanical activity, the range of perception, possibilities and interpretations is wide open.» Amanda Neumann

«Zimoun intuitively undermines the latent and somewhat enervating hyper-intellectual aspects of contemporary art with the playful approach of his tongue-in-check installations. His work elegantly baffles and the playfulness is intrinsic, not ostensive or superficial. However, this approach does by no means diminish the seriousness of his work and artistic intentions. The secret lies in the unbelievable ease and liberating simplicity of his installations.» Joachim Schwitzler

«Sinnfreier Aktionismus» Alice Henkes

«Indeed, one of the refreshing elements of this work is the immediacy with which one can understand the sound-making process, where each micro-event is present, visible, and concrete. Yet at the same time the resulting complexity of the total system, conjured before your eyes, defies any attempt to dissect it. You might find yourself feeling there is a «prime mover» at work behind the scenes, but in fact it is just the characteristic reaction of materials behaving together and in unison with the space of their activity. A magic of the real.» Xymara

«The movement is there, that electric, dynamic sense of disquiet that characterizes insect worlds. It’s an alien movement and, in the countless methods we all use to not only communicate but also to apprehend the world; in many cases it is the information that shuttles beneath the linguistic and semiotic radar that sometimes is the most important: colors, smells and, especially, movement.» Whitehot Magazine

«Minimal yet complex, monotonous yet varying constantly, these sound sculptures develop an uncanny strength.» Markus Spörndli

«These constantly moving installations seem to come alive, clumsy and mechanical.» Everydaylistening

«Observing Zimoun’s work opens connections to nature and natural phenomena, physics, quantum mechanics, complexity, simplicity, vitality, individuality, evolvement and growth, but also to industrialization, robotics, mass production and social phenomena, to space, architecture, cosmic white noise, phantasms and highly enjoyable experiences popping up at any moment. Art is supposed to activate and focus our attention. Zimoun’s work seems to be a sweeping and beautiful example for this.» Anton Richter

«...taking a multiple of small mechanisms, arranging them elegantly with an eye toward minimal affect and maximized geometry. When turned on, each results in a sound work with a varying degree of chance.» Marc Weidenbaum

«It is a physical and electronic representation of what I’ve come to believe is a kind of archetype of some sort. They each present a similar kind of movement that is found in the insectoid underbellies of nature all around us.» Whitehot Magazine

«Through a rigorous reductionism of the means used to produce sound, the emphasis is taken away from any kind of technological spectacle and kept firmly on the materials and their elaborated behavior in an overall system of events.» Xymara

«The room and its assorted assemblies have a laboratory quality that suggests cleanliness and sterility, and the automated contraptions necessarily have a robotic quality that’s off-putting yet simultaneously intriguing.» Fubiz

«Their very intrinsic banality make the end-result is utterly virtuosic.» Lo Han

«Sometimes when we look for creative solutions, we tend to think that the hardest the solution may be the better. We program, we look for assistance of thousands of people for a picture, make the best picture of the most amazing and impossible to find sunset, yet the simple things like this can take us to a whole new level!» Juan G. Monge Ulate

«The works convince through their elegant and clever simplicity in an inconspicuously complex setting.» Stephen Braun

«Zimoun’s primary instruments are entirely of his own making, each a large-scale installation of small mechanical devices — tables lined with whipping little bits of tubing, small sets of fetishistically situated mini- motors. They are architecturally precise and their beauty is forged by that precision. The meticulous engineering of Zimoun’s work is a set- up — not an end unto itself, but a staged step toward its end result, an orderly step enacted so as to let chaos flourish. His chaos takes place in close settings, in carefully defined spaces, in systems as thoroughly considered as a laboratory experiment. And the sound emited by them is not an after effect, or an afterthought. It’s a core principal of his practice.» Marc Weidenbaum