Zimoun, Artist

36 ventilators, 4.7m³ packing chips

Zimoun 2014

Motors, metal, styrofoam, nylon, wood, controlling system. Dimensions: variable.
Installation view: Art Museum Lugano, Switzerland.

Curated by Guido Comis and Cristina Sonderegger. Studio and/or on-site production assisted by Matteo Taramelli, Ulf Kallscheidt, Janis Weidner, Elisa Tangheroni, Benoît Villemont, Riccardo Stephani, Alessandro Lucchini, Nicola Del Signore and Valentina Brkovic. Controlling system developed in collaboration with Jason Cook, Alexandre Saunier and Grégoire Lauvin, at the Digitalarti Laboratory in Paris. Photographies and video by Zimoun.  

Video: https://vimeo.com/92326468

236 prepared dc-motors, wire isolated, cardboard boxes 41x41x41cm

Zimoun 2011

DC-motors, wire isolated, cardboard boxes, power supply. Dimensions: height 3.5m, Ø 4.8m / height 11.5 ft, Ø 15,7 ft. Installation view: Ringling Museum of Art, Sarasota, Florida, USA. Curated by Matthew McLendon. Exhibition design by Matthew Harmon. Project coordination and assisted by Stephanie Sherriff. Assisted by Vanessa Gageos, Florian Bürki, Matthew Harmon, Kyle Petreycik, Alvy Vereecke, Emily Martin, Morgan Janssen, Chris Schumaker, Gabbi Ricci, Tracy Keenan, Diana Lueken, Lester Gessley, Alicia Stein, Emily Meyer, Chris Degrer, Alex Wyllie, Katelyn Bobek and Anna Paul. Exhibition coordination by Donn Roll. Conservation by David Piurek. Volunteer coordination and academic affairs by David Berry. Photographies and videos by Zimoun. Kindly supported by Pro Helvetia - Swiss Arts Council.

Video: https://vimeo.com/32012831

Watch on website. Link here. 

43 prepared dc-motors, 31.5kg packing paper

Zimoun 2013

DC-motors, paper, nylon, wood, power supply. Dimensions: Size variable.
Installation view: Orbital Garden Bern, Switzerland.

Curated by Don Li and Jahn Antener. Studio production assisted by Elisa Tangheroni, Valentina Brkovic, Matteo Taramelli, Janis Weidner, Ulf Kallscheidt and Till Hillbrecht. On-site production assisted by Elisa Tangheroni, Valentina Brkovic, Matteo Taramelli, Paul Hügli, Don Li, Jahn Antener, Li Rotzler, Marc Beekhuis, Hannes Zweifel, Micha Bürgi, Simon Petermann, Jelena Savic, Monika Grossen, Jahn Mazel and Nina Wagner. Video by Studio Zimoun. Supported by KulturStadtBern, Swisslos / Amt für Kultur Kanton Bern, Migros Aare and Burgergemeinde Bern.

Video: https://vimeo.com/85034898

More to see on artist's website. Link here. 

Ashley DeLoach, Student Work, Sculpture I

 “Pompeii”
4' x 25" x 25"
Wood, air dry clay, paint.

All my life I have collected items such as antique keys, cork bottles, coins and bottle caps.The idea of excessive multiples excites me. Formally there are ideas about repetition and space. Emotionally there are feelings of exploring and investigating the objects. For this piece I sculpted miniature forms from clay inspired by the pottery I saw when touring the ruins of Pompeii. I responded to the visual subtlety of the table structure with the miniature forms. The black united these forms so that the miniatures became part of the table and vice versa. There is also the idea about a game or a precious collection that is conveyed.

Small, clay forms in progress.

Ashley DeLoach, Student Work, Sculpture I

“The Gazing Hollow”
Wood
7' x 4' x 2.5'

Once I completed the construction of the cube, I fought with the idea that it should be painted or adorned in some way. Weeks passed and I played with several ideas, feedback from others danced in my mind. After writing about the church Santo Stefano, and doing some further research of Romanesque buildings I discovered why I was leaning toward leaving the surface in its current state of natural wood.  Santo Stefano, in Assisi and many other Franciscan churches are known for simplicity. The Church of Santo Stefano has bare stonewalls, with little décor, this is entirely unlike all other churches in Italy. Even Romanesque architecture once had color but is now striped of all color and reveals its stonewalls. These structures impacted me the most in on my trip, the raw, and undecorated interior and exteriors. Along with the minimal color and décor, the large-scale structure creates a presence in its space. I wanted this piece to reflect the magnitude of the sacred spaces I visited. The idea of my piece is a direct response to the feelings I had about scale and space when visiting Romanesque architecture in Italy.

Ashley DeLoach, Student Work, Sculpture I

“Exploding Limitations”

Wood and Yarn

approx. 5.5' x 3.5' x 3.5'

I realized it wasn’t about keeping the order and rhythm of the rest of the piece but about breaking away from the confinement of structure that holds us back. This side was like the side of me that was trying to breaking away from the order and restraint. Though I felt many raw and real emotions through this time I feel like the piece has become something chaotically ordered and beautifully messy. The yarn cascading down the front creates a dramatic contrast from the tight crossing lines of the other sides. This piece is a reflection of myself; again my subconscious was revealing mysteries that my heart knew all along.

Student Blogs, Summer 2015

Ashley DeLoach
Matthew Dolby
Anna Kilic
Alexa Poscic
Monica Stauffer

Downtown Peephole Project, 2015

Downtown Peepholes 
A collaborative community project between 
Flagler College art students and local businesses. 

The event takes place for one night
Friday, April 3
during First Friday Art Walk
5 – 9:00

Art Walk attendees search the downtown area in search 

of original artwork located at participating businesses: 

Anastasia Books
(Anabel Anderson)

Corazon Cinema and Café
(Cameron Harrison)

Melissa’s Intimates
(Meagan Henshaw)

Sphere Heals
(Sarah Howard)

The Bunnery
(Bernadette Januska)

57 Treasury
(Catherine Pinyot)

The Lightner Museum
(Key Russell)

Savannah Sweets
(Maria Toto)

Antoinette’s Bath House
(Melissa Yearwood)

The project is under the direction of 

Laura Mongiovi

Associate Professor of Art and Design at Flagler College

Above image includes map. 

Maps also available at participating businesses 

or by e-mailing lmongiovi@flagler.edu

Student Blogs, Installation and Site Specific Class, Spring 2015

Anabel Anderson
Cameron Harrison
Meagan Henshaw
Andrew Hollingsworth
Sarah Howard
Bernadette Januska
Catherine Pinyot
Key Russell
Maria Toto
Melissa Yearwood

Land Arts of The American West

 Website link here.

Land Arts of the American West, at the University of New Mexico, is an ongoing experiment and interdisciplinary model for creative and critical arts pedagogy based in place. This program puts students in direct contact with place of the American Southwest through Field Investigations, Research, Creative Production, and Public Presentation/Dissemination of projects. During the program, students travel extensively throughout the Southwest for up to 50 days, while camping and investigating environmental sites, human habitation systems, and questions facing the region. Methodologies include the melding of direct experience, critical research, creative inquiry, interdisciplinary collaboration, and artistic production. Recent topics of investigations have focused on Watershed, US/Mexico Border, Foodshed, Utopian Architecture, Land Use, and Eminent Domain.

Land Arts of the American West is made possible, in part, by the generous contribution of Lannan Foundation.

Visit: The Land Arts of the American West Student Field Blog

HISTORY

Bill Gilbert started the Land Arts program at the University of New Mexico, in 2000, based on ten years of field programming at Acoma Pueblo and Juan Mata Ortiz, Mexico. In 2000, John Wenger served as co-director, contributing his experience of over 25 years in the wilderness of northern New Mexico and southeastern Utah. Between 2002 and 2006, the Land Arts program operated as a joint venture between Bill Gilbert (UNM) and Chris Taylor (UT). Professor Chris Taylor currently directs his own Land Arts program at Texas Tech University, http://landarts.arch.ttu.edu/. In 2005 and 2007, Erika Osborne co-directed the program at UNM. Catherine Harris joined the program, in 2009, as Art & Ecology faculty, and Jeanette Hart-Mann (Land Arts program 2000) assumed responsibility for the program field logistics. In 2012, Jeanette Hart-Mann began co-directing the program with Bill Gilbert.

GRADUATE AND POST-GRADUATE RESEARCH AND PROJECT GRANTS - GRANT INFORMATION AND APPLICATION

The Land Arts of the American West (LAAW) program has received a five year grant from the Andrew W. Mellon Foundation to support the creation and operation of the Land Arts Mobile Research Center (LAMRC). In 2015, LAMRC will be offering grants to students who have participated in the Land Arts of the American West field program. These grants will support current MFA thesis projects, international travel for research projects, as well as post-MFA research. Please see Grant Information and Application for details.

DOCUMENTARY FILM - MOVING MOUNTAINS - LAND ARTS OF THE AMERICAN WEST

Moving Mountains - Land Arts of the American West, is a current film project by director and producer, Sam Wainwright Douglas of Big Beard Films (Citizen Architect), which explores the western phenomenon of Land Arts through the immersive, field-based, pedagogical experiment of the Land Arts of the American West program. The production of this film is still underway and seeking financial sponsorship through the Austin Film Society.

BOOK - LAND ARTS OF THE AMERICAN WEST

In 2009 the University of Texas Press published the book, Land Arts of the American West, presenting the ongoing collaboration in which artist Bill Gilbert and architect Chris Taylor investigate and create land art with their students. The book is organized around places visited over the first seven years of the program. The over 400 color photographs are accompanied by descriptive information about the site’s natural and human history; student journal entries presenting first-person experiences; essays by William L. Fox, Ann Reynolds, J.J. Brody, and Lucy Lippard; and interviews with Mary Lewis Garcia, Graciela Martinez de Gallegos and Hector Gallegos, and Matthew Coolidge. Woven throughout the text is a conversation amongst Gilbert, Taylor, and writer William L. Fox, covering the Land Arts program’s origins, pedagogic mission, field operations, interactions with guest lecturers, and future directions.

© Land Arts of the American West Program / UNM

Andrea Heideman, Student Work, BFA Course 2014

BFA Course, Instructor Leslie Robison

Ariane Vielmetter, Artist

HEXEN HAUS, Group Exhibition with Krista Buecking, Akina Cox, Gilda Davidian, Guiyoung Hwang, Jen Hutton, Ariane Vielmetter, Esther Pearl Watson and Sarah Williams with Katie Bachler. October 21-28, 2013. Altadena, CA. All Images courtesy of Gilda Davidian.

Link here to see on artist's website.

CalArts Open Studios 2011

Link here to see on artist's website. 

Eat Love Budapest, Marije Vogelzang

Marije Vogelzang is a pioneer of “eating design”. She is a graduate of the Design Academy in Eindhoven and owner of Proef — a restaurant, gallery and studio rolled into one. She is also storyteller; a kind of gastronomical genealogist, if you will. She examines the psychological, sociological and environmental ramifications of how we eat, with whom we break bread, where our food comes from and how it affects the environment. Vogelzang’s edible architecture is not only sustainable, it is also performative. Each exhibition is meant to awaken the sense and stir the soul. She seeks to situate food within the greater context of our lives; as  ritual, as nourishment, as memory and as a gateway to a delectable future.

Above image and text from Trend Tablet

Philosophy

"Eating design is to design from the verb 'to eat'.”

Designers who work with the subject of food are often called 'food designers'. According to Marije Vogelzang, food is already perfectly designed by nature. Instead, her designs focus around the verb 'to eat'. Vogelzang is inspired by the origin of food and the preparation, etiquette, history and culture around it. For this reason, she doesn't consider herself a 'food designer', but as the first 'eating designer' in The Netherlands. 

"There is no material that comes as close to human beings as food."

It is often thought that designers who work with food only design the shape of it. Vogelzang's aim is to look at the content and background of the food as well; the shape is just a tool to tell a story. 

"You put my designs inside your body." 

After 10 years of experience with food projects, Vogelzang has developed a philosophy consisting of eight inspirational points. They can be used as a tool to inspire designers and creatives about food. Eating design is a uncultivated area with an endless amount of possibilities. The eight point philosophy gives insight into where the possibilities of working with food can lead. 

"Food goes to the stomach, but it can also activate the brain and can rouse strong memories and emotions."

The eight points are:

- the senses

- nature

- culture

- society

- technique

- psychology

- science

- action

Above text taken from artist website. Link here to watch an interview with the artist.