The Swiss artist Zimoun is currently exhibiting his latest installation at the Ringling Museum of Art in Sarasota, Florida (USA), which runs until January 08 2012. Zimoun, previously featured on Minimalissimo, builds architecturally-minded platforms of sound using simple and functional components, which result in unique and quite beautiful soundscapes.

The Sculpting Sound installation, curated by Matthew McLendon is an example of structural simplicity in an industrial-like setting, which reveals an intricate relationship between the artificial and the organic. Zimoun’s creations often use multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns.

If I was in the vicinity, this would be a must-see. Fantastic.

→ Watch the Sculpting Sound video

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Sculpting Sound is a post by Carl MH Barenbrug on Minimalissimo.

Memes is a series of sculptures by British-sculptor Antony Gormley, recently exhibited at Anna Schwartz Gallery in Melbourne, Australia. According to the publication on the work released by Anna Schwartz in conjunction to the exhibition, Gormley states that the project started as an investigation into scale and modular construction.

Of the work, Anna Schwartz Gallery says:

A Meme is a cultural analogue to a gene. Forms that are transmitted in thought or behaviour from one body to another, responding to conditional environments, self-replicating and capable of mutation.

The miniature or the model allows the totality of a body to be seen at once. These small solid iron works use the formal language of architecture to replace anatomy and construct volumes to articulate a range of 32 body postures. The ambition is to make intelligible forms that form an abstract lexicon of body-posture but which nevertheless carry the invitation of empathy and the transmission of states of mind.

Displayed widely spaced within the architecture of Anna Schwartz Gallery in Melbourne, the works interface with the architecture of the gallery. Placed directly on the floor they become acupuncture points within the volume of the space, allowing the viewer to become conscious, through the disparity of scale, of his/her own mass and spatial displacement as s/he moves around and amongst the works.

Larry Bell has had a long and varied career, and also influential enough to land himself on the cover of The Beatles’ 1967 album Sgt. Pepper’s Lonely Hearts Club Band.

Born in 1939 in Chicago, Illinois, and now based in Toas, New Mexico and Venice, California, his earliest work were, like Donald Judd, Abstract-expressionist paintings.

In the 1960s, Bell began making some of his most recognisable works: Cube structures that sit on transparent plinths. Three of these works were featured in the influential 1966 minimalist exhibition Primary Structures, which also featured the work of Donald Judd, Dan Flavin, Ellsworth Kelly, Carl Andre and Sol LeWitt (amongst others).

I often see people disregard the relationship between the plinth and a sculpture, and furthermore the plinth’s sculptural presence. It’s always refreshing to look at Bell’s work, because he brings an awareness to the plinth by making it part of the work itself.