The installations of Zoro Feigl (1983, Amsterdam) seem to be alive. His materials dance and twist. Placed together in a space, the separate works become one: large and ponderous in places, nervous or gracious elsewhere.
Feigl’s forms are constantly changing, sometimes slowly, sometimes quickly. The exhibition space becomes an enlarged microscope: single-cell creatures, primitive organisms are twisting, groaning and convulsing. Without beginning or end the objects seem to be locked into themselves. As a viewer you become entangled in their movements: they embrace and amaze, but sometimes also frighten you.
Zoro Feigl lives and works in between Amsterdam, Netherlands and Klein-Vorst Laakdal, Belgium. He graduated from the Rietveld Academie, Amsterdam and the Hoger Instituut voor Schone Kunst, Gent. His work has been shown internationally at various exhibitions including the Mori Art Museum Tokyo, SPACE Pittsburgh USA, KisArt Busan Korea, National Art Museum of China, Galeria de Arte do SESI Sao Paulo, Artplay Moscow, A+B Contemporary Italy, 0gms Sofia Bulgaria, Verbeke Foundation Belgium, Kulturhuset Stockholm, Self Surface Stuttgart, Black Door Istanbul and several institutes in the Netherlands such as Stedelijk Museum Schiedam, MU, DordtYart, Het Nieuwe Instituut, W139, Arti et Amicitea and Fons Welters. His works is in international museum collections such as HeART museum Herning Denmark, Stedelijk Museum Schiedam, Rijksmuseum Twenthe Enschede, Museum Voorlinden Wassenaar and the Verbeke Foundation Belgium and has made several commissions for public space such as the work ECHO for the Ministry building in The Hague and Rock&Roll for the National Archive in Emmen, NL. He won the Volkskrant Beeldende Kunst publieksprijs 2013, en de Witteveen+Bos Kunst+Techniek Prijs 2018 en is nominated for Dutch Artist of the year 2021.
On How I Work
Moving parts tend to break down, they wear, they give way, they destroy themselves, they do not do what you want them to do. This is what I do.
In trying to make a physical manifestation of movement, both the mechanical and the forms it produces are what I consider to be my work. I’m not discovering anything new, I’m discovering the amazingness of what is already there, right in front of us. The results of this two-part process, be the end products or the effects it may have on the ones who are willing to look at it, are not fully within my reach.
While intentionally aiming to produce and control a more or less predictable outcome, I am aware and of course counting on the elements of reality to help me finish my projects.
The discrepancy between thought and object, what is allowed in and that what forces itself upon the work, are the things I try to manage, its results will be mine, but never fully.
Although the work manifests itself as a pure visual experience there is another layer, sometimes poetical sometimes critical. As a result of the location or the materials used, a hint of the bigger world is given.
Documentation will hopefully never do justice to the work. An honest anecdote of the experience will give more credit than any registration of it can do.
Zoro Feigl 2011