“Everything which is alive contains water. Water is so comprehensive, when you work with water, you work with all it relates itself to.”
– Nanno Simonis about the language of water and his artistic journey
The artist Nanno Simonis, featured in the exhibition Choreographed Events, told us more about his work To Water Is To Be (2023) and shared his artistic vision with us – emphasising the art of listening and the ever-changing dialogue between his creations and visitors who engage with them. His exploration of water’s duality and the intriguing journey into alternative dimensions make this a conversation not to be missed.
Nanno Simonis began his dedicated exploration of creativity whilst studying at the department Man & Communication at the Design Academy in Eindhoven, where he delved into his own interests, a practice further defining his artistic path. During his bachelor’s degree there, he explored various media. From drawing and stop-motion, which are activities that stem from his early childhood, to sound, ceramics, film and wooden sculpture. Also slowly immersing himself more in the world of tactile artistry. As his artistic explorations continued, Simonis found himself drawn to installation art, fascinated by its intricate layering and complexity.
During his studies, Nanno did an internship at Philip Vermeulen in The Hague. Here, the practice of experimentation took precedence over predefined plans, shaping Simonis’ artistic vision rooted in exploration, trying to see what happens in the process, discovering the beauty of the unknown. More recently, Simonis collaborated with filmmaker Clémentine Schmidt, where his expertise lies in crafting the sonic dimension of their work. Within this project, he mirrors the same approach as in his installation art: a profound openness to experimentation following intuition and listening to what the material calls for. This highlights the significance of listening, an essential element in every facet of his work, from soundscapes to installations.
In Nanno Simonis’s sculpture To Water Is to Be (2023), on show at Garage Rotterdam, showcases the dual nature of water. His piece embodies water’s dynamism within a glass box, appealing contemplation on its interconnectedness with nature. Commissioned by Z33, House for Contemporary Art, Design & Architecture, and supported by Amarte Fonds, To Water Is To Be (2023) within the exhibition Choreographed Events challenges the illusion of control in an almost satirical way, leaving a lasting impact.
Can you describe the concept and inspiration behind “To Water Is To Be (2023)”, how does the work relate to your fascination with the duality of water?
Nanno: When I was younger, I held the belief that art should primarily be a personal expression, but over time, my perspective evolved. I’ve come to embrace the idea that art can show the expression of something greater, and this thought underpins To Water Is To Be (2023). Even though I, as the artist, remain an integral part of this installation, I strive to maintain a certain distance, allowing the work itself to communicate. The concept of this work is fluid, evolving in different locations, each providing new perspectives. To Water Is To Be (2023) may seem simple on the surface but it is done so with the intention that it would invite visitors to explore its depths – some visitors may stand at a distance or only give it a quick glance, while others may circle around the work or examine it closely to discover its meaning. This freedom is also the dynamic power of installation art.
How do you choose the materials and media for your objects and installations?
Practicality and functionality are the main guidelines for the selection of materials. For To Water Is To Be (2023), aluminium emerged as the perfect choice because of its mix of practicality and simple aesthetic appeal. So was the rigidity and weight of glass. My artistic process follows the properties of each material, in a sense it’s ‘form following function’.
How do you see the relationship between the viewer and the work, what emotions or thoughts do you hope To Water Is To Be evokes?
I aim for the curiosity of visitors. I created this work because I believe it holds valuable stories. I created To Water Is To be (2023) not with a predefined understanding of its impact, but because I think it must exist to interact with. It is a manifestation of my own curiosity. Pinning down a concrete definition of what the work represents is an ongoing process, but also not something I necessarily strive for. It’s intriguing to experience the diverse ways in which the curiosity from the audience unfolds. Some visitors connect it to the mundane, saying their ‘washing machines are also able to do this’. They question how something ‘normal’ as water can suddenly be viewed as art. This dialogue between the work and its visitors is multifaceted, going beyond the boundaries of art into the realms of the spiritual, the poetic and the practical.
What can we expect from you in the future?
I’m currently collaborating with filmmaker Clémentine Schimdt on our project, “Mnemonic Shores.” In which we are on the lookout for an alternative perspective on reality, exploring how a single moment can be perceived through diverse lenses and angles. Through film and sound editing, we aim to get closer to reality, revealing dimensions that go beyond what is captured in raw, unaltered material.
“In the mist in which existence lies, memories crystalize from past moments lived. Might be altered, might become in part fiction, but no less real. A moment that goes beyond the perceptible reality. As if the encoding of light and sound by the mind has warped into a fluid form of existence. A static state of constant movement.” – description of the work Mnemonic Shores.
I have been working with sound for almost 10 years now. My interest in electronic sound gravitated towards noise, drone, electro-acoustic, and field recording. Through field recording, I aim to capture the essence of an environment at a specific moment, a snapshot in time. This craft goes beyond documentation only; using microphones and recording devices to manipulate and distort the sounds, creating a parallel reality that detaches itself from our conventional notion of “space-time.”
In this exploration, Nanno Simonis started a collaborative journey with Jonathan Castro, both researching non-egocentric modes of existence and listening. Operating under the banner of “dirty listening,” they listen to everything beneath the surface of the environment and reality, embracing everything detached from fixed forms. This adventure has taken Nanno and Jonathan to diverse locations, including a trip around through the Maltese islands together with artist and local Aiden Celeste. This project resulted in 5.5 hours of recordings, which Nanno and Jonathan have been using in various live and recording projects but also aim to transform into a live sonic experience in the not-so-distant future. Stay tuned!
Nanno Simonis his work To Water Is To Be (2023) is on show within our current exhibition Choreographed Events, curated by Bogomir Doringer, until 5 November 2023 at Garage Rotterdam. Read more about the exhibition here.
During Natafelen on Friday 3 November, Nanno Simonis will elaborate on this work via a Q&A. Read more about Natafelen here.
Do you want to read more about Nanno Simonis? Click here.
Photo credits:
To Water Is To Be (2023) by Nanno Simonis at Garage Rotterdam. Image: Aad Hoogendoorn | Mnemonic Shores (2023) by Nanno Simonis and Clémentine Schimdt | Field recordings on Malta. A collaboration by Nanno Simonis and Jonathan Castro
Publication date: Saturday 28 October, 2023
Author: Hannah van den Elzen