artists & participants
Jonah Freeman & Justin Lowe
October 10, 2020–February 21, 2021
From October 10, 2020 ARoS Aarhus Art Museum presents Jonah Freeman & Justin Lowe with a comprehensive exhibition in terms of both set design and content. In the gallery visitors will meet 15 all-enveloping spaces with changing scenographic installations. As a whole, these spaces make up the exhibition COLONY SOUND. The exhibition is a unique and sensory total experience, staging the transition to a post-apocalyptic and dystopian future.
COLONY SOUND is an appealing and relevant art experience, sure to capture the attention of children and adults alike. The exhibition grapples with some of the potential disasters and dystopias of our times and it therefore engages directly with the present zeitgeist, says Erlend G. Høyersten, museum director, ARoS Aarhus Art Museum. With thousands of elements, COLONY SOUND forms a gigantic labyrinthine total installation where visitors are free to explore and work out for themselves what is fact and what is fiction.
Freeman & Lowe operate with this integral whole where they physically include everything from floor to ceiling in their installations. Visitors will experience a unique sense of finding themselves in a place that could be described as a mixture between an architectural ruin and a simulated theatrical world, says Lise Pennington, chief curator and responsible for the exhibition, ARoS Aarhus Art Museum.
San San COLONY SOUND is the artist duo’s latest addition to their fictitious narrative about the city San San. Freeman & Lowe take their inspiration from the book The Year 2000 where, in 1967, the writers Herman Kahn and Anthony J. Wiener gazed into the crystal ball and offered their vision of the world in year 2000. In the book, the authors imagine that the cities along the west coast of America from San Diego to San Francisco would merge to form a mega-city complex called San San.
About the artists
Freeman & Lowe’s artistic practice consists of architectural scenarios and carefully selected artefacts, prints, and films. Since 2008, their study of architecture as sculpture and total installation has taken the form of paraphrases of dystopian visions, psychotic seizures, and drug-related subcultures. Their common practice has led to solo exhibitions at Art Basel and the Museum of Contemporary Art in Los Angeles, California, and participation in numerous group exhibition around the world. The exhibition has been made possible thanks to generous financial support from Egetæpper For