Sunday , April 18 2021

The world of Jonah Freeman and Justin Lowe is better than ours | Arts



There are various ways of dealing with the disorder and the sociopolitical deadlocks of our time. The desire to operate a new beginning may be one of them. Ground Zero Language, a new work by João Louro, edited by Spaniard David G. Torres, reflects this desire: it is an installation linking the natural disaster (through the full reproduction of the first atomic bomb that fell to Hiroshima) with symbolic destruction, from different artistic vanguards. As a society and art, during the years of life, he shared the charm of destruction which, paradoxically, can be translated into a desire to be renewed.

Another way to deal with the disruption of the world is to create a parallel reality. It's his strategy Sets in the shade, an imposing establishment of the twin Jonah Freeman and Justin Lowe, edited by Pedro Gadanho and Rita Marques, who, like the João Louro project, are launching this Wednesday at the Museum of Art, Architecture and Technology (MAAT). A third report, Haus Wittgenstein – Art, architecture and philosophy, edited by Nuno Crespo, also opens his doors on Wednesday: a part of the 90th anniversary of Haus Wittgeinstein, a design that was designed in Vienna between 1926 and 1928, which created a home where art, architecture and philosophy were interwoven . The play of conflicts and relationships created by inspired artists such as Angela Ferreira, Vasco Barata, Droosto Frutuzo, Ricardo Carvalho, Leonor Antoiu, John Baldassari, Bruce Naumann or Pedro Kabrita Reis whose works and participation are involved in a critical dialogue with this object architecturally

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At the entrance, the visitor is transported to a Victorian setting, which Jonah Freeman describes as the ecosystem of the shadow

It depends on the New York twin and Sets in the shade, launches Video Room, a new series of MAAT exhibitions exploring the concept of extended video, overcoming simple traditional projection and articulating animation with other artistic themes. In addition to a facility with various atmospheres from architectural or theatrical paintings, this is also a cinematic work, with a dark room that projects three movie items.

The music is played by Jennifer Herrema, the artist who is also a member of the rock band Royal Trux and has invited many well-known music lovers (Hot Chip, Devendra Banhart, MGMT, Dance Gang Gang, Kurt Vile, Primal Scream, White Magic, Sun Araw, Red Crayola) to provide an audio track for the project. It moves from the most exploring electronics to the hesitant rock, through environmental moments.

"It's a film and an installation where we end up representing different ways of being, different ways to be in the world, all of a fantastic universe created by us but inspired by The Year 2000, an idea that was developed in the 1960s by Hermann Kahn, who considered a magnificence somewhere along the California coast between San Diego and San Francisco, "says Jonah Freeman.

"It's a film and an installation where we end up representing different ways of being, different ways to be in the world, all from a fantastic universe created by us but inspired by The Year 2000"

A fiction created by a fiction was realized in a series of halls representing fantastic subcultures, as Justin Lowe states explicitly: "We took this fiction and gave it a body, creating a parallel field centered on several juvenile subcultures. one habitats different. In the end, we wanted to tackle these minority cultures and society as a whole or, if we wanted to, what is the dominant thinking around us. "

Labyrinths

By February 25, Sets in the shade invites visitors to enter a multi-site area, distributed in small apartments. A labyrinth of utopian subcultures: Bamboo Union, King Gordon, Disco Pope or Shadow. Sometimes the interiors look more like dilapidated buildings or semi-finished houses, with a lot of fun, mysterious or strange, in a mixture of familiarity and curiosity: in front of us, paintings, objects, computers, VHS tapes, laboratory bottles. "Many of these things are just the ubiquitous old debris that feeds our homes and the cities that overflow with excesses," says Jonah Freeman, "and they differ from room to room because there is a need to show our identity in some activities , of life, of clothing or of drugs. "

This is the fourth time that the twin reveals this work. The first was in New York and the last one at the Kunsthal Charlottenborg in Copenhagen. Lisbon is the second European city to experience it. "All the reincarnations of this report are different and equal at the same time," explains Jonah Freeman. "The many materials composing it have traveled from place to place, but we always use local materials to adapt." In Istanbul, for example, we created even a new room. the reports we are investigating are here ".

Since 2007, the twin has collaborated on projects that combine historical or fictional narratives, later translated into submerged installations, simultaneously architectural and cinematic

From the past and the future

Since 2007, the twin has collaborated on projects that combine historical or fictional narratives, which later translate into immersive installations, both in architectures and in cinematic situations, which, as a rule, re-create dystopian visions or psychotropic episodes. I believe we have always been interested in the idea of ​​creating an alternative reality that defends us from a hostile reality and at the same time it can be a fortress of freedom where other forms of expression and expression are expressed and expressed.

We live in a time of over-representation and viral micro-production. It is becoming increasingly difficult to understand the universal and stable subculture. Separate behaviors, group identities, or lifestyles related to creations or consumption, from music to fashion, through film or technology, seem increasingly imperceptible, we suggest. "It's true and maybe that's more than the reproduction of the present, we're interested in an ambiguous situation where both resort to memory and a possible vision for the future," says Justin Lowe. "What we have just done is a sort of reorganization of the various subcultures by the multiplication of things that happened in the past and which are going to happen in the future. It is fantastic, but of course it is based on the narratives and details of the world we live in."

At the entrance, the visitor is transferred to a Victorian environment, which Jonah Freeman describes as the ecosystem of the shadow, "a group of revolutionary intellectuals, in the order of the statutes." Then we drive to the environment of the Fortress "techno-hippies who use highly sophisticated computers but also bet on recycling, which is not unlikely today, as is the case with another community associated with the marketing of psychoactive plants, "he continues, naming the subculture on stage Sets in the shade, which is always between reality and fiction. "After all, this is our world, a little different," he laughs.

This is. It is our world, but when you enter through this blue door, it is like looking at it for the first time.


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