Rindon Johnson
Examples: laughter in the morning and tears in the afternoon. A dreadful boar.—His burning, bloodshot eyes seemed coals of living fire, and his roughneck was knotted with stiff muscles, and thick-set with bristles like sharp spikes. A seething froth dripped on his shoulders, and his tusks were like the spoils. Discordant roars reverberated from his hideous jaws; and lightning—belched forth from his horrid throat— scorched the green fields. If the wind blows, I can’t control that. I did not expect you. So was it just your husband who went fishing. Of course it was just him. Fundament. The trash clouds moved over the town. Progress. Hundreds of thousands. You don’t see it? It is said that in their country gold is carried down by the mountain torrents, and that the barbarians obtain it by means of perforated troughs and fleecy skins. It represents royal power. It represents the flayed skin of Krios, companion of Phrixus. It represents a book on alchemy. It represents a technique of writing in gold on parchment.. It represents a form of placer mining practiced in Georgia, for example. It represents the forgiveness of the Gods. It represents a rain cloud. It represents a land of golden grain. It represents the spring-hero. It represents the sea reflecting the sun. It represents the gilded prow of Phrixus' ship. It represents a breed of sheep in ancient. It represents the riches imported from the East. It represents the wealth or technology of Colchis. It was a covering for a cult image of Zeus in the form of a ram. It represents a fabric woven from sea silk. It is about a voyage from Greece, through the Mediterranean, across the Atlantic to the Americas. It represents trading fleece dyed murex-purple for Georgian gold, 2023
Ash wood
Dimensions variable
Copyright The Artist
Photo: Marjorie Brunet Plaza
Further images
“Examples: laughter in the morning and tears in the afternoon […]” (2023) ist eine raumbezogene Installation in Form einer Wandöffnung, die wie ein Fenster den Innen- und Außenraum verbindet. Nur...
“Examples: laughter in the morning and tears in the afternoon […]” (2023) ist eine raumbezogene Installation in Form einer Wandöffnung, die wie ein Fenster den Innen- und Außenraum verbindet. Nur mit Eschenholz umrahmt, dringen Luftströme und Soundkulissen von der Straße durch die Öffnung und holen alltägliche Betriebsamkeit in den Galerieraum. Wie unterschiedliche Erzählebenen definiert Johnson hier Innen und Außen und setzt die Räume zueinander in Bezug, indem er deren Trennung, sowie Korrelation thematisiert. Mit dem physischen Eingriff in die Bausubstanz schafft er einen kleinen Ausschnitt in die äußere Welt, die dadurch sichtbar wird und die Geschehnisse im Innenraum beeinflusst. Je nach Tageszeit dringt Licht in den Raum und die Sonne wirkt sich auf die Rezeption der Werke und die Stimmung des Raums aus. Wie auch in „Clattering“ sind natürliche Einflüsse wie Licht Teil des Werks und tragen somit eine sich wandelnde aber stetige zeitliche Komponente mit sich, die Teil der Auseinandersetzung mit verschiedenen Realitätsebenen werden. Johnson interessiert sich dafür, wie Realitäten entstehen und wie sie räumlich, visuell, sprachlich und performativ konstruiert werden können.
„Examples: laughter in the morning and tears in the afternoon [...]” (2023) is a site-specific installation in the form of a wall opening that connects the interior and exterior spaces through a window. Framed only with ash wood, air currents and soundscapes from the street penetrate the opening and bring everyday bustle into the gallery space. Like different narrative levels, Johnson defines what is considered inside and outside, and relates the spaces to each other by addressing their separation and correlation. Depending on the time of day, light enters the space, and the sun affects the reception of the works and the mood of the room. As in “Clattering”, natural influences such as light are part of the work, and thus carry a shifting but constant temporal component that becomes part of the engagement with different levels of reality. Johnson is interested in how realities are created and how they can be constructed spatially, visually, linguistically, and performatively.
„Examples: laughter in the morning and tears in the afternoon [...]” (2023) is a site-specific installation in the form of a wall opening that connects the interior and exterior spaces through a window. Framed only with ash wood, air currents and soundscapes from the street penetrate the opening and bring everyday bustle into the gallery space. Like different narrative levels, Johnson defines what is considered inside and outside, and relates the spaces to each other by addressing their separation and correlation. Depending on the time of day, light enters the space, and the sun affects the reception of the works and the mood of the room. As in “Clattering”, natural influences such as light are part of the work, and thus carry a shifting but constant temporal component that becomes part of the engagement with different levels of reality. Johnson is interested in how realities are created and how they can be constructed spatially, visually, linguistically, and performatively.