Rindon Johnson (b.1990) 出生于加利福尼亚州，目前在纽约布鲁克林和德国柏林生活和工作，是美国艺术家和作家。Johnson曾参加纽约、柏林、洛杉矶、旧金山和西雅图等多地的展览并进行艺术表演。他的多学科艺术实践模糊了摄影、雕塑和表演艺术之间的界限，他的作品使用皮革、灯光、凡士林、视频、摄影和木材等各种材料探索生活空间、群体记忆和社会历史的各个方面。Johnson同时也是一名出版作家，与索菲亚·勒弗拉加 (Sophia Le Fraga) 共同经营在线诗歌网站《帝国事务》(Imperial Matters)。

“这件作品几乎让你感受到你就在那片海里。它为你创造了一种情感和感觉的视差。”

——Rindon Johnson

Johnson的装置作品"The Law of Large Numbers: Our Selves"给观众呈现了大西洋中某一位置的实际景象。Johnson说：“如果你有机会处于这样的位置，你将会看到与这个影像中几乎完全一致的场景。”他在创作中使用了实际的监测数据，希望以此来呼吁人们重视全球气候变暖、冰川融化的环保议题。

同行/静默于那片海洋 | Rindon Johnson 视频资讯徐震XuZhen 崇真艺客

TBT, 2021

Leather, bleach, indigo, crayon

40 × 32 7/10 in

同行/静默于那片海洋 | Rindon Johnson 视频资讯徐震XuZhen 崇真艺客

Hand trained, Let the crossing be indicated to the state. He lost his jacket again and again, until there was no need for jackets a cool morning, the long train, I wanted it around the whole width of my body and got nothing, then something, then a big light, warm biceps and strangely a glide along the floor., 2021

Rawhide, dye, bleach and crayon

13 × 20 1/10 × 12 in

同行/静默于那片海洋 | Rindon Johnson 视频资讯徐震XuZhen 崇真艺客

May the moon meet us apart, may the sun meet us together, 2021

Virtual reality film

57 1/10 × 32 3/10 × 2 2/5 in

Cambrian slippery wetness, I’ve never looked at anything so long, and in which of us people does the common matter rise?, 2021

Leather, bleach, crayon, polyurethane and mica

65 × 38 in

The circumstances, the circumference, the mark and the measure, you’d been warned about cats, asked instead why do we laugh which really is a way of asking are you in the mood for mouse or fish, do I have a yin for wren? How difficult to classify the sound of a wheelbarrow, the destruction with a ho., 2021

Leather, crayon and shellac

4 9/10 × 24 in

无论是潜伏在角落还是悬挂在庭院上方，Rindon Johnson的作品总会在意想不到的地方与观众见面。他的作品通常有着充满诗意和意识流的作品名称，作品展现了他对无政府主义观念的思考和探讨，暗示了无法被管束的巨大权力所蕴含的潜在威胁。

Sparrow sings new song, 2021

Digital print on Vellum

9 1/10 × 7 9/10 × 4/5 in

A view of the river, my rock in the glade, Bigger, relatively, and still, until, I pull my lover open like a zipper, I drag a trowel through them, I lick the paint off my own stick, I have a cold back and wet ankles, Later, a slow moon laboring over the hillside.,2021

Furniture leather, polyurethane, coconut oil, crayon

Yoked, panting, unkempt, and handled!, 2021

Bronze

Collaboration w/ Jordan Loeppky-Kolesnik

This is to be considered an amazing place. (panel #1), 2020

Leather, varnish, colored pencil

Variable

同行/静默于那片海洋 | Rindon Johnson 视频资讯徐震XuZhen 崇真艺客

Nobody is as safe as you, 2020

Leather, Colored Pencil

Variable

The stage is no place for the riot, 2019

ongoing - rawhide, dirt, water

同行/静默于那片海洋 | Rindon Johnson 视频资讯徐震XuZhen 崇真艺客

from cutting / your hair, / there is a sense / in which / you are / interfering. / * / But, since you are entitled / to determine / whether I cut your hair / or not, you do not / wrong me. / * / I make your trip to the store a waste. / * / I buy the last quart of milk / before you / get there, 2019

Virtual reality installation

同行/静默于那片海洋 | Rindon Johnson 视频资讯徐震XuZhen 崇真艺客

Arca, 2018

Ebonizing (coffee) dye, rust, mold, leather, nail

在这一系列的作品中，Rinbon Johnson将聚氨酯、靛蓝染料、咖啡、盐和木材颜料涂抹在金属的表面，然后将它们在户外放置了一年多的时间。这些金属上最后布满了铁锈、橡树叶和加利福尼亚火灾季节里的雨水灰。Rinbon Johnson认为，美国非洲裔本身是另一个资本主义大工业的副产品：跨大西洋奴隶贸易。这些作品向大众提出了许多问题：怎样重叠的系统共同促成了我们的诞生？当我们处于广泛的剥削和自由生态中时，我们需要如何看待并重新认识自己的位置？

同行/静默于那片海洋 | Rindon Johnson 视频资讯徐震XuZhen 崇真艺客