Rindon Johnson
Find Spot
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Bergen Kunsthall is pleased to present a solo exhibition by Rindon Johnson, running parallel with the Festival Exhibition 2025. For this exhibition, Johnson presents a series of works that extend his ongoing investigations into autonomy, surveillance, and material histories. The title, drawn from archaeology, reflects how meaning is shaped by context and discovery.
A live-streamed projection of Lille Lungegårdsvann — the lake outside Bergen Kunsthall — forms a central part of the exhibition. This continuous visual feed captures the passage of time and shifting environmental conditions, positioning the lake as both a subject and a reflective surface—an image continuously generated yet never fixed. The notion of framing, of deciding what is seen and unseen, is extended through another spatial intervention: A small sculptural gesture keeps the gallery window open throughout the exhibition. Air currents, shifting light, and the ambient sounds of the city become active components of the installation, further complicating the boundaries of where the artwork begins and ends.
Johnson also presents a new series of ceramic tiles, created through pit-firing techniques that use cow dung as a primary fuel. The use of cow dung reflects Johnson’s interest in transforming discarded elements into something of value. The tiles, treated with pigments including indigo and titanium white—the latter found in Norway and known as the brightest white—become a material record of transformation. These ceramic works extend Johnson’s ongoing exploration of cattle as both a material and a metaphor for economic structures, linking histories of extraction, labor, and migration.
The exhibition also features a mahogany clock, a quiet yet weighty presence that speaks to cycles of extraction and time. Like the ceramic tiles, the clock marks a different kind of temporality—one tied to histories of colonialism and trade. Mahogany, long valued for its sheen, carries a history of extraction and loss. A small collection of fossilized whale ear bones introduces another temporal and spatial register. Used by whales for navigation, they hint at alternative ways of sensing vastness and deep time. A poetic text by Johnson adds another layer of reflection.
Across these works, Johnson’s practice engages with cycles of movement and stasis, presence and absence. Through water, shifting light and material history, the exhibition explores how we locate ourselves in time and space.
Rindon Johnson (b. 1990) has exhibited extensively on an international scale and works between New York and Berlin.
CREDITS
Thank you
Solberg Sagbruk, Pål Solberg
Courtesy of
max goetlitz
