Susanne Kriemann, Canopy, canopy (installation view), 2018, Wattis Institute; photo: Johnna Arnold

Summer exhibitions at CCA Wattis explore, expand, and disrupt notions of time

Two exhibitions include a solo show of German artist Susanne Kriemann and a group show curated by contemptorary.

San Francisco, CA—Monday, June 18, 2018—CCA Wattis Institute for Contemporary Arts is proud to present Susanne Kriemann: Canopy, canopythe first U.S. solo exhibition for the German artist—and Deep-Time Construction, a guest curated group exhibition by Capp Street Project Artists-in-Residence contemptorary and featuring works by Basel Abbas and Ruanne Abou-Rahme, Lida Abdul, Sky Hopinka, NIC Kay, Asma Kazmi, and Amanda Russhell Wallace. This pairing of exhibitions explores, expands, and disrupts notions of time.

Curated by Kim Nguyen, Canopy, canopy, submits Kriemann’s intense investigation of radioactivity, archaeology, and landscape, which revolves around a core fascination with time—its application, its distortion, and its fabrication through the photographic lens. Her work leans on author Rob Nixon’s notion of slow violence—an incremental, attritional violence with devastating repercussions that develop out of sight and across a multiplicity of temporal scales and spaces. She considers the world to be an analogue “recording system” for human-caused processes in which change and obsolescence are slowly registered onto our physical environment. For Canopy, canopy, legacies of chemical and radiological violence are laced throughout the gallery. Time as well as toxicity seep into her work through the use of flora from polluted environments and radioactive stones and soil from the collection of the California Academy of Sciences in San Francisco.

In Deep-Time Construction, guest curators contemptorary bring together artists who, within their respective practices, create images, text, and use archival material to compose films that consider the fabrication of time: from the forging of coloniality, the continuous uprisings and the many more to come, and the potential spaces in between. The six time-based works featured in the exhibition demonstrate the potential and longing of durational experience—as movement, as a distillation, as arrangement—to be the reconfiguration of colonial time and measurement.