QUINTAN ANA WIKSWO
Director/Creator - OHDINBD
Quintan Ana Wikswo is recognized for adventurous, challenging cross-disciplinary projects that integrate her original literature, visual art, film, and performance works.
Her projects – created using salvaged military cameras and communications equipment – navigate known, unknown, and imagined worlds, including obscured and unmarked sites where genocide, ecocide, and gender-based crimes against humanity have taken place.
Wikswo’s artistic and intellectual practice explores the volatile borderlands and lacunae between intimate internal worlds and external geopolitical upheaval. What exists in these liminal territories? How are they navigated as sites of freedom and force, liberation and repression? And how is the human mind, body and psyche policed by institutional and governmental systems of control?
Deeply engaged with queer and feminist critical theory, oppositional consciousness, aftermath process, and human rights organizing, her works are encounters with occluded times, spaces, people, places, histories and experiences, especially those surrounding gender, sexuality, warfare, science and shamanism.
“Quintan Ana Wikswo’s trenchant interdisciplinary investigation into the sites of massacres and other atrocities is a vivid reminder that art no longer serves religion, but is progressively supplanting it in terms of ritual and sanctity.” – Thomas Micchelli, Hyperallergic
In 2013, Wikswo has three museum exhibitions of her texts, films, photographs and performance works: The Jewish Museum Berlin (October 17, 2013 – February 9, 2014), the Museum of Modern Art Ceret, France (August 5-19, 2013), and the Judisches Museum Munich (Feb 26-September 1, 2013).
In 2013, Creative Capital honored Wikswo with a multi-year grant in Emerging Fields. Wikswo has also received major fellowships and grants from the National Endowment for the Arts, the National Endowment for the Humanities, the Pollock Krasner Foundation, the Theo Westenberger Estate, the Center for Cultural Innovation, ARC/Durfee, the Puffin Foundation, and others.
She has been artist in residence in literature, visual art, film, and performance at Yaddo, Djerassi, Villa Montalvo/Montalvo Arts Center, the Anderson Ranch Arts Center, Ucross, the Millay Colony, the Virginia Center for the Creative Arts, Ebenböckhaus, Oberpfalzer Kunstlerhaus, Can Serrat, and more.
An agile writer across forms, her short stories, poems and essays appear regularly in magazines and journals including Tin House, Kenyon Review, Conjunctions, Gulf Coast, WITNESS, New American Writing, Alaska Quarterly Review, Denver Quarterly, Drunken Boat, Folio, Sidebrow, and many more.
Her story collection The Hope of Floating Has Carried Us This Far is forthcoming in Spring 2015 on Coffee House Press.
Her writing is also published in artist’s books, exhibition catalogues, anthologies, and publications including a major exhibition catalogue “Alles Hat Seine Zeit: Rituale gegen das Vergessen” (Kehrer Verlag), “One Blood: The Narrative Influence” anthology (University of Alaska Press), and the limited-edition artist book “Schwarzer Tod and the Useless Eaters” (Catalysis Projects).
In 2013, the Jewish Museum Berlin will present a five-month solo exhibition of her project SONDERBAUTEN, which explores state-sponsored sexual violence against women through photographs, poetry installations, and film. This exhibition continues from its nine-month solo exhibition at the Jewish Museum of Munich (February 2013-September 2014), exhibiting a series of 16 large photographs, texts, and a film installation, as well as performance works in collaboration with choreographer Alexandra Shilling and composer Arthur Kell. The Alchemy Suite, with Veronika Krausas, premiered at the Modern Art Museum in Ceret, France, in August 2013, and continued to Los Angeles and Paris.
The first solo museum survey of her work, PROPHECY OF PLACE: QUINTAN ANA WIKSWO was presented in New York City from August 2011 – March 2012 by the Yeshiva University Museum at the Smithsonian-affiliated Center for Jewish History. The nine-month exhibition featured her poems and stories, multi-panel photography, assemblage, live performance works, and films surrounding a thousand years of human rights crimes in Europe from the Crusades to the Holocaust, and questioning the marginalization of female, queer, and disabled experience within human rights and Holocaust narrative. Major works from the exhibition continue to museums in the United States and Europe in 2012-14, including the Los Angeles Museum of the Holocaust.
Wikswo’s works have premiered internationally at institutions including the University of Southern California, the Museum of Jurassic Technology, the Lyon Musée des Moulages, the Jewish Museum of Munich, Schloss Plüschow, the Los Angeles Museum of the Holocaust, Beyond Baroque, MicroFest, the University of Colorado, Boston Court Performing Arts Center, California State University at Fullerton, the University of Maryland, Yeshiva University Museum, Kebbel Villa, The Composer’s Project, the International Alliance of Women in Music (IAWM), the National Center for Music Creation (GRAME), and in multiple galleries in Los Angeles (CA), Provincetown (MA), and Germany.
Twenty-nine multidisciplinary live performance works are based upon Quintan's original multi-genre texts, poetry, and other writings, and engage her photography, film projections, multichannel video, field recordings, and performance electronics. Quintan regularly performs her own solo works in New York City at Dixon Place, (Le) Poisson Rouge, Cornelia Street Cafe, SEEDS, and other venues. Through an adventurous process, her projects expand across music, movement, dance, opera, and theater via a creative team that includes composers Arthur Kell, James Illgenfritz, Veronika Krausas, Andrea Clearfield, Pamela Madsen, Anne La Berge, David Rosenboom, Tom Flaherty, and Isaac Schankler, choreographers Alexx Shilling, Manfred Fischbeck, GroupMotion Dance Theater, and a spectrum of actors, musicians, and performers. With Alexx Shilling, she is the Co-Artistic Director of Fieldshift Further - a transdisciplinary performance company that creates and presents new works at sites with human rights and ecological impact.
In chamber opera, her work On a Sofa in Vilnius premiered in March 2012 at the CSUF New Music Festival, with music by Anne Le Berge and Pamela Madsen and Wupatki: Houses of the Enemies with composer Pamela Madsen, premiered at the University of Colorado in 2012, along with Luminosity: The Passions of Marie Curie.
In new music, The Alchemy Suite, with composer Veronika Krausas and bass-baritone Nicholas Isherwood, premiered at the Modern Art Museum in Ceret, France, and in Los Angeles in August 2013 - Wikswo's sixth collaborative work with Krausas. In 2010, her first collaborative multidisciplinary work Waterland: Veronika Krausas, Andre Alexis and Quintan Ana Wikswo premiered at the University of Southern California (USC), Microfest, and the Composer’s Project, and internationally through the International Alliance of Women in Music (IAWM) and the National Center for Music Creation (GRAME). It toured to eleven countries on three continents.
Wikswo has completed twenty-one films and video installations based off her original concepts and texts. Most of these original films are created in collaboration with composers and choreographers, and designed for stage projection during live performance. Others are exhibited as museum installations. Projected onto screens, scrims, and public spaces, the films become an interactive presence with dancers, musicians, and actors, as well as audiences and visitors. Whenever possible, the films are projected to scale, so that humans take on a proportional size within the ecologies and architectures of the filmscape.
Wikswo creates her original films through a visual vocabulary drawn from many different cameras – a combination of salvaged 120mm and 35mm still cameras and hand animations, 35mm motion picture cameras, and digital cameras using salvaged vintage lenses.
Her first films premiered at The Museum of Jurassic Technology (Los Angeles) and since then have been featured in three solo museum exhibitions in New York, Berlin, and Munich as well as museums in Paris, Taiwan, and Los Angeles. The five DVD collections of her work include The Alchemist’s Suite (Vera Icon, forthcoming 2014), The Anguilladae Eaters (Catalysis Projects), Prophecy of Place (Yeshiva University Museum), Waterland (Vera Icon), and Apostrophe Catastrophe (Catalysis Projects).
A dedicated interdisciplinary teacher at institutions including NYU, CUNY, Cal State Fullerton, SFSU, the Honors College at Yeshiva University, Stern College for Women, and more, Wikswo’s primary academic teaching focus is to guide students and student artists beyond the boundaries of discipline, and into galvanic encounters with new forms and tools for intensifying their own practice, and encountering the world.
She maintains a lively reading and artist lecture tour throughout Europe and the United States, and presents master classes and workshops for programs in Creative Writing, Music Composition, Theater, Performance, Film, Visual Art, English, History, Gender Studies, Queer Studies, and Human Rights.
Wikswo earned an interdisciplinary BA with Honors from the University of Texas at Austin, with triple majors in Philosophy/Critical Theory, Gender Studies, and History, and minors in African-American Studies, Military History, and French. She was awarded an international fellowship in Gender Studies to the University of Sydney, Australia, and an MFA in Creative Writing from San Francisco State University, where she was honored with the President’s Award and the University Distinguished Service Award.
Wikswo is the Co-Artistic Director of Fieldshift Further, a transdisciplinary performance company creating new works at sites with human rights and ecological impact. She is also a performing artist with FlashPoint, a NYC-based text-and-music live performance ensemble, and is a core artist with Catalysis Projects/LA, a Los Angeles-based interdisciplinary collaborative new works company.