Ąąʼ háádę́ę́ʼ?
Syftet är att så att säga “dra ner” gudomlig energi til värden.
En annan teknik är att rotera det stängda ögat,
vilket leder till upplevelsen av ett uppbåd av färger.
Nacht farben.
Stirra i ett vattenfat som placeras i solljuset.
Därmed skapas ett ljusspel.
Háádę́ę́ʼísh íiyisíí naniná?

Where is your umbilical cord buried? The intention is to draw down ideas into the world.
One technique involves rotating the closed eye, so that prismatic colors are experienced.
Another is to stare at a dish of water after it is placed in the sunlight.
The play of light and shadows. Night colors. Where is your umbilical cord buried?

ABOUT THE CURATING EDITOR: QUINTAN ANA WIKSWO
www.QuintanWikswo.com
www.BumbleMoth.com
www.Facebook.com/qwikswo

Hailed as “universal and personal, comforting and jarring, ethereal and earthy” by Hyperallergic and “heady, euphoric, singular, surprising” by Paublisher’s Weekly, QUINTAN ANA WIKSWO is recognized for adventurous transdisciplinary projects that integrate her original texts with photography, video installation, human rights activism, and performance surrounding conflict and post-conflict spacetime sites. Her thirty-five projects tour widely, and are published, exhibited, performed, and toured at prominent institutions throughout Europe and the Americas.

To view a video of Quintan’s conceptual approach to life in general, and to human rights and artmaking in specific, please watch her Creative Capital presentation here. While fascinated by issues of identity and oppression, Wikswo is a non-partisan worker whose conceptually-based approach to micro- and macro-geopolitics is humanist at heart, and seeks to override constrictions of identity categorization, reductivism, and confinement. Where there is a conflict, there is a context. And that is a beacon for overriding instincts to fight, flee, or freeze and instead go forth as an agent of empathy, humility, and complexity.

Since 1988, Wikswo worked for governmental and nongovernmental human rights agencies in four continents, specializing in crimes against humanity, genocide, gender violence, human trafficking, and post-conflict zones. Since 2009, her direct activism has combined with various modes of expression including artmaking, curating, editing, teaching, public lecturing, advocacy, and private consulting for both diverse entities.

Wikswo is the author of two collections of photographs and texts: The Hope Of Floating Has Carried Us This Far (Coffee House Press, 2015) and A Long Curving Scar Where The Heart Should Be (Stalking Horse Press, 2017). Her work is featured in museum exhibition catalogues Rituals Against Forgetting (Kehler Verlag), Group Therapy: Mental Distress in a Digital Age (F.A.C.T), and Prophecy of Place (Yeshiva University Museum), and in anthologies including Jeff Vandermeer’s Wonderbook: The Illustrated Guide to Creating Imaginative Fiction (Abrams), Emergency Index (Ugly Duckling Presse), They Said: A Multi-Genre Anthology of Collaborative Writing (Black Lawrence Press), Strange Attractors (University of Massachusetts Press), Procession for the Extracted (California College of the Arts), Queer Disability Anthology (Squares and Rebels), and One Blood: The Narrative Influence (University of Alaska Press).

Her writing has been published in Tin House, Guernica, Conjunctions, Gulf Coast, The Kenyon Review, New American Writing, Witness, the Denver Quarterly, Alaska Quarterly Review, Funhouse and many other magazines.

She has received multiple critically-acclaimed solo museum exhibitions in New York City and Berlin, including The Berlin Jewish Museum, the Jewish Museum Munich, the Smithsonian-affiliated Center for Jewish History/Yeshiva University Museum, and her work has been featured in several major museum and gallery exhibitions, including the Los Angeles MOCA, the Museum of Modern Art (France), The Ronald Feldman Gallery (NYC), the Musee des Moulages (France), the Center for Contemporary Art, and the Foundation for Art and Technology F.A.C.T. (UK), where her project on crimes at psychiatric institutions was reviewed in The Guardian as a Special Selection.

Her photographs with texts are held in the permanent collections and archives of the Brooklyn Museum of Art, Berlin Jewish Museum, the Jewish Museum Munich, and People For the American Way as well as other museum and private collections throughout Europe and the United States.

She holds major fellowships from Creative Capital, the National Endowment for the Arts, the National Endowment for the Humanities, The Theo Westenberger Foundation, and the Center for Cultural Innovation. She has received multiple residencies at Montalvo, The Millay Colony, and Djerassi, and multiple residencies at Yaddo including The Pollock Krasner Residency.

Her solo and collaborative performance and video installation work integrates her own text and performance and video, as well as work by participating composers and choreographers. Twenty-five of these works are currently on tour internationally, and have won IAWC and IAWWA and Pew Foundation Awards for their unique combination of original movement, music, text, and video installation. 

As a visual arts performer, she is active in NYC and New Mexico at venues including the Museum of Jurassic Technology, Los Angeles MOCA, Dixon Place, (Le) Poisson Rouge, Center for Contemporary Art, the University of Southern California, New York University, Colgate College, the University of California, California State University, Joe’s Pub, (Le) Poisson Rouge, Dixon Place, Radical Abicus, Santa Fe Art Institute, Bowery Poetry, St. Marks in the Bowery, and more.

A former inhabitant of Berlin, San Francisco, Los Angeles, Djerba, and New York City, at this time her practice is located in a wormhole with hybrid wolves, foxes, and jackels in a protected wilderness in New Mexico, as well as elsewhere. 

www.QuintanWikswo.com

www.Bumblemoth.com