Quintan Ana Wikswo
New York, NY
Quintan Ana Wikswo is a poet, writer, photographer and artist long active in the collusion and collision of transdisciplinary art and direct human rights fieldwork. Wikswo has been hailed as “heady, euphoric, singular, surprising” by Publisher’s Weekly, “beautiful, horrifying, passionate, and bold,” by Jeff VanderMeer in The Millions, “Rilke’s lost female shadow,” by Conjunctions, and “universal and personal, comforting and jarring, ethereal and earthy,” by Electric Literature. Recognized for innovative hybrid constellations of work that integrate her fiction, nonfiction, memoir, poetry and essay with her original photography, solo and collaborative performance, audio, and video installation, Wikswo’s projects interrupt sites and trajectories of human rights infractions, hate crimes, and global and local networks of extremist far right terrorism. Her studio is located in New York, and she was raised and works in the Deep South and along the US-Mexico border, where she continues ongoing work surrounding race, gender, and queerness in human rights hotspots.
Quintan Ana Wikswo is a poet, writer, photographer and artist long active in the collusion and collision of transdisciplinary art and direct human rights fieldwork.Artist Bio
In problemkinder, writer, transdisciplinary artist, and human rights fieldworker Quintan Ana Wikswo created six suites that each include a hybrid prose book, original photographs, videos and films, and solo and collaborative performance. Problemkinder creates kinetic sites that subvert silencing, predation, repression, and genocide, and amplify resistance, rebellion, and frictions surrounding human rights atrocities. The projects challenge the lethal constructed legacies surrounding white supremacy, terrorism, disability, queerness, gender, religion, indigeneity, warfare, forced migration, and reductive identity calcification. Wikswo’s three decades as a human rights fieldworker merged with her artistic practice as she returned to global microsites where she personally experienced—and worked against—clandestine crimes against humanity. Her process included repairing salvaged instruments and materials manufactured via forced labor and death camps, and redeploying them as tools for visibility, voice, reparation, and liberation.