The first solo museum exhibition of DB contributor Quintan Ana Wikswo, entitled PROPHECY OF PLACE, opened in NYC in August and, after the honor of two extensions, will at last close after this coming Sunday, February 26.
If you find yourself in Manhattan in the coming week, the remaining hours for the exhibition are:
Tuesday 2/21 from 11am-5pm
Wednesday 2/22 from 11am-8pm (free admission)
Thursday 2/23 from 11am-5pm
Friday 2/24 from 11am – 2:30pm (free admission)
Sunday 2/26 from 11 am – 5 pm
Yeshiva University Museum at the Center for Jewish History
15 West 16th Street (between 5th and 6th Avenues)
New York City, New York 10011
Below is some information from the museum regarding this fabulous exhibition. Please stop by and enjoy Quintan’s wonderful, important work!
In her first solo exhibition in the United States, multidisciplinary artist Quintan Ana Wikswo’s Prophecy of Place is a constellation of over fifty new works in large-scale multi-panel photography, multichannel and projected video, original text installations, books, site-specific interactive assemblage, and live collaborative performance works. Wikswo’s conceptual and aesthetic vision questions the disquieting presence of beauty at the site of atrocity, and challenges the control and concealment of trauma and memory within historical mythos,
The artist works with salvaged fascist military cameras and battlefield typewriters to explore and re-envision unmarked places where crimes against humanity took place. Within the seemingly quiescent sites of primordial forests, spectral alleyways of medieval cities, and contemporary industrial wastelands, the artist’s works illuminate the secret existence of mass graves, execution ranges, slave labor factories, and medical killing facilities.
The project began in Munich, where the artist located and retrieved a box of broken cameras manufactured by female slave laborers at Afga’s Dachau concentration camp factory. Using these cameras, she went in search of the forced-sex rape brothels at Dachau, where crimes against humanity were committed against lesbians and other women. She discovered no signs or memorial – only a pile of gravel, violets, and dandelions in an unmarked corner of the camp.
The unsettling tranquility of architectural, ecological and textual fragments suggest a secret second landscape inscribed with memories, meanings, and histories that are unmarked because they create discomfort. This landscape is human, and it is more than human: it is a seen and unseen realm that lives alongside us, whether we agree to acknowledge it or not.
(More details at http://yumuseum.tumblr.com/Wikswo)
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