The panorama was conceived by PHLA initiating artist Jeanne van Heeswijk, in collaboration with graphic designers Jason Killinger and Janneke Absil, Movement editor Shari Hersh, illustrators Charlyn Griffith of Wholistic Arts and Bri Barton of Everybody Colors, along with concept design framework, research, and mapping from Larissa Begault, Rania Dalloul, Nora Elmarzouky, and Sara Minard of in While they depicted actual events in history, we recognize that the ‘gaps’ between these dates are of equal importance, and such ‘gaps’ were intended to be filled in with your own personal or historical acts of resistance or resilience. These were neither comprehensive nor static images and narratives of our time, but rather served as a collection of dates derived from collaborators and project discussions, each entry a starting point for a conversation about our city’s history and experiences. In this way, the panorama introduced PHLA visitors and participants to a spatial, non-linear, sense of history and future. Regularly scheduled workshops offered the opportunity to continue to “deconstruct global, national, and local events, policies, and actions in relation to people power and acts of resistance/resilience across time, in order to reconstitute our collective histories.” Situated in the physical corridor of Perelman Building, the panorama provided context for the interweaving issues embodied within the project’s atmosphere, serving as a place of passage and learning as visitors enter into the galleries. In addition to providing information, it was also conceived as a platform for ongoing discovery, learning, and relationship building and continued to evolve over the course of the museum phase of the project. Reflecting the urgencies and relationships of collaborators from each of the project’s organizing “atmospheres” - Futures, Sovereignty, Reconstructions, Sanctuary, and Movement - the panorama presented images of resilience from across the city. This panorama held layers of soft data (personal narratives), local data (geographical information/policy), and connective metadata that reflects global and geographic systemic issues. The museum phase of Philadelphia Assembled hosted a large-scale indoor city panorama in the atrium space outside the Perelman galleries. Through a number of scheduled panorama workshops, we invited collaborators and visitors to contribute to the artwork and fill in what was missing. These ranged in scale from the personal, to the local, to the global. Each panel suggested a new framework through which to see the shifting landscape of the city, addressing the histories that are often made invisible by dominant systems and linear understandings of time. This city panorama visualized the complex network of people, histories, and aesthetics that is PHLA. But all maps come with an agenda-as much as maps can reveal about a place or idea, maps also have the power to hide or distort truths.” “Maps are everywhere around us, ever present to help us navigate both public and personal geographies, or orient ourselves in communal and universal landscapes.
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