Panorama Hesjtèk (Hashtag) is a real panorama. It guides the visitor through the city. Close-up and far-away alternate in a dynamic setting of shifting perspectives. It’s the place where routes are constantly changing and the viewer continually has to determine their position. Panorama Hesjtèk from artist from The Hague Hanna de Haan can be seen from July 4 until July 29 in the Atrium of the City Hall.

I create something, and in turn respond to that, so that the end is in line with the beginning. – Hanna de Haan

This is also true of the figures in the panorama itself; the maker, the passer-by and the spectator. Who are they? And which of them are we?

Are we actually in a real city? Or is nothing as it seems and is the space suggested a virtual world in which scaffolding and buildings, water and air are connected by way of hashtags or intersecting lines?

Anyone visiting Panorama Hesjtèk searches for their own place in an environment dominated by unrest and commotion. Hanna de Haan lets the visitor experience the world in a different way, in the seclusion of the panorama. The big question remaining is how the viewer positions themselves in relation to the physical and virtual worlds.

Hana de Haan aan het werk aan Panorama Hesjtek

Artist Hanna de Haan (The Hague)
My work primarily concerns drawings and woodcuts, though I also love to experiment with different graphic techniques. These techniques include: cardboard print, blueprint or a combination of print and rubbing, collage and drawing.

Most of my work is about city-buildings or constructions. The speed at which cities change intrigues me, also the fact that a city is never finished but always is being designed and transformed into something new. Constructions give an impression of how a building is being mentioned, but they do not show the definitive building and leave me some space for imagination. The lines are not yet fixed, but they look more like the searching lines of a sketch.

I spend a lot of time sketching in the city. I am always searching the horizon for cranes that lead me to some area where there is some transformation happening that I can draw. Those are the sketches I use for making my prints. In my woodcuts I search for the same aspects as sketching, the movement of a city that is never finished. I re-use parts of the wood plates by printing them over another plate or rubbing. By doing this, time and places are intertwined and new places and connections can being made.

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