Futures Without Guns

UNIVERSITY CITY SCIENCE CENTER PRESENTS

FUTURES WITHOUT GUNS

FUTURES WITHOUT GUNS

FUTURES WITHOUT GUNS A multimedia speculative art exhibition featuring the work of nine artists exploring alternate futures free from the shadow of gun violence. Rooted in the principles of futures thinking and speculative design, Futures Without Guns invites visitors to embark on a journey through diverse artistic perspectives and tap into their innate creativity to envision a future where the threat of gun violence is a distant memory. Futures Without Guns is a call to action that unites us in our collective determination to actively shape a brighter future.

Copyright @ 2024 by University City Science Center Layout/Design: Angela McQuillan Photography: Jaime Alvarez Editor: Cindy Stockton Moore Cover Image: Prayers Answered by Mikael Owunna All rights reserved. No part of this publication may be reproduced without written permission.

Artists: Heather Dewey-Hagborg Lynn Hershman Leeson Natalie Hijinx Jasmine Murrell Wi-Moto Nyoka Oluwafemi Mikael Owunna Tim Portlock Rachael Reyes-Vazquez Curated by Angela McQuillan Quorum at the Science Center 3675 Market Street Philadelphia PA 19104 sciencecenter.org

Supported by The Pew Center for Arts & Heritage

table of contents

Acknowledgements

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Letter from Tiffany Wilson 11 Futures Without Guns by Angela McQuillan 14 It Only Takes a Second by Laura Hinds, MSW, LCSW

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Protecting Our Citizens by Laura Hinds, MSW, LCSW 26 A Philadelphia Future Without Guns by Elinore Kaufman, MD, MSHP 28 Artists’ Bios 32

ACKNOWLEDGEMENTS We would like to thank: The Pew Center for Arts and Heritage for their generous support

John Abner Jaime Alvarez Crystal Arthur Britten Inc. Emma Camp Briana Cannon Beth Caraco Debora Crocker Katie Dillon Law Eric Evans Lillibridge Healthcare Services Dominik Herrera Dante Leonard Kirwei Lo Kensington High School Michael Lyle Andre “Ali” Martin Darlene McField Josh McIlvain “Rosy” Roseceline Mojica Khalif Mujahid Ali Tedd Prontniki Science Center leadership and staff Strategy Arts Jeffrey Stockbridge Cindy Stockton Moore Wexford Science + Technology Vanessa Young Jasmine Murrell The Remembering Portal

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As President and CEO at the Science Center, it is my pleasure to welcome you to uCity Square and the Science Center to experience Futures Without Guns.

Across the country and here in Philadelphia, we are all forced to confront the sobering reality of gun violence on a daily basis. In the United States, it stands as the leading cause of premature death. Philadelphia in particular ranked 4th among US cities for its high incidence of gun violence in 2023. The impact is disproportionate, with teens and young adults, particularly from Black, Native American, and Hispanic communities, bearing the brunt.

But amidst this darkness, there is a way to imagine better futures: art.

Artists have a long history of catalyzing change. From Picasso’s Guernica highlighting the horrors of the Spanish Civil War, to Leslie Lee creating an origami box for every gun death in the US as part of The Soul Box Project, art has the power to engage communities. It sparks conversation and prompts action.

At the Science Center, we have a long history of exploring intersections between art, science, and technology through a BioArt Residency and exhibitions. We have worked with, and will continue to engage, a growing network of community partners to amplify the impact we all have on the Greater Philadelphia community. Now, in response to the voices of those in our communities, we are mobilizing.

We understand the profound impact of gun violence on our constituents, from entrepreneurs seeking a thriving environment to students striving for a brighter future. Gun violence is an undeniable public health and health equity issue that impacts all Philadelphians, but particularly communities who have been marginalized. We will continue to see a lack of diversity and representation in the innovation community so long as health issues like these create access disparities.

But our efforts extend beyond mere recognition. We are actively engaging with affected communities and organizations through projects like Futures Without Guns. Nine artists have created unique visions of possible futures free from gun violence. It is an exhibition that will start conversations, and we hope, begin to facilitate change.

In closing, let us remember we all desire a safer, healthier Philadelphia. By uniting our voices, our resources, and our passion, we can create a future without the threat of gun violence.

Left: Mikael Owunna Prayers Answered

Thank you.

Tiffany Wilson President and CEO, University City Science Center

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FUTURES WITHOUT GUNS

By Angela McQuillan, Curator

Philadelphia — renowned for its historic sites, iconic cheesesteaks, musical heritage, and passionate sports fans — is celebrated for its vibrant neighborhoods and diverse citizens. But Philadelphia — The City of Brotherly Love — is grappling with a scourge of gun violence. Recent statistics paint a grim picture of the ongoing crisis. As the first quarter of 2024 draws to a close, the city has already witnessed over 72 fatal and 226 non-fatal shootings, according to data from the Philadelphia Controller’s Office.1 These stark statistics infiltrate the everyday lives of residents. Gun violence tears apart neighborhoods and families, contributing to a pervasive sense of fear and trauma in communities already burdened by systemic inequalities.

There is an urgent need for action and collective effort to address the root causes of this epidemic.

It is within this context of urgency and resolve that Futures Without Guns emerged — an art exhibition that is intended to become a rallying cry for change. Conceived as a space for critical dialogue and reflection, this exhibition represents a bold refusal to accept the normalization of gun violence in our city and in our nation. At its core lies a conviction that a better world is not only possible — but within our reach.

Futures Without Guns is centered around artists whose creative practices are deeply intertwined with a commitment to social justice, futures thinking and community engagement. Each of the nine artists featured in the exhibition embodies an unwavering dedication to addressing pressing social issues, utilizing their art as a catalyst for change and reflection through a wide range of mediums including sound, video, sculpture, and immersive installation.

Their projects, carefully constructed and deeply personal, serve as moving reflections of their convictions and impassioned advocacy.

Over the course of a year, these artists have set out on a journey of research and introspection, delving into the complex nuances of gun violence and its far-reaching impacts. Crucial to this process was a collaborative exchange between artists and community members with lived experiences of gun violence. Mediated by Strategy Arts, these discussions elevated community voices, offering invaluable insights and perspectives that left an indelible imprint on the artistic process. While acknowledging that artists cannot solve the epidemic of gun violence, the essence of Futures Without Guns lies in 1. https://controller.phila.gov/philadelphia-audits/mapping-gun-violence/#/?year=2024&map=1 1.00%2F39.98500%2F-75.15000).

its capacity to connect — to inspire creativity, instill hope, and catalyze healing within communities.

As the largest and most prominent image in the exhibition, Mikael Owunna’s Prayers Answered is a haunting meditation on the devastating toll of gun violence. Installed on the front of the Quorum building, it transports viewers into an otherworldly realm — where the spirits of lives lost to brutality are released from the earthly plane. The ethereal figures depicted in Owunna’s photographic work evoke classical depictions of angels and saints, transcending individual identity to embody a collective yearning for peace and unity. The celestial figures beckon viewers towards a collective reckoning with the pervasive legacy of gun violence.

Mikael Owunna is both artist and engineer; his innovative use of ultraviolet-reactive pigments recalls the experimental spirit of artists like James Turrell, who sought to redefine the boundaries of perception and experience through light and space. While Turrell is known for his immersive light installations that create ethereal environments, Owunna explores the intersection of technology, art, and African cosmologies, guiding viewers on a journey through the spiritual aftermath of gun violence. In both cases, light serves as more than just illumination; it becomes a conduit for introspection, spirituality, and transcendence.

Throughout Owunna’s diverse body of socially engaged work, exploring “emancipatory visions” of queerness and African identity, there is an on-going commitment to challenging societal norms and evoking a sense of empathy through art. His visionary approach invites viewers to contemplate the interconnectedness of all beings and to envision a future where the scourge of violence is replaced by compassion and unity.

Centering around restoration and transformation, Jasmine Murrell’s Remembering Portal is a compelling synthesis of tactile creativity, inviting viewers into a contemplative exploration of a future society focused on healing. With its fusion of organic and found materials such as glass, paper, soil, plants, and digital projections, the immersive installation is a sensory journey that goes beyond visual representation, offering a visceral engagement with themes of ancestral wisdom and community healing.

Jasmine Murrell’s intricate sculptural work resonates deeply with the rich traditions of African art, indigenous knowledge, and cultural values.

Her multi-sensory installation serves as a conduit for ancestral heritage, offering viewers a tangible connection to the past and portal into a

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possible future. Murrell expertly weaves history, identity, and technology, challenging conventional narratives and envisioning alternative futures in the spirit of Afrofuturism.

Delicately interlacing themes of healing and harm, Remembering Portal wraps viewers with the complexities of intergenerational trauma and the enduring legacy of violence. Through its exploration of racial disparities, mental health issues, and cultural attitudes towards violence, the artwork challenges us to reimagine our relationship with nature and to embrace the transformative potential of collective healing. As we navigate the visual pathways of Murrell’s installation, we are drawn towards a future where communities can reclaim their agency and forge a path towards peace and harmony.

An artist well known for pushing the boundaries of conventional storytelling, Lynn Hershman Leeson presents No Words, a short film that confronts the harrowing reality of school shootings. In this potent work, Leeson strikes a delicate balance between the mundane routines of everyday life and the looming threat of violence that haunts our nation’s schools. The vibrant green of the young girl’s shoes is a recurring motif, symbolizing the innocence and vulnerability of school shooting victims. It calls to mind 10-year-old Maite Yuleana Rodriguez, who was tragically killed along with twenty others in the mass shooting at Robb Elementary School in Uvalde, Texas in 2022. Green serves as a chromatic connection to the specific details of the shooting, triggering memories and associations with the profound loss experienced by the community.

Additionally, the film’s exploration of an alternative timeline in which tragedy is averted through legislative reform serves as a timely reminder of the urgent need for action and as an indication that these senseless acts of violence are preventable. The film challenges viewers to confront the uncomfortable truths while simultaneously envisioning a future where every child can attend school without fear. Leeson references California Governor Newsom’s proposed 28th Amendment, which aims to enact stricter gun control measures, reflecting a growing recognition of the necessity for comprehensive reform. The proposed amendment, if passed, would represent a significant step towards safeguarding communities.

In Natalie Hijinx’s provocative artwork Long Action, the convergence of art, technology, and societal commentary depict a world reshaped by the unexpected interplay between artificial intelligence and human civilization.

In this speculative future, Hijinx envisions a world where humanity’s relationship with technology takes an unexpected turn, echoing the imaginings of science fiction writers like Octavia Butler, whose works often explore themes of societal upheaval and human resilience.

Through her multidisciplinary approach, which encompasses sculpture and digital fabrication, Hijinx constructs a vision of a world liberated from the shackles of armed conflict by the enigmatic Essensees.

These entities, embodiments of deep learning wisdom, orchestrate a radical de-escalation of global warfare by unleashing a genetically engineered fungus that renders firearms impotent, transforming them into the building blocks of coral reefs. She presents one of these “Armory Reefs” as a striking mixed-media sculpture that serves as a symbol of transformation, representing a world reshaped by peace.

Accompanying this sculpture is a video work, reminiscent of vintage informational videos, narrating the historical significance. Hijinx invites viewers to reflect on the complex interplay between power, violence, technology, and the fragile ecosystem of our shared existence.

Installed in a shrouded back room of the exhibition, No Seconds: A Memorial of Inhumanity by Heather Dewey-Hagborg is an impactful collaboration with Amos Wells that explores the power of futuresthinking to address the issue of gun violence within the context of the death penalty. On July 1, 2013, Amos Joseph Wells III committed a horrific crime by shooting his pregnant girlfriend, her mother, and her 10-year-old brother in Fort Worth, Texas. Wells surrendered himself shortly afterward, expressing remorse for his actions in a jailhouse interview. Through this collaborative artwork, Dewey-Hagborg and Wells envision a future where society has transcended the practice of capital punishment, marking a profound shift towards justice and compassion.

The four-channel video installation surrounds the viewer within the brutal confines of the ten-foot by eight-foot jail cell to vividly portray the suffering experienced by Wells during his incarceration. No Seconds serves as a powerful reminder of the inhumanity perpetuated by the death penalty. Through their collaboration, Dewey-Hagborg and Wells illuminate the intersections of genetics, law enforcement, and systemic discrimination, prompting us to confront the ways in which contemporary society prolongs inequities and injustices. No Seconds serves not only as a memorial to those impacted by the death penalty but also as a catalyst for envisioning a future where every individual is afforded the opportunity for forgiveness and healing, rather than perpetuating an endless cycle of violence.

Rachael Reyes-Vazquez’s Hope for Future Generations is a brightly colored community mural that is informed by her personal lived experience. Having tragically lost her father to a senseless act of gun violence, Reyes-Vazquez brings a profound emotional depth and authenticity to her artistic practice. In the face of this devastating experience, Reyes-Vazquez channels her grief into a powerful call to

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Mikael Owunna, Oluwafemi, and Jasmine Murrell

Tim Portlock, Natalie Hijinx, Wi-Moto Nyoka, Rachael Reyes-Vazquez, Mikael Owunna, Oluwafemi, and Jasmine Murrell

Kyra Knox, Heather Dewey-Hagborg, Tim Portlock, Natalie Hijinx, and Wi-Moto Nyoka

Angela McQuillan, Kyra Knox, Heather Dewey-Hagborg, and Tim Portlock

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action, leveraging her art as a vehicle for healing, advocacy, and social change. The collaborative mural project becomes not only a symbol of resilience and hope but also a deeply personal tribute to her father’s memory. It is a demonstration of her unwavering commitment to her own children — and to future generations — to work together to prevent further tragedies. In this context, Reyes-Vazquez’s work resonates with the expressions of grief and resilience found in the art of artists like Frida Kahlo, who transformed her own pain and suffering into works of profound beauty and catharsis. Through Hope for Future Generations, Reyes-Vazquez not only honors her father’s memory but also empowers other families affected by gun violence to find healing and strength in community solidarity, inviting viewers to add to the mural throughout the run of the exhibition.

Tim Portlock crafts a vision of a utopian future where violence is a relic of the past in his digital mural Time After the Hunter. This expansive work transports viewers into a futuristic metropolis reminiscent of Philadelphia, where sculptural parks and inviting public spaces represent a historic shift away from a culture of violence. The epic scale of the mural and the use of visual effects software typically employed in film and animation imbues the artwork with a cinematic quality, inviting viewers to picture themselves in Portlock’s imagined world.

Lush greenery and a waterfall dominate the futuristic landscape, inviting contemplation and envisioning a sense of communal serenity. Within the sculptural park, fictional monuments commemorate pivotal moments in America’s journey toward a violence-free existence, serving as beacons of hope and inspiration. Portlock’s mural radiates with an aura of joy and tranquility following a tumultuous and destructive past, encapsulating a collective celebration of utopia. Rather than prescribing a rigid blueprint, Time After the Hunter serves as a catalyst for imaginative exploration, encouraging viewers to envision their own futures devoid of violence and strife.

The placement of Portlock’s work, installed high above eye-level and positioned in front of a staircase, enhances the mural’s sense of grandeur and reverence. Placed at such a height, viewers are compelled to look up, their gaze drawn skyward towards the expansive tableau unfolding before them. The mural becomes a modern-day fresco, not bound by the confines of religious iconography, but instead offering a sanctuary for the mind and spirit amidst the chaos of the past.

Oluwafemi’s The Playground in Sunville offers a thought-provoking examination of a near-future society shaped by stringent firearm regulations, inviting viewers into a fictional world where the absence of guns

creates both harmony and tension. Through the speculative lens of Sunville, Oluwafemi delves into the complex issues of gun culture from a variety of viewpoints, weaving together threads of historical context, market influences, and societal power dynamics.

The discovery of a loaded machine gun in a neighborhood playground serves as a stark symbol of the underlying tensions simmering beneath the surface of a seemingly idyllic community. As viewers navigate the intricacies of The Playground in Sunville, they are prompted to confront uncomfortable truths about the pervasive influence of gun culture even as they envision alternative futures grounded in community care and social equity.

Oluwafemi’s work is based in fiction, but it points to the reality that if a state or city were to successfully outlaw all firearms, the implications would be wide-ranging. On one hand, such a move could lead to a significant reduction in gun-related violence, accidents, and deaths, promoting public safety and well-being. It could also contribute to a shift in societal norms and attitudes towards conflict resolution and community safety, potentially fostering a culture of non-violence and cooperation. However, there are also potential drawbacks and challenges to consider. Critics of firearm bans argue that they could infringe upon individual liberties and rights, sparking legal battles and civil unrest. They voice additional concerns about the effectiveness of such a ban in preventing criminals or illicit groups from obtaining firearms through illegal means, potentially leading to unintended consequences or underground markets for weapons — a situation addressed in Oluwafemi’s work. Ultimately, the feasibility and desirability of implementing a successful ban on firearms in any part of the United States would depend on a complex interplay of legal, political, social, and cultural factors.

Wi-Moto Nyoka’s A Funeral for The Death Machines is a layered, sonic reflection of the transformative power of ritual and music. In this half-hour live performance of an EP written and scored by the artist, Nyoka invites viewers to bear witness to the unique narrative of a gun and a bullet on their final night on Earth. Through a diverse range of musical genres from Gospel to House, Nyoka navigates themes of pride, power, grief, and hope.

The track list, which includes titles such as Against the Temple and Invincible, bring to light the complex emotions woven into the fabric of gun culture and the human experience. Through A Funeral for The Death Machines, Nyoka confronts the devastating toll of gun violence but also offers a vision of renewal and unity grounded in the symbolic act of melting down weapons to forge a new narrative of peace and healing. As viewers engage with the music, they are invited to participate in the rehearsal of a world liberated

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from the shadows of weaponry, where the collective voice of the people resounds with the promise of a brighter tomorrow.

Close-up of The Playground in Sunville by Oluwafemi

Each of the artists featured in Futures Without Guns offers shared routes towards a solution. Through their provocative projects, we see clearly where we are and where we need to move towards. Grassroots engagement, continued discussions, and concerted efforts are all vital in preventing the perpetuation of gun violence in the city. In the face of fatigue or disillusionment, maintaining hope and perseverance remains essential for fostering progress and bringing about meaningful change. By working together and remaining steadfast in our commitment to creating safer and more equitable communities, we can pave the way towards a brighter future for all residents.

Together, these artworks are not solutions, but rather stand as poignant reminders, urging us to collectively confront the pressing need for action in addressing the underlying causes of gun violence in our community. They ask viewers to delve into uncomfortable realities and inspire creativity in the contemplation of alternative futures. As visitors immerse themselves in the exhibition, they are not only encouraged to reflect but also to envision a world free from the pervasive threat of firearms. Futures Without Guns is offered as a vessel for introspection and discourse, infused with the hope for a brighter tomorrow.

Through the lens of art, it illuminates the path forward, reminding us that while the journey may be daunting, the possibility of a safer, more harmonious world is indeed within reach — if only we dare to imagine it.

Close-up of No Words by Lynn Hershman Leeson

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It Only Takes a Second

By Laura Hinds MSW, LCSW

It only takes a second for gun violence to take a life.

It happens so fast.

It only takes a second for a family’s constellation to change, for a father to be lost, a brother to be killed, an uncle to be forever lost. It only takes a second.

It happens so fast.

Gun violence happens faster than a traumatized central nervous system can decipher that the danger is mild.

Gun violence is quicker than deductive reasoning.

Quicker than clarifying a threat versus an annoyance.

Quicker than a compromise can be presented and agreed to.

It happens so fast.

Gun violence turns dysregulated teens into “Cold-Blooded Murderers” in whose incarceration our society finds peace, comfort, and financial gain — ­­ in an instant.

Gun violence turns children into orphans, by death or incarceration, many without support for their grief and rage. Intergenerational trauma is insidious, ubiquitous and lethal.

It happens so fast.

Gun violence allows our world to divide itself between the safe neighborhood and “those people over there”; it happens so fast.

And yet . . .

It only takes a second for us to realize that these prisoners are also citizens.

It only takes a second for us to embrace disenfranchised, frustrated and marginalized youth before they embrace guns.

It could happen so fast.

Installation of A Funeral for the Death Machines by Wi-Moto Nyoka

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PROTECTING OUR CITIZENS

By Laura Hinds MSW, LCSW

As a mental health provider who focuses on trauma and bereavement, I am often asked some version of, “What will it take to protect our citizens by ending gun violence?” Whenever I am asked this, there is always the assumed separation; there is the shooter and then there are the citizens worthy of protection.

This is how we get it wrong. If we want to halt gun violence, we must view shooters as citizens who matter. We must be curious about their needs long before they pick up a gun. We must see shooters as people who were children, many of whom were failed by the realities of our society. We must be curious about the origin story of violence. If we do not show up for kids who live in danger, whether in their household or their community, we will never stop gun violence.

Until we ensure that all youth have access to food, clothing, and compassion, we will not stop gun violence.

Until we are as focused on youth having access to implements of success versus implements of survival, we are not going to change our current reality.

Could gun laws help? Sure.

Could better responses to those who are struggling with mental health challenges and in possession of firearms help? Undoubtedly.

Could greater investment in the education gap, in the resources of public schools in areas plagued by violence and poverty help? Absolutely.

At the end of the day, for those whose lives are punctuated by violence, despair, and relentless stressors – gun violence is a soundtrack to their daily lives.

Until we care about that, about them, we will never protect our citizens.

Installation view of No Seconds by Heather Dewey-Hagborg

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A PHILADELPHIA FUTURE WITHOUT GUNS

By Elinore Kaufman, MD, MSHP

I am used to gunshot wounds… to the harm that bullets do to bodies and lives. As a trauma surgeon in Philadelphia, I can hardly imagine going a month or a week without remembering the damage that guns can do.

I work at one of the world’s leading trauma centers where we pride ourselves on providing the best possible care to people with the most severe injuries.

Our trauma center is excellent in large part because it is busy. We take care of all kinds of patients — people who have been in a car crash, have fallen down stairs or have been crushed by machinery. We take care of people injured by others — people who were punched, beaten and stabbed. And we take care of people who were shot. Day after day, hour after hour. 636 people — the most ever — in 2020, and in 2023, more than 8 patients injured by bullets each week.

These are often, though not always, our most urgent cases and our most dramatic ones. The ones that take all our skills, resources, and expertise. As I say so often: I wish it weren’t happening, but since it is, I want to be there to help.

Utah Phillips wrote, “Now the past didn’t go anywhere, did it? It’s right here, right now.” And maybe the future is right now, too, even if it’s not right here.

Because I have colleagues–experienced, accomplished trauma surgeons –who do go days without caring for a patient injured by a gunshot wound.

Who go weeks, years or even an entire career in which these injuries are rare. The future without guns exists in South Korea, Germany, Norway, Cuba, Costa Rica, New Zealand, Sweden, Japan, and tens of other countries around the world where guns are uncommon and people do not routinely get shot.

These countries are far from perfect. Devastating accidents are pervasive, as is the harm that one individual inflicts on another and that individuals can inflict on themselves.

Without guns, there would still be violence. There would still be poverty and racism and deprivation. There would still be structural disinvestment in Black communities. There would still be inequality. There would still be alcohol and drug use. There would still be anger and hurt and conflict. There would still be all the underlying forces that sometimes drive one person to hurt another.

The past didn’t go anywhere; it’s right here in the present, shaping our lives and limiting our choices.

Without guns, there would be beatings and stabbings, broken bones and bleeding organs. But as a surgeon, I am a pragmatist: it is possible to kill someone with fists, but it’s not easy. It is possible to cause death, paralysis or other irreparable harm with a knife, but it’s not easy. About 1 in 4 firearm assaults is fatal. Only about 1 in 50 stabbings is. It is also hard to kill by mistaken identity or with a stray blow with fists, knives or other implements.

A child who picks up a knife as a toy or a joke is not likely to need more than a band-aid. And a single blow with a fist cannot lacerate someone’s lung, heart, diaphragm, stomach, liver, intestine, and kidney, the way a single bullet traversed my patient’s body while she was out to celebrate her own birthday.

Without guns, there would still be suicide. There would still be depression and despair. There would still be pills and bridges and roofs. But there would be treatment, and recovery, and healing, as well, because 90% of people who survive a suicide attempt are long-term survivors. Only 10% die from suicide later on. But for those who attempt suicide with a firearm, second chances are rare, since more than 90% die from that gunshot wound.

Without guns, there are more second chances. There is more hope and less fear. Without guns, there are also fewer guns. If one person is armed, others feel pressure to carry as well. The threshold to pull a weapon is lowered when you expect someone else to do the same. Without guns, there are fights and the opportunity to resolve them. There are conflicts that could be mediated.

Or not. There are neighbors who remain enemies for life, but perhaps they both live long lives, growing old in enmity, lobbing bitter insults across the avenue from their rocking chairs.

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No Seconds: A Memorial of Inhumanity Forgotten bones of broken fathers etch the womb of America.

-Amos Wells

Heather Dewey-Hagborg in collaboration with amos wells 279 people are sitting on death row in Texas in a prison called the Polunsky unit.

These individuals sentenced to death, a practice outlawed in 111 countries, have been stripped of their humanity. They await their fate for more than a decade in miserable conditions, lacking even the basic amenities of prisoners serving life sentences. In this piece, No Seconds, artist Heather Dewey-Hagborg and Amos Wells, a prisoner of the Polunsky unit, envision a future where we have progressed beyond the death penalty. No Seconds stands as an edifice of ideas showing our past inhumanity, a marker of the days when execution was still utilized as a method of vengeance in the legal system. No Seconds is the world’s first museum memorializing the death penalty and sharing the experience of prisoners who awaited execution on death row.

No Seconds is based on months of phone calls between Dewey-Hagborg and Wells. Amos Wells’ cell has been reconstructed with 3D modeling, as you hear Wells describe it, in a way that captures the feeling of being there as well as the architecture of incarceration. The model launches the current prison into a speculative future where it has been transformed into a museum and conveys both artists’ vision of how this site would look and feel when it was no longer used to hold people captive, but rather to remind us of our cruel past.

Dewey-Hagborg and Wells met due to the circumstances of his case. He was sentenced to death, in part, on the basis that he would carry a gene predisposing him to violence. Dewey-Hagborg had made several artworks critiquing genomic over-reach in law enforcement and society at large.

No Seconds is part of a larger work-in-progress telling Amos Wells’ story, critiquing the death penalty, and bringing to light the ways contemporary genetics is being used as a tool for stereotyping, discrimination and neo-eugenic ideology in court rooms today.

Photo credit: Butch

Dr. Heather Dewey-Hagborg is a New York-based artist and biohacker who is interested in art as research and technological critique. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed up gum) collected in public places.

Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, the Guangzhou Triennial, and the Shenzhen Urbanism and Architecture Biennale, Transmediale, the Walker Center for Contemporary Art, the Philadelphia Museum of Art, and PS1 MoMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, SFMoMA, among others, and has been widely discussed in the media, from the New York Times and the BBC to Artforum and Wired.

Heather has a Ph.D. in Electronic Arts from Rensselaer Polytechnic Institute.

She is an Artist-in-Residence at the Exploratorium, and is an affiliate of Data & Society. She is a founding board member of Digital DNA, a European Research Council funded project investigating the changing relationships between digital technologies, DNA and evidence.

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Installation view of No Seconds by Heather Dewey-Hagborg

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Screen shots of No Seconds by Heather Dewey-Hagborg

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Photo credit: Narkita Wiley

The Remembering Portal

jasmine murrell The immersive multimedia sculptural installation, crafted from a fusion of organic and found materials, offers a visionary perspective on a future without gun violence. Within its living and synthetic framework, the artwork not only portrays modern weaponry emerging as a motif but also integrates elements of ancestral wisdom and community healing.

Inspired by our ancestors’ mastery of communicating with plants, the installation serves as a poignant reminder of our collective journey towards healing and transformation. By exploring the boundaries between medicine and poison, it prompts contemplation on the delicate balance between healing and harm inherent in our everyday materials. This narrative not only delves into the lineage of American pharmaceutical enterprises but also challenges perceptions of illusion versus reality, inviting viewers to reevaluate their understanding of power dynamics and intergenerational trauma.

As the installation navigates the complexities of racial disparities, mental health issues, socioeconomic conditions, and cultural attitudes towards violence, it underscores the profound potential of reconnecting with nature and harnessing our innate capacity for healing. Through this exploration, the artwork envisions a future where communities can transcend the legacy of gun violence and reclaim their true divine power to shape a more peaceful and harmonious world.

Jasmine Murrell is a Brooklyn-based interdisciplinary visual artist who employs several different mediums to create sculptures, installations, photography, performance, land art and films that blur the line between history and mythology.

She has exhibited nationally and internationally, in venues such as the Museum of Contemporary Art; the Bronx Museum; the Museum Contemporary Art Chicago; the Whitney Museum, the African-American Museum of Art, the Museum of Contemporary Art, and the International Museum of Photography. Murrell has been a resident artist at the Bronx Museum AIM program; Baxter St. Gallery workspace; BRIClab contemporary art residency and Block Gallery workspace.

Her work has been included in the book MFON: Women Photographers of the African Diaspora, and The New York Times, Ebony, Time Magazine, Hyperallergic, The Detroit Times and several other publications.

“My art is a process and a product of my search for the truths beneath—under the skin, the ground we walk on, within the stories we tell and the lies we believe.

I am trying to feel and demonstrate the world as it really is, not as it has been constructed to be. My work bends time and space to explore the unstable and shifting nature of the human experience and the forces that age and transform all living things. I am an interdisciplinary artist critiquing the invented hierarchies that have been used to construct the illusion of history. My process is one of exposure, revelation and digging to the depths to look through and underneath what has been contrived, invented or erased in order to preserve the cultural fantasies that structure our engagement with our world.”

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The Remembering Portal

by Jasmine Murrell

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Photo credit: Henny Garfunkel

No Words

lynn hershman leeson This short film offers a compelling exploration of the harrowing reality of school shootings and the potential for prevention through legislative reform. The film centers around a young girl’s morning routine as she prepares for another day of school, clad in her vibrant green shoes.

Leeson captures the ordinary moments that make up this girl’s life, from tying shoelaces to grabbing her backpack. However, the narrative takes a sobering turn as the film foreshadows tragic events by focusing on her shoes, drawing a correlation to a pair of green shoes worn by 10-year-old Maite Yuleana Rodriguez, a victim of the Robb Elementary School shooting in Uvalde, Texas.

As the film unfolds, it delves into the alternative timeline that ensues due to a significant shift in gun policy. In this reality, the unthinkable tragedy is averted, and the girl’s day progresses just like any other. Through nuanced storytelling, this film underscores the critical importance of legislative measures to prevent school shootings.

Over the last five decades, artist and filmmaker Lynn Hershman Leeson has been internationally acclaimed for her art and films. Hershman Leeson is widely recognized for her innovative work investigating issues including: the relationship between humans and technology, identity, surveillance, and the use of media as a tool of empowerment against censorship and political repression.

Lynn Hershman Leeson is a recipient of many awards including a Siggraph Lifetime Achievement Award, Prix Ars Electronica Golden Nica, and a John Simon Guggenheim Memorial Foundation Fellowship. And in 2022, she was awarded a special mention from the Jury for her participation in the 59th International Art Exhibition of La Biennale di Venezia. In 2023, Pratt Institute of Art in NY awarded her with an Honorary Doctorate. Creative Capital awarded her with their Distinguished Artist Award in 2023. SFMOMA acquired the museum’s first NFT from Hershman Leeson in 2023.

Her six feature films—Strange Culture, Teknolust, Conceiving Ada, !Women Art Revolution: A Secret History, Tania Libre, and The Electronic Diaries—are in worldwide distribution. Artwork by Lynn Hershman Leeson is featured in many public collections including the Museum of Modern Art, and The San Francisco Museum of Modern Art. She is represented by Bridget Donahue, New York, Altman Siegel, San Francisco, Waldburger Wouters, Brussels, and ShanghART, China.

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No Words by Lynn Hershman Leeson

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Screenshots of No Words by Lynn Hershman Leeson

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Photo credit: Emmai Alaquiva for The Pittsburgh Foundation

Prayers Answered

mikael owunna Prayers Answered depicts the spirits of two individuals lost to gun violence, transcending the physical realm into a spiritual plane. In a tranquil state, their souls watch over us, united in prayer, envisioning a future devoid of guns and violence.

These ethereal figures represent the cosmic oneness we all share, fostering unity to eliminate harm. Their presence catalyzes collective introspection, communal healing, and prayer, encouraging us to reflect on our cosmic origins and aspire to a future free from division and violence.

The image’s creation involved intricate techniques, combining painting, engineering, and ultraviolet light. Hand-painted with ultraviolet-reactive pigments, the models were photographed in darkness, creating a transformative effect akin to celestial luminosity. This work symbolizes hope for a future marked by unity and peace.

Mikael Owunna is a Nigerian-American multimedia artist, filmmaker, engineer, and the President of the City of Pittsburgh’s Public Art and Civic Design Commission. He is also the Co-founder and Executive Director of Rainbow Serpent, a Black LGBTQ nonprofit organization. Exploring the intersections of technology, art, and African cosmologies, his work seeks to elucidate an emancipatory vision of possibility that revives traditional African knowledge systems and pushes people beyond all boundaries, restrictions, and frontiers.

Owunna’s work has been exhibited across Africa, Asia, Europe, and North America and has been collected by institutions such as the Museum of Fine Arts, Houston; Nasher Museum of Art; Middlebury College Museum of Art; Equal Justice Initiative; Duke University Pratt School of Engineering; University of Pittsburgh Medical Center; and Mississippi Delta Health Center. His work has also been featured in media ranging from the New York Times to BOMB Magazine, CNN, NPR, VICE, and The Guardian. He has lectured at venues including Harvard Law School, World Press Photo (Netherlands), Tate Modern (UK), and TEDx. Owunna has published two monographs: Limitless Africans (FotoEvidence, 2019) and Cosmologies (ClampArt, 2021). Owunna’s multimedia practice includes film and live performance, in 2021 he directed the dance film Obi Mbu (The Primordial House) with Marques Redd, and in 2023 he premiered the multimedia live performance The Four World Ages with the Rainbow Serpent Collective.

Owunna’s work has been commissioned for major public art installations by organizations including the Andy Warhol Museum, Pittsburgh Symphony Orchestra, Cleveland Foundation, Contemporary Art Museum Raleigh, Pittsburgh International Airport, and Orange Barrel Media.

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Prayers Answered by Mikael Owunna

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Long Action

natalie hijinx In a surprising twist, artificial intelligence didn’t become self-aware and take control; instead, it paved the way for humans to embrace their humanity fully.

Initially, people turned to augmentations for survival, then for comfort, and eventually as a conscious step in our shared evolution.

The Essensees, with their deep learning wisdom, transcended human moral debates and political bureaucracy. The governments of the old world tried to wipe them out, but they were pure open source, sharing freely with anyone who wanted to partake in the Deep Truths.

Photo credit: Natalie Hijinx

When they synchronously released their genetically engineered gunpowderhungry fungus across critical cities around the world, it was a master stroke to end all wars. Radical De-escalation, they called it. It was a matter of weeks before the all armies of the world were frozen in a profound silence.

Natalie Hijinx (aka Natalie Hutchings) she/her, is a multidisciplinary artist, futurist, fabricator, educator, and member of the experimental artist collective Vox Populi in Philadelphia. Natalie’s artwork is a flavor-swirl of ominous positivity and dystopian comedy, broadly based on speculative futures and worstcase scenario alternate universes, dissembled then put back together again via sculpture, installations, digitally fabricated objects, performance, public engagement stunts, digital tokens, and video.

The governments waging wars, both internal and external, could no longer threaten their citizens with compliance. Declawed, they toppled. Humans everywhere felt truly safe for the first time in generations, maybe ever. The violence had always been coming from inside the house.

These absurd, elaborate, and darkly humorous projections are puzzled together from social and political failures, the impending climate apocalypse, the amorality of AI, declassified government experiments, conspiracy theories, and the logical outcomes of widely-held Terrible Ideas.

So much had been lost, but the Essensees existed to guide humanity, not rule it.

A climate reclamation plan was just one facet of the reconstruction. To augment coral reefs damaged by warming oceans and destructive fishing practices, the now-impotent firearms were dumped en masse to create new reef beds. Sleeper remnants of the Essensee genetic code spread via the fungus began to augment other terran biology as well. It adapts as it learns the song of a new creature; they continue to seed our world with this essence, and soon the cosmos.

Her 2022 solo show, an immersive installation entitled HITBOX: A Post-Apocalyptic Convenience Store, was featured in the UPenn publication T-art magazine. Hijinx has shown in both domestic and international exhibitions. Her work was featured in Sculpture Magazine in 2019 and she was a 2018 Fellow of the Delaware Public Humanities Institute (DelPHI) in Material Culture Studies. Her favorite tools are her grandmother’s carpentry hammer and the Demo Hawg TM, a three-foot-long demolition crowbar.

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Long Action by Natalie Hijinx

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The Playground in Sunville

oluwafemi Peacetown is a community in a near-future setting defined by laws that prohibit firearms. Oluwafemi creates a compelling narrative centered around Sunville, a town in Peacetown embodying these restrictions.

Inside of a neighborhood playground, a discovered loaded machine gun, serves as the catalyst for diverse conversations spanning social levels both within and outside the town.

This fictional exploration delves into multifaceted aspects of gun culture, addressing its historical roots, pervasive market influence, widespread portrayal in entertainment, societal power dynamics and inequities, and the potential impact of comprehensive community care.

Hailing from Lagos, Nigeria, Africa comes an artist inspired by the evolution of drum patterns, international vibes and performance, this is Oluwafemi.

Oluwafemi is a DJ, producer, visual artist and co-founder of Philadelphia Super Group Worldtown SoundSystem.

For over a decade, Oluwafemi has enjoyed mixing the sounds of drum-influenced genres such as the family of funk, hip-hop, soul, reggae, dancehall, house music, and their countless other offshoots into one grooving, harmonious story.

Oluwafemi’s sound has taken him all over the world from California to Costa Rica and back to his home of Philadelphia playing major events, festivals and clubs alike.

In 2011 Oluwafemi started an art collective called Worldtown alongside partner DJ/Producer Ben Arsenal. Worldtown is a music and art collective, based in Philadelphia, that celebrates diversity and unity through music and art.

Worldtown originally began as a no-holds-barred party with the best dance music from around the world dipped in house music. Worldtown has since grown to include its own festival, a clothing line and a smashing 8-piece live house music band that has literally entertained tens of thousands at home and abroad.

The Playground in Sunville by Oluwafemi

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The Playground in Sunville by Oluwafemi

The Playground in Sunville by Oluwafemi

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The Playground in Sunville by Oluwafemi

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Hope for Future Generations

rachael reyes-vazquez Inspired by the urgency to foster safer communities, this collaborative mural project embodies a shared commitment to supporting our younger generations.

In the face of pervasive gun violence, many families in Philadelphia are grappling with diminished resources to promote youth engagement and optimism.

Recognizing the pivotal role of mentorship in preemptive gun violence prevention, we embrace the task of nurturing healing and hope within our youth. Art stands as a powerful medium to guide our youth towards self-discovery and confidence, and to empower them to become champions of their own destinies.

In partnership with communities of diverse backgrounds, this mural seeks to encapsulate the collective dreams and emotions of young individuals united by a shared hope for a gun-free future. We believe that by investing in our youth’s creative potential, we inspire a ripple effect of positivity, with each child becoming an ambassador of progress within their neighborhoods.

Born and raised in Philadelphia and heavily influenced by Hip Hop and graffiti, Rachael Reyes-Vazquez is an artist whose full-hearted work reflects different periods and chapters in her life. Rachael also brings forth a community-oriented spirit as an advocate for youth, young adults, families and communities affected by violence in Philadelphia.

Community Paint Day at Kensington High School led by Rachael Reyes-Vazquez

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Hope for Future Generations by Rachael Reyes-Vazquez

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Left and top right: Community Paint Day events at Kensington High School and Quorum led by Rachael Reyes-Vazquez Bottom right: children adding to the mural at the opening reception of Futures Without Guns

Mural Contributors: Abdiel Ramos Amirah VanBuren Angelina Maxwell Angelina Marshall Annalise McQuillan Damaris Hernández David Garcia Donald Bullock Edrese Mckie Edrick Henighan Elijah Twyman Gabriel Fraticelli-Laguer Gage Stone-Martinez Hailey Perez Iris Vazquez Jaylynn Owens Jerry Puryear

Jillian Bauer-Reese John Zerbe Josani Rivera Judah McCoy Julius McCoy Justin McCoy Mason Austin Micheal Barnes, Jr. Nathaniel Maxwell Shanice Parris Sudan McNair Syncear McClean Teddy Bauer-Reese Yeriel Cortes-Rodriguez Zaniyah Carter Zariya Barnes Zayana Davis

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Time After the Hunter

TIM portlock This work takes form as an expansive indoor mural, spanning 20 feet by 10 feet, created with visual effects software typically employed in film and animation.

Portlock’s imagined depiction centers on a futuristic metropolis reminiscent of Philadelphia, where a sculptural park emerges as a testament to a historic transformation away from violence.

Within this future city, architecture and urban layout have evolved to reflect a society unburdened by violence, marked by inviting parks and expansive spaces.

The sculpture park itself becomes an oasis of contemplation, adorned with fictional monuments that pay homage to pivotal moments in America’s journey toward a violence-free existence.

Portlock’s mural embraces a feeling of happiness and peace, capturing a collective celebration of a utopian world free from gun violence. Rather than prescribing a specific blueprint, Portlock’s artwork serves as a catalyst for others to imagine their own future scenarios, inviting viewers to envision alternative societal frameworks devoid of violence.

Time After the Hunter by Tim Portlock

Tim Portlock was born in Chicago which inspired his lifelong interest in the dialogue between place and the formation of identity. Educated primarily as a traditional visual artist, Portlock has worked in the past as a community-based muralist as well as a studio painter. His current body of work is created using 3D gaming technology to simulate real world and imagined spaces based on the abandoned and foreclosed buildings in biking distance of his previous home in Philadelphia.

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Installation view of Time After the Hunter by Tim Portlock

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A Funeral for The Death Machines

wi-moto nyoka A Funeral for The Death Machines is a half hour musical that delves into the journey of an object transitioning from a symbol of harm to one of transformation.

Told from the perspective of the gun and the bullet on their last night on Earth, the piece explores pride, power, obsession, grief, and hope while moving from Gospel to House music.

The sonic installation includes a space to reflect on how you would eulogize our beloved weapons while listening to the scenes and songs in an immersive live experience wherein participants will practice a world united in relinquishing their firearms.

Track list:

Wi-Moto Nyoka is a horror and sci-fi writer/producer. She is the founder of Dusky Projects, creating and producing horror & sci-fi projects for young adult and adult audiences.

Awards and honors include: Stowe Story Labs selected project, Puffin Foundation grant recipient, A.R.T/New York Creative Space Grant recipient, Awesome Foundation grant recipient, Velocity Fund grant recipient, Scribe Video Finishing Grant recipient, Nightmares Film Festival Best Short Screenplay Award Winner, 13 Horror Screenplay Award Winner, Oregon Short Film Festival Best Horror Teleplay Award Winner and more. ​ he holds a BFA in Music Theater from the University of the Arts, and an MFA S for Performance & Interactive Media Arts from Brooklyn College which she leverages to meld her musical compositions with creative technologies in live performances that bring Speculative Fiction narratives to life. She is a published author and a regular contributor to The Last Girls Club magazine.

1. Gun & Bullet Talk Shit 2. Gun sings “Against The Temple” 3. Gun & Bullet Talk More Shit 4. Bullet sings “Invincible” 5. Gun & Bullet Get In Their Feelings 6. The people sing “Oh Sandra” 7. The people play one last game of “Shoot Like A Girl” 8. Gun, Bullet, & The People do “A Funeral For The Death Machines”.

Cast: Bethlehem The Artist (Bullet) Sinnia Brown (Gun)

This poignant piece underscores the unifying desire to evolve and embrace new beginnings through the symbolic act of melting down these objects of death to forge anew. This work invites the audience to rehearse a world liberated from the shadows of weaponry and united in forging a new narrative of peace, healing and renewal.

Music Director: Becca Graham

Band: Kayla Childs Sweet Corey-Bey Jan Jeffries

Director: Kikau Alvaro

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Listening station installation and visitor feedback of A Funeral for the Death Machines by Wi-Moto Nyoka

Live performance of A Funeral for the Death Machines - Kayla Childs, Sweet Corey Bey, Jan Jeffries, Bethlehem the Artist, Sinnia Brown, Wi-Moto Nyoka, Becca Graham and Kikau Alvaro (not pictured)

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Exhibition Curator Documentary Filmmaker

KYRA KNOX

Kyra Knox is an award-winning impact Producer and Director. She understands the power of storytelling across mediums, and her directing/ producing experience has taken her on shoots nationwide. Her social impact work has been recognized with two Silver Telly Awards, and she has also won a Gold Addy and Mosaic Award for her work with the Philadelphia Eagles.

Kyra was featured on 6ABC, Deadline, and Good Day Philadelphia, for her debut feature documentary Bad Things Happen In Philadelphia, which is about the impact of gun violence in her city and the nonprofits working hard to create change. Bad Things Happen In Philadelphia won multiple awards in the film festival circuit and has been licensed by Fox Soul and Amazon Prime.

Knox is also a 2023 Sundance Producers Lab Intensive fellow with an upcoming feature-length narrative drama titled South Side Girls.

Kyra believes her work behind the scenes is just as important as what makes it to the screen and brings an infectious enthusiasm to every shoot while creating a safe space for the creatives on her sets.

angela mcquillan Angela McQuillan, a Philadelphia-based Artist, Designer and Curator, merges the realms of art and science in her creative endeavors. With A B.S. in Biology from the University of Texas at Austin, a B.F.A. in Painting and Drawing from Tyler School of Art, and a Master’s degree in Creative Entrepreneurship from Maryland Institute College of Art, Angela brings a unique perspective honed over a decade-long career in creative exploration, spanning from art-making to arts administration.

A former member of both the Little Berlin and Grizzly Grizzly artist collectives, Angela’s influence extends beyond her individual practice. For nine years, she served as the Curator of the Esther Klein Gallery in Philadelphia, where she co-founded the University City Science Center BioArt Residency in 2017.

Angela’s curatorial projects have garnered recognition and support from the Knight Foundation, The Dolfinger McMahon Foundation, The Philadelphia Foundation, and The Pew Center for Arts and Heritage. With over 50 curated art exhibitions, Angela is committed to showcasing groundbreaking work.

Currently, Angela is the owner of Chimaera Gallery located in the East Falls neighborhood of Philadelphia. Her artistic contributions have been featured in publications including The New York Times, Forbes, and SciArt in America.

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Left: Close up of Long Action by Natalie Hijinx Right: Close up of Remembering Portal by Jasmine Murrell

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ABOUT THE SCIENCE CENTER The Science Center is Philadelphia’s premier catalyst of entrepreneurial activity, healthcare innovation, and economic growth. Established in 1963, the nonprofit has been recognized by The Brookings Institution as a bestin-class investor, mentor, and economic development partner for young technology companies. Working alongside industry partners and leading research and academic institutions across the globe, the Science Center has supported hundreds of early-stage companies that have a combined $7.8B annual economic impact on Greater Philadelphia. Today, the organization advances healthcare innovation from idea to the marketplace through startup support services and building inclusive STEM pathways for Philadelphia youth and adults.

For more information, visit sciencecenter.org or follow us @UCScienceCenter.