Background Material: Spatial Design for the Nanjing Triennial (2008)

Artist: Zheng Yunhan

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Spatial Design for the Nanjing Triennial

Zheng Yunhan

When I received an invitation to design the space of the Nanjing Triennial, the Triennial had already entered its preparatory phase. I am quite interested in projects like this: being an artistic project, it is relatively easy to achieve consensus in thinking. The large scale of this exhibition satisfies certain functional requirements, and lets me add some of my own ideas pertaining to theme. Thus design work for such a project is quite a rewarding process.

This is triennial is being held for the third time. In the two previous triennials there were no specific concepts or measures for spatial design. However, due to current conditions in China, and to the rapid development of its art market, we can no longer neglect spatial factors as a way to enhance the effectiveness of an exhibition. Given the advent of large-scale exhibitions where any number of techniques such as multi-media, installations, and performance are mingled together, traditional catalogues and presentation processes cannot contain the tension of the exhibition theme. At this time, spatial design serves as an integrative tie which can link together expressive forms in various media effectively. Incorporation of spatial design is by now a pressing necessity.

The Nanjing Museum was designed and built during the Republican Period by Mr. Liang Sicheng. Today, it is no longer ideal for accommodating an exhibition of contemporary art. Yet in its time, it was a bold experiment to construct a museum with modern techniques and materials, reflecting China’s spiritual values and fitting with vernacular modes of architecture. The main exhibition hall of the museum takes the traditional enclosed courtyard structure into account. The basic shape of small square within large square, resembling the character hui, was doubled to form two adjoining courtyards. Thus the traditional forms of main room, side room, and verandah were writ large to form an integrated space for display. The primary large-scale element of the structure—the main hall—embodies core features of traditional architecture.

The theme of the current triennial is “Asia!?” This is a powerful title, simple and affirmative.

One thinks about Asia from many angles. Almost any person faced with the question of “Asia” will give a different answer. When I am confronted with this, I need to take time to approach the theme. After all, living in China I have felt the impact of change on the socialist system and have taken part in that process. Although China is an important part of Asia, it cannot represent the whole of Asia. Thus when I am faced with this theme, what I feel most of all is the “spirit” of Asia. Asia’s history has been full of vicissitudes, and these have become more intense since the industrial revolution brought us into close connection with the rest of the world. What concerns me as I follow this thread is how Asia, in the face of each crisis, at each crucial turning point, has been able to stand up anew and push forward under adversity. This is not done by administrative decree or financial temptation. It is a self-determined choice by Asia as a whole, the choice to be indomitable and courageous, the choice to reform.

Thus a spiritual train of thought becomes the chief thread of this proposal. Beginning from within the Nanjing Museum, proceeding past works of different genre, size and mode, a core line will run through the axis of the exhibition space. The exhibition interior will be portioned off by lines drawn perpendicular to the axis. Through use of dividers, these portions will be oriented so that each space faces away from the adjacent ones; then works of various types will be assigned for exhibit in the spaces. Thus the once-rectilinear interior will become a series of turns and changing scenes, a site for movement in which the end seems ever-receding.

Outside of the Nanjing Museum, along the original terraced layout, a structure will unfold in a series of descending focal points. Ultimately this will form a many-angled anomalous edifice, assembled from triangular components, with multiple planes and multiple nodes of intersecting lines. The edifice will begin behind the top roofline of the main hall. Viewed from a distance, it will appear that the old building is engendering a structure of numerous extended lines. The anomalous edifice and the museum building will be joined as an organic whole.

One will begin at the exterior anomalous edifice, then enter straight into the exhibition space. Viewers will be affected and influenced by the winding route and planar segments. The whole will be experienced more deeply because viewers will proceed along zigzag course.

11/8/08

Translated by Denis Mair