100 Ways of seeing the exhibition 八仙看展,各顯神通

26.6.2015 | art.
Li Yining

Li Yining

Venice Biennale Intern

How do you usually see an exhibition? Carefully read the curatorial statement before laying your eyes upon any artwork? Or go straight into the galleries without letting anything interfere with your first impression? Try to make sense of every piece? Or only care about those that grab your attention?


There can be a myriad of answers. I guess it also depends on your mood, how much time you have, who you are with as well as the type of the exhibition.


I have been working as an exhibition intern at The Infinite Nothing for only 2 weeks but I have already witnessed so many interesting ways of experiencing Tsang’s series of four video installations. Here are my favourites up till now.








1. Run around for half an hour, leaving the tired mom resting on the stroller


A family with a kid in a stroller, which is not uncommon, entered the exhibition. Suddenly I heard a piercing scream. Did someone fall down due to the slippery floor? I rushed in, only to see a toddler running wild, cheering and screaming. Even funnier, while the dad still had the energy to play a bit with her, the mom was chilling on the stroller, watching them. I went back in 20 minutes and found the kid still dashing around. No wonder the mom looked so worn out.


(20 minutes later…)


一. 盡情玩耍,留媽媽在嬰兒車上休息



2. Make hand shadows with parents and grandparents

This is the story of another family, a big one with children, parents and even grandparents. Just as they were about to exit the last room, they found their shadows on the wall that blocked their way out. So they decided to stop and make hand shadows all together. As asking for their permission to take a picture would have ruined the moment, I asked my colleague to reenact the scene for you;)

二. 和爸爸媽媽爺爺奶奶一起玩手影


3. Take a peek and run away

A woman took a peek at the entrance and turned back right away. ‘Oh I don’t like videos!’, she went. Choosing what to see based on the medium might be a practical way to survive the bombardment of art at a biennale with 89 national pavilions and 44 collateral events, I thought to myself. Another common reason for running away is that the exhibition space looks too dark. Especially on a typical Venetian summer day, the contrast between indoor and outdoor is simply too dramatic. However, this is exactly one of the central ideas of the exhibition – to turn day into night by constructing a huge box covering most part of the courtyard.

But wait, don’t run away as yet – perhaps it’s because you forgot you still have your sunglasses on!

(Several poor visitors went straight ahead, missing the entrance on the right side and bumping against the secret door of control room…)

三. 在門口瞄兩眼就閃




4. Squat in the middle of the room and meditate

I showed a young man the way in and checked several minutes later, only to find him squatting in the middle of the projected river, deep in thoughts.

(I didn’t have the camera with me at that moment so please imagine for yourself:p)

四. 蹲在房間中心冥想



5. Explore every detail, and bump the head sometimes

Strict conservation rules and a common respect for historic structures in Venice means that altering existing architecture for the sake of exhibition is very difficult and rare. Most exhibition sites have preserved the characteristics of old residential apartments or historic houses, which makes them the opposite of ‘white cubes’. Therefore, knowing where the boundary of artworks lie can be very challenging sometimes.

I have already mentioned that in order to transform the space, the artist and curators of The Infinite Nothing had to take great pains to build a big box in the courtyard. In fact, the exhibition has also incorporated many existing architectural elements, including a narrow tunnel, two windows and three blind arches etc., giving them new symbolic meanings. For instance, in the third room, Tsang blacked out a pair of windows and projected onto it a video of dark, rainy scenes. It thus comes as no surprise when some visitors feel curious about every detail and explore around. But it really scared us when they bumped their head, opened the emergency door, or touched the windows to see if they were real!

五. 探索每個細節,偶爾撞到頭


我之前提過,《無盡虛無》搭建了複雜的結構,改造了原有庭院。其實展覽也結合了許多原有的建築元素,特別是重新利用了三個盲拱、兩扇窗戶和狹窄的通道,賦予了它們新的象徵含義。比如在第三間房的《無盡虛無 - I》中,曾建華將兩扇窗戶封上,投射了貌似窗外雨景的錄像,真假難分。在這樣的環境中,好奇的觀眾難免會四處探索。不過橫衝直撞碰到頭,不小心打開緊急出口,又或是觸摸窗戶,可會把工作人員嚇壞的!

6. Draw a pony on the message book

A 11-year-old girl eagerly left a note on our message book after she came out. A pony – I saw her drawing. “This is inspired by the horse image in the exhibition, right?” “No no. It’s a pony. I love ponies!”


六. 在留言簿上畫匹小馬駒

一個十一歲的女孩走出展覽,熱切地想要留言。我看她畫的好像是馬,就問:「是因為看到了第二間房中馬的影像才畫馬的吧?」 「不是呀,這可是小馬駒。我最喜歡小馬駒了!」