{"id":59991,"date":"2018-05-23T20:20:11","date_gmt":"2018-05-23T20:20:11","guid":{"rendered":"https:\/\/metropolismag.com\/projects\/jeanne-gang-us-pavilion-venice-biennale\/"},"modified":"2021-08-20T01:28:33","modified_gmt":"2021-08-20T01:28:33","slug":"jeanne-gang-us-pavilion-venice-biennale","status":"publish","type":"metro_project","link":"https:\/\/metropolismag.com\/projects\/jeanne-gang-us-pavilion-venice-biennale\/","title":{"rendered":"At the Venice Biennale, Jeanne Gang Uses Memphis’s Cobblestones to Reflect on Monuments and Messy Civic Histories"},"content":{"rendered":"
\"Jeanne<\/a>
Architect Jeanne Gang’s contribution to the U.S. Pavilion recreates a portion of Memphis Landing.\u00a0\u00a0\u00a9 Tom Harris, courtesy of the School of the Art Institute of Chicago and the University of Chicago<\/strong><\/figcaption><\/figure>\n
\n

\u201cHow do you make the stones talk?\u201d asks the architect Jeanne Gang. It\u2019s not a philosophical posture, but an earnest question and one at the center of Studio Gang\u2019s soon-to-open 2018 Venice Architecture Biennale installation at the U.S. Pavilion.<\/p>\n

The stones Gang refers to were plucked out of storage, but they were originally lodged at Memphis Landing, also called Cobblestone Landing, on the banks of the Mississippi. Famed but now underused, the site is the best-preserved cobblestone river landing in the nation (similar specimens found in Cincinnati and St. Louis aren\u2019t nearly as intact) and features in Studio Gang\u2019s conceptual regenerative plan for the Memphis, Tennessee, riverfront. Despite their dislocation, the now-twice-orphaned stones should have lots to say: First installed in the mid-19th century, they helped turn Memphis into the epicenter of the American inland cotton trade and a nexus of the slave economy. It could be said that the entire city and its oppressive racial hierarchies grew out of this entry to the river.<\/p>\n

Gang\u2019s Stone Stories<\/em> coaxes out this history through a combination of material experimentation and narrative drawn from grassroots community engagement. It asks questions about the nature of monuments, and how ambiguous histories become inscribed in the fabric of cities. And the Memphis cobblestones, a very prosaic sort of monument, are the medium for answering these questions.<\/p>\n

\"Jeanne<\/a>
Consisting of roughly 800,000 cobblestones, the landing was a mid-19th-century civic project that established Memphis, Tennessee, as a major node in the country\u2019s cotton trade network. Gang\u2019s exhibit repurposes some 500 historic stones.\u00a0Courtesy Studio Gang<\/strong><\/figcaption><\/figure>\n
\n

A Strong, Tactile Presence<\/h4>\n

From Gang\u2019s stone foundation, the U.S. Pavilion (commissioned by the University of Chicago and the School of the Art Institute of Chicago [SAIC]) offers myriad takes on similar questions of civic histories. With the theme \u201cDimensions of Citizenship,\u201d the seven participating teams<\/a> of artists, architects, and researchers work at a wide range of scales, from the personal to the global. Inspired by the Eameses\u2019 Powers of Ten<\/em>, the pavilion\u2019s curators\u2014SAIC assistant professor of architecture Ann Lui, Niall Atkinson of the University of Chicago, and writer and curator Mimi Zeiger, with associate curator and SAIC lecturer Iker Gil\u2014present two queries: \u201cWhat does it mean to be a citizen today?\u201d asks Lui, and \u201cWhat is the role of architecture in researching, intervening in, and speculating on these questions of belonging?\u201d<\/p>\n

Gang\u2019s project operates in the middle range\u2014the architectural and civic scales. \u201cStudio Gang specifically speaks to the question of civitas,\u201d says Lui, by which she means \u201cthe ways that we come together by law and by choice into collective bodies, but also the ways that kind of collectivity is mediated by architecture and the built environment,\u201d a strong focus of Gang\u2019s work.<\/p>\n

Five hundred stones previously held in storage (of about 800,000 at the landing) were transported to Venice, where they were installed inside William Adams Delano and Chester Holmes Aldrich\u2019s neoclassical pavilion in the Giardini della Biennale. It’s one of the first exhibits visitors see as they enter the pavilion\u2014a strong tactile and physical presence, where the stones gradually slope up into a chamfered corner. Gang\u2019s landing is made of nine types of stone that the Memphis landing comprises, arranged to accentuate different colors and textures: brilliant pink granite, intriguingly speckled gneiss, and plain-Jane gray\u00a0limestone. Off to the side of the entrance, nine augmented cobblestones\u2014diced, spliced, and then pieced back together\u2014thematize stories told by exemplary Memphians in an accompanying film produced by the filmographers Spirit of Space<\/a>. There is similar scalar diversity at work in the film, from a segment about the mayor\u2019s citywide agenda to a clip devoted to local artists working with youth.<\/p>\n

This portion of the pavilion sits squarely in Gang\u2019s wheelhouse: material inquiries that push their medium to the breaking point. Like her Marble Curtain<\/em><\/a> installation (a thin, glowing series of masonry panels arrayed like puzzle pieces and hung like a set of drapes), Stone Stories<\/em> revels in its primary material\u2019s essential qualities, yet expresses them in new ways. \u201cThere is something about material and space that has the power to speak back to us,\u201d Gang suggests. \u201cAttention to material history is what led us to think that there\u2019s more to this place. The city is more interesting when it has these layers.\u201d<\/p>\n

\"Jeanne
The Stone Stories<\/i> installation at the U.S. Pavilion; this wall image features a plan of the Memphis with the landing rendered in dark brown.\u00a0\u00a9 Tom Harris, courtesy of the School of the Art Institute of Chicago and the University of Chicago<\/strong><\/figcaption><\/figure>\n
\n

The Stones That Speak<\/h4>\n

From Memphis\u2019s early-19th century beginnings, the riverfront near the landing was planned as a parklike public promenade for recreation and leisure. That squares well with Studio Gang\u2019s expansive concept for the area. But during its heyday, the riverfront was too valuable to Memphis\u2019s signature industry for idle strolls.<\/p>\n

The Mississippi\u2019s water levels in this stretch fluctuated to extremes, and rain made the bank muddy and impassable, inhibiting the flow of goods and people. An even and impervious surface was needed, and in the 1850s, Memphis committed to what was likely its largest public works project in the antebellum era\u2014the cobblestone river landing, estimated to cost $83,000. Paving contractor John Loudon began construction in 1859 but didn\u2019t complete it until 1881. Period photos show a bustling pedestrian artery of commerce along the cobblestones. \u201cIt looked like a city block,\u201d says June West, executive director of the local historic preservation nonprofit Memphis Heritage.<\/p>\n

Sedimentary growth that accumulated on a nearby peninsula made the landing harder to use as a port, and in 1937 the city installed a new street along the riverfront and began turning its back on the Mississippi. River cargo traffic underwent a steady decline, and by the late 20th century, the landing was largely seen as a problem to be solved. A 1970 plan proposed an expressway with a dozen or more lanes, while another plan recommended destroying the landing in favor of foundations for apartment superstructures. But it\u2019s often been used as a parking lot. The landing, 600 yards long across eight acres, has been underutilized for nearly a century, and preservationists like West worry about what the future holds.<\/p>\n

Studio Gang\u2019s vision of this future knits together a series of parks that give visitors a powerful civic draw toward the water, and a variety of ways to experience the Mississippi\u2019s ecology. The architects\u2019 plan reimagines six miles of the Memphis riverfront, with Cobblestone Landing repurposed as a \u201ccivic terrace\u201d softened by vegetation and incorporating a boardwalk for strolling. Much of the plan focuses on making the riverfront more hospitable for people, improving pedestrian and bike connections while also adding new programming and event spaces.<\/p>\n

\"Jeanne
Rendering of Studio Gang’s concept for the Memphis Riverfront Courtesy Studio Gang<\/strong><\/figcaption><\/figure>\n
\n

New Monuments<\/h4>\n

Construction of the landing was interrupted by the Civil War, though most of its early history was defined by the hum of commerce enabled by antebellum oppression and inequality. According to a historical survey of the landing prepared by Garrow & Associates, Loudon encountered Union general Ulysses Grant at Cairo, Illinois, where the Ohio River meets the Mississippi. Loudon\u2019s barges were loaded with stone meant for Memphis, and Grant blasted a cannonball across his bow, bringing Loudon to a quick stop. The general inquired as to whether the stones were meant for Confederate forts down the river, and Loudon assured him that they were not. Grant let the boats go on their way, but he soon reappeared in Memphis to commandeer them and Loudon\u2019s craft.<\/p>\n

That the landing was worth braving Union cannon fire for is a clear indication of its civic importance. It was the economic linchpin the city sprang from. But \u201cmost if not all of the workers on the landing were African-American,\u201d West says, and in the South, that meant slave labor. In that part of the country, it\u2019s the rule rather than the exception that the infrastructural seeds that grew into great metropolises were sown by slavery. As in many Southern cities, Memphis\u2019s civic infrastructure and history of white supremacy are inextricably linked.<\/p>\n

That\u2019s a connection people are starting to make, with growing demands to remove the most blatant symbols of this regime, like Confederate memorials and statues. Memphis is no exception: The city recently brought down two such statues, including one of Jefferson Davis that looked out over Cobblestone Landing. But while it\u2019s one thing to pluck Davis off his pedestal, it\u2019s another to attempt rehabilitating sites of historic exploitation that are completely integrated into the fabric of the city, such as the landing. Stone Stories\u00a0<\/em>will try to do just that.<\/p>\n

Gang says the installation is the \u201cantithesis of a man on a horse up on a pedestal.\u201d It’s a multifaceted experience in terms of narrative voices (with oftenmarginalized groups like youth or African Americans), geological materials, and crafting techniques. It is conceived to be accessible and tactile, asking the visitor to climb over it and interact with it. And it will certainly prompt dialogue and contemplation, not reaffirmation of dead men\u2019s deeds.<\/p>\n

\u201cCivic monuments are charged sites,\u201d says Lui, \u201c[but] there are many other territories that invisibly enact or produce conditions of inequality or become exclusive spaces to marginalize people.\u201d Stone Stories<\/em> and the other pavilion exhibits \u201cengage with the moments in which architecture and design have been complicit [in] producing these conditions of exclusion\u201d\u2014themes with particular resonance for Venice. The island city\u2019s exclusionary policies toward Jews led in the early 16th century to their being cordoned off in a part of the Cannaregio sesti\u00e8re<\/em>, far away from the centers of trade and culture.<\/p>\n

Indeed, it does appear that Venice, \u201ca city of stones and cobblestones\u201d per Gang, is an ideal match for the architect\u2019s chosen installation medium. Gang is curious to see how the Memphis cobblestones contrast with their precisely honed Italian cousins. The Tennessee stones, she says, are so \u201cunchiseled and [un]Italian. They\u2019re like boulders. There\u2019s a rawness to it.\u201d<\/p>\n

You may also enjoy “Grafton Architects\u2019 Venice Biennale Will Celebrate Architecture\u2019s Atmospheric Qualities<\/a>.”<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Gang calls the installation, which will soon open at the Biennale’s U.S. Pavilion, the \u201cantithesis of a man on a horse up on a pedestal.\u201d<\/p>\n","protected":false},"author":870,"featured_media":24639,"menu_order":0,"template":"","meta":{"_acf_changed":false,"featured_image_focal_point":[],"legacy_WP_ID":null},"tags":[368,618,779,124,1140],"metro_tax_domain":[],"metro_tax_topic":[13,16],"metro_tax_program":[],"metro_issue":[],"internal_flag":[],"class_list":["post-59991","metro_project","type-metro_project","status-publish","has-post-thumbnail","hentry","tag-jeanne-gang","tag-memphis","tag-studio-gang","tag-venice-architecture-biennale","tag-venice-biennale","metro_tax_topic-architecture","metro_tax_topic-cities"],"acf":[],"yoast_head":"\nAt the Venice Biennale, Jeanne Gang Uses Memphis's Cobblestones to Reflect on Monuments and Messy Civic Histories - Metropolis<\/title>\n<meta name=\"description\" content=\"Gang calls the installation, which will soon open at the Biennale's U.S. Pavilion, the \u201cantithesis of a man on a horse up on a pedestal.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/metropolismag.com\/projects\/jeanne-gang-us-pavilion-venice-biennale\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"At the Venice Biennale, Jeanne Gang Uses Memphis's Cobblestones to Reflect on Monuments and Messy Civic Histories - 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