进行时
Ongoing
2005.4.10 - 5.10
展览策展人：杨勇
学术顾问：孙振华、乐正维、鲁虹、严善醇、王川
主办场地：深圳雕塑院 现代艺术展厅
空间设计：都市实践
参展人：曹恺、陈封、陈海、陈秋林、陈万毅、陈文波、储云、戴耕、邓春儒、邓荣斌、都市实践（刘晓都、孟岩、王辉）、杜应红、段鹏、冯小瑞、冯志锋、甘志伟、高国甫、高永胜、归荣彪、郭晋、胡赤骏、黄泷、黄雪冬、黄扬、江宏、蒋志、焦兴涛、金江波、景柯文、李川、李勇、梁飚、梁古一、梁钜辉、梁荣、梁小武、廖一百、陆军、马楚、庞茂琨、彭湃、任焕斌、任前、沈鹭、涂志远、王风华、王福泽、王小飞、魏籽、翁培竣（翁奋）、徐锷、许珂、薛军、杨光、杨谦、杨勇、杨振、姚志燕、余极、张齐努、钟飙
Exhibition Curator: Yang Yong
Academic Advisor: Sun Zhenhua, Le Zhengwei, Lu Hong, Yan Shanchun, Wang Chun
Venue: Shenzhen Sculpture Academy, China
Exhibition Design: URBANUS
Artists: Cao Kai, Chen Feng, Chen Hai, Chen Qiulin, Chen Wanyi, Chen Wenbo, Chu Yun, Dai Geng, Deng Chunru, Deng Rongbin, URBANUS (Liu Xiaodu, Meng Yan, Wang Hui), Du Yinghong, Duan Peng, Feng Xiaorui, Feng Zhifeng, Gan Zhiwei, Gao Guofu, Gao Yongsheng, Gui Rongbiao, Guo Jin, Hu Chijun, Huang Long, Huang Xuedong, Huang Yang, Jiang Hong, Jiang Zhi, Jiao Xingtao, Jin Jiangbo, Jing Kewen, Li Chuan, Li Yong, Liang Biao, Liang Guyi, Liang Ju Hui, Liang Rong, Liang Xiaowu, Liao Baibai, Lu Jun, Ma Chu, Pang Maokun, Peng Pai, Ren Huanbin, Ren Qian, Shen Lu, Tu Zhiyuan, Wang Fenghua, Wang Fuze, Wang Xiaofei, Wei Zi, Weng Peijun (Weng Fen), Xu E, Xu Ke, Xue Jun, Yang Guang, Yang Qian, Yang Yong, Yang Zhen, Yao Zhiyan, Yu Ji, Zhang Qinu, Zhong Biao
部分现场
Onsite
画册
Book
一次深圳本土民间艺术力量的“叫板”（场外报道节选）
文：谢湘南，南方都市报记者，2005年
4月10日，一场命名为“进行时”的当代艺术展在深圳雕塑院现代艺术展厅举行。有40位深圳本土艺术家、近30位来自全国的艺术家共展出了100多件作品，作品形式包括绘画、雕塑、装置、事件、 影像、声音，内容大多以城市生活或对这种生活的记录、思考、戏谑、反讽、提升为主。这次展览是深圳建立特区以来，最大规模的一次民间艺术力量的集结，是艺术家积极行动的自发行为。开幕当天就有约400人次前往参观。它的运作模式却是学习国际展览的规范操作，一方面突破了深圳以前民间艺术小范围集合完全自娱自乐的方式；另一方面又像是对近年深圳较为红火的(每年举办的上百场官方展览) 体制内展览的一次呼应，或者说是一次“叫板”。当然，它的意义不仅在于此，而是将深圳的当代艺术推到了一个浪尖上，使它能与全国各城市的艺术家进行交流、对话、碰撞、融合。它的“进行时” 状态与开放的运作模式，将最大限度地构筑深圳当代艺术的发展平台与良好气候。
以国际标准操作民间展览，深圳当代艺术发出现实信号
对于此次展览的策划人杨勇来说，这次展览是 3 年前他策划的“玩物志”深圳当代艺术展的一个延续。那次展览，他只集结了10多位深圳本土的艺术家，在一个咖啡馆里举行的，不纯粹，但在当时也算是有规模的一次深圳本土民间艺术聚会了。在这3年时间中，杨勇参加了多个国际上的展览，开阔了视野也积累了许多经验，所以他觉得有必要再来做一次深圳当代艺术展。“以前的民间展览都很业余，这次展览提供了一次整合深圳当代艺术的可能性”，他说。
深圳的当代艺术活动究竟起于何时？据出生于深圳宝安的本土艺术家邓荣斌回忆，他认为应该起始于1989年王川在深圳博物馆举办命名为“墨点”的实验水墨展，虽然那只是王川的个人画展，但可以说那次展览是深圳当代艺术的先声。之后算得上深圳民间当代艺术展览的便是2001年深圳“外线”艺术7人展与“玩物志”深圳当代艺术展，接下来的便就是“进行时”了。
为什么要叫“进行时”? 杨勇说:展览要展现的是艺术家今天的创作状态和现实生活。艺术家用各自不同的视觉和触角以及表现形式，演绎在以深圳作为亚洲全球化最具活力的中国现代主义进程里，较具代表性的城市时，在全球化进程当中的，中国不同城市所产生的因物质发达而出现的时代特性为前提下的艺术观念。
以深圳本土艺术家为主，邀请全国较活跃的艺术家加入，他觉得这个组成就是一个有趣的结果。而且这次展览深圳只是首站，深圳结束后，展览还将在海口、昆明、重庆、成都、北京、上海、广州等城市出现，而且每到一个城市都会再吸收当地的艺术家参入，这样就使深圳的当代艺术真正与全国的当代艺术形成了碰撞与对话，有了很强的互动性。邓荣斌觉得展览在这方面的意义十分重要，他说:其实深圳做艺术的相对全国其它城市是很封闭的，体制内的展览，掌控在有限的人手上，而他们的观念又跟不上。深圳的当代艺术与其它城市比较还是存在着一定的差距，所以这次展览把地域扩大了，把圈子扩大了，是一次提升眼光，提升自己艺术水平的机会，而且也为以后办展览更上档次，使深圳当代艺术形成更良好的氛围。
展览开幕式成功后，杨勇觉得很欣慰。他觉得这次展览做得很专业，首先体现在运作模式上，系统规划展位，由建筑师事务所规划展场，严格挑选参展作品，认真考虑作品的可操作性，最大可能地帮助艺术家实现他们的方案。“这是一次严格意义上的开始，是有序和相对成熟的一次展览，可以说与全国同类展览相比，它都是一流的。” 杨勇说，深圳的地下艺术力量很大，平常艺术家个人主义风格很严重，但在这次展览布展的过程中，他们表现得很团结，在布展过程中就形成了交流，而且这次展览给很多人带来不同经验，有10个左右的人是第一次参加这样的展览。展览还制作了一本精致、考究的画册。 画册经费由商业赞助，但展览本身没有得到经费赞助。
无论是“呼应”还是“叫板”，展览本身有待提高
“深圳以前是外地艺术家的跑马场，现在深圳本土艺术家自发行动起来，发出自己的声音，这是一种很好的进步!”深圳雕塑院院长孙振华看完展览后感慨地说。
何香凝美术馆副馆长乐正维观看展览后说:在深圳能做这样的一个展览很不容易，我是第一次在深圳看民间的展览，深圳这方面的展览很少，在北京每天都会有，有时一天还会有好几个，前不久我去了上海，上海也蛮多的，像建筑、设计与当代艺术派对、聚会、结合经常会有，在广州，类似这样的展览一年也会有50~60个，而且观念艺术较发达。 深圳这次展览算是一个不错的开始，只是展品质量有待提高。
深圳大学教授、画家刘子建认为：深圳在文化立市的大环境下，对艺术这块的投入其实相当大，美术展览和美术比赛也比较频繁，比如国际水墨双年展，但这些活动大多数是借助深圳的经济条件将外面的所谓人才和作品引进来，撑撑门面，却往往对深圳本土的文化艺术形成了忽略，关注得不够。这次这些年轻人自己搭了舞台，来展示自己，这是一个非常积极的信号，可以看作是一种呼应，也可以看作呼吁更 多关注的“叫板”。当然其中有些作品显得比较幼稚，但这也是必要的，是一个过程。
去年从美国回来定居深圳的画家王川认为：这次展览的前提是正面的。参展人数多，作品质量参差不齐，从速度和质感上都较浅，做东西粗糙，着急，就显得不连贯，作品的原创性很小，模仿性很强。由于场地狭小，现场也较吵闹，但他个人觉得影像作品较好，影像区应该有一个独立的空间，而这次展览就没法做到。如果下次做可能就 会搞成气候，坚持做到5-10年，那深圳就会很有氛围。他又说，在其它城市，职业艺术家较多，而深圳的这帮年轻人生存压力大，都是业余时间来做，拿广州来比，广州的观念艺术做得好，他们都是分门别类地做，就显得比深圳有文化方向，而深圳把什么都揉在一起，又通常会显得很孤单，所以活动质量也就低。但是年轻人都应该去鼓励。
A “CHALLENGE” THROWN DOWN BY SHENZHEN'S LOCAL ART POWER (excerpt)
Author: Xie Xiangnan, Southern Metropolis Daily, 2005
On April 10th, the contemporary art show named "Ongoing" opened at the Modern Art Exhibition Hall of Shenzhen Sculpture Academy. The show features over 100 pieces of painting, sculpture, installation, incident, video and audio works created by 40 Shenzhen local artists and around 30 artists from other parts of China, and the exhibits are mostly about city life or record, reflection, ridicule, irony and upgrade of city life. The exhibition, an active spontaneous behavior of the artists, has become the largest assembly of local art powers since the establishment of the Shenzhen Special Economic Zone. It received 400 visitors or so on the opening day. Its mode of operation follows the practice standards of international exhibitions in that, one it breaks the old self-recreational small group of Shenzhen’s folk art and two it echoes or “challenges” the relatively hot in-system exhibitions (there are over a hundred exhibitions annually) in recent years in Shenzhen. Of course, its significance does not only lie here, it pushes Shenzhen’s contemporary art to such a summit, enabling it to exchange, converse, collide and fuse with artists from other cities nationwide. Its "ongoing" state and open mode of operation, will build to the max a platform for the development and good climate of Shenzhen’s contemporary art.
Organizing the Show according to International Standard and Shenzhen’s Contemporary Art Signals the Reality
To Yang Yong, curator of the exhibition, the exhibition is a continuation of “Playing”-Shenzhen Contemporary Art Show organized by him three years ago. He only gathered 10 more Shenzhen local artists in that exhibition and located the exhibition in a cafe, and it was not a pure exhibition in strict sense, but some kind of party of Shenzhen’s folk art. Having participated in multiple international exhibitions within three years, Yang Yong expanded his horizon and accumulated a lot of experience, so he found it necessary to do a Shenzhen contemporary art show one more time. “The previous non-governmental exhibitions are amateur, and this one provides a possibility to integrate Shenzhen’s contemporary art,” said Yang.
When exactly did Shenzhen’s contemporary art activities start? It was supposed to be on 1989, recalled Deng Rongbin, a local artist from Bao’an District, when Wang Chuan held the experimental ink exhibition “Ink Dots” in Shenzhen Museum, a solo painting show of Wang Chuan though, it heralded Shenzhen contemporary art. Later the exhibitions can fall into the same category are “Outside”-7 Artists Exhibition, “Playing”-Shenzhen Contemporary Art Show, and “Ongoing”.
Why is it called “Ongoing”? Yang Yong said: The exhibition is to show the artists’ creational state and real life of today. The artists, with their different sights and touches and forms of expressions have manifested the art concepts that are premised on current features resulted from the material advancement in various cities in China in globalization and in Shenzhen, the most representative city of China’s modernization, and China the most dynamic nation in Asia’s globalization.
The major participants of the exhibition are Shenzhen-based local artists, and the rest are active artists invited from other parts of China, such a combination was rather interesting a result to him. What’s more, Shenzhen is only the first stop of the exhibition, which will tour to Haikou, Kunming, Chongqing, Chengdu, Beijing, Shanghai, Guangzhou and other cities after the Shenzhen show finishes, and will draw in the artists from these cities, consequently enabling the real collision and dialogue between Shenzhen’s contemporary art and the contemporary art nationwide as well as the highly interactiness of the show. Deng Rongbin looked upon the exhibition’s significance in this respect by saying: In fact, art makers in Shenzhen are very enclosed compared with those in other cities of China because the in-system exhibitions are in the hand of a limited group of people, who can’t keep the pace with the times conceptually. Shenzhen’s contemporary art is still lagged behind in some way, and this exhibition has enlarged the territory and expanded the circle, it’s an opportunity of bar-raising and aesthetic- taste-improving, and it has laid a foundation for the future high-class exhibitions and formed a better atmosphere of Shenzhen contemporary art.
The success of the opening ceremony gratified Yang Yong. He believed the show was very professional because first its mode of operation was very professional, in which the exhibits sections were organized systematically, the exhibition hall was planned by architecture firms, the exhibits were strictly selected and their operability carefully considered in order to help the artists realize their proposals as much as possible. “This is a beginning in strict sense, and an organized and relatively mature exhibition, we can say it’s first-rate compared with other same-category exhibitions in China.” Yang Yong said: Shenzhen’s underground art forces are very powerful, and usually the artists are extremely individualistic, however, they have united and communicated with each other when preparing this exhibition. This exhibition has brought many people different experience and there are about 10 people participating such exhibition for the first time. We made an exquisite and delicate exhibition album, which were funded by commercial sponsors, but the exhibition itself did not get funds.
An “echo” or a “Challenge”, the Exhibition Itself Needs to Be Improved
“Shenzhen used to be a racecourse for the artists from outside, now Shenzhen local artists take voluntary actions and made themselves heard, this is good progress!” said with emotion by Sun Zhenhua, director of Shenzhen Sculpture Academy after viewing the exhibition.
Le Zhengwei, vice director of He Xiangning Art Museum commended: It is very difficult to run such an exhibition in Shenzhen and this is my first time viewing folk exhibition in Shenzhen. Such exhibitions are very rare here but have become something routine in Beijing—sometimes there are many everyday. Not long ago, I went to Shanghai and saw there a lot too, like architecture, design and contemporary art parties, gatherings, or combinations of both, very often. And Guangzhou has around 50-60 exhibitions like this annually, besides conceptual art is relatively developed there. This exhibition of Shenzhen can be considered a good start, but the quality of the exhibits needs to be improved.
Liu Zijian, professor of Shenzhen University and painter held: Under the policy of Making Shenzhen a City of Culture, the investment into art sector is actually quite huge, and art exhibitions and competitions are also very frequent, such as Ink Painting Biennial of Shenzhen, somehow most of these events dependent on Shenzhen’s economic conditions bring in the so-called talents and works from the outside and decorate the surface, but usually neglect Shenzhen’s local culture and art or pay less attention to it. This time these young people build a stage to show themselves, which is definitely a very positive signal sent or can be taken as a response or a “challenge” that evokes more attentions. Certainly some works look very childish, but it’s just necessary and it’s a way to go.
Wang Chuan, a painter who returned from US and settled in Shenzhen last year said: The premise of this exhibition is positive. The number of participants is big, the qualities of the works vary, the speed and texture are very shallow, besides some artists were rough and anxious when making art so their works appear incoherent, and there are a few original works, most are highly imitative. The venue is small and the site very noisy, personally I think the video works are rather wonderful, so the video section should have been shown in a separate space. Hopefully next edition will make it out, and if this brand can last 5 to 10 years, it will definitely make Shenzhen an active art scene. Then he said: In other cities, professional artists are many, but these young people they are making art in their spare time because they have to shoulder the heavy survival pressure. Compared with Guangzhou where conceptual art has been developed very well and where art is done under categories, Shenzhen is less culturally oriented because it rubs everything together—usually appears very lonely, and thus the qualities of activities are low. However, young people should be encouraged.
