2005.4.10 - 5.10
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
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。
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。
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。
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.