时间之海
第八届深港城市 \ 建筑双城双年展，大鹏所城分展场
The Sea of Time
The 8th Bi-City Biennale of Urbanism/Architecture, Dapeng Fortress Sub-venu
2019.12.25 - 2020.5.6
策展人：杨勇
策展团队：上启艺术
主办：深圳华侨城东部投资有限公司
承办：深圳华侨城鹏城发展有限公司、上启艺术
指导：深港城市\建筑双城双年展组委会、深圳市大鹏新区管理委员会
Curator: Yang Yong
Curatorial team: Shangqi Art
Sponsor: Shenzhen OCT Eastern Investment Co.,LTD
Producers: Shenzhen OCT Pengcheng Development Co., Ltd. / Shenzhen Shangqi Cultural Diffusion Co., Lt
Supervisor: Shenzhen Biennale of Urbanism \ Architecture Organizing Committee
UABB是由深圳发起的一种展览样貌，它是从生态、建筑、人文等方面介入的深入研究，以建筑和艺术的形式，对城市的不同区域和空间进行介入，至今它已经开展十几年了，现在是第八届。我最开始是以艺术家的身份参与UABB，但是从2015年开始，包括之后的 2017年和2019年， 则是以我作为策展人，我的团队上启艺术作为策展机构这种形式受邀请参与UABB的工作。
这期间，我们从龙岗区、盐田区、南山区、宝安区和大鹏新区一路走来并开始了一系列艺术工作。我们借用这样一个相对独特的展览方式，在深圳这个城市不同的行政区，面对不同的地理和人文，与几百位艺术家和建筑师一起共同积累了非常有价值的文化艺术内容和工作方式。
2019年，深圳的城市与科技发展到达了一个相对蓬勃和激昂的阶段。在城市的不同区域，从东到西，从南到北，政府和企业都在做非常庞大的规划和建设，设立了多元的文化建设项目，也涌现了不同的文化艺术事件、活动、展览机构。从一个宏观的角度来讲，对深圳而言，这是文化发展和建设的重要时间节点。
对我们的工作而言，UABB大鹏所城分展场是在海岸线范围的扩展，我们的项目沿着深圳的海岸线，从西向东一路过来。2017年做完盐田大梅沙村的双年展工作后，我们在大鹏实践了很多的工作。在前期的工作里，对较场尾海滩、大鹏所城、周边的村庄、当地的民俗歌舞、特有的饮食习惯以及生产劳作方式等，我们都有非常多的探讨。我们起初筹划做“湾区艺术计划”，为此我们在当时和华侨城深东集团旗下的华鹏公司的领导进行了很多讨论。所以当大鹏新区决定邀请我们参与策展UABB的时候，我们已经积累了很多在 “湾区艺术计划”时期的研究内容，进而非常自然地衔接到UABB大鹏。
从几年前的盐田开始，我们研究深圳的海岸线与周围区域的文化发展之间的关系，尤其是空间、文化形态与城市发展相关的研究命题，这个研究扩展到了大鹏。大鹏本身具有特殊性，包括大鹏所城在我国军事城防体系发展中，是明清海防卫所的典型代表，以及大鹏所城与较场尾这两个场地之间异质共生的现状(这一点和我们2017年做艺术策展版块的南头古城展场有一定的共通之处，它们都属于深圳历史上的古城)。这个场地就在行政上和地理上同时具有非常重要的意义。所以我们就此展开了主题的研究和这个方向的多项探讨。比如，它是如何成为一个相对纯粹的历史乡村社区的？临近一个旧的防御的所城文物单位，以及滨海走道，这片区域是如何自发地形成了民宿区域聚集地？它的这种功能在相当长的时间里逐渐变化， 并在近20年的时间里产生了很大的改变，这意味着在大鹏居住的人的生活有了很大的改变，对生活的要求和对文化的诉求有了很大的改变。因此，我们从它的地缘、 空间、历史和生态几个角度来进行论证，由此想出一个策展主题叫“时间之海”，它可以从我们的城市、建筑、科技、人文和我们对于生活的诉求的角度出发，以艺术的介入点来做一个探索。
所城里的空间改造、布展和协调工作要比通常的展厅乃至旧厂房都更困难和具有挑战性，整个主展厅的展场选址是在一个文保的环境里面进行。我们的主展场是大鹏所城的粮仓，由于粮仓其实是一个有待于更新和改造的场地，所以我们一边和建筑单位讨论如何改造会让它变得更好用，一边邀请艺术家和建筑师对周边的地缘进行探讨，分析不同的作品如何介入到这里面来。其实这些探讨和分析涵盖了有关于生产的，关于空间的，关于美学的，关于历史多维度的，不同的艺术家的研究方向和建筑师的作品在这里交替，在几个大的展览板块里，它们都相得益彰。而且在展览期间，它们也保持了跟观众的互动。
我们的四十几位参与者，包括学者、研究者在长达一年的工作里面有一个高水准的艺术生产。他们在公共区域的很多很深入的研究和作品呈现，整个策展内容是比较完整和多元的，提出了非常多的有趣的探讨和一些疑问，也包含了新的关于技术的理念的思考。这些工作的落地和研究都涉及到新旧作品在这里的出现，它需要有很多的碰撞，有些碰撞是让人愉快的，有些碰撞是需要不断克服困难的。
深圳是一个非常多元的城市，它由快速和高效组成，在这40年的进程里面，每几年都以一个崭新的面貌在改变，我们也在面对这个城市的新的改变，包括它的城市规划、文化建设、艺术创造等。所以我想“时间之海”作为在深圳城市以及更大区域范围内的一种展览介入，是区域更新和区域提问的一个事件，它会成为非常闪光的案例，这闪光的构成也是我们所有的参与者共同的一个工作。当我们在多年以后再回看这个工作时，我相信它在此刻的价值依然是非常卓越的。
UABB, a form of exhibition initiated by Shenzhen, intervenes in different areas and spaces of the city in the forms of architecture and art, by probing into aspects such as the eco-environment, architecture and culture. Now this is the eighth edition, hence a history of over a decade. I first participated in UABB as an artist, but, since 2015, including the following 2017 and 2019, I was invited as a curator of the event, along with my curatorial team Shangqi Art.
Over the period, we have unfolded a series of art projects that cover the following districts of Shenzhen: Longgang, Yantian, Nanshan, Bao’an and Dapeng New District (in chronological order). In such a relatively unique form of exhibition, we attempt to accumulate, together with hundreds of artists and architects, highly valuable content and working methods in the field of culture and art, in the different administrative districts of Shenzhen with different geographical and cultural features.
In 2019, Shenzhen entered a relatively luxuriant and robust stage in urbanization and technological development. For all around the city, from east to west, from south to north, the government and enterprises were working on grand constructional plans and establishing diverse projects in cultural construction, so we saw the flowering of various cultural and artistic events, activities and exhibition organizations. From a macroscopic point of view, this is an important period for the cultural development and construction of Shenzhen.
Our work at UABB Dapeng Fortress Sub- Venue is expansion within an area along the coastline of Shenzhen, demonstrating the unfolding of our project from west to east. After the 2017 edition of UABB at Dameisha Village, Yantian District, we did a lot of work at Dapeng. In the early stage, we spent a great amount of time researching on Jiaochangwei Beach, Dapeng Fortress, villages around, local folk songs and dances, particular dietary habits and modes of production and working, etc. To prepare our “Bay Area Art Program”, we had a lot of discussions with the leader of Shenzhen OCT Pengcheng Development Co., LTD of Shenzhen OCT Eastern Investment Co., LTD. So, by the time we were invited by Dapeng New District to curate their part of UABB, our various researches during the “Bay Area Art Program” made it more natural for us to undertake the UABB Dapeng project.
Since our work in Yantian a few years ago, we have been exploring the relationship between the coastline of Shenzhen and the cultural development of the surrounding areas, revolving particularly around spatial and cultural forms and urbanization, and our research has expanded to include Dapeng. The uniqueness of Dapeng includes two facets: first, it’s a typical coastal defense garrison from the Ming-Qing period in the systemic development of Chinese military urban defense; second, the current heterogeneous symbiosis between Dapeng Fortress and Jiaochangwei (historic towns in Shenzhen similar to Nantou Old Town where we put up a sub- venue of UABB in 2017 and took care of the curating of its art section). Dapeng is also an area with great significance administratively and geographically. So we looked into this from different perspectives. For example, how did it develop into a relatively pure historical rural community? With an old defense fortress, a cultural heritage unit, and a coastal walk around, how did this area form spontaneously into a gathering spot of guesthouses? Over a rather long period, there was gradual change in this function of it, and a great change over the last 20 years, which means that the residents of Dapeng now live a greatly different life, hence different needs in life and different cultural pursuits. So, by studying its geopolitics, space, history and eco-environment, we came up with such a theme for the sub-venue – “The Sea of Time”, which allows us intervene artistically and explore from the perspectives of our city, architecture, technology, culture and pursuits in life.
It was more difficult and challenging to renew the spaces, arrange the exhibition and coordinate things in the Fortress than in usual exhibition halls or abandoned factories. We had to pick the site for the main exhibition space in a cultural protection context. Our main exhibition space, the granary of Dapeng Fortress was actually a site waiting to be renewed, so we discussed, on the one hand, with the construction unit how to remodel it for more practical use, and, on the other, we invited artists and architects to explore its geopolitics and analyze how to blend different works into it. From these explorations and analyses, we can see a mix of the research directions of different artists and the works of different architects, which covers a variety of perspectives: production, space, aesthetics and historical multi-dimension. They could bring out the best in each other among the few major exhibition modules. And, throughout the exhibition, visitors were encouraged to interact with them.
During about a year’s work, our participants, around 40 in number, including scholars and researchers, maintained art production on a high level. As demonstrated by their various in-depth researches and works on the public area, the whole curatorial work is rather complete and diverse, and has brought about a great number of interesting discussions and some questions, including new thoughts about technological ideas. To work these out and to look into them both involve the appearance of new and old works here, which required a lot of collisions – some have brought us joy but some needed us to overcome difficulties again and again.
Shenzhen is a city of high diversity, composed of rapidity and high efficiency. Over the past four decades, it has been assuming a brand-new look every few years, and we’ve also been getting along with its new changes, in such aspects of its urban planning, cultural construction and art-making. In this sense, I think “The Sea of Time”, as a form of exhibition intervention in Shenzhen the city and a wider area, is an incident of renewing an area with questions, and will become a noticeable case, and it’s the efforts of all participants that constituted such noticeability. I believe that, when we look back at this work many years from now, we will still find its value remarkable.
展览
Exhibition
/ 历史之所
参展人：阿斯玛·卡兹米/美国、哈尔滨工业大学(深圳)建筑学院、何健翔、玛利亚·柯洛克斯泰、孟岩、史建、“未来 +”学院 ( 黄伟文、陈雪、郑立丰、黄兵兵、钱冠杰 )、吴达新
/ A Slice of History
Participants: ASMA KAZMI/US, THE SCHOOL OF ARCHITECTURE, HARBIN INSTITUTE OF TECHNOLOGY (SHENZHEN), HE JIANXIANG, MARYA KROGSTAD/US, MENG YAN, SHI JIAN, FUTUREPLUS (HUANG WEIWEN, CHEN XUE, ZHENG LIFENG, HUANG BINGBING, QIAN GUANJIE), WU DAXIN
/ 异质空间
参展人：陈宣诚/中国台湾、地图署/法国、弗兰克·哈弗曼斯/荷兰、林辉华/意大利、谭勋、徐亮/香港、元新建城、张长文&胡润泽&邹可、张之杨、庄子玉
/ Heterogeneous Space
Participants: ERIC CHEN/TW, MAP OFFICE (GUTIERREZ + PORTEFAIX)/FR, FRANK HAVERMANS/NL, H.H.LIM/IT, TAN XUN, XU LIANG/HK, GROUNDWORK, ZHANG CHANGWEN & HU RUNZE & ZOU KE, ZHANG ZHIYANG, ZHUANG ZIYU
/ 美学之光
参展人：冯峰、弗朗西斯·索拉诺/菲律宾、郭鸿蔚、何俊彦&马境若水、胡为一、江衡、金氏彻平/日本、李勇、刘建华、秦晋、汤柏华、伍伟、徐坦、展望、赵航、郑国谷
/ The Light of Aesthetics
Participants: FENG FENG, FRANCIS SOLLANO/PH, GUO HONGWEI, HE JUNYAN & MA JING RUO SHUI, HU WEIYI, JIANG HENG, TEPPEI KANEUJI/JP, LI YONG, LIU JIANHUA, QIN JIN, TANG BOHUA, WU WEI, XU TAN, ZHAN WANG, ZHAO HANG, ZHENG GUOGU
/ 交互生产
参展人: 陈琪、胡滔、李川、李浏洋、赛瑞景观、唐勇、张翔、张海超
/ Interactive Production
Participants: CHEN QI, HU TAO, LI CHUAN, LI LIUYANG, CSC LANDSCAPE, TANG YONG, ZHANG XIANG, ZHANG HAICHAO, ZHANG XIANG
论坛主持 · 滨海历史场域更新与发展
Forum · Renewal and Development of a Historical Coastal Site
