After the HXN, I stroll over to the Overseas Chinese Art Terminal (better known as the OCAT). On the way, I pass by the massive neighborhood park that takes up a lion's share of the OCT neighborhood, and was able to get a feel for the somewhat odd collection of three dimension pieces on display. In an effort to dispel Shenzhen's former reputation as a "cultural wasteland," the local government has been supportive in setting aside public space for sculpture. The result is a rather unique sculpture park, with highlights including pieces like Fu Zhongwang's Earth Gate, a gothic looking locked iron door buried in the ground, and French Sculptor Bernar Vernet's post-modern 230.5.

    The newly opened OCAT, like Shenzhen's art scene (and the city itself), is a work in progress. Currently between installations, the space was mostly empty. Luckily Ma Chu, curator of the factory-turned-gallery space is an artist in his own right and made use of the museum while it awaits the next round of masterpieces. As I admired a work of his - a surrealistic oil painting depicting a peasant riding a bicycle through a dreamy, sand swept landscape - he saliently comments on Shenzhen's art scene.

    "Artistically speaking, Shenzhen is definitely an interesting place to be now. Not only is a lot happening locally, but Shenzhen's nature as a city of immigrants makes it artistically more open to new, or maybe more avant-garde, types of work," says Ma. "Any artist who chooses to live and work in Shenzhen is by definition a Shenzhen artist, no matter where they were born."

    The sculptures that surround the gallery, like the ones in the park, are testaments to the all-welcoming, non-exclusive character of Shenzhen. Though the stone Tai Chi statues out front were created by Taiwanese sculptor Ju Ming, and the massive Bat Plan installation (depicting the hewn tail of the American spy plane that crash landed on Hainan island earlier this decade) out back was created by Fujian native Huang Yongping, both are now integral parts of Shenzhen's artistic landscape.

    Leaving the OCAT, I head over to a working class neighborhood in the Futian district to visit with artist Yang Yong. Yang's medium is photography and his subjects, by and large, are people in Shenzhen with the streets as both stage and background. The artist, though approaching 30, is of slight build, with an adolescent, slightly mischievous face, making him look almost like a high school student. When asked why he decided to come to Shenzhen, rather than Beijing or Shanghai, the artist just sighs deeply.

    "I must've been interviewed a hundred times, and every single writer starts with that question. I always tell them that I got on the wrong airplane."

    Yang's work has been written up in dozens of magazines and art journals, including Flash Art and Art in America. It's clear by looking at his portfolio that the work he does could only be done in Shenzhen, as the city is not merely the photographer's subject, but the canvas itself. His photos tend to be stationary film noir, with some shots depicting beautiful, slightly disheveled women posing in gritty underground tunnels while others show shirtless workmen standing amidst scenes of manic construction that defines the Shenzhen spirit.

    Heading back to Hong Kong the next day after an evening spent smoking cigars and eating with Yang and friends, I meditate on the question whose answer I'd come to find, and conclude that Shenzhen is as likely to usurp Beijing as China's art capital as Seattle is to seize the title of "America's art hub" from NYC. But if you're looking to gauge which city is likely to attract cooler artists in the coming decade, I've learned it is whichever place has cheaper rent, more room for art and a less pretentious art scene that wins out every time. For these reasons alone, I'll take Shenzhen hands down.

    (Source: China Daily/Cityweekend)