前言

　　偉大的古希臘文明，不但向人類提供了偉大的哲學(xué)思想、不朽的雕塑藝術(shù)，同時(shí)還向世界提供了偉大的奧林匹克體育精神和奧林匹克運(yùn)動會。正在和平崛起的中國在贏得第 29屆奧林匹克運(yùn)動會的舉辦權(quán)之后，經(jīng)過多年的精心打造，中國人民和中國政府履行了7年前的莊嚴(yán)承諾，終于將一個美麗、和諧的北京，以及包括“鳥巢”、“水立方”等偉大的奧林匹克場館呈現(xiàn)在全世界人民和全世界參賽的奧林匹克運(yùn)動員面前。

　　在古希臘文明精神的啟示和感召下，中國的當(dāng)代藝術(shù)邀請展在第29屆奧林匹克運(yùn)動會召開之際，在距奧運(yùn)村和奧運(yùn)主場館“鳥巢”百米之遙的“時(shí)代名門”開幕——這將是中國藝術(shù)家奉獻(xiàn)給第29屆奧運(yùn)會的一份禮物。

　　在中華文明復(fù)興的大背景下，中國的現(xiàn)當(dāng)代藝術(shù)進(jìn)入的繁榮發(fā)展的新時(shí)期，無論是人們對現(xiàn)當(dāng)代藝術(shù)的關(guān)注，還是政府的容納支持，以及中國現(xiàn)當(dāng)代藝術(shù)所創(chuàng)造一個個藝術(shù)市場神話，都說明了現(xiàn)當(dāng)代藝術(shù)在多元的藝術(shù)格局占有越來越重要的地位。

　　《五環(huán)下的聚合·中國當(dāng)代藝術(shù)展》所展示的66位藝術(shù)家300幅作品，從一個斷面上表征了中國當(dāng)代藝術(shù)的狀態(tài)和成果。我們相信通過這次展覽將為國內(nèi)外藝術(shù)愛好者，提供一個很好地欣賞和了解中國當(dāng)代藝術(shù)的窗口。

　　Foreword

　　The great ancient Greek civilization provided not only a great philosophical thought, immortal sculpture art to humans, but also the great spirit of the Olympic sport and the Olympic Games to the world. After China wining the right to host the 29th Olympic Games, the Government has fulfilled the solemn commitment and finally built a beautiful and harmonious Beijing, and the great Olympic venues including "bird Nest" and "Water Cube" to the people all over the world and the athletes participating in the Olympic in 7 years.

　　Under the enlightenment and inspiration of ancient Greek civilization spirit and on the occasion of the approaching 29th Olympic Games, China's contemporary art exhibition opens in " The Legend Shopping Center ", 100 meters from the Olympic Village and Olympic venues-- "nest". This will be a gift to the 29th Olympic Games dedicated by the Chinese artists.

　　Now in the rejuvenation of the Chinese civilization, China's contemporary art is entering a new era of prosperity and development. People’s concerns to contemporary art, government's support and the myth of the art market created by contemporary Chinese arts shows the contemporary art’s increasingly important position in the multi-pattern art.

　　"Assembling under the five rings ? Chinese Contemporary Art Exhibition" displays 300 works by 66 artists. All this have showed the characterization and the results of the Chinese contemporary art from a cross section. We believe this exhibition has provided a good opportunity for art lovers at home and abroad to appreciate and understand the contemporary Chinese art.

　　序

　　當(dāng)我們展望中國藝術(shù)，時(shí)代名門必然是您最好的去處。這里舉辦的題為“五環(huán)下的聚合——時(shí)代名門中國當(dāng)代藝術(shù)展”，肯定不會使所有熱愛和想要了解中國藝術(shù)的人們失望。這次的畫展不僅向世界展現(xiàn)了中國當(dāng)代藝術(shù)，而且還展現(xiàn)著中國悠久的人文歷史。

　　在這個華夏盛世的年代，奧林匹克精神已經(jīng)遍布整個華夏大地，曾經(jīng)的落后與貧窮已和我們揮之交臂，崛起的中國正以嶄新的姿態(tài)問鼎著世界。作為時(shí)代名門，作為一個中國現(xiàn)代藝術(shù)的愛好者，我很開心有機(jī)會參與其中和做出貢獻(xiàn)。

　　當(dāng)我們在討論西方藝術(shù)對近代，尤其是現(xiàn)、當(dāng)代藝術(shù)的時(shí)候，西方也在探討著東方，特別是中國藝術(shù)對西方的影響。有的西方學(xué)者認(rèn)為，這種影響甚至導(dǎo)致了人類文化史上繼意大利文藝復(fù)興后的另一個高潮——“東方文藝復(fù)興”。為了把世界偉大的“藝術(shù)革命”發(fā)揚(yáng)光大，時(shí)代名門愿為中國現(xiàn)代藝術(shù)走向世界的舞臺獻(xiàn)出自己的一點(diǎn)微薄之力。

　　幾千年的中華文明不僅博大精深，而且有其獨(dú)特的藝術(shù)內(nèi)涵。在中華文明復(fù)興的大背景下，中國的現(xiàn)當(dāng)代藝術(shù)已經(jīng)進(jìn)入了繁榮發(fā)展的新時(shí)期。無論是人們對現(xiàn)當(dāng)代藝術(shù)的關(guān)注，還是政府的容納與支持，以及中國現(xiàn)當(dāng)代藝術(shù)所創(chuàng)造的一個個藝術(shù)市場神話，都說明了現(xiàn)當(dāng)代藝術(shù)在多元的藝術(shù)格局里占有越來越重要的地位。

　　早期的中國藝術(shù)繪畫風(fēng)格和技巧局限性很大，在受到西方繪畫形式的不斷熏染和影響下，當(dāng)代中國繪畫藝術(shù)中已有相當(dāng)一部分青年實(shí)力藝術(shù)家，開始使用西方的繪畫技巧來畫出具有中國特色的藝術(shù)畫品，他們在懇切而又執(zhí)著地追求著自己的藝術(shù)夢想。時(shí)代名門在喜逢2008奧運(yùn)契機(jī)的同時(shí)，作出了商業(yè)界里的驚人之舉，商場不僅為這些具有中國創(chuàng)新繪畫藝術(shù)風(fēng)格的藝術(shù)家們提供了一個展示的平臺，而且也向世界展現(xiàn)了中國當(dāng)代藝術(shù)的實(shí)力，此次畫展可謂意義深遠(yuǎn)！

　　在蘊(yùn)含豐富人文歷史的長河里，中國的藝術(shù)在坎坷中不斷的傳承和發(fā)揚(yáng)光大。在這個華夏盛世的年代，中國藝術(shù)之花正向著世界的窗口激情綻放，弘揚(yáng)中華藝術(shù)，讓世界矚目中國，時(shí)代名門永遠(yuǎn)是您“時(shí)尚?藝術(shù)的消費(fèi)殿堂”！

　　文化開放和中國現(xiàn)當(dāng)代藝術(shù)——五環(huán)下的聚合? 中國當(dāng)代藝術(shù)展序

　　鄧平祥

　　從上個世紀(jì)七十年代末開始中國進(jìn)入改革開放的歷史新時(shí)期。對外開放從根本上說，就是文化的開放。由于文化的開放導(dǎo)致了人們意識觀念、思想、精神等一系列深刻的變化。這些變化在變革社會和經(jīng)濟(jì)的同時(shí)也催生了中國的現(xiàn)當(dāng)代藝術(shù)。

　　以“85新潮”為發(fā)端，中國的現(xiàn)當(dāng)代藝術(shù)在文化思潮的大背景發(fā)展迅猛，可以說是用短短不到二十多年的時(shí)間走完了西方現(xiàn)當(dāng)代藝術(shù)一百年的歷史紀(jì)年。雖然期間也曾幾起幾落、幾經(jīng)波折，但是中國的現(xiàn)當(dāng)代藝術(shù)卻堅(jiān)定地走過來了。從圓明園到宋莊，從宋莊到798，中國現(xiàn)當(dāng)代藝術(shù)的生存環(huán)境完全改變了！今天進(jìn)入新世紀(jì)的宋莊成為了政府大力支持和贊助的文化創(chuàng)意項(xiàng)目，798成為了北京政府支持的正在飛速發(fā)展的藝術(shù)新區(qū)。如果我們再將視野擴(kuò)展到上海、廣州等地，甚至很多內(nèi)地省市都可以看到同樣使人興奮的文化景觀。

　　從知識和藝術(shù)史的角度說，發(fā)端于西方的現(xiàn)代主義藝術(shù)運(yùn)動（亦稱“先鋒”、“前衛(wèi)”藝術(shù)），作為一個社會文化思潮包括了社會政治觀點(diǎn)，哲學(xué)觀點(diǎn)、美學(xué)觀點(diǎn)，以及藝術(shù)主張，藝術(shù)方法各不相同甚至有時(shí)對立的流派和主義，它們共同的特征是反傳統(tǒng)、反權(quán)威，有意違反約定俗成的創(chuàng)作原則和欣賞習(xí)慣，在藝術(shù)形式和風(fēng)格上追求新奇甚至怪異，向一貫受到尊重的文化標(biāo)準(zhǔn)挑戰(zhàn)，以質(zhì)疑既定的法則和秩序，其方法和形式使習(xí)慣了傳統(tǒng)文化定式的欣賞者感到驚異和困惑。

　　從精神的角度說，現(xiàn)代主義藝術(shù)突出地表現(xiàn)了現(xiàn)實(shí)世界、人與自然、人與社會，人與物、人與自我的異化，對立甚至錯亂的關(guān)系。現(xiàn)代主義藝術(shù)的諸多精神特征和形式特征，反映出了現(xiàn)代主義藝術(shù)重形式創(chuàng)新、重自由創(chuàng)造和側(cè)重藝術(shù)主體、表現(xiàn)的特點(diǎn)。盡管現(xiàn)代主義藝術(shù)一時(shí)很難為一般的觀眾所理解和接受，但現(xiàn)代主義藝術(shù)（包括當(dāng)代藝術(shù)）的核心價(jià)值——自由和創(chuàng)新，以及文化批判性，卻一直是現(xiàn)當(dāng)代藝術(shù)賴以存在，并發(fā)展壯大的內(nèi)在根據(jù)。

　　由于西方文化的開放性和社會的危機(jī)意識，使得在興起之初被視為異端力量的現(xiàn)代主義藝術(shù)最終被體制所容納和接受，并且成為了文化更新和精神激勵的象征力量和表征形式。

　　至于西方后來出現(xiàn)的“后現(xiàn)代”文化思潮和藝術(shù)運(yùn)動，從表面上看是對已經(jīng)體制化了的現(xiàn)代主義的反拔。但在精神實(shí)質(zhì)上它是與現(xiàn)代主義藝術(shù)的核心價(jià)值自由、創(chuàng)新、批判是一脈相承的。

　　由于歷史進(jìn)程的原因，中國幾乎是同時(shí)面對西方的現(xiàn)代主義和后現(xiàn)代主義的。因此從形態(tài)學(xué)上說，中國式的現(xiàn)代主義和后現(xiàn)代主義是兼容的、混合，是“當(dāng)代人創(chuàng)作的后現(xiàn)代藝術(shù)”。

　　近幾年是中國現(xiàn)當(dāng)代藝術(shù)風(fēng)起云涌而又收獲豐碩的時(shí)候，無論從人們對當(dāng)代藝術(shù)的關(guān)注、評價(jià)，還是政府對現(xiàn)當(dāng)代藝術(shù)的包容態(tài)度，以及一個個現(xiàn)當(dāng)代藝術(shù)事件、出版物及媒體的反映和追逐，乃至現(xiàn)當(dāng)代藝術(shù)在市場上所創(chuàng)造的一個個神話……，這一切都證明著現(xiàn)當(dāng)代藝術(shù)正在成為中國藝術(shù)的多元格局中占有越來越重要的地位。

　　本次展覽所邀請的66位中國現(xiàn)當(dāng)代藝術(shù)家和他們所創(chuàng)作的300幅作品，代表著中國現(xiàn)當(dāng)代藝術(shù)的多種探索和追求，人們在展覽中所看到的作品，可以說是中國現(xiàn)當(dāng)代藝術(shù)的一個縮影、一個橫斷面。

　　Cultural openness and Chinese contemporary art---- Preamble for Assembling under the five rings ? Chinese Contemporary Art Exhibition

　　Deng Pingxiang

　　From the late 1970s, China started to shift from the closed state into the new historical period of reform and opening up. Opening to the outside world fundamentally is a opening up of culture. Since the opening up of cultural led to a series of profound changes in people’s concept, ideas, spirit. These changes in the social and economic changes also hastened the birth of China's contemporary art.

　　Started from "85 trendy", China's contemporary art is developing rapidly in the cultural background and finished the West’s 100 years history of contemporary art annals in less than 20 years. Although China's contemporary art has been through several ups and downs, twists and turns, it has come over them firmly. From Yuanmingyuan to Songzhuang, to 798 from the Songzhuang, the Chinese contemporary art’s environment has completely changed! Today Songzhuang becomes the government's strong support and sponsorship of cultural and creative projects. The 798 becomes the new arts district supported by the Beijing government and develops rapidly. If we expanded our vision to Shanghai, Guangzhou and other places, and even many mainland provinces, we will be able to see the same exciting cultural landscape.

　　Seeing from the point view of knowledge and art history, the modern Western art movement originated from the west(also known as the "vanguard", "avant-garde" art), was a social and cultural ideas, and it included different social and political views, philosophical, aesthetic views, even opposing schools and principles, and their common characteristic was the anti-traditional, anti-authority, and their common intention was to violate the principle of creation and appreciation， their art forms and styles were in the pursuit of novelty or even strange and were respected as the challenges of cultural standards and the established law and order. Their methods and forms made those who were used to traditional culture feel surprised and puzzled.

　　Seeing from the perspective of the spirit, modern art and highlighted the performance of the real world, people and nature, man and society, man and things and the self-alienation, confusion and even antagonistic relationship. Many forms of spiritual identity and characteristics of modern art reflected the feature that modern art valued on form of innovation, freedom to create and re-focus on the main art. Although the modern art is difficult to accept and understand by general audience, the modern art’s (including contemporary art) the core values - freedom and innovation, and cultural criticism, was always the internal base for a contemporary art's existence and development.

　　The modern art was regard as heresy strength at its beginning. But due to the openness of Western culture and sense of social crisis, the modern art was eventually accommodate and accept by the system and become the symbol of cultural renovation and spiritual incentive and a mean of showing the strength.

　　As for the "post-modern" cultural ideas and artistic movements in the West, seeing from the surface, was the anti-Stubbs to modern system. But in spirit and essence it is the same strain with modern art in the core values of freedom, innovation and criticism.

　　Due to historical process, China faced the Western modernism and postmodernism almost at the same time. So viewing from the morphology, the Chinese-style modernism and postmodernism is compatible, mixed, and the postmodern arts created by contemporary people.

　　During the recent years, the Chinese contemporary art is surging and has made much achievement. Ranging from people’s concerns, evaluation of contemporary art, or the Government’s inclusive attitude to contemporary art, the contemporary art events, publications, the media’s reflection and chase to the myth on the market created by contemporary art, which all shows the Chinese contemporary art’s increasingly important position in multi-pattern of art.

　　This exhibition has invited 66 contemporary Chinese artists and will show their 300works, representing the various explorations and pursuits of contemporary Chinese art. All the works people have seen at the exhibition's can be regard as a microcosm and a cross-section of the contemporary Chinese arts.