当代的

Must Be contemporary art center is by digging and coordinating contemporary art civilian video as the most important project in 20 years recently. It set up documentary in 2005, and will hold on experimental drama 、 Avant-courier poetry 、 show the geography of Beijing contemporary art 、 Chinese contemporary construction BBS 、 contemporary dance etc for one year, these activities present the first theme of literature exhibition, and in all corners of the country's various sorts of multiplex no mainstream group and strength of folk art.

更重要的是玛斯德比当代艺术中心还以挖掘和整理中国近 20 年当代艺术的平民化影像为重要项目，在 2005 年设立了文献展，将用 1 年的时间以举办实验戏剧、先锋诗歌、展示北京当代艺术地理、中国现代建筑论坛、现代舞等活动，来呈现第一届文献展的主题，'江湖'中的中国各种多元化的非主流的民间艺术团体与力量。

We can't be with easy self-sufficient and self-confident in the judgment mode of "the more is of a race, the more is of a world". And we will never consider it as high as to climb when get into the exchanges and have a conversation in the modern world. National art has to be with open and contemporary character, be able to face the grand humanities background and appreciate the contemporary aesthetic standard. Meanwhile, it can dig the contemporary significance of the race and region life. The art can represent the contemporary Chinese culture, as well as that of the world.

这样，既不可以在"越是民族的就越是世界的"的判断模式中轻易地自足自信，也决不应该将进入现代世界的交流、对话视为高不可攀之事，而是要求我们的民族艺术必须应具备当代性和开放性，亦即能够面对宏阔的人文背景，理解当代人的审美标准，对于民族性、地域性生活作当代意义的开掘，并能够站在当代中国文化乃至世界的高度去表现。

The Third Chengdu Biennial attempts to present objectively the multifaceted process of the development of Chinese contemporary art, to redefine the contemporaneity of this segment of the arts, and to explore the potential inherent in breaking boundaries, so as to increase people's understanding of the interaction between Chinese culture's unique aspects and internationalism and to encourage dialogue between the art and culture of China and that elsewhere.

本次双年展就是试图客观地展示中国当代艺术发展历程中的多元格局中的一个重要部分，重新定义中国当代艺术。在保持自身的创造性的同时，探索突破困境和局限的各种可能性，启动中国当代艺术全面发展的新局面，进而推动中国的文化与艺术同其他文化艺术之间更多的对话和交流。

Mao Zedong "nationality's science populace' s culture" has indic...

毛泽东"民族的科学的大众的文化"指明了当代中国先进文化建设的基本方向；邓小平"三个面向"的文化发展战略为当代中国先进文化建设提供了开放性的思路；江泽民中国特色社会主义的文化观是对毛泽东、邓小平文化观的辩证整合和创新发展，为当代中国化的马克思主义增添了新内容。

Japanese contemporary art has gradually taken on an academic identity since Murakami Takashi's concept of "Superflat" and renowned curator Matsui Midori's "Micropop" were raised. Although these two discourses are insufficient to cover all contemporary art in Japan today, they provide a research direction for over 60 percent of the market for those interested in observing and collecting Japanese contemporary art.

日本的当代艺术在村上隆提出Super Flat 及著名策展人Matsui Midori提出Micropop等概念之后，渐渐的形成了一个可被辨识的学术面貌，虽然这二种论述并无法涵盖今日日本当代艺术的全景，但是却也提供了有兴趣观察及收藏日本当代艺术市场的人们一个可覆盖6成以上的研究方向。

This is not only because we all started our art career from traditional Chinese art. We find it regrettable that traditional art forms are in their muteness in contemporary culture. In our respective artistic practice, we have formed a common understanding about contemporaneity of Chinese Painting: Chinese Painting needs to be explored and reformed from the legacy of tradition; Chinese Painting needs to obtain its contemporary cultural significance.

这不但是因为我们都是从学习传统的中国绘画艺术开始我们的艺术之旅的，更因为我们对传统艺术方式在当代文化中无所作为的失语状态有切肤之感，在各自的艺术实践中对中国艺术的当代性有一个共同认知：中国艺术需要从传统中发掘和更新、中国艺术要努力具有当代文化的意义。

In "Dislocated Modernity: A Retrospect on Narratives in Contemporary Chinese Art," Gao Minglu pointed out that contemporary Chinese art is characterized by the prevalence of realist reflectionist theory, including works that have made their way into the Western exhibition circuit. Specifically citing photographic works to illustrate this point, he writes that Western interest in Chinese photography is explained by their use of it to observe concrete changes affecting China. As such, in this article is an excerpt of Gao Minglu's brilliant analysis

高名潞在《现代性错位：对中国当代艺术叙事的反思》一文中提示了中国当代艺术中的一个事实，即这种艺术中普遍存在着现实主义反映论的特征，就是进入西方展览系统的中国当代艺术也主要是现实主义反映论的作品，他还特地举了图片，来说明这个问题，即西方对中国的图片关注是西方人通过这些图片来看中国现实变化，所以在这篇文章中，高名潞有一段非常精彩的论述

ABSTRACT According to the background of globalization and the resistance to this trend, this paper probes into the question how to grasp the essentials of the architectural regionality by comparing with"vernacularity"and "locality"as well as by criticizing the misunderstanding and misuse of regional architecture. Secondly, this paper analyses its contemporary value with comparing current architectural thoughts, point out the undisputable validity of regional architecture as a strategy to resist the homogenization of the world in the sense of"technical ethics"and "existential feeling".

摘 要 首先从由全球化而来的文化趋同及其抗争这一当代背景出发，在与&乡土性&和&地点性&的正面比较以及在对于&地区性&的误解和误用的反面论述中，探讨在今天的现实环境里如何把握建筑的&地区性&；接着在与当代建筑思潮的对比中，揭示其当代价值，并据此认为在对单一普遍世界模式抵抗的途径上，地区性建筑在&技术伦理&和&存在心理&上有其不可替代的合理性。

The followings on dragon boat race are researched: social basis of its produce; developmental situation; its relation with social economic development, its modernization. Some are analyzed: the produce of traditional dragon boat race and modern ones, what this race brings for various economic culture phenomenon, the relation between this sport and modern social development.

文章采用文献法、调查法等多种研究方法，对中国传统龙舟竞渡产生的社会基础、当代中国龙舟运动发展现状、当代中国龙舟运动与社会经济发展的关系、中国龙舟运动现代化等问题进行研究；分析了传统龙舟竞渡与当代龙舟现象产生，以及由中国龙舟运动所带来的种种社会经济文化现象，进一步探讨了具有民族体育代表性的龙舟运动与现代社会发展的关系。

Part four offers a systematic exposition and analysis of the current subjects and fields of the philosophy of culture, and involves the following four basic questions: the cultural choices in the social development today; the common evolution of man and nature; the forming of man's up—to—date aesthetic judgment; and man's overall development relative to the age.

第四部分是对文化哲学当代主题和视野的系统展开，主要关涉四个基本问题，即当代社会发展的文化选择问题、人与自然的共同进化问题、当代人类审美文化的建构问题以及面向时代人的全面发展问题等。

For a big chunk of credit-card losses; the number of filings (and thus charge-off rates) would be rising again, whether

年美国个人破产法的一个改动使得破产登记急速下降，而后引起了信用卡大规模的亏损。

Eph. 4:23 And that you be renewed in the spirit of your mind

弗四23 而在你们心思的灵里得以更新