中外艺术的创作理念与方法似乎总是存在着不小的距离与差异。金秋在北京和湘西分别举办的北京双年展和凤凰艺术年展,让人们看到了中国本土举办国际艺展和威尼斯双年展、卡塞尔文献展对“当代艺术”的不同理解。显然,中国在这些双年展中所持有的文化立场并不唯新媒体的试验以及对既有艺术的颠覆为策展主旨,而是将包括中国画在内的架上艺术圈进“当代艺术”范畴,甚至于把它们作为这些双年展的主角,这或许也表明了中国主流艺术对西方“当代艺术”格局的重建。但这些富有重建意义的双年展也让人明显看到了一种 Chinese and foreign art ideas and methods of creation seem always there is no small distance and differences. The Beijing Biennale and the Phoenix Art Exhibition, held in autumn in Beijing and Xiangxi respectively, let people see the different understandings of the “Contemporary Art” of the International Art Exhibition and the Venice Biennale held in China and the Kassel Literature Exhibition. Obviously, the cultural position held by China in these biennials is not only based on the experiment of the new media and the subversion of the existing art as the curatorial theme, but on the art-bound art circles including Chinese painting Art, “or even using them as the protagonists of these biennials, may also indicate the reconstruction of the mainstream Western art in the form of” contemporary art "in the West. However, it is obvious that these reconstruction-rich biennials are clearly visible