There are two upsurges of Chinese philosophy influence on the west in modern history. One is around 1800 when Lao-Tzu, Confucius and Zen started to be introduced to Europe and directly had influence on European value system. One way or another oriental philosophy left far-reaching impact on European philosophy, ranging from Enlightenment Movement to Arthur Schopenhauer and Friedrich Wilhelm Nietzsche. At that time in many occident thinkers’ description China was a pure land and a sleeping lion; in their vision Chinese philosophy was viewed separately from the society; the former directly influenced European culture and thoughts, while the latter was backward, downfallen and had a world of difference with the China in Marco Polo’s eyes. The situation didn’t change a bit today only with reversed content that China is described as a manufacturing giant on one hand, and on the other a dwarf in culture and art. That China is being interpreted as such for two hundred years explains something is going on in this country. The west has acknowledged the rise of the nation as an economic giant but they know very little about Chinese socio-economic transformation from a country based on small-scale peasant economy to post-industrial society, to be precise, to “DIY Economic Mode” and “Wenzhou Mode”, which is home-based manufacturing pattern inherited from traditional handicraft industry. Utilizing governmental resources, those home-based workshops in each county become corporate trusts and develop into manufacturing industries with the help of advanced communication means and overseas sales strategies. This economic mode not only stopped the out-migration of farming population, but also fulfilled the transformation of consumption mode and way of living in those places. Art is also the same. “The Old Summer Palace” mode is similar to “Wenzhou Mode”. I’d call it Help-yourself Art Pattern. The phenomenon that artists from provinces gather in the Old Summer Palace appeared to be very much similar with private business ventures of early civilian-run enterprises in China. A large number of artists live in a compact community and draw much media interest from the west. It nurtured the first group of professional local artists in China. At a time when there is still no gallery in truly contemporary sense, the Old Summer Palace phenomenon has to be “Wenzhou Phenomenon” in miniature. “The Old Summer Palace” mode in art history differs from the west in that: first, professional artists didn’t grow out of galleries, but out of the artists’ compact living community; second, contemporary art center didn’t situate in the heart of city but in urban-rural fringe, or in villages. This is what I mean by Made-in-China, or Post-made-in-China.Artists entered the Old Summer Palace area around 1989. Thanks to “the Old Summer Palace” mode it only took Beijing 18 years to go through a series of art renovations and art events, and become art center of Asia in 2007. Many artist communities emerged in Beijing during this period, among them Beijing East Village, Shangyuan Artist Village, Xiaopu Artist Village, Songzhuang Artist Community, Feijiacun Artist Village, Suojiacun Artist Village, 798 Art District, Ring Subway Art District, Caochangdi Art District, Changdian Art District, A-Land Art Area, etc.. In provinces situated away from the capital, art communities similar to “the Old Summer Palace” mode can also be found in Chongqing Tank Loft Art Center and Shanghai Moganshan Art Area, and in other cities, Chengdu, Kunming, Guangzhou, Jinan, as well. I’d name it as “post-made-in-China” mode, “art base mode”, “help-yourself art mode”, “artist residence mode”, or “low-cost art mode”. In general totally relying on the artists’ own resources Chinese contemporary art went through this turbulence without any financial support from the government within 18 years. Beijing BS1 Contemporary Museum 2007 Nomination Exhibition is held in association with Beijing BS1 Contemporary Museum, Beijing Art Museum of Imperial City, Shanghai Duolun COCA, Beijing Guo Yi Yi Huang Asia Contemporary Art Museum, Shanghai Eastlink Gallery, Beijing Must Be Contemporary Art Center, and Beijing Asia Art Community. Based on the academic subject of “the Old Summer Palace” mode it aims to provide an academic and art platform for creative artists of the year. The exhibited art works by 40 artists nominated this year vary in materials and categories covering oil painting, ink and wash painting, sculpture, installation, photography, video, and happening. The artists selected featuring the old, mid-aged and young generations of three, including the art community “single child generation”, are very active and representative in recent years. This exhibition is also a tentative move in constructing academic scene of art by the combined efforts of several cross-regional museums.