This article contributes to understanding of Contemporary Art and of the temporality of contemporaneity, along with the philosophy of time more generally. I propose a diachronic contemporaneity over time gaps – elective contemporaneity – through examination of Kant’s Transcendental Aesthetic, the Third Analogy and the concept of ‘following’ among artistic geniuses; diachronic recognition and disjunctive synchronicity discoverable in William Kentridge’s multimedia artworks; as well as non-chronological temporal implications of superimpositions in late Palaeolithic cave art suggesting ‘graphic respect’. Elective contemporaneity shows up complexity in relations to past and present, putting in question definitions of ‘Contemporary Art’ restricted to either chronology or supposedly definitive paradigms.

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当代性与当代艺术的时间性：康德、肯特里奇和洞穴艺术作为选修当代

本文有助于理解当代艺术和当代性的时间性，以及更普遍的时间哲学。我通过考察康德的先验美学、第三类比和艺术天才之间的“追随”概念，提出了一种跨越时空的历时当代性——选择性当代性；在威廉·肯特里奇的多媒体艺术作品中可以发现历时性的识别和分离的同步性；以及旧石器时代晚期洞穴艺术中叠加的非时间顺序的时间含义，暗示了“图形尊重”。选择性的当代性显示了与过去和现在的关系的复杂性，对“当代艺术”的定义提出了质疑，这些定义仅限于年表或所谓的权威范式。