Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

: CAFAM公众招募 | 爱的思维与思想・沙盘叙事工作坊

2026-06-22

正值2026年中央美术学院毕业季，美术馆公共教育部与艺术管理与教育学院美术博物馆管理工作室联合发起“馆校协同”新实践，推出「焕彩共生・艺无龄界」系列公共教育活动。本次活动以毕业季艺术现场为纽带，为不同年龄层的参与者搭建起一个真诚交流的“公共客厅”，探索公共美育打破代际隔阂的更多可能。项目将美术馆转化为“互为主体的代际生成场”——以艺术为媒介，以创作为触媒，让不同年龄的参与者在创作中相遇、交流，成为彼此平等而鲜活的创作伙伴。爱的思维与思想沙盘叙事工作坊本次工作坊依托中央美术学院设计学院王嘉铭毕业作品《爱的思维与思想》展开，延续作品以童心视角探索爱、以共创实践表达爱的核心脉络，将展厅中的思维棋盘体系与趣味棋子教具，转化为可亲手搭建、可深度叙事的现场互动载体。我们以空白棋子为表达媒介、以桌面沙盘为思维场域，邀请每位参与者围绕关于爱的核心议题，写下代表个人理解的关键词；并依照自身的思考逻辑排布棋子、勾勒关联脉络，搭建出独属于自己的 “爱的思维模型”。活动秉持 “不评判、共倾听” 的交流原则，通过轮流叙事分享，让每个人心中关于爱的世界被看见、被读懂。最终，你最珍视的一枚关键词棋子将汇入展厅巨型思维棋盘的共创区域，正式成为作品的一部分。全程无需创作基础，只要带着真实感受前来，即可在思维碰撞与温柔对话中，让抽象的爱从观看走向参与，从个体表达走向集体共鸣。工作坊流程1. 开场启思 · 进入爱的思维场域2. 关键词落笔 · 写下你的爱的注解3. 沙盘搭建 · 构建专属爱的思维模型4. 叙事分享 · 听见不同的爱的答案5. 作品汇入・成为展览的一部分工作坊报名工作坊时间：6月20 日（周六）10:00-12:00工作坊地点：中央美术学院美术馆 4层公教空间招募对象：建议以家庭或结伴形式参加，一组两人（5周岁及以上儿童需要一名监护人陪同参与）招募人数：8 组（16 人）扫描二维码预约报名，名额有限，报满为止，不接受现场报名。注：1. 工作坊全程免费参与。2. 请报名成功的公众于活动当天准时在美术馆4层公教空间集合并签到。3.活动最终解释权归中央美术学院美术馆所有。相关毕业作品
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: Launch & Book Donation Ceremony of On Digital-Intelligent Art Held at CAFA

2026-06-22

On June 16, 2026, the launch and book donation ceremony of On Digital-Intelligent Art was held in the lecture hall of CAFA Art Museum. The event was hosted by the Central Academy of Fine Arts , undertaken by the Faculty Affairs Division (Human Resources Office) and CAFA Art Museum, and co-organized by Sichuan Fine Arts Publishing House.Entering the 21st century, digital art has developed for more than two decades. It has evolved from early computer-based creation into a diverse array of creative genres. Around 2022, artificial intelligence became deeply integrated into artistic creation. As the creative ecosystem of digital intelligent art flourished, there arose an urgent demand for systematic professional research featuring complete frameworks, profound theoretical insights, practical value and cutting-edge explorations. Riding this general trend of the times, the academic monograph On Digital- Intelligent Art officially hit the market in June 2026. Compiled by Yi Shan with support from a professional team and published by Sichuan Fine Arts Publishing House, this book marks a key theoretical achievement jointly delivered by CAFA and the Digital Intelligent Art Expo.Distinguished guests attending the ceremony included Lin Mao, President of CAFA; Yang Jie, Director of the Faculty Affairs Division and Head of the Human Resources Office; Jin Jun, Director of CAFA Art Museum; Tang Haitao, President of Sichuan Fine Arts Publishing House; Yi Shan, Editor-in-Chief of On Digital Intelligent Art; and Luo Qun, Editor of Sichuan Fine Arts Publishing House..........................................................................................................................................................Speech by Jin Jun, Director of CAFA Art MuseumJin Jun, Director of CAFA Art Museum, stated that amid rapid technological advancement, digital art, tech art and intelligent art have gradually taken shape. The launch and donation of the new book On Digital-Intelligent Art stands as a milestone achievement marking a pivotal stage in this field. He mentioned that information technology is profoundly reshaping people’s daily lives and working routines. The extensive integration of digitization and intelligence has given rise to new forms of digital media art, while continuously renewing humanity’s understanding, aesthetic experience and creative thinking of art. Centering on the concepts, theories and creative methodologies of digital intelligent art, On Digital-Intelligent Art lays a vital foundation for academic exchange within the industry, and provokes profound reflections on fundamental questions: Are humans the masters of technology, or are we shaped by it? Does algorithm constrain human imagination?As a critical platform for art exhibition, communication and education, art museums are actively facilitating exchanges of emerging art theories and diverse perspectives. Contemporary art spaces are no longer confined to traditional media and physical venues; instead, they have evolved into new cultural arenas jointly constructed by data, algorithms, artificial intelligence, virtual reality, interactive experiences and online communication. For art museums, core concerns extend far beyond the questions of what works to collect and exhibit. They also grapple with how to interpret new artistic forms, establish innovative evaluation systems, and sustain the expressive power of art. He expressed his hope that the release of this book will forge closer links among artistic practice, technological innovation, cultural research and future art education. He looks forward to digital intelligent art growing into a widespread social phenomenon, a fully developed industrial system and a sizable market sector. Driven by technological progress, more people will gain access to and resonate with art and culture, thereby advancing the progressive evolution of human society.Speech by Tang Haitao, President of Sichuan Fine Arts Publishing HouseTang Haitao, President of Sichuan Fine Arts Publishing House, remarked that as artificial intelligence reshapes creative modes and digital intelligent art flourishes, the field has long suffered fragmented theories and lagging academic research. Against this backdrop, the publication of this book fills the gap in systematic domestic theoretical research on digital intelligent art. Boasting profound academic insights, practical value and forward-looking vision, it arrives at exactly the right moment. The monograph puts forward three core academic definitions. First, it clarifies that AI has transcended the role of a traditional auxiliary tool and become a transformative force that enables in-depth creation and reconstructs production logic, with human creativity, aesthetics and ideology always serving as the core guide. Second, it draws clear boundaries for creation, pointing out that human-machine collaboration represents an entirely new creative paradigm rather than mere media assistance. Third, it redefines digital art as an independent artistic form with a complete ontological system of its own. Addressing widespread confusion within the industry and consolidating its theoretical foundation, this book stands as a landmark academic work. As its publisher, the house will fully promote the overseas copyright licensing of this volume, bringing China’s research paradigm for digital intelligent art theory to the global stage. It showcases domestic research outcomes and creative reflections on digital intelligent art, facilitating in-depth exchange and mutual learning between Chinese and foreign civilizations of technology and art.Speech by Yi Shan, Editor-in-Chief of On Digital-Intelligent ArtYi Shan, Editor-in-Chief of On Digital-Intelligent Art, stated that the official release of this book can be attributed to three key factors. First, the forward-looking vision and interdisciplinary talent cultivation philosophy of the Central Academy of Fine Arts set a high cognitive standard for the book. It features a quantitative interpretation of the talent development framework: "50% professional expertise + 30% interdisciplinary literacy + 20% AI foundational knowledge". Second, the outline was built upon the team’s twelve years of practical experience and previously published theoretical papers. Contributors worked pro bono with diverse yet harmonious perspectives, pooling their efforts to complete the manuscript through concentrated research and writing.Third, Sichuan Fine Arts Publishing House delivered an extraordinary publishing schedule. A five-person team spent three months finishing the 560,000-character manuscript ahead of schedule. The book marks a milestone achievement from zero to one, and further revisions will be carried out to refine its quality in the future. He pointed out that the book centers on elaborating two core relationships. The first is the integrated coexistence of traditional art and digital intelligent art: tradition nourishes digital intelligence, while digital intelligence drives the evolution of tradition, enabling mutual empowerment between the two. The second argument clarifies that digital intelligent art is never mere technical spectacle, but a synergy of artistic concepts and technology. It must uphold humanistic standing and profound conceptual thinking, rejecting superficial flashy presentation in pursuit of genuine ideas, human warmth and spiritual depth.Yang Jie, Director of the Faculty Affairs Division and Human Resources Office of the Central Academy of Fine Arts, presided over the ceremonyLin Mao, President of the Central Academy of Fine Arts, accepted the donated books..........................................................................................................................................................The book consists of five major sections: Epistemology, Methodology, Practice Theory, Futurology and Case Studies, covering thirteen thematic discussions with a complete and rigorous logical framework. Its publication marks the official entry of research on digital intelligent art into a new stage of systematic and professional development.The monograph features four core highlights:First, it traces the evolution of civilizations and establishes an original ontological system for art. The Epistemology section elaborates on evolution theory, comparative theory, ontology and relational theory, sorting out the iterative context of art spanning prehistoric, agrarian, industrial and digital-intelligent civilizations. Unlike traditional physical art forms, digital intelligent art relies heavily on virtual spaces, interactive experiences, generative creation, multimodal digital-intelligent technologies and more to forge new contexts, paradigms, artistic languages and systems. Traditional art and digital intelligent art each bear unique characteristics; they coexist and thrive alongside one another, innovating on the basis of inheritance and jointly carrying forward the lineage of human art.Second, it distills innovative thinking and unlocks fresh approaches to artistic creation. Through sorting out blue ocean theory, path theory and classification theory, the Methodology section constructs a complete set of creative research frameworks. It serves as a key to unlock creative thinking for practitioners, broadens research horizons and intellectual guidelines for academia, and establishes logical analytical frameworks to judge and guide the development of the industry.Third, it integrates theory with practice and grasps the inherent laws of creation. The Practice Theory section incorporates tool theory, process theory and platform theory to delve into the underlying logic of artistic production. It summarizes regular patterns of technological iteration, creative workflows and platform empowerment, enabling theories to be put into practice, elevating practical creation and optimizing the full creative pipeline to improve artwork quality.Fourth, it looks forward to the future and explores new landscapes of human-machine collaboration. It conducts forward-looking theoretical deliberation based on symbiosis theory, ecosystem theory and industrial theory, with case studies providing supporting evidence for its academic arguments.Today, digital-intelligent technologies have reshaped creative innovation models and become essential collaborative partners for human artists. The book further extrapolates two major developmental trajectories: brain-like intelligence and embodied intelligence, and academically explores the emerging human-machine collaborative model of "dual brains and dual entities".Digital intelligent art stands as a brand-new starting point for artistic development in the 21st century. Rooted in the new era, dedicated to emerging art forms and oriented toward the future, On Digital Intelligent Art embodies collective intellectual wisdom. It is an influential academic masterpiece for the age of digital-intelligent civilization, bearing landmark significance in the evolution of digital intelligent art and representing a new expression of artistic thought and culture of our time.Editor-in-Chief: He Yisha Responsible Editor: Du YinzhuText Compilation: Zhang NiOn-site Photos: He Yifei
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: Today Is The Summer Solstice

2026-06-21

Today is the Summer Solstice.
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: Spend Your Dragon Boat Festival at CAFA Graduation Exhibition | 3 Days to Go

2026-06-19

The 2026 CAFA Graduation Season is drawing to a close. Come embrace a rendezvous with art this Dragon Boat Festival! Artworks from eight schools and departments are on display: the School of Chinese Painting, School of Calligraphy, Department of Printmaking, Department of Sculpture, School of Humanities, School of Design, School of Architecture and School of Continuing Education. Here you will find nearly every art form imaginable, including ink painting, woodcut, lithography, fashion, jewelry, digital media, spatial installations and architectural landscapes. These young creators have poured all their observations, perplexities, passions and fantasies about the world into their works for you to behold. Rigorous academic training has not dimmed their vitality; instead, it lends solid grounding to every creation. With solid professional expertise, they tell vivid stories of our times.Our museum will remain open throughout the Dragon Boat Festival holiday. You are warmly invited to immerse yourself in this grand artistic celebration. The exhibition runs until June 22.〔 Exhibition Scene 〕Editor-in-Chief: He YishaEditor: Du Yinzhu
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: Only 6 Days Left! CAFA Undergraduate Graduation Exhibition – All Four Majors of the School of Chinese Painting in One Visit

2026-06-17

The final phase of the CAFA Graduation Season will conclude on June 22, and works from the School of Chinese Painting stand out prominently among this year’s graduation creations. On the second floor of the art museum hang undergraduate pieces from four majors: Freehand Figure Painting, Fine Line Figure Painting, Landscape Painting, and Flower-and-Bird Painting. Each discipline boasts its distinct artistic style, collectively showcasing the new generation artists’ explorations and breakthroughs rooted in traditional cultural heritage, as well as their reflections on how to observe the world and express inner feelings through Chinese painting amid this rapidly evolving new era.Freehand figure works reveal the artists’ temperament through spiritual resonance and vitality; fine line figure pieces display exquisite craftsmanship via elaborate color rendering; landscape paintings embody grand vision through spatial composition; flower-and-bird works reflect meticulous observation through faithful depiction of natural subjects. Most notably, these young creators do not merely adhere to the ancient tenet of copying and emulating old masters. Instead, through constant dialogue with classical artworks, they have forged their own unique brushwork framework — a painterly language that inherits ancient cultural lineage yet carries sharp, distinctive artistic individuality.Major in Freehand Figure Painting╲Author: Yuan ZhangyuTitle: RealmMaterial: Ink and color on paperSize: 200×205cmYear: 2026
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: Grand Finale | Live Stream for The Closing Phase of CAFA Graduation Season – Book Your Spot Now!

2026-06-16

The Second Phase of the Undergraduate Graduation Exhibition of the Central Academy of Fine Arts is now on display, featuring graduate works from the School of Chinese Painting, School of Calligraphy, Department of Printmaking, Department of Sculpture, School of Humanities, School of Design, School of Architecture and School of Continuing Education. Ranging from ink wash paintings to digital media, and from traditional calligraphy to spatial construction, every piece embodies the creators’ observations of the times, reflections on traditions and visions for the future. CAFAM Art+ continues to launch a series of live streams, breaking geographical barriers to bring you deep access to the creative scenes and ideological core of the CAFA Graduation Exhibition.Join our livestream at 18:00 on Wednesday, June 17, as our camera pans across brilliant artworks full of awakening colors.Editor-in-Chief: He YishaEditor: Du YinzhuOn-site Photos: Sun Xiaomeng
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: Central Academy of Fine Arts Graduation Exhibition | Redefine Your Established Perceptions of Printmaking

2026-06-15

The second phase of the Undergraduate Graduation Exhibition of the Central Academy of Fine Arts opened as scheduled on June 8, showcasing works by 28 undergraduate students from the Printmaking Department in the exhibition halls on the second floor of the Art Museum. Using media including woodcut, watermark lithography, lithography, etching, silkscreen, mixed materials, video and installation art, all their creations converge on one core approach: through the act of "printing", they make authentic choices amid the ambiguous space between the physical boundaries of printmaking and their inner emotions.When printmaking is mentioned, many people still hold the stereotypical view that it is merely a form of duplication. Now, step into this year’s graduation exhibition of printmaking works at CAFA with us, and your preconceptions may well be overturned in an instant…Artist: Chen BifangTitle: Series of Flower Letters of the Four SeasonsMedium: Oil-based WoodcutSize: 60cm × 180cmTutors: Wu Jiang, Tan TanArtist Statement: Winter fades and spring arrives, as years come and go in cycles. Rooted in the temporal sequence of the Twenty-Four Solar Terms, this series takes blooming flowers as its carrier. Through carving marks left by gravers, the fleeting beauty of seasonal transitions is eternally captured.Artist: Dong FuzhiTitle: Dialogue Without an AnswerMedium: Video, Watercolor, Screen PrintSize: Video: 11 minutes; Screen Print Poster: 50cm × 70cmTutors: Wu Hong, Zheng QinyuArtist Statement: I heard a cat meowing outside the window as daily life went on as usual. I asked my family if they had heard the sound, yet none of them had. They only recalled cats they had seen before, and ordinary routines kept unfolding. The meow grew louder and louder, while everyone around remained immersed in their daily affairs. They talked about the cat, yet none could catch its cry. One day, the property management confirmed that there was indeed a "cat" in this area. People finally heard the meowing. But what fate awaited this "cat" in the end...Artist: Xu FengjiaTitle: Series Motion in SilenceMedium: LithographSize: Various SizesTutors: Kong Liang, Kang Jianfei, Jiang Fan, Jiang MiaoArtist Statement: This work employs the artistic language of printmaking to depict the subtle flows inherent in all things—like the endless stretch of running water, faint traces left by the wind, or the gentle flicker of flames. Amid tranquility, these delicate shifts appear exceptionally lucid and distinct.Artist: Ding Yu'erTitle: Do Not Go Gentle into That Good NightMedium: Copperplate Print, Mixed MediaDimensions:120cm×40cm, 80cm×40cm, 15cm×15cmTutors: Kong Liang, Kang Jianfei, Jiang Fan, Jiang MiaoDo Not Go Gentle into That Good Night consists of five copperplate prints presented in the form of light box installations. The work adopts a multi-layered structure: the bottom layer is the light source of the light box, with handcrafted and dyed paper layers sandwiched in the middle. When illuminated, the dyed paper forms a nebula-like colour field; the outermost layer is covered with the main copperplate prints made on washi paper. The intricate lines etched on the copperplate overlap with light-transmitting materials, creating a visual effect of floating, flickering and stretching across the image. The title is derived from the poem by Dylan Thomas. Rather than focusing on resistance itself, I lay more emphasis on the emotion of being reluctant to bid farewell. When countless things are destined to fade away, people will always look back out of deep attachment.Artist: Kang XinTitle: Nooks and CornersMedium: Water-based WoodcutDimensions:58cm×80cm, 22cm×25cm, 10cm×25cm,45cm×32cm, 45cm×15cm, 45cm×40cmTutors: Huang Yang, Yang HongweiArtist Statement: Set against the backdrop of urban solitary living, Nooks and Corners focuses on tiny spaces concealed within daily routines: the edge of a bed, beside curtains, in front of cabinets, and by windows. Amid the fast-paced rhythm of city life, the soul finds no place to rest. Could art serve as a haven for respite? This was the initial question driving my creation. Comprising nine prints depicting nine secluded corners, the work avoids narrative storytelling and emotional expression, choosing only quiet observation. The fluid quality of water-based woodcut allows pigments to bleed and permeate naturally. Such partially uncontrollable imprints liberate creation from the pursuit of perfection—precision gives way to sincerity. Spiritual dwelling lies not in distant lands, but in the quiet corners where our gaze settles in moments of solitude.Artist: Weng JunxiTitle: Records of the MermaidMedium: Electronic screen, wax, wooden frame, copperplate print, found objectsDimensions: 200cm×200cm×200cmTutors: Wu Hong, Zheng QinyuArtist Statement: Inspired by a rereading of Hans Christian Andersen’s fairy tale The Little Mermaid and the modern history of whaling, this work takes the mermaid as a metaphor to explore how individuals are shaped and dispossessed within larger power structures. The installation consists of three parts: wax-carved animation, residual wax plates from the animation, and an archival museum cabinet. Narrated in the first person, the animation uses the deformation of wax to visualize the agony of identity transformation, the loss of the right to self-definition under discipline, and eventual self-redemption. The museum cabinet constructs a pseudo-objective knowledge system, placing the mermaid in a position of being categorized and researched. The dual perspectives of personal testimony and circumstantial evidence jointly piece together a history of aphasia and alienation, laying bare the hidden exercise of power embedded in so-called objective records.Artist: Wang XiaoshanTitle: Retracing the Current: Rats Fleeing the Burnt GranaryMedium: Screen Print, Pastel PaperDimensions: 90cm × 70cmTutors: Kong Liang, Li Jun, Jiang Fan, Kang Jianfei, Jiang MiaoArtist Statement: This woodcut scroll selects poems about misunderstanding and conflicts from The Book of Songs. These poems have been translated repeatedly across diverse cultural languages. Core imagery is extracted from the finally generated texts to reconstruct the pictorial composition.Artist: Bian WuchenTitle: GazeMedium: Oil-based WoodcutDimensions: 120cm × 90cmTutors: Huang Yang, Yang HongweiArtist Statement: The work depicts a mysterious mountain forest space. Amid ferns stands an owl in quiet concentration, with sweeping streamlined white patterns stretching across the woodland, enveloping the scene in serene desolation.Artist: Chen GehuiTitle: Island of Hidden HeartsMedium: Multi-block Color Oil WoodcutDimensions: 182cm × 176cmTutors: Kong Liang, Kang Jianfei, Jiang Fan, Jiang MiaoArtist Statement:From childhood onward, people habitually conceal their true selves to fit into social surroundings. Pastimes and confiding in others can never fully relieve pent-up emotions, for everyone harbours an inner self with nowhere to rest. I collected other people’s emotions and personalities through questionnaires, then created a series of independent, isolated figures to construct an inner world—the Island of Hidden Hearts—a haven to hold these desires and inner sentiments.Serving as an emotional shelter in dreams, this place frees people from pretence, offering a space where feelings can settle and inner troubles slowly fade away. Though I shaped countless inner personas, only a few could be selected to build this world, for neither reality nor dreams can accommodate every individual’s inner being. This work does not advocate escaping from reality; it merely provides a resting place for emotions, allowing people to return to real life with greater peace of mind.Artist: Yi KexinTitle: Bubble Kingdom in Dreams – Emotion ChapterMedium: Mixed MediaDimensions: 270cm × 270cm × 250cmTutors: Wu Hong, Zheng QinyuArtist Statement:Centered on the theme of emotion, this work seeks to externalize abstract, ineffable feelings into visual imagery throughout the creative process.Fabricated from thermoformed acrylic sheets covered with PVC material, the installation releases emotions in diverse forms through the combination of light axes and spatial arrangement, taking on distorted, suspended, folded and other varied shapes.It is hoped that the sculptural forms and emotional hues of the piece can resonate with audiences trapped in negative emotions.Artist: Li JieTitle: Slices of Urban MarketplaceMedium: Oil-based Woodcut, Rice PaperDimensions: 26cm × 34cmTutors: Wu Jiang, Tan TanArtist Statement: Amid rapid urbanization, traditional folk life scenes that embody distinctive local culture and warm neighbourhood bonds are gradually disappearing. Created through woodcut techniques, this body of work focuses on a typical public living space—the marketplace. Through meticulous carving, it documents, depicts and reflects upon the most authentic and plain everyday life around us.Reservation ChannelThe online reservation and ticket purchasing channel for the 2026 CAFA Graduation Season is now open. Visitors may reserve and purchase tickets via the WeChat Mini Program, official WeChat public account or official website of the Central Academy of Fine Arts Art Museum (please refer to the official website for detailed ticketing instructions). Reservations can be made up to 7 days in advance. Daily visitor quotas are limited and available on a first-come, first-served basis. The museum opens normally on Mondays throughout the graduation season. All reservations must be made under real-name registration with valid identification documents, and each person is allowed only one reservation per day. Visitors shall arrive at the museum at their reserved time upon successful reservation. During the graduation season, please present your ID card or other valid documents for verification at the dedicated ticketing entrance at the north gate of the Central Academy of Fine Arts to enter the museum.
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: CAFAM Public Recruitment | Interwoven Traces · Family Calendar Workshop

2026-06-12

It is the 2026 Graduation Season of the Central Academy of Fine Arts. The Public Education Department of CAFAM, together with the Art Museum Management Studio of the School of Arts Management and Education, has launched a new collaborative initiative between museum and academy, presenting the public education series "Awakening In Colors · Art for All Ages".Centered on the on-site art atmosphere of the graduation season, this event builds a sincere "public living room" for participants of all ages, exploring new possibilities for public art education to bridge generational gaps. The museum is reimagined as a reciprocal generational creative space. With art as the medium and creation as the catalyst, participants across age groups connect and interact through hands-on making, becoming equal and vibrant creative partners to one another.Interwoven Traces · Family Calendar Workshop\This workshop is inspired by Interdependence, a graduation artwork from the Central Academy of Fine Arts. It carries forward the core spirit of intergenerational harmony and emotional expression. Centered on the theme of "traces", participants will capture the tender love, companionship and moments of growth shared among family members onto simple linen calendars.There are no fixed templates to follow. You may create freely with acrylic markers and oil pastels. Working in family pairs, you will design your unique fabric calendars around warm themes: love, listening, growth, care and tacit understanding. No professional painting skills are required. Every line, patch of colour and simple sketch conveys heartfelt feelings, forming exclusive memories of your time together. The finished calendar can be hung or displayed for years to come, letting you revisit these precious moments month after month.The experience focuses on relaxed creation and heartfelt communication. Children may join with parents, and elders can also team up together. Collaborative painting bridges the distance between one another, turning intangible companionship into a tangible fabric keepsake to cherish.工作坊流程Workshop Schedule❶ 原作导览・读懂相生印迹❷ 心意提炼・构思画面印迹❸ 棉麻手绘・落笔绘制家庭日历❹ 细节润色・完善专属布艺日历❺ 印迹分享 · 交流环节Artwork Tour | Understand Interwoven TracesCapture Feelings | Design Visual ImpressionsLinen Hand-Painting | Create Your Family CalendarRefine Details | Complete Your Exclusive Fabric CalendarShare the Traces | Exchange & Discussion工作坊报名Workshop Registration工作坊时间：6月13日（周六）10:00-12:00工作坊地点：中央美术学院美术馆4层公教空间招募对象：建议以家庭或结伴形式参加，一组两人（5周岁及以上儿童需要一名监护人陪同参与）招募人数：8 组（16 人）Workshop Time: 10:00 – 12:00, Saturday, June 13Venue: Public Education Space, 4th Floor, CAFAM (Central Academy of Fine Arts Art Museum)Participants: Families or pairs are recommended. Each group consists of 2 people. Children aged 5 and above must be accompanied by a guardian.Quota: 8 groups (16 participants in total)Sign-up Instructions名额有限，报满为止小程序提前预约，不接受现场报名注：1. 工作坊全程免费参与，请自行购买美术馆门票；2. 请报名成功的公众于活动当天准时在美术馆4层公教空间集合并签到；3.活动最终解释权归中央美术学院美术馆所有。Limited spots available. Registration closes once full.Advance reservation via mini-program only. On-site registration is not accepted.Notes:The workshop is free of charge. Please purchase your museum admission ticket separately.Registered participants please gather and check in at the Public Education Space on the 4th floor on the event day.CAFAM reserves the right of final interpretation of this activity.相关毕业作品Related Graduation Artworks作者：胡一苇作品名称：《相生 Re:Connected》作品材料：综合材料作品尺寸：可变设计说明：本作品以老幼共生社区中的代际关系为研究对象，围绕“陪伴、回应、共创与传承”等日常互动情境展开设计实践。项目结合积极心理学中的幸福理论与“成熟的爱”相关观点，尝试将抽象的情感联结转化为可感知、可参与的视觉语言。通过儿童绘画采集、图形提炼、符号转译及互动媒介应用，作品构建出一套面向社区场景的视觉系统，使代际互动从偶发相遇转向持续发生，在共同阅读、共同游戏、共同表达与共同纪念中，重新建立人与人之间的理解、信任与情感连接。工作坊导师胡一苇中央美术学院实验艺术与科技艺术学院2022级本科生，创作与研究围绕视觉叙事、社会设计与情感联结展开。实践内容涵盖书籍设计、影像、网页设计、海报及综合视觉系统等多个方向，关注设计如何在日常生活、公共议题与人际关系之间建立连接。作品注重从真实经验与情感需求中提取线索，通过视觉转译与跨媒介表达，探索设计在沟通、陪伴与社会互动中的作用与可能。任子伊中央美术学院艺术管理与教育学院 2024 级研究生，美术博物馆管理工作室学生，“美术馆银发—青年群体协作教育模式理论建构研究”课题组成员。主攻艺术管理学研究方向，具备丰富展览策划与美育活动统筹经验，先后策划多项艺术展览，参与统筹多场校内外公共美育项目。联合主办: 中央美术学院美术馆公共教育部中央美术学院艺术管理与教育学院美术博物馆管理工作室焕彩共生·艺无龄界系列公教活动总策划:肖宝珍、张瀚予工作人员:姚轶群、梁雯、任子伊、惠春艳主编 / 何一沙责编 / 杜隐珠
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: Live Highlights in Abundance | The final phase of CAFA Graduation Season kicks off. Don’t miss it — next chance comes in a year!

2026-06-09

The second phase of the 2026 CAFA Undergraduate Graduation Exhibition runs from June 8 to June 22, marking the final chapter of the CAFA Graduation Season. Eight schools and departments — the School of Chinese Painting, School of Calligraphy, Department of Printmaking, Department of Sculpture, School of Humanities, School of Design, School of Architecture and School of Continuing Education — present a collective showcase of vibrant and heartfelt creative works.All exhibitions highlight the creative journey "from the studio to the gallery". Sketches, manuscripts and production records are displayed alongside numerous artworks, documenting the evolution of ideas and technical explorations. Visitors can closely observe the layering of brushstrokes, traces of sculpting, overlapping print layers and visualized design plans, and gain insight into the behind-the-scenes logic of artistic creation.We look forward to your presence over these 14 days. Come pause, appreciate and engage with the artworks.Reservation Channel\●●●●●●Online reservation and ticket purchasing for the 2026 CAFA Graduation Season is now available. Visitors may book tickets via the WeChat Mini Program, official WeChat account or official website of CAFA Art Museum (please refer to the official website for ticketing rules). Reservations can be made up to 7 days in advance. Daily visitor quotas are limited and will close once fully booked. The museum opens as usual on Mondays throughout the graduation season. All reservations require real-name registration with valid identification documents, and each person may only make one reservation per day. Please arrive at the museum at your reserved time after successful booking. During the graduation season, please enter the museum through the dedicated ticket check channel at the north gate of CAFA by scanning your ID card or other valid documents.Editor-in-Chief: He YishaEditor: Du YinzhuOn-site Photos: Sun Xiaomeng
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: Exclusive Live Sneak Peek | Behind The Scenes: Final Stage of CAFA Undergraduate Graduation Exhibition

2026-06-07

Editor-in-Chief: He YishaEditor: Du YinzhuOn-site Photos: He Yifei
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Child Public Education Reservation Form

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Group Public Education Event Reservation Form

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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.