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第五届全球大学生虚拟策展大赛启动,六大特色赛道开启报名!

2026-08-31

当数字媒介重构展览边界用青年视角解读文化山河中央美术学院联合中共北京市东城区委宣传部以及五家艺术机构第五届全球大学生虚拟策展大赛如约启幕六大特色赛道铺展多元创作疆域以青年创意为笔,以数字展厅为卷让古今文脉相遇,让多元思想发声你的策展构想终将从屏幕走向真实现场丨赛道主旨以策展助力美育,为美育而策展。丨赛道介绍为贯彻落实中共中央办公厅、国务院办公厅印发的《关于全面加强和改进新时代学校美育工作的意见》,推动高校美育创新发展,服务社会主义文化强国建设,中央美术学院自2022年起发起并主办“全球大学生虚拟策展大赛”。作为面向全球高校青年策展人的品牌赛事,大赛自推出以来,已成功举办四届,赛事的举办不仅为全球高校青年策展人提供了跨学科、多维度、国际化的重要展示平台,也在国际高校艺术与跨学科创意领域引发了广泛关注和积极反响,推动了一批优秀青年策展人才的涌现与成长。在延续前期良好反响与学术成果的基础上,第五届全球大学生虚拟策展大赛将从即日起正式启动预报名(正式报名时间待定),持续拓展策展的公共价值与社会想象,激发当代青年的文化创造力与表达力,为构建开放、多元、富有时代感的美育生态注入新的动能。按照大赛安排,共设有六个主题赛道。丨赛道设置1.北京市东城区“中轴园造”赛道本赛道聚焦北京中轴线全线遗产资源,融合东方空间美学与当代场域营造,推动千年中轴文脉的当代艺术转译,鼓励创作者立足北京中轴线全线遗产资源,以南池子美术馆的4.5米×7米实体展区为落地空间,参赛者须在方案中至少关联一处中轴线遗产构成要素,明确展品布局、观众动线及空间叙事逻辑。鼓励通过数字建模、图纸、影像、实物模型等多元手段呈现策展内容,运用当代策展视角解读东方空间美学,推动千年中轴文脉实现年轻化、艺术化的当代转译。2.北京画院“齐白石在海外”赛道齐白石是近现代水墨集大成者,早年间画作流传多国,搭建起东西方审美桥梁。如今北京画院持续在全球多国举办白石专题展,其国际影响力仍在拓展。本赛道围绕“国际视野下的齐白石”征集策展方案。一是从国际传播的视角,回溯齐白石 20 世纪的海外传播脉络。二是从跨文化的视角,挖掘齐白石艺术与全球各国文化的契合点。请各位优秀的大学生策展人发挥出无限创意与智慧,拓展21世纪齐白石艺术海外传播的更多可能性。3.CAFAM广角项目赛道本赛道依托中央美术学院美术馆(CAFAM)二层半的“广角空间”,邀请青年策展人围绕空间特性开展实验性的展览实践。参赛者可自主选择艺术作品,自拟策展主题,探索前沿概念、展览叙事、空间营造与观众体验之间的关系,鼓励融合数字媒介、跨学科方法和公共参与等创新形式,在回应美术馆现场语境的基础上,打造兼具学术深度与实验精神的展览方案。4.青年艺术100赛道 IN² Art Cube移动策展计划城市中有许多可被观看、停留和连接的空间,如:橱窗、移动方盒、街角、开放空间,未被定义的场域,都可以成为艺术发生的现场。本赛道以“艺术橱窗”和“可移动Art Cube”为实践单元,邀请青年策展人关注艺术作品、城市空间与公众之间的关系,提出具有策展理念与实践价值的方案。5.CMAA赛道北京大学“中国现代艺术档案”(CMAA)是1986年在中央美术学院建立、后迁至北京大学的学术项目,以收集、整理、编辑、保存20世纪70年代末以来中国现当代艺术文献,并编制《中国当代艺术年鉴》为主要工作内容。当下AI技术重塑策展逻辑,本赛道围绕AI介入的非人类视角策展实践、虚拟空间创作、艺术档案与策展数据构建、观众偏好介入策展可能以及人机协作等多组议题征集方案,鼓励青年策展人围绕AI协作智能策展展开多元思考与创意实践。6.今日美术馆&王式廓艺术基金会“温故·共生”赛道王式廓艺术扶持计划迎来十周年,本届以“我,我们:共生与回响”为核心,聚焦个体感知与集体意识的交融转化,回望王式廓现实主义艺术精神,探索经典数字化新表达。本赛道以十位年度入围艺术家作品为创作基础,要求围绕“温故・共生”策划展览,鼓励参赛团队运用AI共创、跨媒介叙事、互动装置等多元形式,融合个体创作表达与集体公共叙事,探索适配数字时代的创新策展形式。丨赛程安排1.方案征集:公布即日起—10月15日大赛组委会通过主办单位、承办单位及合作媒体发布大赛信息,参赛者可通过报名通道提交信息,并进入赛事交流群获取大赛资料包。参赛者需登录虚拟策展实验平台(vlam.cafa.edu.cn)制作虚拟策展方案,并于10月15日24:00前通过方案提交通道上传参赛材料(通道入口及材料要求详见文末)。未在规定时间内提交材料视为放弃参赛。2.教学指导大赛方案征集阶段请参赛团队加入QQ赛事交流群:东城区“中轴园造”主题赛道:1092965352“齐白石在海外”赛道:1094489571CAFAM广角项目赛道:484622116青年艺术100赛道:1094498455CMAA赛道:2159062952“温故·共生”赛道:1092975898群内将发布赛事通知并进行实时答疑,对方案策划的各个环节进行教学指导。3.初评阶段:10月16日—10月20日大赛评审专家团队对各个赛道的参赛作品进行评分,从所有符合要求的作品中评选出入围方案,每个赛道10个入围名额,将会有40个方案进入复评。4.入围结果公示:10月21日—10月23日入围结果将通过相关组织机构公众号发布并进行公示。5.复评阶段:10月24日—10月30日通过分赛道线上答辩的形式组织评审专家对入围方案进行评分,入围成绩与复评成绩共同构成方案的最终成绩。6.获奖名单公示:11月1日—11月3日获奖名单将通过相关组织机构公众号发布并进行公示。7.颁奖庆典举办大赛颁奖庆典,根据最终成绩颁发每个赛道的奖项,举办获奖展览方案的线上公众导赏活动。丨奖励机制本次赛事六大主题赛道奖励形式丰富、扶持资源多元,优胜团队可获得实体展览落地、专项创作资金、行业实践推荐等多重支持,所有获奖及入围选手均可颁发官方赛事证书,各赛道对应奖励细则如下:1.北京市东城区中轴园造赛道 设一等奖1组:支持在东城区艺术空间实体落地展出,由场地承担落地费用并配合方案具体实施,配套2万元(人民币)布展制作费;二等奖2组:奖金2000元 (人民币)/组;三等奖3组:奖金1000元(人民币)/组。同时依托校地协同机制,东城区还将面向OPC创作者、创意团队推出系列产业服务,常态化开展政策宣讲、供需对接、落地辅导、优质IP资源共享等产业服务及配套支持。2.北京画院“齐白石在海外”赛道 设一等奖1组:展览方案落地北京画院美术馆展出,场馆全额承担展览落地经费,院内团队配合参赛者优化方案、全程协作完成展览落地执行;二等奖2组:奖金2000元(人民币)/组;三等奖3组:奖金1000元(人民币)/组。3.CAFAM广角项目赛道 设一等奖1组:拨付2万元(人民币)布展制作费,获奖策展方案将在中央美术学院美术馆二层半“广角空间”实体落地展出,配套2万元(人民币)布展制作费;二等奖2组:每组每人奖励1张美术馆家庭年票(每组最多3张);三等奖3组:每组每人奖励1张美术馆个人年票(每组最多3张)。全部获奖方案的数字版本,将于落地方案实施期间,在中央美术学院美术馆一层“锐角空间”、东城区公共文化空间集中展出。4.青年艺术100赛道 IN² Art Cube 移动策展计划赛道 采用项目实践支持机制。所有参选方案将在ARTdodo小程序进行公开展示,并通过青年艺术100平台进行传播推广;优选方案将获得艺术机构、公共空间及品牌方的资源对接与落地机会。组委会将从优选方案中确定实践支持项目,提供每组5000元策展实践支持资金,推动青年策展方案向现场呈现转化。 5.CMAA赛道 赛道共入围6组策展方案,从中评选1组优秀方案落地798艺术区北京大学中国当代艺术档案馆,配套1万元(人民币)展览启动经费,馆方协助参赛者调整方案并落地实施。全部入围选手均可享受配套福利:获大赛官方证书、艺术史专家亲笔签名专著;可参与档案馆实践志愿活动;可申请专家策展指导、官方推荐函;开放馆藏文献、《中国当代艺术年鉴》内部资料查阅权限;赛道长期跟踪创作者成长,并择优在官方渠道宣传推介。6.今日美术馆&王式廓艺术基金会“温故·共生”赛道 获奖团队深度参与本届“提名视·界”展览全流程策划与落地工作,展览经费由今日美术馆、王式廓艺术基金会共同承担,馆方专业团队协同参赛者优化方案,推进展览完整落地执行。二等奖2组:每组奖励1张美术馆家庭年票; 三等奖3组:每组奖励1张美术馆个人年票。丨综合激励1.入选工作坊:组委会将从获奖参赛者中择优选拔参赛者进入虚拟策展大赛创新工作坊,参与前沿课题,孵化创新成果,具体方案另行通知。2.实习岗位:组委会将向优秀参赛者提供多个省市级艺术机构的实习岗位,通过实习且符合招聘条件的参赛者可优先获取正式录用通知。3.专家推荐:优秀参赛者可向组委会申请专家推荐信或推荐评语,在就业申请或学位申请中增加优势。4.校地协同:大赛面向OPC创作者、创意团队推出北京市东城区系列产业服务,开展政策精准宣讲、产业链供需资源撮合、落地项目辅导、上下游配套精准对接、优质IP资源共享等特色服务。丨参赛说明1.参与对象• 面向全球在校大学生征集展览策划方案,专业背景不限,学历层次包含专科、本科、硕士研究生及博士研究生。• 参赛者可选择独立参赛或组队参赛,允许跨校、跨专业组建参赛团队。组队参赛者每组人数不得超过3人,且每位小组成员均为在校大学生。• 每支参赛团队及个人只能选择一个赛道参赛,不得重复提交方案。2.注意事项• 已在往届大赛中获奖的参赛者(包含优秀奖)可以再次报名,但不得使用已获奖方案参赛。• 参赛者需确保个人信息及证件真实有效,提供虚假信息或证件者将取消作品参赛或获奖资格,并向有关部门进行通报。• 所有参赛材料一律不退,请自留底稿。组委会有权对参赛作品进行非商业用途的宣传、出版与展示。• 参赛作品必须为参赛者本人原创,不得侵犯他人知识产权和物权。如有抄袭、盗用、提供虚假材料或违反相关法律法规的,一经发现,即可取消参赛相关权利并自负一切法律责任。• 所有参赛人员在方案策划中坚持正确的政治方向,遵守国家法律法规,不得散布有悖国家法律法规及路线、方针、政策的言论。违反本规定者将取消参赛或获奖资格,并向有关部门进行通报。• 获评实体落地资格的参赛团队不得无故放弃落地展出。如无正当理由放弃,组委会将取消该团队获奖资格,并追回已发放奖金,并保留追究相关责任的权利。丨报名通道1.报名步骤第一步:扫描上方二维码,进入大赛官方报名小程序,填写报名信息。第二步:加入赛事交流群(QQ群:1092740419,关注最新通知,获取参赛资料。第三步:通过官方报名小程序提交参赛材料。)2.提交资料通过官方报名小程序上传以下材料:(1)由虚拟策展实验平台vlam.cafa.edu.cn制作和生成的虚拟展览链接。(2)20页以内的方案说明,以pdf格式呈现。(3)3分钟以内的展览漫游视频,可自行剪辑或配音/字幕。(4)策展人/策展团队简介及成员在校证明材料,以pdf格式呈现。丨赛事组织指导单位全国普通高校毕业生文旅艺术行业就业创业指导委员会主办单位中央美术学院中共北京市东城区委宣传部承办单位中央美术学院艺术管理与教育学院、中央美术学院创新学院、中央美术学院美术馆、北京画院、青年艺术100组委会、北京大学中国当代艺术档案馆、北京今日美术馆学术支持单位中国国家博物馆、广东美术馆、湖北美术馆、湖南美术馆、江西省美术馆、云南美术馆、黑龙江省美术馆、内蒙古美术馆、郑州美术馆、石家庄市美术馆、北京今日美术馆、北京东城文化发展研究院北京大学中国现代艺术档案(CMAA)项目执行单位中央美术学院美术博物馆虚拟策展与美育课程虚拟教研室技术支持平台广州市大湾区虚拟现实研究院丨联系我们联系地址:北京市朝阳区花家地南街8号中央美术学院北区14号楼D202联系电话:+86(0)10-64771910合作咨询+86(0)10-64771971大赛详情及系统操作咨询官方邮箱:vlam@cafa.edu.cn主编 / 何一沙责编  / 杜隐珠
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Exhibition Ongoing | "Sparse And Dense Timespace": Feng Yan: Development and Becoming in Painting

2026-08-28

Feng Yan’s paintings do not stem from evolution within the painterly tradition; instead, they represent a “photographic translation” rooted in film‑based photography and realized through the medium of painting. Here, photography is understood not as a visual style, but as an image‑generating mechanism consisting of negatives, chemical development and inversion structures. Images are not completed instantaneously, but emerge gradually under the interplay of material conditions and time. Against the contemporary context of highly instantaneous, algorithm‑driven image‑making, this imaging mechanism built upon physical processes and irreversible time regains its critical force, enabling images to maintain a trace‑based relationship with reality grounded in what has actually taken place.Following this logic, Feng Yan’s acrylic paintings bring the principle of photographic development onto the canvas. With water, gravity and paint as generative conditions, the artist consciously cedes absolute control over the picture, allowing images to take shape through the interplay of human manipulation and physical laws. This is not a negation of form, but an emphasis on how images come‑into‑being: images do not submit entirely to intention; instead, they gradually materialize amid time, contingency and the behaviour of materials. The reversed whites, reserved voids and light‑dark inversions across the composition echo the inverted structure of photographic negatives, steering painting away from stable positive representation toward a visual condition shaped by the process of development.Before turning to painting, Feng Yan spent years photographing painting‑related scenes inside his studio: the side profiles of canvases, paint streaming along edges, splatters on walls, and wood blocks on the floor. This body of photographs, titled Sides of Painting, establishes a mode of seeing centred on edges, traces and processes of becoming. Rather than taking frontal imagery as its point of departure, painting is approached from how materials leave imprints upon surfaces. Photography here serves no reproductive function; instead, it captures states of generation.Through this approach, painting is situated within a time‑spanning genealogy of images: it resonates both with the layered, repeatedly erased inscriptions on contemporary urban walls, and structurally and texturally echoes ancient cave murals whose visual identities are shaped by long‑term erosion and weathering. These paintings exhibit dual visual affinities: on the one hand, they relate to transient, effaceable acts of marking; on the other, they point to structural configurations slowly formed over time.This approach also carries over into Feng Yan’s photographic series Deep Grass of the Tang Mausoleums. In this body of work, history is perceived not through monumental grand imagery, but experienced through spreading vegetation, surface erosion, and the deferral of visibility. In the back‑and‑forth between photography and painting, the image no longer exists as an end‑product; it is understood instead as a process that unfolds over time, emerges belatedly, and may recede once more. As his painting practice matured, Feng Yan returned once again to photograph the side profiles of canvases and material textures, turning painting itself into the subject of photography and forming a cross‑media cycle. About the Artist  ————————————Feng Yan was born in Xi’an. He graduated from the Department of Photography, Beijing Film Academy in 1989 and currently lives in New York and Beijing. His solo exhibitions have been held at institutions including Suzhou Museum, Tang Contemporary Art, Shanghai Hushan Gallery, Three Shadows Photography Art Centre, and Courtyard Gallery Beijing. His works have been featured in group exhibitions at FOAM Photography Museum (the Netherlands), M+ Museum, Die Neue Sammlung – The Design Museum (Germany), BMW Foundation (Germany), White Rabbit Gallery (Australia), Spencer Museum of Art (USA), The University of Queensland Art Museum (Australia), Monash Museum of Art (Australia), Musée d’Art Moderne de la Ville de Paris, Power Station of Art (Shanghai), OCAT Shenzhen, Minsheng Art Museum Shanghai, Shanghai Centre of Photography, Guangdong Museum of Art, CAFA Art Museum, Tianmuli Art Museum, and HOW Art Museum. His novels The Bounce‑back Sound of Seats was published by Guangxi Normal University Press, and Bedroom by Shaanxi Normal University Press. He has also written numerous novellas and full‑length fictions, including Zhongnan Mountain and Giant Wild Goose Pagoda.Deep Grass of the Tang Mausoleums 02 Archival Pigment Print 201 × 134 cm 2018Deep Grass of the Tang Mausoleums 12 Archival Pigment Print 201 × 134 cm 2018Untitled 8513 Acrylic on Canvas 180 × 150 cm2016Untitled 8625 Acrylic on Canvas 180 × 150 cm 2015Untitled 8704 Acrylic on Canvas 180 × 150 cm 2016 Artist’s Statement ————————————“To me, the existence of matter is surely a miracle, yet it is still not enough to attest to the wonder of all‑being…”Zhongnan Mountain Stones 03 Archival Pigment Print 180 × 120 cm 2011Zhongnan Mountain Stones 04 Archival Pigment Print 180 × 120 cm 2011“My practice consistently revolves around ‘seeing’. Whether in photography, painting or literature, what I concern myself with is not the superficial forms of things, but the traces of time, psychological states and sense of being concealed beneath everyday experience.”Psychedelic Bamboo 04 Archival Pigment Print 120 × 90 cm 2009Psychedelic Bamboo 02 Archival Pigment Print 120 × 90 cm 2009Painting 02 Archival Pigment Print 148 × 98 cm 2014“Art is not a replication of reality, but a way of re‑perceiving it. Through continuous exploration of space, memory and individual experience, I hope to bring forth what ordinarily remains invisible.”垫画的木块 04收藏级艺术微喷140×93cm2014“我试图通过不同媒介,寻找现实中那些被忽略、被遗忘或正在消逝的部分,并在观看与表达之间建立一种关系。”主编 / 何一沙责编 / 杜隐珠
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Today Is End Of Heat

2026-08-23

Today Is End Of Heat
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Exhibition Ongoing | "Sparse And Dense Timespace": "Ma Shuqing: Colours of Time and Space"

2026-08-22

Ma Shuqing: Colours of Time and Space————————————————————————“I believe in painting.” Ma Shuqing utters these words softly, yet he has lived by them for decades.Layers of condensed colour linger on the sides of his works. Each coat builds spatial depth while registering the passage of time. The creative process assumes a visible form through the alternation of hues. Artist Biography ————————————————Ma Shuqing was born in Tianjin. He studied Free Painting at the Academy of Fine Arts Munich, Germany. He currently lives and works in Beijing and Paris. His works have been featured at Busan Art Fair, KIAF Seoul, ART021 Shanghai, Art Basel Hong Kong, Art Beijing, Art Cologne, and the China Oil Painting Biennale, among others. He has held solo exhibitions at institutions including L‑Ancre Gallery, ARTi X3 in Tokyo, Japan, Smudajescheck Gallery in Munich, Germany, Galerie Frank Schlag in Essen, Germany, ZiWU, KENNAXU Gallery, Asia Art Center, Yinchuan Art Museum, Inside‑Out Art Museum, Osage Gallery Hong Kong, Yuan Dian Art Museum, and Klaus Lea Gallery in Munich. His group exhibitions have taken place at Kong Gallery (South Korea), Tokyo Gallery + BTAP, REUTENGALERIE (the Netherlands), OCT Box Art Museum, He Art Museum, South Sea Arts Centre (USA), Museum Ludwig (Germany), PAGE GALLERY Seoul (South Korea), Minsheng Art Museum, Today Art Museum, Kunstmuseum Bochum (Germany), Hive Center for Contemporary Art, GALERIE FAETH (Germany), Galerie Frank Schlag (Germany), Moderna Museet Stockholm (Sweden), and Hubei Art Museum.Ma Shuqing,Workday No.1 Mineral pigment, acrylic medium,110 × 140 cm 2026Untitled CF‑02‑2026, Acrylic paint on wood frame, 106 × 130 cm, 2026 Artist’s Statement ————————————————“The meaning of painting is to make the invisible visible, not to reproduce what is already visible. Painting does not copy the world before our eyes; painting is another world.”“Colour is a painting material burdened with far too many human‑attributed meanings. Only by gradually stripping away these ‘meanings’ in the act of painting and restoring it to a neutral material state can it enter into dialogue with space. In truth, we cannot see space itself. What we see are objects within space.”Untitled CF‑01‑2025‑2026, Acrylic paint, mixed media on wood frame, 60 × 68 cm, 2025‑2026“I care more about the material constituents of a work than its spirituality. If my painting can move one’s vision, that is enough. I do not dare to expect it to stir people’s souls.”“Painting is confined within a bounded flat plane. What the painter confronts is no longer merely a canvas, but a space.”The exhibition is currently on view in Hall 3B of CAFA Art Museum……CAFAM Contemporary Art Forces Series Sparse And Dense Timespace: An Art Dialogue Among Ma Shuqing, Feng Yan and Wang GuangleExhibition Dates: 26 July – 06 September 2026 Venue: Hall 3B, CAFA Art MuseumOrganizer: CAFA Art MuseumEditor‑in‑Chief / He Yisha Responsible Editor / Du Yinzhu Editor / Liu Ziyue
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“广角°——青年实验项目空间”第五期入选方案公布

2026-08-17

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CAFAM展览预告 |"绽放——第三届全国大学生美术作品展览"进京展 央美开展!

2026-08-15

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一展双境,空间赋能艺术对话 | “疏密时空:马树青、封岩、王光乐艺术对话”正在展出

2026-08-13

展览“疏密时空:马树青、封岩、王光乐艺术对话”正于中央美术学院美术馆3B展厅呈现。作为“CAFAM当代艺术力量系列”展览的开篇首展,此次展览策划跳出传统群展/个展型叙事的框架,创新性地搭建起三位创作者个案研究+两两对话碰撞的双重叙事结构:三位艺术家各自拥有专属展厅梳理艺术家近年的重要创作脉络,同时开辟三组对话场域——马树青×王光乐、王光乐×封岩、封岩×马树青,两两结对,同场碰撞。此次策展选择以交叉对照的模式尝试制造开放性命题:当视觉要素在各自画面遭遇时,艺术家的艺术内核究竟叩问着怎样不同的命题;当创作路径看似殊异时,艺术家们内在的艺术追索又暗藏哪些同源脉络;以及同一种视觉形式可以承载多少种精神追问。展览尝试挖掘画面之下的联结与巧遇,用交叉、流动的连接性替代给出确定答案的单线输出,为展览赋予开放与共构的特质,使策展成为一场立体的思辨实践。为落地这一对话性的策展理念,在展陈设计方面同步进行了创作式表达,令空间形态与策展观念相映互文,将艺术家个人空间与对话空间交叉措置,打造出互通流转的多样动线,不同展览区域彼此可视,相互串联;同时,整体的空间借用美术馆三层开阔挑高的建筑特点,以高低错落的尺度,起伏变化的顶面结构,以及多元的入口规划,不断切换观众的观赏视角。漫步展厅,视线随空间转折不断重构,时而平视直面作品,时而纵深远眺跨空间画作,空间迂回多变,用物理空间的流动性、层次感,把抽象的艺术对话落地为可亲身感知的观看体验,让空间本身成为本次艺术对话的一部分。为落地这一创新性的对话策展理念,在展陈设计方面,也同步进行了创作式表达,令空间形态与策展观念相映互文,打造出互通流转的多样动线,不同展览区域彼此可视,相互串联,如同三组对话空间里作品相互映照的关系;同时,整体的空间借用美术馆三层十余米的开阔挑高空间,尺度高低错落,顶面结构起伏变化,多元的入口规划,不断切换观众的观赏视角。漫步展厅,视线随空间转折不断重构,时而平视直面作品,时而纵深远眺跨空间画作,空间迂回多变,用物理空间的流动性、层次感,把抽象的艺术对话落地为可亲身感知的观看体验,让空间本身成为本次艺术对话的一部分。马树青 × 王光乐:同形异路从表面形式上看,王光乐“无题”系列中向内延伸的渐变,如同隧道般吸引视线,而马树青的“凹凸”系列同样在平面上创造出虚拟的视觉深度。形式相似,背后的工作方法与创作理念却不同。同样通过颜料的层层叠加来完成,马树青的更加感性:边缘不规则,颜料在侧面自由流淌、堆积。王光乐的作品边缘却显得平整而克制。动作相似,一个将过程完全敞开,另一个将规则内化于结构。更深层的差异在于创作背后的动机。马树青的“凹凸”系列更多地是对绘画中的空间的探索。让色彩回归物质的本质,与空间对话。如他所言,克莱因蓝之所以美,是因为它成为了纯粹的蓝,而让色彩回归纯粹是极难做到的事。王光乐的作品则指向一个完全不同的追问:重复是否存在?他的答案是否定的。太阳每天升起,但已不是昨天的太阳。一个从绘画本体出发,让不可视的时空在可视色彩中得到显现;一个从观念出发,让重复的劳作本身成为存在的证词。同一种层层覆盖的形式,承载着不同的艺术之道。王光乐 × 封岩:和声与独白两位艺术家的作品都围绕着“痕迹”展开,但痕迹的生成方式迥异。王光乐的作品《红磷》是一个开放的行动。观众在画上划下火柴,每次都是偶发的触碰。每一道划痕都不是艺术家本人的手笔。作品由公众共同完成,是合力的结果,如同多声部的和声——不同的手、时刻、力度,最终汇聚成一片不可复制的印记,同样留下的是火柴的燃烧在观众心里的记忆。封岩的绘画是另一种痕迹,一种独白。他在画布上涂抹、冲洗、刮擦,让颜料留下层层覆盖的印痕。他的笔触带有强烈的情感表现性,是艺术家个人身体行动的直接记录。那些漂白区域以及色调的反转,令人联想到摄影底片的反转结构——痕迹不是一次完成,是在反复覆盖与显现中逐渐沉淀。众人的和声,创造权被交还给偶然相遇的陌生的手;个人的独白,将痕迹的生成内化为身体的行动和偶发的结果。两者都以物质在表面留下的痕迹为最朴素的语言,却指向了内外不同的方向。两种痕迹同样成为时间存在的证词。马树青 × 封岩:印痕与叠层两位艺术家的创作都根植于过程之中。作品的面貌并非预设,在持续的行动中逐步显现。他们关注的不是图像的结果,而是物质本身在时间中留下的痕迹。封岩写作、摄影与绘画。他曾说文字与影像表达的是同样的东西——对时间痕迹的持续关注。仅以他的摄影“绘画之侧”为例:绘画完成后,他将镜头重新对准常常被忽视的部分:画布的边缘、颜料在画布、画板流淌或飞溅的痕迹,捕捉作品在时间中生成的过程。在这里,摄影不是记录结果,而是过程的痕迹在另一种媒介中继续显影。马树青的创作方法却在于反复涂抹。他的“叠加”、“凹凸”、“普罗旺斯”系列等等,虽面貌各异,却共享同一种工作方式——让过程本身成为作品意义的一部分,让物质在持续的叠加中获得自己的形态。正如他所言:“我一直都关注着让作品能多一点时间去尝试,而不是完成它们。”印痕与叠层,是封岩与马树青面对时间的方式。新的艺术发展愈发激发跨界/跨学科思考与思想碰撞,此次具有当代性探索的策展,也正是为了尝试以全新的策展模式推动艺术创作跳出个人表达闭环,挖掘同辈、跨代际艺术家之间的联动价值,引导创作者之间从孤立走向交流共生。艺术家在长久的工作中持续叠加、涂刷,反复打磨的意义究竟为何?我们希望把解读权交给观众,邀请观众来到美术馆,共同完成这场开放的艺术体验与创造。CAFAM当代艺术力量系列疏密时空:马树青、封岩、王光乐艺术对话展览时间:2026年7月26日-9月6日展览地点:中央美术学院美术馆3B展厅主办:中央美术学院美术馆主编 / 何一沙责编 / 杜隐珠编辑 / 刘梓玥
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Start of Autumn Today

2026-08-07

Start of Autumn Today.
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Each treads their own path --How may they converge? On the Essence of Art in Ma Shuqing, Feng Yan and Wang Guangle

2026-08-03

Some bodies of work evolve at their own unhurried rhythm, advancing and retracing along the winding paths of relentless self-examination.Ma Shuqing, Feng Yan and Wang Guangle all approach their practice with an almost obstinate, enduring patience, borne of their unceasing interrogation into the very nature of art. Sparseness and density constitute their shared formal vocabulary; time and space form the dimensions they jointly cultivate. Though each walks a distinct artistic path, they are united by one core conviction: artistic value emerges through sustained, persistent creation.The three artists were born respectively in the 1950s, 1960s and 1970s. Decades of dedicated artistic exploration have enabled each to forge a distinct formal language of their own. Their creations possess both the incisive edge of contemporaneity and a quiet poise tempered by the passage of time—a quality especially precious amid today’s rapidly shifting society.Over just a few decades, China has traversed a developmental journey that took Western nations nearly two centuries to complete. Countless ideas and phenomena were swept away by new trends before they could fully settle and ripen. Fundamental modernist tenets—artistic self-awareness, the purification of mediums, and the intrinsic independent value of form—blossomed fleetingly yet were quickly eclipsed by successive artistic movements before reaching full fruition. Precisely for this reason, abstract art has preserved a rare purity: uncompelled by ephemeral social issues, unmoored from narratives and symbolic codes, it engages with the most fundamental questions of art through prolonged artistic self-refinement.Ma Shuqing centers his practice on the ontology of art. Working concurrently across multiple bodies of work from his Layering series to the Concave-Convex series, he transforms paint into tangible matter that articulates intangible time and space. Feng Yan’s photography evolves from figurative depictions of everyday objects to magnified rock textures and the painterly foliage of his Tang Mausoleum Long Grass series, before shifting into painterly expression. As he shuttles across media boundaries, he turns art itself into a process of photographic development. At the core of Wang Guangle’s practice lies his relentless exploration and visual articulation of fundamental existential questions. From a beam of light in his Afternoon series to the terrazzo floor motifs of his Terrazzo series, he renders time the central conceptual underpinning of his art through unceasing repetitive labor.This exhibition captures a temporal slice of the present, bringing three independent, resolute artistic trajectories into convergence here. Each stands complete on its own, yet they illuminate and reflect one another. This show is not a conclusive summation, but another fulcrum for artistic growth. Through dialogue, these independent artists coalesce into a collective creative force that will continue to evolve and advance in the years ahead. It is our hope that this temporal snapshot conveys to viewers a vital truth: even in the present day, there remain creators who forge their own paths with such unwavering focus and conviction. Artistic growth never ceases. Sustained perseverance constitutes the most unadorned form of artistic vitality—together with space and time, it crystallizes the transmission of pure ideas and spiritual essence.As the inaugural exhibition of the CAFAM Contemporary Art Forces Series organized by the CAFA Art Museum, this show has undergone more than a year of preparation and curatorial planning, and is now presented to the public with a brand-new spatial layout. Separate exclusive spaces are allocated for each of the three artists, enabling full presentations akin to individual solo exhibitions. In addition, a special "Dual Dialogue Zone" is created, where artworks by different artists are displayed side by side within the same venue. This layout facilitates in-depth exploration of their commonalities and divergences, guiding visitors to forge their unique viewing trajectories through sustained contemplation. Balancing individual autonomy and interconnection across the entire exhibition space, the venue delivers an innovative viewing experience.In addition, a dedicated reading area has been set up within the exhibition hall. Visitors wishing to delve deeper into the three artists’ practices may browse their monographs here. We hope this quiet nook can offer visitors a space for reflection and extended contemplation.This exhibition is on view in Gallery 3B of CAFA Art Museum...CAFAM Contemporary Art Forces SeriesSparse and Dense Timespace: An Art Dialogue Among Ma Shuqing, Feng Yan and Wang GuangleExhibition Dates: July 26 – September 6, 2026Venue: Gallery 3B, CAFA Art MuseumOrganizer: CAFA Art MuseumEditor-in-Chief: He YishaResponsible Editor: Du YinzhuEditor: Liu Ziyue
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第三届全国大学生美术作品展览中国画展区圆满闭展

2026-08-03

“绽放——第三届全国大学生美术作品展览中国画展区” 于8月2日闭展。展览分为“时代新象”、“人间世相”、“花鸟文心”和“山河文脉”四个部分,以特定的视角展示了新时代大学生在中国画创作领域的大体面貌。作为中国传统文化中的一个重要艺术门类,中国画在历史的演进过程中逐渐形成了两个主要的体系:一个是文人画体系,一个是中国画体系,两者既代表着不同的历史阶段和审美倾向,也同样回应着不同的历史文化课题。文人画的基础是农耕文明和中国古代社会的等级秩序,其主要表达的对象是关于人与自然的关系、人与自我之间的关系。由于创作主体的原因,文人画很大程度上体现的是文人士大夫阶层的生命感知和审美趣味,这与当时的宫廷画、院体画和民间美术之间,在文化认同和身份认同方面有着不可逾越的鸿沟,当然,这也是近现代知识分子独独推崇文人画的主要原因。随着当代艺术中后现代艺术思潮的反拨,文人画审美趣味越来越势微,民间美术等艺术样式的原发生命活力逐渐被重视。而中国画体系则是属于20世纪初试图以西学救亡图存的时代浪潮的一部分,面对的是当时西方强势工商业文明对中国传统农耕文明的强烈冲击,因此,中国画体系自诞生起,其核心历史课题便更倾向于表达人与社会的关系,而不是传统文人画的人与自然的关系和人与自我的关系。从外在形态上看,中国画寻求表征的是中国传统文化的某种现代生存样式,但却试图在此过程中尽可能保留文人画的审美意境、笔墨特征等特点。经过近一个多世纪的实践,中国画体系中引入了西画的现场写生观念,透视空间、质感表达、体积塑造、光影效果、主观色彩等西式技法,在中国画的人物、山水、花鸟等领域都产生了广泛的影响。然而,类似透视空间、逼真描摹这样的艺术表达方式是以主客体对立的方式来看待世界的,这与中国传统文化中天人合一的宇宙观大相径庭。随着现代社会的发展,工商文明对人类物化程度的不断加深,主体和客体的位置对调,人类无时无刻不处于外在的商品逻辑和社会机制的双重规训之下,因此艺术表达的主题自然重新转向了人与自然、人与自身之间的关系,这不仅仅是对过度物化的逃离,也是一种反抗和坚守。此外,当代的中国画还面临着一个重要的时代课题,那就是它还属于民族复兴浪潮的一部分,肩负着向全世界弘扬中国传统文化的部分责任,这种历史课题要求中国画具备基于本土传统文化核心特征的国际化艺术样式,这对每一位中国画画家都提出了更高的要求。在本次展览的参展作品中,从题材上看以山水和人物画居多,从样式上看彩墨占据主流,从技法上看工笔小写意占绝大多数。作品大多尺幅巨大,借助图像便利,进行精雕细琢。画面描绘有条不紊,冷静理智,形象地隐喻了高速发展却又秩序井然高度规训化的当代社会。这些作品既可以看到基于当代视觉经验和生命体验的鲜活表达,也可以看到基于传统文脉的代际传承,这些作品大都散发着一种蓬勃的生命力和自信心,这正是大学生艺术家们对时代感召的具体而鲜活的回应。当然,更希望中国传统绘画中所蕴含的人文精神和独特魅力,能够随着中华民族的全面复兴而传遍全世界。“绽放——第三届全国大学生美术作品展览”中国画展区展览时间:2026年7月7日-8月2日展览地点:中央美术学院美术馆1层展厅、2层B展厅、3层A展厅、4层展厅主办单位:中国美术家协会承办单位:中国文联美术艺术中心、中央美术学院主编 / 何一沙责编  / 杜隐珠撰稿 / 红梅编辑  / 刘梓玥
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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

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

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.

Event Booking Form

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
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