2026年4月15日下午，十余位专家学者汇聚中央美术学院美术馆会议室，召开“李行简艺术探索研讨会”。此次会议是“峰高无坦途——李行简捐赠作品展”的配套学术活动。会议由中央美术学院党委常委、副院长于洋教授及中国人民大学艺术学院黄华三教授共同主持。本次研讨会，发言嘉宾围绕李行简先生的艺术传承、创作理念、写生实践、作品风格演变，以及其捐赠行为的学术价值与文化意义等核心议题展开了深入研讨，对于李行简先生在建构李可染山水画教学体系中的重要作用，践行“苦学派”的艺术求索精神，以及李行简先生在艺术创作中保持开放胸怀，勇于创新的精神给与了高度肯定。于洋  中央美术学院党委常委、副院长主持人于洋先生首先介绍了本次参会的各位专家，并对于本次会议的意义及目的向大家进行了介绍。他表示李行简先生此次无私地向母校中央美术学院捐赠他的260余幅中国画作品和3000余幅速写作品，应该说是中央美术学院美术馆有史以来体量最大的一次捐赠，确实是分量非常重的一次展览。李行简先生作为美术学院培养的重要艺术家，李可染山水画教学体系重要的参与者、构建者和实践者，这些作品也是美术学院学脉传承和学术研究的宝贵财富。本次研讨会特别围绕李行简先生的艺术传承、创作理念、写生实践、风格作品的演变，包括本次展览、捐赠项目的学术价值和文化意义展开研讨。黄华三  中国人民大学教授主持人黄华三老师作为家属代表，介绍了本次捐赠项目和研讨会的缘起和李行简先生对于美术学院的深厚情怀、无私的捐赠态度，以及在捐赠项目办理过程中提供帮助的各位师友。希望通过本次研讨会梳理李行简先生与中央美术学院山水画教学的意义。柳妍 北京美术家协会驻会副主席兼秘书长（代范迪安主席致辞）北京美术家协会驻会副主席兼秘书长柳妍受中国美协主席、北京美术家协会主席，中央美术学院原院长范迪安先生的委托，代为致辞：范迪安先生在致辞中肯定了李行简先生对于中国山水画发展的重要历史贡献，并对于李先生的无私捐赠行为表示敬意，他指出“大道之行在于行稳致远，大道至简在于追求本真”，展示和探讨李行简先生的艺术是为了在新时代更好地把握传承与创新的辩证统一，推动中国画与中国美术朝向高质量发展。他认为，进入新中国的山水画艺术面临如何在弘扬优秀传统的基础上与时俱进的新课题，李行简先生以李可染先生的艺术精神为动力，以李可染先生的创作方法为楷模，在山水画的题材内容和笔墨语言上开拓出崭新的境界。他评价李行简先生艺术探索的三个鲜明特点：一是胸怀宽远，具有强烈的国家情怀，作品透露出博大的境界和时代的风貌，折射出中国山水的精神内涵和文化气象。二是深入生活与自然，坚持写生创作，以大量的对景写生和临场创作积累经验，在与大自然的深入对话中汲取题材，经营画面，构成意境，别开生面。三是坚持锤炼笔墨，追求艺术品质，他秉承李家山水苦学派的信念，集传统笔墨精华，师可染先生精要，形成了笔线老辣、墨色朴茂、意韵醇厚、气象清新的艺术风格，为山水画的传承创新树立了时代的标杆。中国美术家协会秘书长王平发来书面致辞，他认为作为李可染先生的学生，李行简既师其迹，亦师其心，既传承了“李家山水”的精神谱系，又以鲜明的个人风格和深厚造诣，在其中留下了独具分量的一笔。他概括了李行简先生艺术创作的几个重要特征，一是“承李可染衣钵，辟自我新径：新山水画传统的开拓先锋”，二是“素描赋能笔墨：造型基础与新山水画表现力的深度融合”，三是“汲取文人画精髓：以书入画与意境营造的高度自觉”，四是“峰高无坦途：艺术攀登者的永恒追求”。他认为李行简先生将奖励金捐赠中央美术学院，设立“李行简写生奖”，这份“取之于艺，用之于教”的情怀，正如其为人与艺术一样，于朴素中见崇高。他以一生实践告诉我们：艺术之路从无坦途，而“峰高无坦途”，正是每一位艺术攀登者应有的姿态。王鲁湘 中国国家画院研究员、知名主持人、文化学者王鲁湘先生曾在李可染艺术基金会创立之初与李行简先生有过共事。他认为当时年轻、聪慧、苦学的李行简先生是“李家山水”这一美术史流派中的一位主力干将。他通过回顾20世纪50年代初期中国画发展的艰难处境，钩沉了李可染先生与张仃、叶浅予组成中国画革新领导小组进行山水画革新，以及20世纪90年代初对于“李家山水”的争论，分析李行简先生在李可染山水画创作及教学体系当中的重要实践和继承者的作用，同时提及了20世纪90年代之后李行简先生忽然沉默于画坛的复杂心态。通过李可染先生勉励李行简先生的“不恃才、不躐等，困而知之，做苦学派。”他说学生中李行简先生才情最高，“在这些人中间对于李可染先生继承得最好，学习得最像，实践得最认真，创作量最大的就是李行简，本来当时他是作为李家山水要扛大旗的一个人，突然之间好像变得沉默了。”三十多年来好像成为了美术史中的失踪者。通过本次展览和捐赠项目所看到的作品，他认为，首先要对他作出绝对肯定，如果没有他对于李可染的忠诚追随，“李家山水”靠李可染一个人是不能完成体系并构建的，他是第二梯队中间最主要的接棒手，“李家山水”我们放的时间越长，我们可能越能客观公正的去评价它在中国山水画史上的地位和它的贡献，等这一天到来的时候，李行简先生一定会获得他在中国20世纪美术史上应有的地位。崔晓东 中央美术学院教授、炎黄艺术馆馆长崔晓东先生作为李行简先生的学生和同事，回忆李行简为人坦荡正直、宽厚谦和，颇具君子之风，令他由衷崇敬。他指出，“李家山水”有两大开创性成果：一是山水画对景写生，以毛笔宣纸直面自然创作，革新了传统创作方式；二是将光线融入山水画，拓展了中国画的表现维度。而李行简完整传承并完善了“临摹—写生—创作”的教学链条，如今全国山水教学普遍重视写生，源头便在于此，这堪称20世纪中国山水画发展的重大突破，也是中央美术学院的重要教学成果。崔晓东强调，李行简是得李可染真传的继承者，深受李可染器重。李可染积墨技法难度极高，需反复积墨却不失通透，至今鲜有人能达到其高度，唯有李行简的技艺最接近恩师。20世纪80年代后，李可染到校授课减少，很多后辈学习“李家山水”的诸多技巧，均得益于李行简的传授，足见其在“李派山水”传承中的核心地位。针对传统继承问题，崔晓东提出当下需重视三大传统：中国古代传统、近现代新文化运动传统及新中国美术传统。其中新中国美术传统成就辉煌，山水画领域以李可染体系为代表。他认为当前画坛存在碎片化的问题，李行简捐赠的作品为传承传统提供了珍贵范本，期待美院能妥善保存、充分利用这批资源，助力传统艺术的传承与发展。裔萼 ‌中国美术馆研究部主任裔萼女士指出，本次展览与研讨让我们得以重新认识李行简的艺术成就。她认为，以往美术史书写常将其归于“李家山水”脉络，虽便于归类，却也往往模糊了艺术家自身的独立探索与个性价值。她强调，若仅停留在李行简六七十年代与李可染风格相近的创作，则难以充分评定其艺术地位。然而展览中一批代表性作品，如《峨眉山老洞遇雨图》《雨中小巷》《多少楼台烟雨中》等，展现了他独特的“轻、雅、逸”风格——不同于李可染的“满、重、黑”，李行简更擅长捕捉雨中、雾中清雅朦胧的诗意，体现了其个人的心性与才情。尤为值得注意的是，李可染晚年向文人写意传统的回归，与李行简在八九十年代对自我风格的追寻和确立，均体现了艺术家对自我表达与人格彰显的追求。因此，裔萼认为，应将李行简置于更完整的美术史视野中加以考察，不仅视其为“李家山水”的传承者，而张玉梅  《光明日报》文艺部高级编辑张玉梅女士分享了她观看展览的深刻体验。她以“沉默的坚持、朴素的深刻”概括对李行简艺术的整体印象，认为其作品能以真诚的创作状态跨越时空，深深感染观者。她着重指出李行简在技法上极为扎实，尤其在山水画的肌理、疏密与黑白关系处理上经得起推敲，体现出将简单之事做到极致的坚持。其写生作品如《桅墙林立》展现出对光影、色彩与细节的巧妙把握，源于深厚的素描功底。她强调，素描不仅是技法训练，更是一种观察方式的培养，李行简正是在“看”与“见”之间展现出独特的视觉智慧。展览名“峰高无坦途”，则既契合李行简的艺术追求，也与李可染先生的艺术理念高度一致，体现了艺术家攀登艺术高峰的刻苦与真诚，这种不迎合浮躁市场、专注坚守的态度，值得当下创作者与研究者学习。岳黔山 中央美术学院教授岳黔山先生结合自身经历与学术思考，回忆早在1982年他便通过老师王振中了解到李行简，得知其是李可染最欣赏的学生之一。1986年到北京后，他更是多次接触李行简，对其艺术始终保持关注。岳黔山指出，李可染学派对中国近现代山水画发展贡献卓著，其核心是“写生即对景创作”，李可染将西洋画素描逆光与中国画留白、焦点透视与散点透视巧妙融合，融入齐白石的沉稳用线与黄宾虹的积墨技法，形成独特风格，其“为祖国山河立传”“东方既白”的理念，深深影响了李行简等弟子。他提到，李可染教学范围有限，其艺术与教学理念主要靠李行简、黄润华、张凭等人传承，自己作为再传弟子也深受其益。他强调，李行简并未局限于李可染的艺术样式，自20世纪80年代初便主动探索突破，减少积墨、增加线条运用，注重图式留白，形成自身特色。同时，李可染学派具有“继承不盲从”的特质——包括李宝林、龙瑞、姜宝林、王镛等弟子均受益于李可染，却都形成了自身风格，李行简先生亦是一样。岳黔山高度肯定李行简捐献作品的举措，认为这些作品为传承李可染学派的教学思想与艺术理念提供了宝贵素材，对中央美术学院的中国画教学乃至整个山水画领域的传承与发展，具有不可替代的学术价值。张鹏 中央美术学院学报编辑部主任、《美术研究》杂志社社长张鹏女士高度评价李行简为“守正创新的典范”。她指出，李行简将李可染“苦学派”艺术理念内化于心、外化于行，是这一理念坚定且彻底的执行者。在创作与教学中，他始终坚守中国画本体，不迎合、不盲从，以“峰高无坦途”自勉，践行着央美学派“学到手再变”的传承精神，守住了艺术的根与魂。在创新方面，张鹏认为李行简的创新是守正基础上的自然生发。他以三千余幅速写积累展现出的虔诚创作态度，这在碎片化时代尤为珍贵。其作品虽尺幅有大小，却始终蕴含大山大水的气象与境界，“景小而境大，象括而意远”。部分作品在笔墨用线、形式表达上呈现出的现代性探索，也为研究其艺术脉络变化提供了切入点。张鹏回顾与李行简的接触，称其为人平和温润，作品亦具浸润之力，这种“不张扬”的力量正是苦学派精神的深层体现。她呼吁学界应系统梳理“苦学派”的传承链条，深化对李行简的研究，不仅为还原一位内敛而伟大的艺术家，更为当代山水画提供文脉清晰、治学严谨的典范。她强调，中央美术学院学报等学术平台应秉持敬畏之心，远离功利，深耕细作，在“大历史”中看见“人”的价值。王海鲲 李可染画院常务副院长王海鲲先生以家族传承与师承的双重身份，深情回顾了李行简先生的艺术人格。他指出，李行简为人温文尔雅，教学严谨认真，其艺术风格深受性格与生活环境影响。相较于李可染历经战乱、笔法中带有生涩与开创性的力量，李行简的绘画更显平和、雅致，尤其在留白、色彩与画面构成上体现出由内而外的温润气质。他特别提及李行简后期的创作，认为经历时代的“撕裂”后，反而让他的艺术迎来新的突破。其后期速写融入版画平面化效果与构成感，展现出回归内心的创作状态，极具启发意义。他还强调了李可染师徒写生时“约法三章”的创作态度，认为这种拒绝接待、专注写生的真诚，是作品动人的关键。正如李可染“狮子搏象”的创作理念，艺术家需集中精力、真诚投入，才能创作出有温度的作品。张鹏  《美术》杂志社副主编张鹏先生从美术史研究与学科建设的角度，阐述了李行简先生捐赠作品的深远意义。以往对李行简的认知常限于“李可染的延续”，而面对其跨越素描、速写至创作的全面文献，我们得以深入剖析其从师承到个性化探索的完整“路径”。这种“路径化”研究，对理解20世纪中国画丰富多元的演进脉络至关重要。他指出，李行简的艺术道路具有鲜明的时代特点与教学参考价值。与深入传统的李可染不同，李行简更侧重于以“对景写生”作为进入中国画体系的核心方式，其大量运用不同媒介的写生与转化过程，为今天的艺术教育提供了生动的图像教材与实践范本。在当下重提“深入生活”的语境中，其真诚、扎实的创作态度尤具启示。他也强烈呼吁学界应以此为契机，启动对李行简艺术的深度专题研究，建议可设为博士生课题，尽快产出扎实的学术成果。这不仅是为了补全“李家山水”乃至中央美院学派的研究链条，更能为反思当前中国画创作与教学中面临的现实问题，提供源自历史经验的重要参照。于跃  中央美术学院书法学院教师于跃先生作为学生深情回顾了李行简先生在山水画教学中的探索与实践。他回忆，20世纪80年代末，当“李家山水”面临外界质疑时，李行简与黄润华等先生并未随波逐流，而是选择以“沉默的智慧”深入传统，对教学进行了系统性改革。他们特别强化了以范宽、石涛、龚贤为重点的临摹课程，旨在通过范宽锤炼深入，通过石涛激发书写，通过龚贤掌握积墨，并要求学生“不起稿，下笔直取”，以此训练精准的观察力与笔墨控制力。他特别提到李行简的写生教学，其核心是将传统临摹的“下笔直取”转化为写生实践。在湘西写生时，李行简常引导学生以石涛等传统技法对应实景，既传承“李家山水”基础，又融入对传统的再思考，彼时他的个人艺术语言已趋于成熟，可见其在传承中求变的探索。他结合自身当前在书法学院的山水画教学实践证实，这套源自八、九十年代，强调“不起稿、下笔直取”与“笔墨转化”的教学方法，在面对零基础学生时依然成效显著，展现出其历久弥新的生命力与高效性。这促使我们回望与反思，李行简先生那一代教育者所构建的、将传统临摹与对景写生深度融合的教学体系，对今天的中国画教学仍是极为宝贵的财富。郑弌  中央美术学院教授郑弌先生分享了对李行简艺术价值的独特见解。他表示，此次观展让他意识到，李行简不仅是“李家山水”的继承者，更是这一体系形成过程中的重要参与者，其艺术探索拓展了“李家山水”的整体面貌，而20世纪八九十年代对“李家山水”的片面诟病，实则源于认知局限。他从两个微观角度展开分析：在构图“满”的特征上，李可染的“满”侧重于对自然秩序的重构，通过积墨层次与画面秩序的搭建实现；而李行简的“满”则带有松动感，他消解了山水主体与背景的严格界限，常采用画面偏置的构图方式，通过主体与背景的互文塑造意境，这与他的为人处事风格高度契合，体现了中国画主体性的重建与精神性复归。在光线运用上，李可染将外光纳入画面秩序构建，而李行简的用光经历了从外光到内光的转向。受岭南画派影响，其早年作品外光色向与明度变化丰富，且强调外光的流动性，与画面的“满”形成互文；八九十年代后，这种流动性演变为写意的意境表达。郑弌认为，尽管李行简不同阶段画面表达有差异，但背后的创作逻辑与价值取向始终恒定，相关研究仍有广阔空间，此次研讨会应成为深入研究的新起点。赫英海  北京美术家协会中国画艺委会委员赫英海先生从艺术感受与教学反思的角度分享了他的观展心得。他认为，李行简的山水作品之所以动人，在于其笔墨与构图背后所流露出的“诗意心灵”，如《多少楼台烟雨中》一作，便凝练了艺术家多年探索后所找到的、承载个人情怀的绘画语言。他同样强调了对李行简艺术展开系统性研究的迫切性，并以1972年的小幅速写《棚前晾衣架》为例，指出其虽为日常小景，却在层次、黑白与点景中见出宏大气魄与对山水画的深刻理解，值得在技法与观念层面深入探究。针对当下中国画教学，赫英海对“下笔直取”的教学理念感触颇深。他直言，如今部分师生过度依赖摄影、高清大图等工具，甚至在写生时离不开电子设备，这种现象值得警惕。他强调，写生的核心是“写其生意”，过度依赖工具会弱化对现场情境的感知，唯有直面自然、用心体悟，才能真正捕捉到艺术的格调和诗性，这也是李行简艺术实践留给当代的重要启示。李垚辰  中央美术学院美术馆直属党支部副书记李垚辰先生分享了本次捐赠与展览项目推进中的感动与感悟，对各位专家及李行简先生表达了诚挚感谢。他表示，李行简先生主动提出无偿捐赠作品，且慷慨允许工作人员自主挑选，最终精选260余件作品，完整留存其艺术成长脉络，这份无私令人动容。他提及，该捐赠项目从2022年推进至2026年，过程艰辛。当时85岁的李行简先生远在加拿大，与家人一同克服疫情困难，将所有捐赠速写逐页扫描、分类整理，这份严谨与真诚令人敬佩。李垚辰强调，此次捐赠的作品量足且完整，是中央美术学院培养的艺术名家的珍贵个案，蕴含诸多待挖掘的价值。美术馆计划将作品出版公之于众，助力社会重新认识这位低调内敛的艺术家。他表示，李行简先生践行“峰高无坦途”的探索精神，专注艺术、不慕虚名，美术馆将肩负历史责任，做好后续工作，不负先生嘱托，传承其艺术精神。相关展览主编 / 何一沙责编  / 杜隐珠编辑  /  张妮拍摄 / 孙霄萌

CAFAM学术季·行业论坛执藏与传布公共语境中的美术馆收藏及展示时间：2025年9月19日（周五）9:30-18:00地点：中央美术学院美术馆会议室论坛简介此次论坛为 2025 年 CAFAM 学术季的系列活动之一，以“执藏与传布”为主题，从中国的美术馆发展史着眼，探索公共美术馆对收藏的展示陈列历史，既溯源早期美术馆的藏品陈列探索路径，也与当下推进藏品陈列的公立美术馆和民营美术馆进行经验交流，旨在从美术馆理论及行业发展的角度，积极推动中国的美术馆藏品研究与陈列事业发展。论坛分为三部分，议题分别为“早期陈列与经验思辨”“多维陈列与研究拓展”“专题陈列与机构体系”。同时，此次论坛，也是“流动的艺域——中央美术学院美术馆藏国际艺术交流研究展”系列学术活动之一。论坛流程 开场辞靳军中央美术学院美术馆馆长第一场：早期陈列与经验思辨 主持易玥中央美术学院美术馆策划研究部副主任发言嘉宾李颖天津美术馆副馆长《保存美术物品——从天津市立美术馆藏品看严智开的收藏观》丁雅力江苏省美术馆展览策划与研究部文博馆员《基于经典的再叙事：国立美术陈列馆的展陈谱系与当代实践》牛广余苏州美术馆策展人《百年回望——苏州美术馆的早期收藏与陈列》徐梦可中国美术馆副研究馆员《中国美术馆早期陈列与“美术馆”概念的中国化》樊晓春上海美术馆副研究馆员《奠基之路——20世纪早期的上海美术馆收藏与陈列（1986年-2000年）》刘希言中央美术学院美术馆副研究员《馆藏陈列——20世纪我国美术馆发展的一条隐蔽线索》第二场：多维陈列与研究拓展 主持李垚辰中央美术学院美术馆典藏部主任发言嘉宾胡莺湖北美术馆副馆长《湖北美术馆固定陈列展的策划实施及相关学术体系的建构》潘旭辉清华大学艺术博物馆典藏部副主任《人文日新——清华大学艺术博物馆藏品体系与特色》

Wuhan Art Museum  Chen Yongjin「In today's world where digitalization and globalization are intertwined, art museums are facing multiple challenges: the fragmentation of audience needs, the complexity of social issues, and the diversity of cultural identities. This has made the mission of art museums go far beyond the traditional preservation and display of artworks, turning them into platforms for dialogue on social issues and hubs for knowledge production.Artistic innovation in art museums drives social innovation and strengthens cultural confidence and self-improvement.To push China's art museum cause to a new level and contribute Chinese strength to the diversity and innovation of global culture and art, we need to summarize practical experiences in running art museums.Over the years, Wuhan Art Museum has reconstructed the public value of art museums through two core strategies: diversified curation and knowledge renewal. It has transformed from "single display" to "multi-dimensional interaction" and from "preservation of culture" to "empowerment of society". It has always maintained a forward-looking vision and innovative posture, and solidly fulfilled the historical mission of cultural inheritance and innovation.」1.Originality: Diversified Curation and Rich ExperiencesOriginality: Diversified Curation and Rich ExperiencesRooted in the cultural context of central China, Wuhan Art Museum has, through 11 years of development, gradually formed a unique curatorial thread: relying on the city, guided by themes, focusing on the contemporary era, and expanding to an international scope; while paying attention to classics, ink painting, contemporary art, and local works.Wuhan Art Museum demonstrates cultural confidence in its thematic expression. These interwoven and mutually inspiring threads constitute the systematic curatorial framework of Wuhan Art Museum.Curating based on traditional cultural context1、Curating based on traditional cultural contextTradition is the foundation of art museums' cultural practices. Since the opening of the new Wuhan Art Museum in 2008, the museum has been rooted in the context of traditional Chinese painting and implemented the guiding ideology of creative transformation and innovative development. It has created a series of exhibitions featuring masters, successively launching exhibitions of works by 20th-century Chinese painting masters such as Wu Changshuo, Qi Baishi, and Fu Baoshi, presenting classic works in the history of modern and contemporary Chinese art.In 2011, out of considerations on cultural missions and ink-wash language, Wuhan Art Museum initiated the academic project "Ink Writings: Series of Research Exhibitions on Contemporary Ink Art". This project showcases the rich forms of ink-wash art in the contemporary context. Up to now, 8 sessions have been successfully held, making it an exhibition brand that continuously focuses on the development of Chinese contemporary ink art.Curating rooted in local ground2、Curating rooted in local groundThe curation of Wuhan Art Museum has always been rooted in local culture and based on the spiritual context of the city. Adhering to the mission of "Art beautifies a city, and art enlightens beautiful souls", Wuhan Art Museum has curated a series of strategic exhibitions that uniquely embody the spirit of Wuhan. It explores Wuhan's distinctive identity as a thoroughfare connecting nine provinces and its rich cultural context, organizes exhibitions of its collection, persists in activating its collections to serve society, promotes domestic and international tours, and enhances mutual learning about urban humanities and art through sister cities and sister museums.Curation independently planned with concern for youth3、Curation independently planned with concern for youthYoung artists are the future and hope of the art ecosystem. Based on this consideration, Wuhan Art Museum has focused on creating an independently curated brand, "Starlight Project: Research Exhibition of Young Artists". Currently, the ninth edition is being planned to present the latest experimental achievements of artists in multi-category contemporary art creation and conduct discussions. In recent years, Wuhan Art Museum has collected hundreds of works by participating artists.Supporting young artists not only promotes the future development of art but also injects new vitality into the art museum, building a system integrating creation, research, collection, and promotion.Embracing the Future: Diversified Curation4、Embracing the Future: Diversified CurationIn the current context where digital civilization and urban renewal are intertwined, biennales possess irreplaceable cultural attributes. In 2022, the Qintai Branch of Wuhan Art Museum officially opened to the public, transforming the abstract ancient beautiful story of "seeking a soulmate through the melody of high mountains and flowing water" into a tangible art space.Unveiled alongside this art museum was "Art as a Thoroughfare – 2022 Wuhan Biennale". It is an international biennale that integrates an international perspective, Chinese sentiments, and Wuhan characteristics, inviting artists from 24 countries to participate and receiving a total of over 600,000 visitors.The 2024 Wuhan Biennale takes "Urban Fluidity" as its theme, rooted in the Yangtze River civilization and the civilizations of world powers. On the one hand, it uses "fluidity" to imply the water culture characteristics of Wuhan, which is located in the middle and lower reaches of the Yangtze River; on the other hand, it emphasizes the diversity, innovation, and sustainability that Wuhan, as a national central city, presents in culture, science and technology, education, and other fields.2.Innovation: Knowledge Renewal and Future OutlookBuilding a multi-dimensional cooperation systemThe rapid development and extensive application of digital technologies have significantly driven social and cultural progress as well as economic transformation, while also providing brand-new means and vast space for artistic creation. Against this backdrop, Wuhan Art Museum actively promotes the resonant development of regional culture and world art, continuously updates its knowledge production mechanism, and 始终 maintains an open attitude and exploratory spirit towards new ideas, new technologies, and new possibilities.1. Building a multi-dimensional cooperation system and creating an open art communityCarrying out cross-border cooperation is an important way for contemporary art innovation. Wuhan Art Museum has continuously expanded its professional boundaries and social functions through cooperation with universities, research institutions, etc. For example, "Beyond Exhibition Language: Art and Healing" is an attempt of cooperation between Wuhan Art Museum and Wuhan Union Hospital, which not only enriches the exhibition content of the art museum but also provides more diversified interactive experiences for different groups of people. In the future, Wuhan Art Museum will continue to explore the integration of art with other disciplines and further expand the boundaries of the art museum.Creating an Open Art CommunityIn conjunction with the urban renewal plan, Wuhan Art Museum has integrated aesthetic education activities into the renovation of neighborhoods. Meanwhile, it has built Hubei Province's first community art museum, becoming a hub for aesthetic education and community development in the new era. Relying on the museum's collection resources, it has realized the sharing and co-construction of art, making art accessible to the general public.While continuously strengthening services for the grassroots and the public nature of art, Wuhan Art Museum has made full use of modern technology to enhance the sharing of online resources. Through forms such as online exhibitions and lectures, it has broken the limitations of time and space, achieving positive interaction between online and offline platforms.Digital Empowerment for Art Renewal2、Digital Empowerment for Art Renewal, Jointly Painting the Urban Cultural LandscapeThe integration of art and technology is becoming an important force to stimulate human creativity in the era of artificial intelligence. Digital art is increasingly becoming a hot topic in the field of public culture.The "2024 Wuhan Biennale" has actively expanded the definition of art, introducing artistic creations that combine AI technology and ecological concepts into the exhibition with a more open attitude. In terms of promotion, it has utilized digital technologies to build a new field of two-way communication between humanities and science, providing audiences with brand-new viewing perspectives and thinking paths."Urban Fluidity" 2024 Wuhan BiennaleIn recent years, Wuhan Art Museum has deepened the public education concept of "lighting up urban imprints with art" and built a national aesthetic education system in the new era, reaching more than 300,000 people annually. The public education project "Lighting up the Stars' Children with Art – The Decibel of Art" has gathered social public welfare forces. Through diversified methods such as subject assistance and cultural and creative promotion, it helps special groups boost their confidence in the infiltration of aesthetic education projects and innovates effective carriers for cultural education.Wuhan Art Museum has always promoted the in-depth integration of art, culture and tourism, adhered to "promoting tourism with culture and highlighting people through tourism" as a urban hotspot, improved the urban cultural quality, and continuously innovated the implementation plan of public aesthetic education.Culture and tourism jointly paint the urban landscapeThe practices of Wuhan Art Museum have demonstrated that "original creativity and innovative drive" are not only catalysts for artistic innovation, knowledge production, and social participation, but also the code for the renewal of art museums. Through the integration of locality and globality, the interweaving of technology and humanity, and the dialogue between art and the public, art museums are transforming from cultural containers into cultural engines.In the future, this engine will continue to drive the flow and regeneration of urban civilization, becoming a hub connecting history and the future, the local and the global, as well as art and life. In this way, art museums will better play a leading role in serving economic and social development and meeting the people's needs for a high-quality life.Introduction of the Speaker▏Chen YongjinChen Yongjin graduated from Hubei Institute of Fine Arts. He started working at Hubei Academy of Fine Arts in 1994, serving as the director of the Oil Painting and Watercolor Creation Research Office. In 2014, he took up a position at Wuhan Painting Academy as its president. Since 2020, he has been working at Wuhan Art Museum as the curator, holding the title of First-Class Artist (with a professional and technical rank of Level 2). He also serves as the Deputy Secretary-General of the Watercolor Art Committee of the China Artists Association, Vice-Chairman of the Hubei Artists Association, a distinguished professor at Hubei Institute of Fine Arts, and the Exhibition Director of the 2024 Wuhan Biennale. His works have been exhibited at institutions including the Shanghai Museum, National Art Museum of China, Chiba Museum of Art, Guan Shanyue Art Museum, Shanghai Art Museum, and Hubei Museum of Art.∨Chief Editor / He YishaExecutive Editor / Du YinzhuEditor / Wang YifanText Collation / Li Ze

Tang Xin, Artistic Director of Taikang Art Museum「The Taikang Art Museum is committed to being a professional yet welcoming art institution,with a focus on art created in China following the country's entry into modern development.Their primary mission is to utilize art as a means to narrate the artistic story of contemporaryChina to the public, serving both artists and art enthusiasts alike. This vision showcases themuseum's profound understanding and appreciation of the value of art, as well as its emphasis onpublic art education, aiming to bridge the gap between art and the public. In her speech, TangXin, artistic director of the Taikang Art Museum, shares insights into the museum's mission andfuture vision.」1.Building A Knowledge Production FrameworkThe Taikang Art Museum, formerly known as Taikang Space, boasts a 20-year history ofacademic art and collections. The museum systematically explores this tradition and iscommitted to developing its knowledge production system as an evolution of contemporaryChinese art. TangXin emphasizes that a museum's mission essentially revolves around aestheticvalues and value systems and that these values are interconnected with people. Therefore, theprofessionalism and friendliness of the Taikang Art Museum are reflected in both theprofessional construction of its value system and its friendly interaction with the public. Thecurrent framework is based on the timeline "1905-1942-since 1977", focusing on the history ofart in China since its entry into modern development. Within its framework, the museumorganizes its system into three major research questions and working methodologies.1) Three Core QuestionsTaikang Art Museum structures its work around three core questions: medium, ecology, andinstitutionality. These three key issues were gradually distilled and summarized over the courseof twenty years of practice and project development at Taikang Space.In terms of medium, it has been a central focus since 2012. The museum has paid attention toboth traditional media, such as ink painting and printmaking, and new media, includingphotography, video, performance, and installation. Returning to the essence of art, it explores thelocalized development of diverse media within the Chinese localized context. Over the pasttwenty years, 52 projects have been conducted around the topic of the medium, withphotography treated as a special case for dedicated collection and research.In terms of ecology, the museum examines how societal power and factors shape artisticcreations and artist communities within the evolution of China's art ecosystem. The ecologicalquestion was raised in 2013, and 74 projects have been carried out in response to this theme.Lastly, regarding the issue of institutionality, the museum continuously focuses on how localisedlocalized traditionalism—such as local ideology formation, historical events, economicdevelopment, and advancements in science and education—shapes the norms of artisticdevelopment. Since this question was raised in 2015, it has become one of the museum's keyareas of research.2) Working MethodTaikang Art Museum adopts a method of integrating exhibition, collection, and research. Since2005, it has pursued professionalism and systematic collection practices, utilizing its collectionas historical evidence. The museum now holds a rich and substantial collection. This approachhas created a close connection between research, collection, and exhibition, providing aprofound, solid foundation for the acquisition of its knowledge production system.2.Time frame and historical periodsThe Taikang Art Museum created a time frame spanning from 1905 to 1942 and then to 1977,focusing on this structure for further research. In 1905, the elimination of the imperialexamination system marked a turning point in artistic creation, shifting from traditionalism to itscurrent form of modernism. Artists transformed from being traditional literati to modernprofessionals equipped with specialized knowledge systems. The year 1942 is significant as itmarks the time when Mao Zedong delivered his Talks at the Yan'an Forum on Literature and Art.In 1977, the resumption of the college entrance examination shifted focus toward academicspecialization, which later influenced a trend among artists to pay greater attention to theirchosen mediums of expression. These three historical moments are crucial for understanding thedevelopment of modern and contemporary Chinese art.3.Public engagement and FriendlinessTaikang Art Museum not only focuses on professionalism but is also committed to becoming afriendly institution engaged with its audiences. TangXin emphasizes that the institution aims toresonate with the spirit of the times, utilising a shared frequency to connect with the audience'severyday experiences and help the public gain a deeper understanding of contemporary art.To this end, the museum held a series of targeted events. For instance, they connected 15 schoolsand over 170 Beijing middle school students through an AI art competition experience, breakingdown the barriers between Art Museums and academic education. Furthermore, the museumpresented a dynamically balanced combination of Party history education and artistic contexts.Nearly seven events were held across five cities, with over 3,000 Party members participatingboth online and offline. These activities reflect the museum's active exploration and innovationin public engagement. They aim to bring art closer to our everyday lives and to strengthen thepublic's sense of identification with and participation in art.4.Current Exhibition and Future VisionsTangXin notes that the Taikang Art Museum is currently presenting an exhibition focused on artfrom the 1980s and 1990s. The goal is to assist the audience to approach and understand the artof that era through empathy and shared experience. This reflects the museum's emphasis onresonance with the public in its curatorial planning—seeking to awaken collective memory andemotional connection through artworks. For the future, Tang Xin hopes that the museum willbecome a platform that belongs to both creators and art audiences, continuing to seek a balancebetween professionalism and friendliness, advancing the development of modern andcontemporary Chinese art, and offering the public a richer and more diverse artistic experience.5.ConclusionDirector TangXing's speech thoroughly and in-depth explores the mission of the TaiKang ArtMuseum, the knowledge production system, three main research questions and work methods,time frames and historical periods, audience engagement and friendliness, as well as currentexhibitions and future visions. Through this information, we can clearly see the efforts towardsprofessionalism and friendliness that TaiKang Art Museum strives for. Art museums not onlyhold remarkable experience in academic research and collections but have also made activecontributions to public engagement and art education. The Taikang Art Museum's practice offersvaluable references and insights for the development of modern and contemporary Chinese artwhile also establishing a solid bridge for communication between the public and the art.In the future, the Taikang Art Museum will continue to be committed to fostering a connectionbetween art and the public.Introduction of Guest SpeakersTangXinHead of the Art Collection Department at Taikang Insurance Group, Artistic Director of TaikangArt Museum, and Curator. TangXin graduated from Tianjin University of Science andTechnology in 1990 and became an independent curator in 1997. In 2003, she joined TaikangInsurance Group and founded Taikang Space, which has since evolved into today's Taikang ArtMuseum—now one of the most dynamic nonprofit art institutions in China. As the head ofTaikang's Art Collection Department, Tang has led over two decades of research andaccumulation, establishing a leading, large-scale corporate collection that holds significant valuefor art history. Under his leadership, the Taikang Collection has become one of the most visibleand comprehensive collections in China, systematically documenting the history of artisticdevelopment since the country's modernization in the 20th century.主编 / 何一沙 责编 / 杜隐珠现场图 / 贺伊飞文字整理 / 许禧Chief Editor / He YishaExecutive Editor / Du YinzhuOn-site Photos / He YifeiText Compilation / Xu Xi

Isabelle Bertolotti, Director of the Museum of Contemporary Art, Lyon「The director of the Museum of Contemporary Art, Lyon, Isabelle Bertolotti, expresseshow artistic institutions make progress through multidimensional contributions. Usingthe Musée des Beaux-Arts de Lyon as an example, she conveys how open spacedesign breaks the barriers of traditionalism through creation and community partnership,stimulating local culture. For example, this is achieved by combining traditional sewingskills with computer science and programming into one interactive art project.Furthermore, she emphasised the importance of international partnerships, asexemplified by the relationship between CAFA artists, who incidentally give rise tocreative paradigms. Isabelle highlights that museums should become the laboratories ofcultural students, utilizing space, time, and relationships to connect the past and thefuture, both locally and internationally, in order to achieve cultural symbiosis in the era ofglobalization. Her speech offers valuable insights for the academy on innovativeprogress.」1. Open Space and Dynamic PracticeThe physical open space design is the core of The Museum of Contemporary Art inLyon's cultural strategy. Located on the outskirts of Lyon, the museum boasts an open,border-free layout that seamlessly blends into its natural surroundings. As DirectorIsabelle highlights, this "boundaryless" design not only provides a testing backgroundfor large-scale installations but also challenges the traditional enclosure of museumspaces. The collections include several monumental works, many spanning overkilometres, which can not be exhibited permanently due to spatial constraints. As aresult, the museum emphasizes temporal exhibitions and programs, adopting a dynamicapproach to support dynamic forms of artistic expression. Additionally, the museumemphasizes communal engagement through educational and public programs,reinforcing the openness that is at the heart of its mission.The museum's philosophy of "openness" extends beyond its physical design to itsfunctional identity. Through residency programs, artists receive creative support, forminga dynamic triangle of "space, art piece, and audience". As Isabelle points out, thismodel enables the museum to transition from a traditionally static space to a laboratoryfor cultural production, where ongoing artistic practices make the space fluid and alive.Collaborations with local artists and artisans further enrich this strategy, achieving abalanced combination of traditional craftsmanship with contemporary art to produceunique art and enhance the museum's cultural resonance.2. Community participation and the revitalization of traditionAs a key aspect of the Silk Road, Lyon's rich textile serves as a vital sourcefor the museum's efforts to reactivate local cultural memory. A representative example isthe fabric-based project by French Artist Mona Cara. Collaborating with localtechnicians and core members of the local community, the artist created interactivetapestries that merge traditional weaving techniques with digital programming. Theseworks incorporate 18th-century silk patterns alongside contemporary symbols, such ascafé scenery and science fiction motifs, creating a surreal dialogue between historicalmemory and modern everyday life. The project also included workshops and exhibitionactivities that directly included members of the community in the artistic process,deepening their understanding and appreciation of local cultural heritage.Through cross-generational partnership, the program achieved multiple goals: childrenengaging in logo designs, elders in traditional techniques, and core communitymembers in smoothing the progress. As a result, the artwork became a vessel ofcollective memory - preserving the intricate delicacy of traditional craftsmanship whileembedding narratives from contemporary life. Isabelle specifically noted that artistsintroduced computer programming in the factory setting, working alongside factoryworkers to produce digitally enhanced textile pieces while also strengthening communityidentity through the transformative power of artistic reconstruction.3. Residency creation and international collaborationIn the mural program at IKON Gallery in Birmingham, French artist Nieck van de Steegutilized narrative wall paintings to reinforce the public dimension of art education.Similarly, in 2017, we organized a residency for 10 French artists at CAFA. Anunexpected loss of artworks in transition sparked new modes of creation. For instance,French artist Maxime Lamarche adapted to the situation by repurposing a commercialdinosaur as the basis of his work, which CAFA ultimately collected. Isabelle noted thatsuch incidents give rise to new modes of creation, proving that artistic practices providemore spark and livelihood in uncertain circumstances. Through these internationalcollaborations, the museum not only enriches its collection but also offers artistsbroader platforms for visibility, fostering mutual understanding and respectinterculturally.In the mural project of IKON Gallery in Birmingham, French artist Nieck van de Steeg strengthens the public nature of art education through narrative murals. In 2017, we organized 10 French artists to reside at the Central Academy of Fine Arts in China. The accidental loss of artworks during transportation unexpectedly gave birth to new creative paradigms. For example, French artist Maxime Lamarche created a work inspired by commercial dinosaur installations using local materials, which was eventually collected by CAFA. Isabelle pointed out that such incidents have accidentally spawned new creative paradigms, proving that artistic practices may be more vital in the face of uncertainty. Through these international cooperation projects, museums have not only enriched their art collections but also provided broader display platforms for artists, promoting understanding and respect between different cultures.4.Narrative construction and future visionIsabelle articulates a narrative philosophy at the core of the museum's mission: theconstruction of a diverse network of meanings through artistic practice. This approachunfolds across three interconnected narrative dimensions:1. Spatial narrative - The museum's boundaryless architecture symbolises acommitment to cultural democratisation, dissolving both physical andpsychological barriers in the art.2. Temporal narrative - A continuous dialogue is needed to connect the historicalheritage with future imaginings mediated by contemporary art.3. Relational narrative - The museum operates as a symbiotic system comprisinglocal communities, international communities, and the institution itself.Through these narrative strategies, the museum does more than tell a story about artand culture; it builds a platform for dialogue across community, history, and the future. Incollaborations such as the one between French artists and CAFA, the museumhighlights the investment in emerging voices and offers young artists transnationalresidency opportunities while cultivating future audiences. Isabelle envisions deepeninga strategy of "local internationalism" as an artist's practice to explore modes of culturalcollaboration in the context of globalization. At its core, it is the transformation of localspecificity into an open system- one that continuously generates new networks ofmeaning through intercultural dialogue. The museum aspires to serve as a bridgebetween the past and the future, between the local and the global, fostering culturalexchange and integration through the transformative power of art.Introduction to the Guest Speakers-                                                                                           Isabelle BertolottiIsabelle Bertolotti received her academic training in art history at the 2nd University ofLyon and École du Louvre. Since 2018 she has served as director of macLYON (Muséed'Art contemporain de Lyon), and in 2019 she was appointed co-director of the LyonBiennale. Bernalotti is also the co-founder of "Rendez-vous", a platform launched in2002 to spotlight emerging French and International artists. "Rendez-vous" has sincebeen integrated into the Lyon Biennale, reflecting its growing institutional significance, inaddition to her curatorial leadership at MAC Lyon and the Biennale. She works as anindependent curator with a focus on the global emerging art scene. She also serves aspresident of the Le Grand Large Association, further supporting international culturalexchange and the mobility of artists.Chief Editor / He YishaEditor / Du YinzhuPhotography / He YifeiEditor / Feng Kaiziqi 

Artist Books, through the artists' fine thinking of "book space", transfer and mix freely the reading of the text, the appreciation of the visual and the touch of materials. THey have become a new art form and the next phase of the history of books. Artists design, illustrate, print all by themselves, and perform the elements like text, image, paper, material and ink to the height of an artwork.

On November 3, the second day of “International Art Education Conference Art Museum Forum: Opportunities and Challenges of Art Museums in the Digital Age” was transferred to the conference hall of the Ovation Seven-Cultivation Hotel in Langfang. The discussion on that day started with “The Role of Art Museums in Making the Contemporary Art History” and “The Differences Between Public and University Art Museums in Art Education”.Session II: The Role of Art Museums in Making the Contemporary Art HistoryTime: 10:30-12:30, Saturday, November 3, 2018Venue: The Conference Hall of Ovation Seven-Cultivation Hotel in LangfangHost: Gao Gao, Assistant to Director, CAFA Art MuseumChairs of Forum: Zhang Zikang, Director of CAFA Art Museum                              Geoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of CambridgeGuests: John W. Smith, Adele Tan, Jiyoon Lee, Ji Shaofeng, Hang Jian, Li Xiaoshan, Wang Chunchen (list in the order of speech)1John W. Smith, Director of Museum of Rhode Island School of DesignJohn W. Smith, Director of Museum of Rhode Island School of Design, made a speech on “A Museum for Artists-Its Past and Future”. He combined with the background of Rhode Island School of Design and shared the experience of how the museum develops around teaching. Rhode Island was once the textile center and important jewelry industry with a long history in design. The 140-year-old Rhode Island School of Design still uses the ancient technique of copying as one of the means of art education, and the Museum of Rhode Island School of Design is the main site for students to copy famous paintings. The museum is closely related to the study and practice of students, as they are deeply involved in public education, exhibition curating and collection management.2Adele Tan, Senior Curator of National Gallery SingaporeAdele Tan, Senior Curator of National Gallery Singapore, spoke on “Making Space: the Digital World and the Art Museum”. Curator Chen is in charge of the museum’s collection and exhibition since the 1970s, as well as entrusted projects of contemporary works. She first talked about the development and reform of the National Gallery Singapore, including the influence of the two performance arts “32 Years: The Interrogation of a Mirror” and “Let’s Walk Together” on the museum and contemporary art in Singapore. Another major part of Curator Chen’s speech was the museum’s attempts based on the characteristics of the digital age, such as developing online exhibitions on mobile apps, exhibitions based on twitter, design exhibitions of pure electronic version that exists on the web, and digital interactive “social desktop” where exhibits can be viewed online. The National Gallery Singapore has tried to make use of digital technology to create many virtual exhibitions on the digital platform and made them become a beneficial supplement to the physical displays.3Jiyoon Lee, Former Managing Director at National Museum of Modern and Contemporary Art (MMCA), Korea; Director of SUUM Contemporary Art ProjectJiyoon Lee, Former Managing Director at MMCA, Korea and Director of SUUM Contemporary Art Project, gave a speech on “The Role of Curatorship in the Age of New Technology Art”. Based on her own experience in the construction and curation of the museum, Director Lee primarily introduced how to use new technology to intervene in this process. The MMCA, Korea has been trying to develop art based on new technologies. It receives the technical support from high-tech enterprises such as Hyundai Motor and Hyundai Engine – they incorporate technology into artistic creation and art exhibition to create more possibilities for the museum. At the same time, Director Lee also stressed to help the curators to obtain opportunities for multi-dimensional learning and practice, because curators are not only researchers but also project managers, creators and producers.4JI Shaofeng, Director of Hubei Museum of ArtJI Shaofeng, Director of Hubei Museum of Art, talked about “Collecting is Thinking: the Role of Art Museums in Contemporary Art History”.  Director Ji believes that collecting should be a forward-looking study and collection of works in line with and beyond the times, so as to preserve the most valuable thoughts through collecting. When these thoughts are implemented in art museums, they will play an active role in the development, construction and research of contemporary art history. In the study of modern art history, we should avoid the interference of power and the bondage of capital, construct the collection series of contemporary art history from the perspective of art history and promote the construction of contemporary art history with the collection.5 HANG Jian, Director-General of CAA Museum, China Academy of ArtHANG Jian, Director-General of CAA Museum, China Academy of Art, delivered a speech on “The History of Design and the Design Museum in China – A Process of Designing Democratic Value Discovery”. Director Hang first introduced the three parts constituting the art museum group of China Academy of Art: the Museum of Contemporary Art, China Design Museum and China Academy of Arts' Folk Art Museum. Among them, he highlighted the planning concept and the eye-catching exhibition of the China Design Museum that just opened on April 8 this year. Director Hang pointed out that the mission of the China Design Museum is to consider how to respond to the changes in society and science & technology. In today’s rapidly changing science and technology, compared with art museums, China Design Museum pays more attention to the relationship between technology and human life in the future development, as well as the impact of technology on human future.6Li Xiaoshan, Director of Art Museum of Nanjing University of the ArtLi Xiaoshan, Director of Art Museum of Nanjing University of the Art, spoke on the topic of “From the Art Museum of Nanjing University of the Art to See the Present Situation and Future of Efficient Art Museums in China”. After a brief introduction of the art museum, he put forward three problems: the boundary of the art museum, the standards and features of the art museum, and opportunities and challenges of art museums in the digital age, which are three topics that currently faced by many art museums and deserves pondering. Director Li believes that the discussion of the forum should not focus on the explanation of each museum but to go deep into the consideration of practical problems such as theoretical problem, conceptual problem, and standard features of managing art museums, and so on.7WANG Chunchen, Deputy Director of CAFA Art MuseumWANG Chunchen, Deputy Director of CAFA Art Museum, made a speech on the topic of “Art Museum and the Making of Art History”. Director Wang stated that art museums appeared with the birth of art history research and played a critical role in the making of art history. Art Museums should undertake the recording and studying of art history, rather than just turning museum space into places for public activities, even sites for recreation and capital consumption. At the end of his speech, Director Wang hopes that peers of art museums can clarify the responsibilities of the art museum and make today’s art museums regain their mission of constructing art history. When the speeches of the second session were finished, two chairs of forum discussed with speakers and on-site media on issues such as art museum and contemporary art, art museum’s role of making art history, the specialty of design and architecture museums, etc. For art museums and contemporary art, Geoffrey Ward pointed out that there is a paradox between art museums and contemporary art as some art museums become boxes for hanging paintings and this kind of simple arrangement is a common problem of modern art museums. Regarding the art museum and art history, Director Smith thinks that the more important work of curators is not to write the history of art but to build a narrative belonging to the institution itself. Successful curators can tell a grand story in low-cost and express the whole trend through a certain aspect. As for the particularity of design museums, Director Hang states that the mission of art exhibition is different from that of contemporary design exhibition. The former helps to observe objects in different chains of design history, technological and social development, while the latter points to the possibility of future life. In response to the media’s questions about the acceptance of architectural exhibitions, Director Lee said that the MMCA Korea has already paid attention to the importance of collecting architectural models and started planning the exhibition of architects. Last year, the Seoul Biennale of Architecture was held in Seoul, and more architectural exhibitions will be held in the art museum in the future. Director Hang said that when the China Design Museum just opened, it took one third of the exhibition space to make the first Asian architecture exhibition for Siza, and it tried to think about the development of Chinese architecture itself by sorting out the development history of important international architects along with the different possibilities of their works around the world.Session III: The Differences Between Public and University Art Museums in Art EducationTime: 14:00-18:00, Saturday, November 3, 2018Venue: The Conference Hall of Ovation Seven-Cultivation Hotel in LangfangHost: Wang Chunchen, Deputy Director of CAFA Art MuseumGuests: Uladzimir Prakaptso, Geoffrey Ward, Ernst Vegelin van Claerbergen, Caitlin Doherty, Zhou Xujun, Patricia Rodewald, Guillermo Solana, Cao Hong, Meng Xianwei, Han Haiyan (list in the order of speech)1Uladzimir Prakaptso, Chairman of Belarusian Art Society, Director of National Art Museum of the Republic of BelarusUladzimir Prakaptso, Chairman of Belarusian Art Society, Director of National Art Museum of the Republic of Belarus, started the forum with the topic of “Cultural Cooperation is an Integral Component of the Belarusian-Chinese Relations”. He briefly introduced the “The Belt and Road” cooperation between Belarus and China. Prakaptso believes Chinese art is very attractive to the National Art Museum of the Republic of Belarus and hopes to bring more works of Chinese artists into Belarus. He also mentioned that 2019 is the 80th anniversary of the establishment of the art museum, which he hopes to witness with the participating guests together.2Geoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of CambridgeGeoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of Cambridge, spoke on “The Differences between Public and University Art Museums”. Director Ward first described the differences between Western and Chinese museums. He mentioned that, in the context of his work, in addition to a strong artistic background and successful management experience, museum directors are required to have the ability to raise funds, extensive contacts and business planning capability, as well as enough confidence to deal with the relationship between the 800-year-old university and the young art museum. He also stated in detail the difficulties faced in Britain, such as the increasing involvement of the government in the management but the reluctance to provide financial support, and the fact that charity is often an essential resource of funding for museums. Ward concluded that the function of a university museum is to stimulate students’ interest in art while serving as a link connecting different social groups.3Ernst Vegelin van Claerbergen, Director of the Courtauld GalleryErnst Vegelin van Claerbergen, Director of the Courtauld Gallery, made a speech on “The Public Value of the University Art Museum”. He believes that the university art museum should be a cutting-edge existence, and instead of letting people learn what they already know, it should expand the public’s knowledge in this field and promote the democratization of knowledge. University art museums and museums are supposed to be confident in dealing with factors from different aspects. At the same time, he also raised doubts about using the number of visitors as the standard to evaluate an art museum. He believes that organizing a well-received exhibition by such a criterion might deprive the audience of opportunities to learn about other art forms.4Caitlin Doherty, Executive Director of Museum of Contemporary Art Jacksonville, University of North FloridaCaitlin Doherty, Executive Director of Museum of Contemporary Art Jacksonville, University of North Florida, gave a speech on “MOCA Jacksonville: A Bridge Between Campus and Community”. Director Doherty believes that art and culture are a driving force, not a mere superstructure, that should undertake more responsibility for the community. By introducing different exhibition planning projects, she elaborated the museum’s attempt to change students’ lives through education projects and stressed that in this respect, the art museum plays an increasingly significant role and will help more community members to accept art education.5ZHOU Xujun, Director of Minsheng Art Museum BeijngZHOU Xujun, Director of Minsheng Art Museum Beijng, made a speech on “Public Art Museum and Art Education for the Public: the Case of Minsheng Art Museum”. Director Zhou believes that in the information age when visual images are easily accessible, art museums’ role of public education is changing and are endowed with the function of “knowledge production” and “social intercourse space”. As a model of private Chinese contemporary art museum, the three-year-old Minsheng Art Museum Beijing attaches great importance to public education, adhere to the idea of “equality and openness” and emphasize the connection with the urban public. From five keywords of “exhibition”, “children”, “cross-field”, “theory” and “public”, the museum designs and builds brand public education activities, making the art museum a cultural exchange platform for multiple services and constantly inject new cultural energy for the city.6Patricia Rodewald, Senior Advisor for Global Programs (China) of American Alliance of MuseumsPatricia Rodewald, Senior Advisor for Global Programs (China) of American Alliance of Museums, talked about “Artificial Intelligence and Interpretation: Engaging Audiences in New Ways”. Rodewald said that she and her team serve non-professionals and hope to encourage this kind of group to appreciate and explore artworks at close range. For that reason, they actively exploit different ways of interacting with the audience from traditional museums, such as developing some AI technologies to help the viewer conduct a direct dialogue with the collection, as it will be a very meaningful experience for the audience.7Guillermo Solana, Artistic Director of Museo Thyssen-BornemiszaGuillermo Solana, Artistic Director of Museo Thyssen-Bornemisza, gave a speech about “Artists’ Workshops as an Educational Tool: The Case of the Thyssen Museum, Madrid, Spain”. In his talk, he said that early European museums were important places for educating artists, but now, the relationship between art museums and contemporary artists becomes alienated. He has been considering the relationship between artists and art museums, and how to make the public re-recognize this relationship. Based on this thought, the art museum holds an in-depth exhibition of contemporary artists every year. Apart from guiding visitors to appreciate works, artists also invite them to participate in the exhibition so that visitors can understand the creation process of contemporary artists and the production process of works in the museum.8CAO Hong, Deputy Director of Arthur M. Sackler Museum of Art and Archeology at Peking UniversityCAO Hong, Deputy Director of Arthur M. Sackler Museum of Art and Archeology at Peking University, delivered a speech entitled “The Role of University Art Museum in the Higher Education of Arts: A Case of Arthur M. Sackler Museum at Peking University”. Director Cao introduced the museum’s three types of exhibitions: exhibitions showing the newest archaeological discoveries and scientific research results, art exhibitions emphasizing a dialogue between ancient and modern times, innovative exhibitions planned and made by students. These kinds of exhibitions aim to develop a relationship with the students using the collection and offer them maximum privileges to engage in the collection sorting and studying.9MENG Xianwei, Founder of "Qingdao Artists' Garden" Project, Director-general of Qingdao Museum of Contemporary ArtMENG Xianwei, Founder of "Qingdao Artists' Garden" Project, Director-general of Qingdao Museum of Contemporary Art, spoke on the topic of “Construction and Ecology Establishment of Qingdao Museum of Contemporary Art”. In his speech, Meng stated the design concept and plan of the art museum – an art museum that is closely related to art and life. As a cultural facility of the city, he expects the art museum can make contributions to nature and community, and thus integrate into the natural environment.10HAN Haiyan, Deputy Director of Langfang Gallery of CAFA Art MuseumHAN Haiyan, Deputy Director of Langfang Gallery of CAFA Art Museum, gave a speech on “Come-in Visitors, Go-out Art Museums - Unlimited Growing Public Education”. Director Han introduced the specific circumstance of the project of the “International Cultural Exchange Center of the Silk Road” in Langfang, followed by a series of art education projects launched to promote the connection between art and the public. She also analyzed the challenges the museum may face in its future operation.After the keynote speeches finished, two chairs of forum exchanged opinions with speakers and on-site guests on issues such as using the number of visitors as the standard to evaluate an art museum. James Bradburne said that with different aims and missions, art museums do need to have some conventional measuring factors as the standard of assessing an art museum but the number of visitors does not mean anything, and it probably makes more sense to give a more detailed analysis, like to analyze how many visitors are repeat visitors or first-time visitors and what is the proportion of young people or children. Director Doherty believes that exhibition space should be a place for experimentation so that the art museum should go back to explore more demands and possibilities of visitors beyond the statistical framework. Director Zhang Zikang stated that the quality and quantity of the audience should be taken into consideration to promote good exhibitions and valuable arts.At this point, the two-day “International Art Education Conference Art Museum Forum: Opportunities and Challenges for Art Museums in the Digital Age” ended completely. However, art museum practitioners will continue to question and think about issues of current value and future development of art museums as well as how should today’s art museums respond to the changes of the times. The answer is open and dynamic, which requires more diversified art museum practices to inspire new creativity and imagination space.

On the afternoon of November 2, 2018, the International Art Education Conference Art Museum Forum is held in the auditorium of CAFA Art Museum. As a sub-forum of this Education Conference, CAFA Art Museum takes “Opportunities and Challenges of Art museums in the Digital Age” …

On September 8, a special forum was held in the gallery of the research exhibition of “The Land of Country Remade – New Chinese Painting Movement in the 1950s-60s”. This forum focuses on academic exchange and discussion within the same industry and is open to only a few professional media. It is the first time for CAFA Art Museum to direct this kind of symposium, by which curator Wang Chunchen hopes to make academic discussion “more relaxed, free or more real”, and also to dig deeper and find the blind spots in previous studies.