Exhibitions and Events-News- CAFA Art Museum

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: “无‘野’不成城”即将开展 | 第四届全球大学生虚拟策展大赛CAFAM赛道特等奖

2026-01-08

第四届全球大学生虚拟策展大赛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创业教育中心中央美术学院美术馆北京画院青年艺术100组委会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》，推进社会主义文化强国建设的决策部署，激发艺术创新动力，推动艺术成果传播，中央美术学院自2022年起策划举办“大学生虚拟策展大赛”品牌赛事。大赛以“以策展助力美育，为美育而策展”为宗旨，意在鼓励大学生们将人文艺术、前沿技术与美育传播有机结合，通过还原度高、操作性强的虚拟策展实验平台，创作出优质的虚拟展览方案，将成果推向公众，延伸出社会美育的多重可能。「CAFAM赛道」是大赛组委会联合中央美术学院美术馆（简称CAFAM）共同设立的命题赛道，本赛道要求参赛者自主选择艺术作品，在中央美术学院美术馆项目空间场地进行展览策划，打造具有实验性和在地性的特色展览。获得赛道特等奖的项目最终落地中央美术学院美术馆（简称CAFAM）：“广角——青年实验项目空间”场地，为大学生的想象力提供具有实验性与在地性兼具的施展空间。< CAFAM赛道特等奖方案展览 >无“野”不成城开幕时间2026年1月9日14:00展览时间2026年1月9日—3月1日展览地点中央美术学院美术馆3层C展厅展览简介简文帝游华园曰“会心处不必在远”，此言道出人心神交融、和谐舒畅的地方不必寻求遥远之处，但当林水退隐，高楼并立，人与万物的亲近感是否也被推远？未来，我们与草木鸟兽的关系将以怎样的方式呈现？“野”，即“邑外谓之郊，郊外谓之牧，牧外谓之野”。“无‘野’不成城”，受谚语“无木不成林，无水不成渊”的启发，其揭示了整体与部分、依存与生成的关系。当代城市化的快速扩张，正在以惊人的速度重塑原初的自然场域。高楼大厦与霓虹景观成为现代都市的日常图景，而自然土地、曾经的居所与承载集体经验的记忆，则在持续的开发中逐渐退隐。本展览中关于“野”的构想，意在构筑一个开放而流动的行动者网络。在这一网络中，人类、自然物、技术物得以相互牵引与作用，形成一种非线性、动态性的关系。鲁林峰从影像中拾掇那些介乎于城市开发中被湮没的诗意，王源徽的视线如同考古般，穿引出物质文明更新的呼吸节奏，陈暘与高海鹰将视觉与听觉交织，形成一种可感的自然脉搏。陈墨的盆栽在城市的裂隙中潜伏，既以沉默固守形体，又以嘶鸣撕开空间的表皮。刘乙霖的线条反复折返、游走，像试探又像逃逸，在与色块的碰撞中触碰虚拟；与此同时，孙贻武的条幅将流转的节气延展为一条生生不息的河流，春雷隐入笔墨，生命的循环在沉静的水面刻下亘古的纹理；文富蓉以奔涌的笔触划开画布，任由色彩扩张，喷薄出涌动的生命力。在景斯阳发起，倪尔璐、李鑫祥共创的项目中，山野与人类的呼吸同频，灵魂在自然的回音中觅得栖息。曹澍将目光锚定于人类灭绝，技术物主导的世界，以植物为代表的自然物周而复始地生长于监视之下。曾经固有的伦理如同算法的幽灵，飘忽地回应着模糊的未来。这些作品从不同的角度出发，“野”在其中被反复书写：被人类记忆重构、被技术与物质文明推向未知边界的动态疆域。行经其间，既步入物质与精神的交错之地，也步入对未来伦理的试探场——本展览诚邀观众一同追寻“野”的行迹。参展作品《诗学空间构建》作者：鲁林峰创作媒介：单频影像，4K，彩色，立体声，5分11秒创作年代：2025尺寸：可变《纪念碑（Monument）》作者：王源徽创作年代：2023创作媒介：综合媒材装置尺寸：可变《大脑游离症候群》、《Cry》、《心跳脉搏》（从左到右）作者：陈暘创作媒介：动画创作年代：2024尺寸：可变《逆听Netsil》作者：高海鹰创作媒介：麦克风、铝合金支架、立体声音频文件创作年代：2024尺寸：可变《盆栽》作者：陈墨创作媒介：铜版画创作年代：2025尺寸：50cmx60cm《无题》作者：刘乙霖创作媒介：布面丙烯、木炭、喷漆创作年代：2025尺寸：25cm×30cm《惊蛰》作者：孙贻武创作媒介：纸本水墨创作年代：2023尺寸：100cm×573cm《共生》作者：文富蓉创作媒介：布面综合材料创作年代：2023尺寸：140cm×160cm《雨林演替·腊茗》主创人员：景斯阳、倪尔璐、李鑫祥创作媒介：综合材料、影像、实物、书籍创作年代：2023-2024地点：云南普洱市澜沧县惠民镇景迈山芒景村《妖糖》作者：曹澍创作媒介：3D渲染三屏影像15分10秒创作年代：2023尺寸：可变关于公教活动本次公共教育活动以“再野化”与“在地化”为核心视角，从艺术创作与策展实践两个层面出发，邀请从事艺术生态实践的艺术家与策展人，共同探讨艺术项目如何在具体场域中回应环境、文化与社会议题。活动设置实践环节，嘉宾将引导参与者进行头脑风暴与策展思维框架的构建，进一步探讨艺术创作与策展在当代社会及生态议题中的方法论意义与现实可能性。工作坊时间：1月9日（周五）15:30-16:30工作坊地点：中央美术学院美术馆会议室招募对象：18岁以上成人招募人数：20人工作坊报名通道扫描二维码预约报名关于策展人陈漫澜中央美术学院与法国凯致商学院在读，喜欢阅读、摄影、写作。目前关注当下的社会景观，观察热点事件背后的集体情绪潜流。将策展视为一种社会介入的媒介，延展思想与现实的深层联结。邓爱桦中央美术学院与法国凯致商学院在读，平时创作聚焦于装置和影像。研究方向关注人文地理视角下的当代生活议题，尝试通过策展研究地方性、身份认同与社会空间中的感知与经验。郑焙焙中央美术学院与法国凯致商学院在读，致力于通过策展、图像和出版物，探讨和构建当代生活美学和秩序。展览时间：2026年1月9日—3月1日展览地点：中央美术学院美术馆3层C展厅主办单位：中央美术学院承办单位：中央美术学院美术馆美术博物馆虚拟策展与美育课程虚拟教研室主编 / 何一沙责编 / 杜隐珠编辑 / 晏宇希
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: Gao Hong: Memories Of The "The Maksimov Training Program"

2026-01-04

Memories Of The "The Maksimov Training Program" By Gao HongThe two-odd years from 1955 to 1957, when I studied at the Oil Painting Training Class of the Central Academy of Fine Arts, were a truly fortunate and delightful chapter in my life.I had originally gone on a business trip to the newly liberated Dachen Islands to complete a creative assignment. Barely four or five days into my stay on the island, which had been left devastated and in ruins after the enemy’s retreat and before I could even start working, I received an order to return to Beijing immediately. As I boarded the train at Hangzhou Railway Station for the trip back, I chanced upon six or seven young painters carrying their art supplies, who were also heading to Beijing on the same train. When I got back to my work unit and made inquiries, I learned that I had been assigned a new task: the Ministry of Culture had invited a Soviet expert to run an oil painting training class at the Central Academy of Fine Arts, and the Cultural Department of the General Political Department had selected He Kongde and me to sit for the entrance examination at the academy. With time pressing, I was told to make preparations at once.Needless to say, this was an unexpected and great joy for me. Such a golden opportunity felt nothing short of a godsend.The works I submitted for the examination were as follows: Dong Cunrui Blowing Up the Bunker, an oil painting created in 1948 for the Northeast Revolutionary Martyrs Memorial Hall (published by the People’s Fine Arts Publishing House); the 1954 propaganda poster We Must Liberate Taiwan (published by the People’s Fine Arts Publishing House); and sketches and quick drawings done on the Korean battlefield in 1952 (published by the People’s Fine Arts Publishing House and featured in People’s Daily). During the interview, teachers including Wang Shikuo, Luo Gongliu, Dong Xiwen, and Li Zongjin put forward questions one after another. I answered each one earnestly, and by and large, my responses met with their approval. After passing the examination, I set about going through the admission procedures.A Life Of Study——————————————Once admitted to the Oil Painting Training Class, we began our life as students.The trainees of this class were not ordinary freshmen newly admitted to the university. Among us were graduate students staying on at the academy, young teachers from art colleges elsewhere, and on-the-job cadres from cultural institutions of the military and local governments. The oldest among us was Professor Feng Fasi, who was elected class monitor; he was formerly the Chairman of the Oil Painting Department of the Central Academy of Fine Arts. I was 29 years old when I enrolled. Some of my fellow students were younger than me, while others were older. Hailing from all walks of life, we gathered closely under one roof, forming a lively and cheerful dynamic all of our own.As official trainees, we were now part of the academy family, just like the faculty, staff and students of other classes. We cared for one another in perfect harmony.We moved into the second floor of the grey-brick student dormitory building in the southwest corner of the academy campus. He Kongde, Yuan Hao, Wang Xuzhu and I shared a room facing north. The room contained one desk and two sets of bunk beds. He Kongde and I took the upper bunks, while the other two—who had come from the Central and Southern China College of Fine Arts—were given the lower bunks. Across the corridor from us lived three others: Feng Fasi, Wang Liuqiu and Qin Zheng, who were the leading members of the Party branch of the Oil Painting Training Class. Despite living so close by, we rarely visited each other, as everyone was preoccupied with their own work. Next door to our west was the Peace Restaurant of Dong'an Market, and we often heard music drifting over from its dance hall. None of us ever went there, though.What truly made us feel like a group of students was participating in the mass demonstration on International Workers' Day. We were assigned to take turns carrying large slogan boards as we marched past Tiananmen Square. On the day when Indonesian Prime Minister Sastroamidjojo visited Beijing, we were stationed in a long line on the north side of the road, just east of the three-arched gate next to the Working People's Cultural Palace, to cheer the visiting dignitary along the route. That was a rare chance for us to see Premier Zhou Enlai at close range.My Graduation Work The Orphan—————————————————————— In the second half of 1956, we discussed the creative sketches of each student in class.At first, I wanted to paint a bright and sunny scene. I made a sketch of a Korean woman in a farm field, balancing a water jar on her head. It was the rice transplanting season, and on the ridge stood a straw basket used by local Korean villagers, along with a number of shoes belonging to Volunteer Army soldiers.My teacher commented that this depicted a common daily-life scene, more like a regular study piece, and suggested that I should choose a theme with richer ideological connotations.Gao Hong, "Orphan", 139×160cm, oil on canvas, 1957, collected by CAFA Art MuseumAfter several revisions, I chose the battlefield in North Korea as the setting, depicting Chinese People's Volunteers soldiers taking care of orphans from the Korean War. The teacher said this was good, as it embodies the warm affection of humanitarianism, as well as the compassion and mutual assistance that should exist between people. This unfortunate child who has lost his parents should receive kind care. In the future, efforts should also be made to help them go to school, enabling him (or her) to acquire knowledge and strive to build a new and better life. The composition of this painting was thus finalized.In the first half of 1957, no more classes were arranged for the class, and the students all went their separate ways to busy themselves with their graduation creations.Gao Hong: Pencil Sketch of Characters for The OrphanThe school has limited space for us to work on our creations. Our General Political Department's creative studio has a painting room at Lianhuachi, so I don't have to crowd with everyone at school. I went back to Lianhuachi, which is located in the suburbs and offers many convenient conditions for painting this piece.Gao Hong: Shajiadi Grain StationI collected ready-made wood from my surroundings to build a dwelling for Volunteer Army soldiers.Every prop in the painting was an authentic item used by the Volunteer Army. Faced with such a vividly realistic recreated scene, I felt a great surge of interest and confidence.Professor Maksimov visited Lianhuachi twice, accompanied by our translator Comrade Tong Jinghan.Naturally, the professor cared deeply about the progress of each student’s graduation project and the difficulties they encountered. Having not seen me for quite some time, he was eager to check on how my painting was coming along. So he and Tong Jinghan drove to Lianhuachi in a light blue car. At the sight of the small-windowed, semi-underground dwelling I had built—so true to the Volunteer Army’s actual quarters—the professor was very pleased. He was reassured about my work. He said that with such a realistic setting, I had a solid foundation for completing the painting. Time was pressing, he added, so I should press ahead with the work.By the time the professor made his second visit to Lianhuachi, the painting had already taken basic shape. He told me to keep going just as I was. Perhaps to ease my regret at not being able to paint a bright, colorful scene under sunlight, he commented that while beautiful colors were certainly desirable in a painting, an indoor setting without the vivid hues of sunshine could also yield a compelling picture. He cited Surikov’s Menshikov at Berezovo as an example: its rich and subtle tones focused on revealing the characters’ inner worlds and spiritual strength, making it truly captivating. “You too can make great efforts in handling the dim indoor lighting,” he said. “Everything depends on your own hard work.”Surikov: Menshikov at Berezovo TownMy teacher gave me a great deal of encouragement, bolstering my confidence. Time was pressing, and there was no room for overthinking. Drawing on the experiences I had gained from living on the Korean front line, I painted this piece with sincere devotion.Mao Zedong in Northern Shaanxi——————————————————————The studio at Lianhuachi was a spacious one formed by connecting three rooms, and I was the only one using it at that time. On the eastern half of the studio, I constructed the dwelling for painting The Orphan; along the western wall, I set up a horizontal frame—1.4 meters by 2.8 meters—stretched with a blank canvas, supported by tables. When the teacher came for the second visit, the canvas was completely empty. Once the oil painting The Orphan on the eastern side was moved to the auditorium of the Central Academy of Fine Arts in the city for the graduation exhibition of the Oil Painting Training Class on May 24th, work on the horizontal oil painting on the western side started immediately. This piece, created for the Art Exhibition Celebrating the 30th Anniversary of the Founding of the Chinese People's Liberation Army, was titled Chairman Mao In Northern Shaanxi. With less than three months left until the exhibition opened on August 1st, there was no time for other considerations, and I had to press forward with the painting.Comrades Xi Ye and Huang Pixing, who were in charge of organizing the creation for the 30th Anniversary Art Exhibition of the PLA's Founding, worked at No. 38 Langfang Toutiao outside Qianmen. I went to see them and expressed my concern that I might not finish the painting in time due to the tight schedule. They told me that the draft was excellent and urged me to hurry up, adding that I could even continue working on it during the preview if it wasn't completed by the official opening. As a matter of fact, I spent a whole day working on it during the preview held at the Cultural Palace of the Working People.Gao Hong Chairman Mao In Northern Shaanxi Chairman Mao In Northern Shaanxi depicts the life of the CPC Central Committee, led by Mao Zedong, who resolutely stayed in Northern Shaanxi during the most arduous and grim years of the War of Liberation. They shared joys and sorrows with the military and civilians there, united as one in the fight, and achieved a historic and great victory in the revolutionary war. I chose this period of wartime life as the subject of my painting because I had similar wartime experiences. I had visited and lived in the Mizhi and Jiaxian areas of Northern Shaanxi, through which the central authorities passed during their mobile operations, for more than two years. In 1956, I also took advantage of the summer vacation to conduct research and sketching related to this in Mizhi. Although the painting was done in a hurry, it basically conforms to the actual life of that time."The Donkey" 29.5x38cm Sketch on Paper 1956On the opening day of the exhibition, this painting caught the attention of many senior central leaders who had experienced the revolutionary wars. Comrade Xi Ye accompanied and received groups of these visitors as they viewed the exhibition. He told me: Comrade Yang Shangkun, Director of the Central Office, was delighted, commenting that Chairman Mao was portrayed exceptionally well in the painting—approachable, warm, and natural, perfectly capturing his inherent demeanor and bearing.This feedback was of great significance to me. It confirmed that my artistic judgment aligned with reality, boosting my confidence and inspiring me to keep forging ahead in my creative endeavors.Though Chairman Mao in Northern Shanxi was not exhibited at the graduation show of the Oil Painting Training Class at the Central Academy of Fine Arts, it was a fruit of the teaching of our instructor, Konstantin Maksimov, and a testament to his achievements during his teaching tenure in China.The Orphan was displayed at the World Festival of Youth and Students held in Moscow in 1957.Chairman Mao in Northern Shanxi exerted a far more extensive influence than The Orphan. In the following years, this painting was reprinted numerous times in countless newspapers, periodicals, and art albums, serving to introduce this inspiring chapter of history to the public.Teacher Maksimov—————————————In his lectures, Professor Maksimov placed special emphasis on students’ commitment to social progress and their solemn social responsibilities as artists, rather than indulging in unbridled self-expression in their works.He stressed that artworks should be "compelling" and that art must win the recognition and endorsement of the people.The extensive attention and positive acclaim garnered by Maksimov’s teaching at the Oil Painting Training Class stemmed from its perfect alignment with China’s national conditions and the aspirations of its people. For him, art was meant for the people—it was art that contributed to driving social progress forward.Art needs a people who love, appreciate and support it; in turn, the people need art that inspires and encourages them with valuable insights.We followed a correct path forward.Professor Maksimov’s personal charm was truly remarkable: he was approachable, amiable, lively and witty, excelling at inspiring and guiding his students. He was truly our mentor and role model.He urged artists to closely observe the rich and varied beauty of the magnificent natural world and to always create with passion.He emphasized the importance of wholeheartedly immersing oneself in life—to observe, understand, experience and care about people’s fates, and to delve deep into the human psyche.Looking back on our days of study at the Oil Painting Training Class, we extend our sincere gratitude to the four translators. They were not just linguistic facilitators—they were, in essence, our fellow classmates in art theory, and they had even taken the lead in mastering the knowledge before us.Imported Oil Paintings – A Retrospective Exhibition Of The Maksimov Oil Painting Training Program At CAFA (1955-1957)Exhibition Dates: November 15, 2025 – January 3, 2026Exhibition Venue: Exhibitions 1F/3A/4F, CAFA Art MuseumEditor-in-Chief / He Yisha Editor / Du Yinzhu
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: Happy New Year 2026! Start The New Year with Art At CAFA Art Museum

2026-01-01

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: The Last Day of 2025. Best Wishes To You, To Me, And To Us!

2026-01-01

The last day of 2025. Best wishes to you, to me, and to us!All the busyness in 2025Will lay the groundwork for surprisesMay in 2026, where the heart desires, the actions follow
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: In the Age of Prevalent AI, "The Maksimov Training Program" Remains Mainstream | "CAFAM艺术+" to Premiere on New Year's Day 2026!

2025-12-31

Pilot film"CAFAM艺术+"Re-examining "The Maksimov Training Program":In the Age of Prevalent AI, Traditional Approaches Remain MainstreamBroadcast Time: 14:00 on January 1, 2026Guests: Jin Jun, Cao Qinghui, Hai JunBroadcast channels are listed belowChief Editor / He Yisha Editor / Du Yinzhu
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: CAFAM New Year's Day Art Gift, Inviting You To Unveil 2026 | Open Announcement

2025-12-30

Dear Visitors,As the new year begins, may your days always bring fresh joy. As we welcome the year 2026, to accommodate public interest in visiting, our museum will remain open during the New Year holiday period (January 1-3, 2026). We look forward to seeing you as you begin this new year with fresh perspectives！In the meantime, to thank our visitors for your continued attention and support, we are delighted to launch our "New Year's Day Art Gift" event. Share your favorite piece from the CAFAM collection in our official WeChat account comments, and you could win one museum ticket. We will randomly select 20 lucky winners. The event ends on December 31st. You are not only viewers of art, but also participants and disseminators of artistic experiences. Join us in the comments section for an interactive experience!CAFA Art MuseumDecember 29, 2025On ViewDuring the New Year's Day holiday, the China Academy of Art Museum (CAFAM) will present multiple exciting exhibitions, covering the art from ancient to modern, and from traditional to contemporary. It will also specially plan public education activities on New Year's Day, which not only enrich the audience's viewing experience, but also integrate art into daily life.Editor-in-Chief / He YishaEditor / Du Yinzhu
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: Forum Summary | Origin And Prism – Realism, Modernism, And Contemporary Painting

2025-12-29

December 11th, the first session of the academic forum series "Imported Oil Paintings – A Retrospective Exhibition Of The Maximov Oil Painting Training Program At CAFA (1955-1957)", titled "Origin and Prism – Realism, Modernism, and Contemporary Painting", was held at the Auditorium of the CAFA Art Museum.This academic forum features artists Liu Shangying, Liu Xiaohui, He Jing, Song Jiayi, and Wang Guangle in a dialogue, with Wang Jing, Deputy Director of the Curatorial Research Department of the CAFA Art Museum, serving as the host. Liu ShangyingArtist, Professor at the Central Academy of Fine Arts, Deputy Director of the Oil Painting DepartmentTeacher Liu Shangying shared his understanding and comprehension of the former Soviet Union's oil painting teaching system and painting characteristics based on his own learning experience. The "Soviet school" of oil painting advocates a scientific and rigorous system of light and shadow composition, excels at depicting direct and vivid life experiences, and has strong realistic features. Its paintings are rigorous and orderly, making them very easy for audiences to understand and engage with. Liu Shangying elaborated on the mutually complementary and highly unified relationship between "color" and "form" in the oil painting teaching system of the Maksimov Training Class. This focus on integrity has also been integrated into the long-term teaching system of the Central Academy of Fine Arts, with far-reaching influence. Even today, it still plays an important role in training students' creative cognitive abilities of "observing, understanding, and expressing".Exhibition siteSong JiayiArtist, Director of the Oil Painting Department, Academy of Arts, Capital Normal UniversityTeacher Song Jiayi talked about the historical origin and practical influence of "Su-style" oil painting in the oil painting teaching system of New China. He believes that Soviet experts represented by Maximov introduced the realistic creative spirit and materialist view of history into China's oil painting creation, laying an important foundation for the construction of a systematic teaching methodology. Faced with the rich oil painting creation systems in the art world in the mid-20th century, the introduction of the positivist philosophical perspective contained in Su-style oil painting is beneficial for Chinese artists to sort out the development context in contemporary, experimental and diversified painting languages, and find a foothold that combines national traditions and the characteristics of the times in the classical and modern world. It can be said that the Su-style oil painting teaching system represented by Maximov has broadened and improved the historical vision of Chinese modern oil painting and helped Chinese artists find their own creative direction.Exhibition siteLiu XiaohuiArtist, Professor at the Central Academy of Fine Arts, Deputy Director of the Mural DepartmentTeacher Liu Xiaohui introduced the important guiding role of Soviet-style oil painting in his early learning and creative practice. He believes that the holistic color system of Soviet-style oil painting integrates the scattered and random form and color languages in modern Chinese oil painting creation. With the progress of history, even from a contemporary perspective, there is still huge room for continuous deepening of the understanding of Soviet-style oil painting creation, which can lead to new understandings in the process of creation and teaching.Exhibition siteWang GuangleArtist, Graduated from the First Studio, Department of Oil Painting, Central Academy of Fine ArtsTeacher Wang Guangle also shared the inseparable connection between his personal creative history and Soviet-style oil painting, and his experience is highly representative. Soviet-style oil painting was crucial for breaking the tradition of "local oil painting" and initiating a modern understanding of oil painting creation, helping China's early realistic oil painting creation reach a new level. In Wang Guangle's current creative practice focusing on contemporary and abstract art, the traditional plastic stance represented by Maximov still provides ideological and conceptual guidance for painting expression in the new historical period. As the "origin" of contemporary painting, it will not only not become outdated but also accompany the new generation of young artists to go further.Exhibition siteHe JingArt critic, curator, Assistant Professor at the Academy of Arts & Design, Tsinghua UniversityProfessor He Jing elaborated on her understanding of Maximov and Soviet-style oil painting from the perspectives of a theoretical researcher and critic. Soviet-style oil painting represents not only a specific creative school but also a kind of creative thinking and method. It decomposes the learning, training, and creation of oil painting into stages and procedures that are easy to understand and master in a scientific and rational manner. This set of procedures has profoundly influenced Chinese oil painting creation both at that time and later. Behind this highly scientific teaching and creation method, it also reflects the major historical background and demands of Soviet-style painting adapting to the industrialization and modernization of the Soviet Union. Therefore, from this perspective, it was also highly in line with China's practical needs and the historical context of that era. In addition, Soviet-style oil painting introduced the consciousness of "collectivity" into China's oil painting creation—whether it is collective creation or the expression of creative content related to specific classes or groups. From this perspective, we can understand why Chinese contemporary oil painting after the 1980s saw a pivotal shift towards a focused attention on "individual" consciousness and individual care. Therefore, we should examine the Soviet-style oil painting system and its historical significance with a dialectical and historical attitude.Exhibition siteWang Jing summarized Maximov's system and methods as a "toolbox" for oil painting creation. In the process from tradition to the contemporary era, and from the collective to the individual, artists have drawn on the strengths of various sources in their practice. They have combined their respective life experiences and subjective understandings, and utilized the valuable thinking methods and paths provided by this toolbox to address different artistic issues and express different spiritual pursuits. The "Maximov Training Class" is not merely a history of higher art education for the exploration of the modernity of Chinese oil painting, but also the starting point of a set of realist aesthetic methodologies concerning "how to see," "how to construct," and "how to narrate." In the subsequent exploration of diverse and specific painting formal languages, some artists have explored modernism, pursuing connections between psychology, abstraction, and structure; others have continued the realist tradition, depicting new themes and opening up new painting dimensions belonging to the contemporary era. All these are individual expressions unfolded in China's own context starting from this "origin," reflecting a rich and varied range of artistic colors.Looking back from the present, in an art environment that has undergone drastic changes and become increasingly complex along with the real world, the realities of globalization, visualization, and medialization present challenges where multiple contexts intertwine and value systems are fluid. How to address and express these complex modern situations, and achieve creative transformation and expression by integrating the characteristics of the times and contemporary values, is a crucial question facing contemporary artists. At this level, the systematic methodology emphasized by the "Maximov Workshop" – which prioritizes reality, observation, and personal experience – along with its inherent materialist and empirical rational perspective, provides an important ideological tool for navigating the fragmentation and chaos of contemporary visual culture. It teaches artists how to establish order amidst chaos, extract structure from phenomena; express contemporary situations and embody the spirit of the times.Exhibition siteToday, when we look back at the "origin," we are not seeking to replicate the historical style of Soviet-style oil painting, but rather to flexibly adapt the realistic ways of seeing and constructing it. This prism not only illuminates the path forward, but also refracts new directions toward the future. "Origin and Prism" signifies that history is not a closed legacy, but a resource that remains always open— in the modernist long march of Chinese oil painting itself, those fundamental questions of how to see, how to construct, and how to narrate still echo vividly at every moment.This exhibition will continue to be on view until January 3, 2026, and welcomes visitors.Imported Oil Paintings – A Retrospective Exhibition Of The Maximov Oil Painting Training Program At CAFA (1955-1957)Exhibition Dates: November 15, 2025 – January 3, 2026Exhibition Venue: Exhibitions 1F/3A/4F, CAFA Art MuseumEditor-in-Chief / He YishaResponsible Editor / Du YinzhuEditor / Yan Yuxi
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: No Need To Travel Far, Art Is Within Reach | The "CAFAM Gift Shop" Mini-program Is Officially Launched!

2025-12-26

A light touch of your fingertips, and art is at handCAFAM Gift Shop Mini ProgramOfficially launched todayNo need to travel far, let beauty be with youHere, what you encounter is not just cultural and creative products,but also an extension of the art museum's exhibitions and collections.Start your exclusive art journey right away,and integrate artistic inspiration into the warmth of daily life.CAFAM brand cultural and creative products01CAFAM LOGO Series ProductsContemporary Translation of Minimalist Letters"CAFAM" is not just a logo, but a set of design elements that can be disassembled and reassembled. The design inspiration for the "serrated M" graphic comes from the exterior facade of the art museum building. Rock slabs of different sizes are stacked and joined in an orderly yet staggered manner, presenting a unique planar compositional aesthetic. This allows it to exhibit a multi-layered beauty from different angles. The serrated shape，with its layered stacking, is combined with the letter M to create an exclusive graphic for the CAFA Art Museum. The CAFAM LOGO product series, with minimalism and functionalism at its core, transforms the letters from a two-dimensional logo into three-dimensional, usable objects. Each use strengthens the interactive relationship between the brand and users, endowing the brand symbol with a new practical significance.02CAFAM Architectural Series ProductsArchitectural art adorns lifeThe iconic three-dimensional curved architectural language of CAFAM has been abstractly translated into a variety of product materials. As a classic and timeless architectural artwork, the CAFAM building was designed by renowned Japanese architect Arata Isozaki. It is not only an artistic landmark in Beijing but also a classic case in the history of world architecture. Based on the unique structural form of the CAFAM building, through redesigns such as cartoon-style modeling, hollowed-out geometries, or combinations with famous paintings, its iconic geometric forms are recreated. These forms integrate with different design styles, creating a fusion of architecture and art. This symbolizes the convergence and presentation of artworks of different styles, concepts, and schools at CAFAM, fully expressing the museum's attribute as an "art container."03CAFAM Centennial Academy of Fine Arts Pocket MirrorThe elegance of the Academy of Fine Arts is hidden in a small spaceThe "Centennial Academy of Fine Arts" pattern is one of the "Centennial Academy of Fine Arts, Centennial Glory" patterns designed by designers for CAFA Art Museum during the centennial celebration of CAFA in 2018. It is still displayed on both sides of the entrance to the museum to this day. The decorative borders around the pattern are extracted from the architectural shape of the main entrance of the auditorium of the National Beijing School of Fine Arts on Jingji Dao before 1918. Inside the borders are scrolling grass and lotus patterns, which form an interlocking branch effect with the characters "Centennial Academy of Fine Arts". At the center of the pattern is a peony round flower pattern, symbolizing harmony, happiness, prosperity and thriving.CAFAM Collection Cultural and Creative Products01Collection Series Products - Sketchbook"The 'exhibition wall' is in place; creation is exhibition"Drawing inspiration from the collection of the CAFA Art Museum, in terms of design concept, the cover of the sketchbook is transformed into a "portable museum exhibition wall". Selected masterpieces of different styles and periods from the collection are chosen to ensure that each work presents the best viewing effect on the "exhibition wall".02Collection Series Products - NotebookModern Translation of Folk Art ElementsTraditional visual elements such as lions and tigers are extracted from the collected folk art works, and combined with gradient colors and modern graphic design language to form a integration of classical images and contemporary writing tools. This revitalizes ancient New Year paintings in daily stationery, making them a cultural carrier connecting traditional art and modern life, and sustaining the vitality of folk art visual elements in the context of contemporary design.03CAFAM Collection of Famous Paintings Series ProductsTreasures in the Palm, Walking with ArtThe brush and ink artistic conception, composition and color, philosophical connotations, as well as inscriptions and seals in ancient Chinese paintings are all unique traditional cultural symbols. By extracting and redesigning the visual elements from the ancient Chinese paintings in the CAFAM collection, we continuously activate the vitality of cultural relics, build a new bridge for the public to dialogue with traditional culture, and integrate the aesthetic elements and cultural implications of classical art into contemporary life through creative transformation.CAFAM ExhibitionLimited Edition Cultural and Creative ProductsCarry the time of the exhibition hall and continue the artistic touchPut the exhibition "into" your pocket, and everywhere you go is an art museumThe overall positioning of the cultural and creative product design for the Horse Training Class Exhibition is based on the Sino-Soviet design style of the 1950s. Whether it is the fonts, colors, or patterns, they all embody a strong Soviet-style aesthetics integrated with Chinese design aesthetics of the 1950s. All pattern designs are inspired by traditional Sino-Soviet patterns. With warm colors matched with gold craftsmanship, the brilliant sunshine of that era is transformed into today's accessible daily objects, which possess both a sense of historical heaviness and contemporary aesthetic appeal.Cultural and Creative Products of the Maksimov Oil Painting Training Class at the Central Academy of Fine Arts (1955-1957)Design Keywords: 1950s × Soviet Style × Sunshine × SplendorArt is inherently fluid,It has always been in life, being used and understood.With objects as a medium,CAFAM cultural and creative products connect art with the present.Editor-in-Chief / He Yisha Responsible Editor / Du Yinzhu Contributors / Yi Yi, Bu Wenhan Editor / Yan Yuxi
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: Take A Seat In The Front Row Of History: Discussing The Teaching Issues From The Maksimov Oil Painting Training Program (Live Stream Link Included)

2025-12-23

From The Maksimov Oil Painting Training Program — A Series of Academic Dialogues (Second Session)Take a Seat in the Front Row of History:Discussing the Teaching Issues From The Maksimov Oil Painting Training Program Time: 14:30-16:30 on December 23, 2025Venue: Academic Lecture Hall, CAFA Art MuseumGuest speakers: Dai Shihe, Sun Tao, Zhou Simin, Cao QinghuiHost: Li Yaochen...................................................................................................................................................The oil painting training Program at CAFA hosted by Maximov was a prominent reflection in the art world of New China's policy of comprehensively learning from the Soviet Union and vigorously cultivating talents in the 1950s. Its core value lies in its important role in imparting "methods". This learning and introduction of Soviet art education had a profound impact on Chinese art for decades to come.The exhibition presents such a specific and vivid historical case, bringing the vivid history of 70 years ago into reality, like a stone thrown into a calm pond, rippling in our hearts. It not only evokes precious historical memories that have sunk to the bottom of our memories, but also, like a montage shot, allows us to switch repeatedly between the present and history.The planning of this exhibition revolves around the questions raised by the students of the Maksimov Oil Painting Training Program: "How to learn, what to learn, and how to improve and create". Among these, "learning" has long been a topic regarding foreign arts such as oil painting within the Chinese context. Moving from the specific to the general, discussing the teaching issues related to "learning" from foreign sources is a topic of historical value and practical significance. This dialogue hopes that we can all "take a seat in the front row of history" to have an in-depth discussion and gain insights and rewards from it.Scan the code to make an appointmentParticipate in the eventTo enable a large number of online viewers to participate in this academic forum in real time, we have specially opened an online live stream channel. During this time, you can watch the entire forum via the live stream platform, and leave messages and ask questions in the interactive zone. We sincerely invite you to join us online and participate in this exchange and discussion about the "Maksimov Oil Painting Training Program".Guest of the conversationDai Shiheformer Dean of the School of Plastic Arts and Director of the Oil Painting Department at the Central Academy of Fine ArtsSun TaoDirector of the National Theme Creation Center, Central Academy of Fine ArtsZhou SiminDirector of the Basic Teaching and Research Section, Department of Sculpture, Central Academy of Fine ArtsCao QinghuiDirector of the Professor Committee of the School of Humanities, Central Academy of Fine ArtsHost:Li YaochenDirector of the Collection Department of the Art Museum of China Central Academy of Fine ArtsImported Oil Paintings – A Retrospective Exhibition Of The Maximov Oil Painting Training Program At CAFA (1955-1957)Exhibition Dates: November 15, 2025 – January 3, 2026Exhibition Venue: Exhibitions 1F/3A/4F, CAFA Art MuseumEditor-in-Chief / He Yisha Editor /Du Yinzhu
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: Opening of The CAFA-Democratic League Member Artists' Exhibition Ding Zhongli Attends The Opening Ceremony

2025-12-22

On December 18th, the "Art for Life – Exhibition of Artworks by Members of CAFA Branch of the China Democratic League and Commemoration of the 75th Anniversary of the Establishment of the Central Academy of Fine Arts Branch of the China Democratic League" opened at CAFA Art Museum, guided by the Beijing Municipal Committee of the China Democratic League, hosted by the Party Committee of the Central Academy of Fine Arts and the Chaoyang District Committee of the China Democratic League, and organized by the United Front Work Department of the Party Committee of the Central Academy of Fine Arts and the Central Academy of Fine Arts Branch of the China Democratic League.Ding Zhongli, Vice Chairman of the Standing Committee of the National People's Congress and Chairman of the Central Committee of the China Democratic League, attended the opening ceremony. The opening ceremony was presided over by Cheng Hong, Member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, Vice Chairman of the Central Committee of the China Democratic League, Vice Chairman of the All-China Federation of Returned Overseas Chinese, and Chairman of the Beijing Municipal Committee of the China Democratic League. Wu Weishan, Deputy Secretary-General of the National Committee of the Chinese People's Political Consultative Conference, Vice Chairman of the Central Committee of the China Democratic League, and Vice Chairman of the China Artists Association, and Lin Mao, President of the Central Academy of Fine Arts, attended and delivered speeches.Wu Weishan stated that the Central Academy of Fine Arts is closely linked to the development of modern Chinese art. Members of the China Democratic League at the Central Academy of Fine Arts have created outstanding works and made remarkable contributions in various historical periods. This exhibition reviews and remembers the older generation of outstanding CDL artist members represented by Wu Zuoren, Liu Kaiqu, Jiang Zhaohe, Li Hua, etc., inspiring CDL artists in the new era to continuously forge ahead. It is hoped that the CDL Branch of the Central Academy of Fine Arts will continue to lead the majority of its members, actively engage in the construction of Chinese-style modernization, empower economic and social development through culture, and jointly contribute more efforts to Beijing's promotion of the construction of a national cultural center and the acceleration of building a culturally strong country.Lin Mao stated that this exhibition, with the theme "Art for Life", is not only an inheritance and promotion of the artistic propositions of Mr. Wu Zuoren, the first chairman of the Art College Branch of the Central Committee of the China Democratic League, but also a vivid review of the 75-year spiritual context of the branch. The branch has always adhered to the tradition of the China Democratic League of "advocating for national affairs and concerning about people's livelihood", stayed committed to the original aspiration and mission of "art for the people", and always resonated with the times. It is hoped that the branch will take this exhibition as a new starting point, guide the majority of league members to integrate their personal artistic ideals into the overall situation of national development, and make new and greater contributions to cultivating new-era artistic talents who are responsible for national rejuvenation and promoting the prosperity and development of Chinese art.This exhibition brings together masterpieces by 24 participating artists, covering diverse art forms such as painting, sculpture, architecture, video, design, and books, creating an artistic scroll spanning time and space. Among the exhibits, there are classic works by older generation democratic league art masters such as Wu Zuoren, Liu Kaiqu, Li Hua, and Dai Ze, which embody profound exploration of the essence of art; there are also works of dedication by retired league members like Jiang Caiping, Zhai Xinjian, Li Yang, and Xu Ping, continuing the artistic pursuit passed down from generation to generation; there are also innovative practices by middle-aged and young teachers, showing the sense of responsibility of league members in the new era.Mr. Wang Duowei, Deputy Minister of the United Front Work Department of the CPC Beijing Municipal Committee and Director of the Overseas Chinese Affairs Office of the Beijing Municipal Government; Mr. Wu Xiaojie, Secretary of the CPC Chaoyang District Committee of Beijing; Ms. Xu Yang, Secretary of the Party Committee of the Central Academy of Fine Arts; Mr. Liu Xuejun, National Committee Member of the Chinese People's Political Consultative Conference, Deputy Chairman of the Beijing Municipal Committee of the Chinese Democratic League, and former Director of the China National Traditional Orchestra; Mr. Zhang Zhenjun, Standing Committee Member of the Central Committee of the Chinese Democratic League, Deputy Secretary-General of the Chinese People's Political Consultative Conference, Full-time Deputy Chairman of the Beijing Municipal Committee of the Chinese Democratic League, and First-Class Inspector; Mr. Hei Dekun, Standing Committee Member of the Chinese People's Political Consultative Conference and Deputy Director (Deputy Director-General) of the Service Center (Service Bureau) of the United Front Work Department of the CPC Central Committee; Mr. Zhang Feng, Deputy Secretary-General and Minister of the Publicity Department of the Central Committee of the Chinese Democratic League, and other leaders, as well as members of the leading 班子 of the Central Academy of Fine Arts, representatives of participating artists, representatives of family members, and representatives of teachers and students, attended the opening ceremony.Exhibition Works (Partial)Opening the history of the branch, its profound heritage and glorious journey are truly moving. In the early days of the founding of New China in 1950, the branch was born under the guidance of the Party's united front policy, with Mr. Wu Zuoren serving as its first chairman. At the very beginning of its establishment, many distinguished artists gathered here, including masters of art such as Liu Kaiqu, Jiang Zhahe, Li Hua, Zeng Zhusha, Li Zongjin, Hua Tianyou, Wei Qimei, Dai Ze, and Li Hu; and scholars of theory such as Chang Renxia, Shen Baoji, Cai Yi, Wang Xun, and Wen Jinyang. Mr. Zhang Anzhi, Xiao Shufang, Wei Zuyin, Luo Erchun, Tian Shiguang, and others joined one after another, making the branch a highland of talents with both creative excellence and academic depth, laying a solid foundation for the development of the art cause.For 75 years, through storms and hardships, the branch has adhered to the traditional spirit of the Democratic League of China – "Working for the country and caring for the people" – and remained committed to the original aspiration of "Art for the people". Under the leadership of the Party, it has written an epic that resonates with the times. In the 1950s, Mr. Liu Kaiqu, Wu Zuoren, Hua Tianyou, Zeng Zhusha, and others participated in the creation of the reliefs on the Monument to the People's Heroes. Mr. Wang Xun and Li Zongjin devoted themselves to the design of the national emblem, using art to forge the spiritual coordinates of the nation. In the 1980s, it took the lead in establishing the Beijing Calligraphy and Painting Art Research Association and organized the "Wen Yiduo Art Exhibition", injecting vitality into the recovery of the art cause. Entering the 21st century, it has delved deep into fields such as aesthetic education, national image design, and rural revitalization, serving national strategies with its professional expertise and vividly fulfilling the oath of "Creating for the people and documenting the times"."Art for Life" is not only an artistic proposition put forward by Mr. Wu Zuoren, but also the spiritual core inherited by the branch. It emphasizes that art should take root in the soil of the nation, reflect the style of the times, and serve the needs of the people, guiding generations of league members to move forward with certainty.—— Excerpted from the exhibition foreword by the Central Committee of the Chinese Democratic League Central Academy of Fine Arts BranchWu Zuoren, Camel, 1960, ink and color on paper, 87×46cmCollection of CAFA Art MuseumLi Hua, "Unity is Strength", 1947, monochrome woodblock print, 23×17.4cmCollection of CAFA Art MuseumLiu Kaiqu, Bust of Cai Yuanpei, 1986, Plaster, 24×32cmCollection of CAFA Art MuseumWei Qimei, River Snow, 1970s - 1980s, Oil on Canvas, 73×100.5cmCollection of CAFA Art MuseumDai Ze, Furong Town, Xiangxi, Hunan, 1986, watercolor on paper, 39.5×27.5cmCollection of CAFA Art MuseumWen Jinyang, Construction Site of Wuhan Yangtze River Bridge, 1954, oil on wood, 41.5×53.5cmCollection of CAFA Art MuseumXiao Shufang, Rainbow, around 2000, ink and color on paper, 68×71cmCollection of CAFA Art MuseumArt for Life – Exhibition of Artworks by Members of CAFA Branch of the China Democratic League and Commemoration of the 75th Anniversary of the Establishment of the CAFA Branch of the China Democratic LeagueOrganizers:China Democratic League Beijing Municipal CommitteeHosts:Party Committee of the Central Academy of Fine ArtsChina Democratic League Chaoyang District Committee of BeijingUndertakers:United Front Work Department of the Party Committee of the Central Academy of Fine ArtsBranch of the Central Committee of the Chinese Democratic League Central Academy of Fine ArtsCo-organizers:CAFA Art MuseumRetired Personnel Department of the Central Academy of Fine ArtsSupporters:China Democratic League Dongcheng District Committee of BeijingCentral Academy of Fine Arts School Office　　　　　Publicity Department of the Party Committee of Central Academy of Fine ArtsWork Department for Party Committee's Security and Stability of Central Academy of Fine ArtsExhibition Time: December 18, 2025 — December 29, 2025Exhibition Venue: First Floor, CAFA Art MuseumEditor-in-Chief / He YishaEditor / Du Yinzhu
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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
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CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.