Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

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

: Step into an art-frozen fantasy realm | 1 Day Countdown to the CAFA Graduate Exhibition

2026-05-14

When the mind rests, perhaps the most authentic creation has only just begun. It holds the emotions we leave unspoken, and serves as a private sanctuary to escape reality. Graduates of the Central Academy of Fine Arts seize this spark of inspiration,turning dreams, illusions and dream weavers into a shared artistic spectacle. Today, we invite you to step into this fantasy realm frozen in art.1\ Let go of worldly trivialities, wander freely with heaven and earth●●●●●●●●●●●●●●●●●●●●●●●●●●Work Name: Many Lonely Dreams in a Life Displaced Southward — Li QingzhaoArtist: Zhang SiyuanSize: 54×74cmMedium: Oil on CanvasDuring the Jingkang Crisis of the Northern Song Dynasty, people of the Song fled south, and Li Qingzhao wandered into the southern lands. Did Li Qingzhao pass by the lotus pond where she once played in her youth during her southern exile? With scenes remaining the same yet people changed, what state of mind lingered within her in those days? The lotuses in the pond withered in an instant. The dying sun filtered through the withered lotus stalks and fell upon the poet’s shoulders. Wild geese flying south always return north one day. The lotus seeds held in the poet’s hand symbolize hope. As long as the flame of civilization endures, even amid devastation, flowers will bloom again tomorrow.Work Title: A Dream Wander at Red CliffArtist: Zhang SiyuanSize: 215×120cmMedium: Oil on CanvasOn the night of the fifteenth day of the tenth lunar month in the fifth year of the Yuanfeng reign, Su Shi obtained a large fish with a broad mouth and slender scales, resembling the perch of Songjiang, along with a jar of wine. He then took the wine and the fish and revisited Red Cliff with two friends. Red Cliff rose rugged and jagged, its steep cliffs soaring a thousand feet high. Su Shi braved the perilous path to climb to the summit, while his two friends could not reach such a lofty height. Su Shi let out a long, resounding roar, stirring the plants and trees. The mountains echoed and the valleys responded; the wind rose and the river surged. A sense of sorrow and awe came over Su Shi. Feeling he could not linger there long, he descended the hill, boarded his boat, and let it drift freely on the river. Near midnight, a crane with wings as large as cart wheels let out a sharp, prolonged cry and glided past the boat toward the west. When the excursion ended and his friends departed, Su Shi returned home and fell asleep. He dreamed of a Taoist priest clad in feathered robes, who greeted him with folded hands and asked: “Did you enjoy your tour of Red Cliff?” Su Shi asked for his name, yet the priest bowed his head in silence. In a sudden epiphany, Su Shi wondered: could this be the lone crane that had swept past his boat the night before? He awoke with a start. Opening the door to search, there was no trace of anyone to be found… Inspired by the scene of Su Shi drifting on the river and encountering a crane in Ode to the Second Red Cliff, this work seeks to craft a realm of vast, ethereal lucidity, hovering between reality and illusion. We are fleeting mayflies drifting between heaven and earth, a single grain adrift in the vast sea. At this moment, Su Dongpo cast aside worldly trivialities, became one with heaven, earth, sun and moon, and wandered in unbounded spiritual freedom.2\Unfettered by circumstance, unattached to mortal cares●●●●●●●●●●●●●●●●●●●●●●●●●●Work Title: Abiding NowhereArtist: Wang ZhenzhenSize: 160cm × 200cmMedium: Tempera sprayed on wood panelAbiding Nowhere draws its inspiration from the Diamond Sutra’s verse "Dwell on nothing, and let your mind arise freely". It integrates tempera and airbrush techniques to blend oriental landscape with surrealism. Centered on the metaphor of a draw in Mongolian chess, the painting features a chessboard shrouded in sea of clouds and two faceless figures, constructing a spiritual game of self-bargaining. Facing the fierce tiger in the bamboo grove means confronting inner desires; gazing at the chessboard amid cloud sea embodies the yearning for transcendence. The work conveys the Zen essence of being unbound by gain and loss, and unattached to outcomes, guiding viewers to attain inner ease and balance through reconciliation.3\Radiant Vision: The Faint Light Deep in Memories●●●●●●●●●●●●●●●●●●●●●●●●●●Work Title: Deer Wandering in Lush GrassPainting Size: 45×45 cmWork Title: Phoenix, O PhoenixPainting Size: 63×23 cmWork Title: Traces of the UnicornPainting Size: 63×45 cmWork Title: Bright Moon and Snowy HourPainting Size: 35×50 cmArtist: Song XimengMedium: Screen print, Mixed mediaThe conception of the painting series Radiant Visions began during a period stretched long by anxiety. Graduation arrangements and uncertainties about the future closed in relentlessly. Nights stretched long with wakefulness, and thoughts lingered in endless loops, rendering the artist’s inner world distant and indifferent. Her graduation thesis focuses on Zhangzhou woodblock New Year paintings. During this period, she immersed herself in the cultural customs of Zhangzhou, Fujian, including local architectural features, costume styles, dietary habits, religious beliefs, and more. Between the lines of documents and records, she sensed the region’s emotionally rich festive atmosphere. As she gazed upon those New Year paintings, distant memories resurfaced: the steam rising from home-cooked meals, the crackle of firecrackers, and the glow of fireworks blooming across the night sky. She saw her family smiling at her younger self, and her late grandparents; back then, her parents had not yet grown grey hair. These countless warm, vivid fragments softened the edges of time, nurturing a quiet sense of peace amid worldly bustle. It was as if the people from those long-gone days had travelled across time to the present, soothing her inner anxiety and the unease of stepping into the complexities of adult reality.4\After the Giant Rock Fades Away●●●●●●●●●●●●●●●●●●●●●●●●●●Work Title: Are You Also Sisyphus? Artist: Li Siqi Size: 196×198 cm Medium: Acrylic on CanvasDrawing on the archetype of the ancient Greek myth of Sisyphus, this work explores the existential state of modern people.In the painting, the traditional boulder is replaced by a huge, light and gentle transparent sphere, a metaphor for the seemingly reasonable and smooth work, order and technology in modern life. The figure on the right is no longer a hero resisting fate, but possesses a transparent, faceted form. He maintains the sphere’s motion through touching and complying — pushing forward while being swept along. The work poses a profound question: Having clearly realized that life is an unsolvable cycle, we still choose to keep going. For this meaningless repetition without end, do we act out of conscious choice, or mere habit?As Camus put it, true happiness may lie precisely in choosing to endure with full awareness.5\Medium Beyond Language: Water●●●●●●●●●●●●●●●●●●●●●●●●●●Work Title: MigrationArtist: Chen WeiyiDimensions: 6×100×150 cmMedium: Acrylic, Pastel and Colored Pencil on CanvasTaking water as the medium, the work captures primal perceptions that have not yet been verbalized by language. It allows imagery to continuously emerge at the critical threshold between manifestation and dissolution, dwelling in the diffused realm of consciousness, subconsciousness, psychology and physical sensation. Through the metaphor of the "water mirror", it mirrors inner psychological space, where reality, dreams, memories and imagination coexist as one. In this process, the interplay of the body, tactile sense, rhythm and multiple senses takes precedence over the definition of form. Painting thus becomes a tangible field of experience, forming an interpenetrating and symbiotic bond with the surrounding environment.6\Surreal Fantasy of Iris●●●●●●●●●●●●●●●●●●●●●●●●●●Chief Editor / He YishaResponsible Editor / Du YinzhuEditor / Zhang NiPhotographer / Sun Xiaomeng
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: 总有一件作品，可以震撼你 | “央美研究生毕业展”倒计时

2026-05-13

2026“中央美院研究生毕业展”即将接近尾声，美术馆再次成为目光与思想的激荡之地。这些毕业生作品不只是创意与技艺的展现，更是年轻灵魂深处的情感、追问与呐喊。它们之中，有表现农村空巢老人的生存困境，有用泥土封存支教记忆的深情雕塑，有将古画与AI图像“串线”重构的视觉迷宫；有揭示“规训之巢”温柔束缚的冷静装置，也有邀请观众共绘、如《瀑布》流动的轻松场域；更有对艺术生产机制本身提出犀利质疑的机器与砖块……这些作品面貌迥异，却共同指向了这个时代创作的核心命题：在技术迭代、信息混杂的当下，艺术何为？情感与真实居于何处？我们邀你进入这些年轻艺术家的世界，感受那份专属于央美学子的思考与温度。01为灰暗“赋”形《吊五人赋》徐圣伦尺寸：300×150×270cm材料：树脂、角铁、方钢、砖雕塑系“吊”，既指作品悬垂的视觉状态，亦含“吊唁”之深沉悲悯。“五人”，是五位选择自我终结的山村老人。“赋”，是那种试图以巨细靡遗的笔触去铺陈、去穷尽的古老文体。这件作品的诞生，源于作者数次下乡考察时，目光对“光鲜世界”之外的持久凝视。一对老夫妇的故事成为关键的触点：家徒四壁的屋里，盛着儿子死亡、儿子伤残、儿媳重病、自身绝症的多重厄运，而他们对这些苦难“沉默无言”，使人感到一种无解的沉重。于是，作者决定用雕塑为他们，也为一种普遍的生存状态“赋”形。他并非单纯呈现悲惨，而是试图通过人物形态的塑造，凝聚成一种直抵人心的力量，让观者看见、记住并思考那些常被忽略的“灰暗”。作品被明确赋予了宣传与介入现实的功能——旁边的麦穗（周边产品）永久发售，所有收益将全部赠送给困苦中的人，使艺术从表达延伸为行动。用泥土封存时光02《支教记忆我与我们》滕修毅450×50×200cm玻璃钢、丙烯、影像雕塑系“支教这一年，是我终生难忘的事。”这组以剑川学子与支教团员为原型的雕塑，并不追求夸张的形式，却因背后的故事而显得沉甸甸。作者是央美研究生支教团的一员，他用泥土，一寸一寸地捏出了那些孩子的面孔、同伴的笑容，也捏进了自己那一年的青春、感动与牵挂。“如何会火？如何有深度？”他曾犹豫。最终，导师的话点醒了他：“做你自己的真情实感。”于是，这组作品成为一段时光的纪念碑——献给远方那群长大中的少年，也献给曾经并肩的挚友。雕塑旁循环播放的纪录片《筑梦剑川，共赴山海》，让泥土中的情感，有了声音与温度。03图像“串线”叙事《串线Crosswired 》杜道通绘画装置 524x427x160cm 实验艺术与科技艺术学院这件作品并不试图发展新的绘画技法，而更像一个图像互相借体的现场。古画、神话、动漫、CNC绘画、转印与AI图像被组织在同一结构中，不再保持各自稳定的身份，而是在彼此占用、误接、替换与串线的关系中继续存在。作品最上方两幅画源自一个以“某个人物一天”为起点的虚构叙事，这一原本可能按时间展开的结构被切分并转译为既连续又断裂的图像表面，构成观看的入口，但这种叙事很快在下方被打断。人物装置背后隐藏的AI替身通过缝隙向前观看，使观看从单向转为回看。观众在观看作品的同时，也被作品内部的“替身”所反向指认。由此，作品所关注的并非一个完整的图像叙述，而是图像在失去原有归属之后，如何通过借体、误接、替身与回看的方式继续生成，并在一种不干净但持续运作的关系中存在。“规训”中看见自己04《规训之巢》陈鸣 2026年材料：大语言模型 Esp32 热敏打印机热敏打印纸铝型材木材常规认知里，巢是栖息地、安全感、港湾；但反向思考，巢本身就是固定结构、封闭边界、不可随意突破的牢笼。社会的秩序、大众的期待、既定的人生模板、统一的审美标准，都是无形的规训力量。二者结合，就是想表达：我们赖以生存的安稳环境，同时也是困住自我、限制想象力和独特性的巢穴，温柔的外壳下，是无声的束缚。在《规训之巢》里，我们人人皆是双面的：内心永远住着渴望被理解、被包容的小孩，却又常常不自觉地化身规训者，用期待和控制束缚身边的人。太强的占有欲、过度的干涉，都会悄悄困住彼此。愿我们都学会收敛掌控欲，给身边人留一点呼吸的空间，温柔相处。《瀑布》刘书言材质：传送带、蜡笔尺寸：100cm*100cm*400cm研究方向：传统雕塑语言的当代运用研究《瀑布》以传送带为基底，蜡笔为媒介，邀请每一位观众留下随性的涂画痕迹，重现儿时在墙面、桌角偷偷涂抹的轻松与自在。画面如泉水般缓缓流动，在时间的叠合中循环往复，不断生成变幻的图景。作品由艺术家与观者共同完成，痕迹交叠、流转不息。当创作被“批量制造”06什么使我们的今天变得如此相同艾格格半自动艺术压制机： 170cmx70x90cm 布展尺寸： 750cmx300cm 机械设备、红砖、试卷、等综合材料如果有一台机器能自动生产“艺术品”，艺术家只需提出观念，然后坐享其成——这是解放，还是讽刺？作者真的做了这样一台机器，并让它运行了一段时间，批量产出“艺术”。在当下看，这似乎与⼆⼗世纪五⼗年代的波普艺术有着千丝万缕的联系。但很快，她感到了厌恶。于是，她把机器生产的“作品”与108个当代艺术常见符号，一起用砖块固化，带到展厅，借由砖块思考：什么使我们的今天变得如此相同？预约通道2026中央美院毕业季线上预约购票通道开启，观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票（购票说明详见官网）。最早可提前7天预约。每日观展名额限量约满为止，毕业季期间美术馆周一正常开放。预约时需使用有效证件进行实名预约，每人当天只能预约一次，预约成功后，观众按预约时间到场。毕业季期间，在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。主编 / 何一沙责编 / 杜隐珠编辑 / 张妮拍摄 / 孙霄萌
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: At CAFA: Witness how this year’s graduates express the resilience of life

2026-05-11

The very first creation of life comes from a mother. When art becomes a gentle reply to the origin of life, a group of young creators take breaking through limitations, thriving upward, and the flow of life energy as their core theme, unfolding an artistic narrative at a leisurely pace. Using painting, sculpture and video as their mediums, they construct a dialogue about the journey of life, condensing the grand themes of life — germination, transformation and resilience — into visual poetry. In this lush, flourishing season, they compose for the audience an emotional map rooted in love, one that invites us to explore the power of life.01\Gentle Armor1 Work Title: SlowlyArtist: Peng YanDimensions: 150cm × 200cmMedium: Mixed MediaA mother holds her swaddled infant in her arms, her hands forming an unshakable cradle. The naive baby instinctively stretches out toward the mother, eager to touch her face. In accompanying a new life through growth, every mother inevitably makes sacrifices and loses a part of herself. For this work, the artist tore up and burned delicate, romantic floral and foliage motifs — some hand-painted by her own mother — before reconstructing them via collage. Layers of rice paper are stacked upon one another. The ink washes, pigment permeation and natural creases of each layer embody the accumulation of years, bearing witness to the passage of time with its joys and wounds alike. The figure is defined by bold outlines and angular solid forms. What rests upon the mother’s shoulders is both a set of shackles and a suit of armor. As time settles and shattered fragments reunite, a stronger, more resilient inner strength emerges — gentle as it has always been, yet utterly unbreakable.02\Spiritual Homeland2 Title: Imprints of LifeArtist: Zhou JianpingMedium: Oil on CanvasCentered on the existential state of contemporary people as its emotional core, the work explores the fading of memory, the bond between humanity and land, and the symbiotic relationship between spirit and flesh. Instead of deliberately dramatizing grand narratives, the piece captures the overlooked poetry of everyday life within a hazy, gentle atmosphere — those certain, genuine fragments of human emotion hidden in ordinary scenes. The painting integrates regional features from diverse locales, interweaving traces of daily existence with the warmth of life. Amid subdued, settled emotions, it completes the narration and expression of the innate poetry of life itself.03\Echoes of Nature3 Work Title: Circulation of All ThingsArtist: Hu MinxuanMaterials: Black pottery, wood, iron, carbon, earthDriven by personal experience, firsthand observation and long-standing attention, the artist has long been deeply moved by scenes of mothers holding or carrying their children in swaddling slings. She marvels at the miracle of life and the extraordinary craftsmanship of nature. Moreover, human beings, as living creatures, are themselves children of nature, bound closely and inseparably to it. The philosophical idea that “I am integrated with all living things” has profoundly influenced her creative outlook. Her works therefore revolve around gestation, the origin of life, and the relationship between humanity and nature. She creates with the most primitive, ancient and natural materials, incorporating her long-term reflections on multi-layered space, passageways, the dialectics of life and death, and the connection to nature in contemplating the essence of all things. Titled Circulation of All Things, the work implies that all existence in nature moves in endless cycles, much like the rotation of the seasons and the rising and setting of the sun, forever shifting and flowing. In her creation, no clear boundaries divide humans, animals and plants. Instead, there is a pervasive sensory unity of “all things being one with myself”. The work conveys that every life follows the same path: from gestation and birth, through growth and prosperity, to decline and passing away. All return to their origin, lying dormant like nature resting in winter, before emerging anew from emptiness into being, repeating the eternal cycle. In this way, the artist expresses her understanding of, and reverence for, life itself.04\Warmth Outside the Window4 Work Titles: Overlooking the Wilderness, Crossing Thorns, Forest TrailAuthor: Cheng ShuyanWork Size: 120cm×80cm (three pieces in total)Materials: Mineral pigments, silver foil, quartz sand, acrylic, watercolor, gesso创作开始的契机是窗。曾经提笔茫然、思绪放空时，我总爱望向窗外，观察窗户的结构，窗户本就是天然画框，作者以回忆、当下与幻想为线索，用自身成长的时间线，牵起老家与北京的羁绊。儿时在北京求学，爷爷奶奶的相伴，让异乡也成了故乡。长大后小狗Tiger闯入我的生活，平时总是用速写记录下它嬉戏、安睡的模样；现在画画时一群鹦鹉总是陪着我，为生活增添了许多温柔趣事。以窗为喻，思考束缚与枷锁，并幻想不在身边的他们此时此刻是否安然无恙。作者偏爱平面形式的画面，打破常规透视、弱化形体体积，只想还原生活本来的朴实与真诚。画画如同写作，先触动自己的内心，才能与观众产生共鸣。每个人心里都有最珍贵的人与物，而作者想做的，就是想用这份质朴温暖的力量来抚平生活中的刺。The window is where my creative journey began. In moments of creative blankness and wandering thoughts, I would always gaze outside. Observing the structure of a window, I came to see it is naturally an inborn picture frame. Taking memory, the present and fantasy as the thread, I trace my own growth timeline to weave the emotional bond between my hometown and Beijing. I studied in Beijing as a child. Accompanied by my grandparents, this foreign city felt like home. Later in life, my little dog Tiger came into my days. I often sketched him at play and at rest. Now as I paint, a flock of parrots keep me company, bringing countless gentle and lovely moments to life. Using the window as a metaphor, I reflect on confinement and inner shackles, wondering whether those who are far away are safe and well at this very moment. I am fond of the flat pictorial style, breaking traditional perspective and weakening volume and form, seeking only to restore the simplicity and sincerity of life as it truly is. Painting is like writing: it must first touch my own heart before it can resonate with the audience. Everyone holds precious people and things deep inside. What I hope to do is use this plain, warm power to soothe the thorns and hardships in life.05\Sweet Mask5 Work Title: All Living Beings Are SweetArtist: Tan MeilinSize: 200cm × 200cm × 260cmMaterials: Sugar, iron frame, mirror surfaceThe artist cast ninety-six faces with syrup. Bright and alluring at first, they exude the sweetness of candy, drawing viewers near. Yet this is only the beginning. Over time, the sugar faces absorb moisture, gather dust, grow moldy, and eventually melt and break apart. This decay is not damage; it is the very essence of the work, laying bare the truth that all beautiful things drift toward demise. Neither youth nor human relationships can escape the passage of time. Beneath the surface lies a deeper metaphor of consumption. When we bite into and swallow the faces of others, we partake in a symbolic game of occupation and depletion, erasing the otherness of fellow beings. This provokes profound questions about existence and destiny: Do you truly affirm your own existence? Have you ever tasted the life of another? The work presents the entire process from wholeness to decay. It evokes no mere fear, but rather an affirmation of being. It is not about heroes, but about each of us — how we are seen, savored, and forgotten, until we finally taste the full flavor of this candy called life.Reservation Channel\2026中央美院毕业季线上预约购票通道开启，观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票（购票说明详见官网）。最早可提前7天预约。每日观展名额限量约满为止，毕业季期间美术馆周一正常开放。预约时需使用有效证件进行实名预约，每人当天只能预约一次，预约成功后，观众按预约时间到场。毕业季期间，在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。Chief Editor / He YishaResponsible Editor / Du YinzhuEditor / Zhang NiPhotographer / Sun Xiaomeng
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: CAFAM Live Preview | Yao Qian Visits the 2026 CAFA Graduation Season — Inviting You to Listen to the Voice of Art

2026-05-11

As the 2026 CAFA Graduation Season is in full swing,CAFAM Art+ launches a brand-new series of live streams.Break the boundaries of space with us,and delve into the creative scene and ideological core of the CAFA Graduation Exhibition.May 12th (Tuesday), 15:00Our museum invites renowned musician and art collector Yao Qianas our guest speaker for the live broadcast,to listen closely to the voice of art together.Follow the official account @CAFA Art MuseumWe look forward to your presenceEditor-in-Chief / He YishaEditor / Du Yinzhu
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: CAFAM Public Recruitment | Awakening in Colors · Art Without Age Boundaries Public Education Series Events

2026-05-09

It is the 2026 Graduation Season of the Central Academy of Fine Arts. The Public Education Department of CAFAM, in collaboration with the Art Museum Management Studio of the School of Art Management and Education, launches a new practice of museum-academia collaboration and presents the public education series Awakening in Colors · Art Without Age Boundaries.This event takes the graduation-season art scene as a bond, building a sincere and communicative "public living room" for participants of all age groups, and exploring more possibilities for public aesthetic education to bridge generational gaps. The project transforms the art museum into a generational interactive field of mutual subjectivity. With art as the medium and creation as the catalyst, participants of different ages meet and communicate through artistic practice, becoming equal and vibrant creative partners to one another.临时轮廓：家庭记忆拼贴工作坊Temporary Outline: Family Memory Collage Workshop中央美术学院美术馆公教部结合毕业季主题，推出「焕彩共生·艺无龄界」系列公教活动之「临时轮廓·家庭记忆拼贴工作坊」。本次工作坊以艺术家盖琦正“以物证钩沉记忆、以档案重组叙事”的创作方法为灵感，将“地理迁徙”拓展为更具普遍性的家庭时间流动与生活变迁，让每一组家庭都能找到属于自己的情感切入点。我们将从梳理家族记忆碎片开始，学习如何用拼贴语言讲述私人故事；再以家庭旧照与通用材料为载体，为家族中那些被时光模糊的片段构建起温柔的轮廓——也许是一位未曾谋面的长辈，也许是一段被遗忘的往事，都将在剪拼与重组中重新被看见。在动手过程中触摸家族史的温度，完成一份承载私人叙事的记忆拼贴作品。工作坊流程开场引入 · 20分钟艺术家分享创作故事，讲述如何面对家族档案的空白，从长辈故事中打捞与还原记忆的方法。记忆提取 · 20分钟从家族史聚焦到一位具体的家人，打捞他/她的专属印记：物件、气味、口头禅，以及你对他/她的“未知”与疑惑，为创作收集线索。绘制人物轮廓 · 20分钟两人一组，想象家人的经典姿态，由同伴在瓦楞纸板上勾勒并剪下轮廓，为故事搭建温柔的“容器”。拼贴叙事 · 60分钟分层完成拼贴创作：- 底色层：用碎纸打底，铺陈肌理与情绪- 照片层：将家庭照片贴在轮廓的关键位置，锚定记忆- 文字层：写下打捞的细节，让文字与图像共同叙事临时的群像 · 15分钟将作品立牌排成家族群像，每组简单分享创作故事；结束后可前往艺术家展位，结合影像交流创作脉络。工作坊报名工作坊时间：5月10日（周日）10:00-12:00工作坊地点：中央美术学院美术馆 4层公教空间招募对象：代际搭档（建议 60–70 周岁长者 + 12 周岁以上青少年）招募人数：8 组（16 人）扫描二维码预约报名，名额有限，报满为止，不接受现场报名。注：1. 工作坊全程免费参与。2. 请报名成功的公众于活动当天准时在美术馆4层公教空间集合并签到。3.活动最终解释权归中央美术学院美术馆所有。相关毕业作品任子伊中央美术学院艺术管理与教育学院 2024 级研究生，美术博物馆管理工作室成员，“美术馆银发—青年群体协作教育模式理论建构研究”课题组核心成员。主攻艺术管理学研究方向，具备丰富展览策划与美育活动统筹经验，先后策划多项艺术展览，参与统筹多场校内外公共美育项目。联合主办: 中央美术学院美术馆公共教育部中央美术学院艺术管理与教育学院美术博物馆管理工作室焕彩共生·艺无龄界系列公教活动总策划：肖宝珍、张瀚予工作人员：姚轶群、梁雯、任子伊、惠春艳、杨婕主编 / 何一沙责编 / 杜隐珠编辑 / 张妮
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: CAFAM美术馆之夜 | 毕业季会员专场

2026-05-09

2026中央美院毕业季您来了吗？如果还未抵达，或还没看够，或担心白天浪潮般的人流，请您务必看过来。2026.5.10 19:00-21:30母亲节专场为您的观展轻松加餐注：该专场为回馈CAFAM年票会员而设立，中央美术学院美术馆会员凭证件从中央美术学院北门进，免费入场。年票绑定的同行人，请刷身份证入校入场。欢迎您成为CAFAM年票会员，支持美术馆的发展，与我们同行，焕彩共生。微信小程序搜索“中央美术学院美术馆”→进入CAFAM年票专区→实名购买并激活。一卡畅行全年艺术自由告别抢票刷证进入直达毕业季免预约｜30+展览畅看99元起，承包整年的美学盛宴会员分类学生年票｜ 99元个人年票｜ 300元•1+1双人特权，主副卡可用家庭年票｜ 500元• 2大2小全家通行会员尊享免预约+会员专享活动美术馆之夜免费参与咖啡厅9折优惠观展累计3-4次即值回年费即刻开通CAFAM年卡解锁属于你的美术馆叙事主编 / 何一沙责编 / 杜隐珠
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: 延期公告 | 第五期“广角°青年实验项目空间”方案征集

2026-05-08

广角°青年实验项目空间中央美术学院青年教师种子计划支持项目主办中央美术学院美术馆中央美术学院教师工作部（人事处）中央美术学院教师发展中心“广角°青年实验项目空间”是展示中央美术学院青年教师策展与创作的实验田，意在通过多元的展览项目，协助并促进青年师生对跨学科联动、区域文化研究和中国传统文化作出积极回应。该项目由中央美术学院美术馆、教师工作部（人事处）和教师发展中心联合主办，鼓励青年教师在此申报并实施实验性展览项目。在过去两年期间，“广角°”已完成四期项目的征集与评选，现有22个展览方案入选。第四期“广角°青年实验项目空间”展览方案评审现场“广角°”其名，一则与美术馆一层公共空间的另一策展培育计划“锐角”呼应，将美术馆中的两个空间以青年策展实践为角度相连接，向社会展示学院在策展教育与策展实践方面的最新成果；二则与青年教师在创作与教学中不断拓宽的思想广度相联系，在前四期入选方案中，有不少扩展跨媒介实践、创作方法和艺术教学的项目。在未来的美术馆发展规划与教师工作部的青年教师种子计划中，“广角°”将作为一个起点，以校内艺术教育与社会美育传播为两条延线，展示青年与时代语境的交流，激活青年与传统文化的链接，催生青年与更广阔可能性的碰撞，期待美院青年教师以个人方案和团体方案的方式在此展现才华和创意。此项目面向中央美术学院的全体青年教师，征集涵盖展览策划、作品创作等内容的两类方案。我们希望这些方案能够体现合作精神、青年创意以及在艺术语言上的大胆探索。入选方案将获得资助实施费用4万元。3层C展厅基本情况空间面积100平方米，包含内外两个部分。空间图和平面图详见（附件1）。两类征集方案的说明第一类：团体项目·以小组形式围绕一个主题进行的实验性展览策划与实施方案（包含师生团队项目）。·方案提交材料包括：展览题目、800字展览内容/理念阐释、参展作品图及作品信息、空间规划方案、学术/公共教育活动方案（优先面向公众、联络校外的活动）、经费预算明细、小组成员介绍。（详见附件2）第二类：个人项目·一位青年教师的新作/近作展览方案，其中需包含另一位青年教师作为策展人为其构思的展览策划案。·方案提交材料包括：展览题目、800字展览内容/理念阐释、参展作品图及作品信息、空间规划方案、学术/公共教育活动方案（优先面向公众、联络校外的活动）、经费预算明细、艺术家介绍与策展人介绍。（详见附件3）其他方案申报的说明1.申请人需为45周岁以下的美院青年教职工；2.如对方案申报有其他问题，请联系美术馆易老师15901351707和胡老师13810361926。附件：附件1. 展厅平面图附件2. 团体项目方案申请书附件3. 个人项目方案申请书附件下载链接：https://pan.baidu.com/s/1b6dahS-kRtS4eI2Y4jD_ig?pwd=cafa提取码: cafa第三期入选项目展览现场“万物有灵——贾田雪个人作品展”展览现场“应物‘相’形——杜英奇雕塑新作”展览现场主办：中央美术学院美术馆中央美术学院教师工作部（人事处）中央美术学院教师发展中心“广角°”项目筹备组总顾问：林茂、徐扬、于洋总策划：靳军、韩文超、杨杰特聘专家：吴洪亮、彭锋、冀鹏程、张鹏统筹：高高、海军、李垚辰、刘京、李晶执行策划：刘希言、易玥、王静、周梓煦、胡晓岚、李捷、刘宇晗主编 / 何一沙责编 / 杜隐珠
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: CAFAM直播预告｜带你走进焕彩共生的央美毕业季

2026-05-08

主编 / 何一沙责编 / 杜隐珠编辑 / 贺伊飞
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: 中国画的笔墨探索 | “中央美院研究生毕业展”作品秀

2026-05-07

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: Lecture Preview | Context-Praxis Salon

2026-05-05

Body · Illusion · Watchfulness——The Epiphany of Eastern Aesthetics and Zhao Liang’s Dance ArtTime: 18:30–20:30, May 6, 2026Venue: Lecture Hall, CAFA Art MuseumSpeakers: Zhao Liang, Shao Yiyang, Yang Minggang, Wu Jian, Wu HongOrganizer: CAFA Art MuseumSupporter: Chinese Academy of ArtsThe Context-Praxis Salon is a public art education and academic event launched by CAFA Art Museum, aiming to connect and discuss contemporary artistic practices across diverse fields. We regularly invite experts and scholars from various disciplines to present their latest artistic practices and research findings to the public. Unlike the CAFAM Public Theatre, which adopts performance and exhibition as its core presentation forms, this salon showcases artists’ current practices through discourse and textual exchange. Together with the CAFAM Public Theatre, it forms a dual platform for the museum to conduct in-depth discussions and public communication on the cutting-edge frontiers of contemporary aesthetic education.校外观众请扫描二维码预约入校请从中央美术学院美术馆西门进入学术报告厅Off-campus visitors are requested to scan the QR code to register for entry.Please enter the Auditorium through the West Gate of CAFA Art Museum.Lecture Content————————————In recent years, Zhao Liang, a prominent young contemporary dancer, has persistently pursued and explored the integration of modern dance with Eastern elements. He has established a distinctive artistic signature while infusing the ideas and concepts of modern dance into the ancient yet vibrant Eastern physical tradition, creating a series of stage works rooted in an Eastern cultural context. Among his representative works is the Eastern Spirit and Desire Trilogy, consisting of its first chapter Illusory Metamorphosis, middle chapter Tea, Illusion and Scripture, and final chapter Twin Retreats. His piece Martial Dance is an interdisciplinary collaboration between martial artists and modern dancers, seeking to liberate contemporary martial arts from the constraints of competitive sports. Another work, Divine Harmony, was created in a Zen monastery in Shanghai. All of these creations reflect Zhao Liang’s profound exploration and sincere passion for Eastern aesthetics. His artistic practice focuses not only on the innovation of physical movement vocabulary but also on embedding unique Eastern aesthetics into his dance works through striking visual expression. For this session of the Practical Context Research Salon, we are honored to invite renowned contemporary dancer Zhao Liang to share his artistic philosophy. Scholars from relevant fields will also be present to discuss and comment on the formation of traditional Eastern spiritual charm across diverse artistic disciplines.Special Guest——————————Zhao LiangA leading contemporary Chinese dance artist, Zhao Liang graduated from the Department of Dance, Minzu University of China. He once served as a dancer with the Guangdong Modern Dance Company. Currently, he acts as the Art Director of Zhao Liang ART and a director of the China Dancers Association. He joined the Guangdong Modern Dance Company in 1998 and participated in international cultural exchange programs. In 2003, he became an independent artist and embarked on interdisciplinary creation. His representative work, the Eastern Spirit and Desire Trilogy — including Illusory Metamorphosis, Tea, Illusion and Scripture and Twin Retreats — integrates traditional Chinese opera with Western modern art. Inspired by Tang-dynasty tea utensils, Tea, Illusion and Scripture has staged nearly 200 global performances to date. His work Martial Dance further combines martial arts with modern dance. His choreographic works have won the Golden Lotus Award of China Dance and the New Drama Award of the Wenhua Awards. He also received the highest modern dance award at the International Dance Competition in Italy. Supported by the China Federation of Literary and Art Circles Fund and the National Art Fund, Zhao Liang has been selected for the National Leading Talents Training Program for Literature and Art.Shao YiyangProfessor at the Central Academy of Fine Arts, Vice Dean of the School of Humanities, doctoral supervisor and postdoctoral supervisor. She also serves as the lead researcher of Western Art History, Director of the World Art History Association, Member of the Art Theory Committee of the Chinese Artists Association, and Director of the Chinese Oil Painting Society. Additionally, she is the Executive Editor of the Visual Culture Series published by Jiangsu Phoenix Fine Arts Publishing House. She earned her PhD in Philosophy from the University of Sydney in 2003 and once worked as a visiting professor at the University of Melbourne. In 2019, she was awarded the International Prize for Chinese Contemporary Art Criticism. Her major publications include After Postmodernism, Beyond Postmodernism, A History of Western Art, Modern and Contemporary Art of the 20th Century, Contemporary Art in a Global Context, and Western Art: A Visual History. She has led the translation of A New History of Renaissance Art and edited the series Documents of Modern Western Art Studies in China.Yang MinggangDoctor of Literature and Postdoctoral Fellow in Literary Aesthetics. He currently serves as Director and Research Fellow of the Dance Research Institute at the Chinese Academy of Arts, as well as a doctoral supervisor. His research focuses on Chinese aesthetics, ancient literary theory, literary and art history, and art criticism. He has undertaken sub-projects of major art programs funded by the National Social Science Fund of China, including Research on the Current Assessment, Construction Goals and Evaluation Criteria of the Disciplinary System, Academic System and Discourse System of Chinese Art Studies, and Theoretical and Practical Research on Chinese Aesthetics and Artistic Spirit. He also presides over the Qing-dynasty sub-project of the key National Social Science Fund project A Comprehensive History of Chinese Aesthetic Consciousness. His authored works include A Comprehensive History of Chinese Aesthetic Consciousness: Qing Dynasty Volume and The Modern Transformation of Chinese Aesthetics. He is the chief editor of the six-volume series Studies on the Spirit of Chinese Aesthetics.Wu JianAssociate Professor at the School of Art and Communication, Beijing Normal University, and Doctor of Art Studies from Peking University. Supported by the China Scholarship Council, he pursued joint research in the field of Representation Culture at the University of Tokyo. His main research focuses on modern Chinese art theory and criticism, with a particular attention to contemporary dance practice and criticism from the perspective of art theory.Wu HongProfessor and doctoral supervisor at the Central Academy of Fine Arts (CAFA). He obtained his doctoral degree from the Graduate School of CAFA in 2019, and was a visiting scholar at the Royal Academy of Fine Arts Antwerp, Belgium, from 2023 to 2024. His long-term research and creation focus on lithography, watermark woodcut and mixed media art. Characterized by woodblock imprints, ink diffusion and layered light and shadow, his practice is dedicated to the contemporary transformation of traditional printmaking, blending Eastern artistic conception with contemporary concepts. He has held numerous exhibitions at home and abroad. His solo exhibitions include Interpretation of a Poem, Calling Names Through Wood, Shifting Forms and Resonant Senses, and Wandering Ode on the Wall. His works are collected by major art institutions both domestically and internationally.Host——————Geng JinghuaCurator and writer, she serves at the Public Education Department of CAFA Art Museum. She curates and hosts art education programs including the CAFAM Public Theatre and Idea Lab. Her research focuses on case studies of contemporary artists, as well as the production and communication of public aesthetic education.Chief Editor / He YishaResponsible Editor / Du YinzhuEditor / Zhang Ni
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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
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.