Exhibitions and Events-News

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

什么才是央美的“实验艺术” ? | “中央美院研究生毕业作品展”精彩回顾

2025-05-15

当艺术的边界在实验中消融,当故事的肌理被重新编织,中央美术学院实验艺术与科技艺术学院的年轻创作者用跨维度的实践,诠释了实验艺术对当代语境的深度回应。那么,什么才是央美的“实验艺术”呢?展厅中“实验”二字被反复解绑又重组,在这里能看到他们关于媒介创新、叙事解构、跨界融合和社会镜像的探索。这场以多元叙事为表象的展出,实则是关于艺术本质的哲学追问。也许,真正的实验性永远存在于过程中,以唤醒观众对不确定的觉知。| 温馨提示 |“中央美术学院本科生毕业作品展”即将于5月20开展,精彩不容错过!01媒介创新CAFAM@ 2025李湘宜《双城记》340*340*300cm偶戏表演 表演时长12min双城记是一出讲述医疗游民境遇的偶戏表演。父亲带着女儿来到城里看病,女儿在住院,而父亲只能在城里四处寻找落脚处。在这一天中,父亲接连与不同角色相遇,他们丑态百出又解囊相助,在白天与黑夜中展现出千差万别的面孔。作者以表演行为艺术为媒介,讲述了一个沉重的医疗议题。小小的身躯直击现实,展现了社会百态与人情冷暖,内涵深刻,引发了许多观众的共鸣。Mady Cheng《五福四海》200*245*235cm 综合材料全球化曾是某种必然,一种历史叙事的方向。对于成长于90年代末至2010年国际学校的作者而言,世界的连结性并非抽象概念,而是一种日常经验——不同语言中交错,饮食习惯在餐桌上交融,身份流动在对话之间展开。“地球村”不仅是经济与文化的框架,更是他早年世界观的基石。然而,今日的现实指向另一条轨迹。去全球化正在成为主导趋势,国家间的壁垒再度强化,区域性的文化与经济格局加深分裂。在这样的背景下,《五福四海》试图借助味觉的媒介,重构全球经验,召唤那些曾经共存、彼此滋养的关系。菜肴不仅是物理性的混合,更是社会记忆的沉淀,承载着过往的理想,也折射出当下的矛盾。在这场宴席之中,食物超越其生理功能,成为文化的隐喻、历史的载体和情感的出口。一桌菜,既是一次回溯,也是一次提问:当全球化不再是共识,我们该如何重新理解彼此?02叙事解构CAFAM@ 2025罗厚麟《流浪艺人》300*300*300cm 漫画、瓦楞纸板这件作品截取自作者的漫画《南方蟑螂》中未完成的第四章“流浪艺人”,故事以90年代虚构的南方县城为背景,当流浪马戏团闯入这座潮湿的南方小镇,帐篷里每天都在上演着不同的奇幻剧场。罗厚麟《流浪艺人》300*300*300cm 漫画、瓦楞纸板这件作品截取自作者的漫画《南方蟑螂》中未完成的第四章“流浪艺人”,故事以90年代虚构的南方县城为背景,当流浪马戏团闯入这座潮湿的南方小镇,帐篷里每天都在上演着不同的奇幻剧场。观众创作的故事赵祎彤《声域地理》尺寸可变影像、公共电话机、开发板、串口屏幕 《声域地理》作品由影像及改装公共电话构成。公共电话作为载体,承载着不同语境下的通话画面:影像通过电话屏幕进行播放,声音通过电话手柄内部播放,观众需拿起听筒才能接收对话内容。由此构建起个体与装置之间的私密互动场域,呈现出多种情绪状态及其背后的情感模式与流动轨迹。影像分为视频和音频两个部分。视频部分拍摄周围处于不同人生阶段的人的通话,通话内容自然发生,内容大致围绕:成长、未来、反叛、心动、距离......与此同时邀请来自不同国家的朋友针对上述主题展开通话。对话者在听不懂彼此语言的情况下,使用各自母语进行对话,通过语气或表情来感知彼此的情绪。以此创造陌生通话者之间自然微妙的谈话氛围,激发原始而直接的交流。最后用这些跨文化对话替换了视频原声,创造出时空交错的交流体验。03跨界融合CAFAM@ 2025王典《艺术市场:从西红柿到艺术》2.4x2.4mAI生成的大量西红柿的艺术阐释、1/4块西红柿作者想通过这次作品去做一个当代艺术的确立性实验,利用AI技术去为西红柿赋予艺术内涵。作品整体以镜面装置形式呈现,在空间中利用墙体90度夹角的位置放置两块镜面,去构建出一个虚实结合的视觉空间。镜面上密密麻麻的文字,是AI根据一颗西红柿所生成的各个角度的艺术阐释,如同艺术世界里纷繁复杂的观点与话语,在镜面的互相反射下延伸,形成了一个看似没有尽头的文字迷宫。底部的西红柿,以其鲜艳的色彩和真实的存在,打破了文字的抽象,成为这个迷思空间中的现实锚点。所有AI生成的各个角度的艺术阐释从上至下由疏至密呈倒三角形排列,镜面上的文字与现实空间虚实结合将西红柿一切为四,不完整的西红柿通过镜面的映像却又完整成一体。使西红柿的真实存在与镜面上虚幻的文字形成对比,想去对艺术界纷繁话语做一个幽默、戏谑地回应。当观众驻足作品前,不仅能看见镜子里无限延伸的文字,还能目睹自己也交织其中,仿佛自身也融入了这场艺术探讨。这件作品期望通过这种视觉与概念的双重碰撞,邀请观众走进这个空间,在文字的反射与西红柿的真实之间,来寻找属于自己的艺术答案。04社会镜像CAFAM@ 2025牟韵婷《达奇茨方糖工厂》280cm*280cm*350cm不锈钢、传送机械、方糖、宣纸、矿物颜料《达奇茨方糖工厂》取自捷克⼩镇达奇茨的⽅糖⼯⼚。1843年,世界上第⼀块⼯业化生产的⽅糖诞⽣于此。从这⾥开始,⽅糖便成为了西方社会现代化和工业化进程中的重要符号。同时,糖也是西方殖民活动向殖民地掠夺的重要目标资源之一。在结构上,这件作品化用了老彼得·勃鲁盖尔的《巴别塔》一画中的图像,以金属结构制作,包含一个螺旋滑梯,一条上下循环的传送带,和一个可以自转的圆盘底座。在内容上,这件作品以两种国际主义的隐喻构成了一对二元化的对比关系,在滑轨上不断下滑的、带有达奇茨方糖工厂标志的盒装方糖指代基于殖民活动的资本主义全球化扩张,以及其所倡导的虚伪的国际主义现正不断下坠。这个世界破破烂烂,但总有⼈在缝缝补补。⽆论是作为个体还是民族,总有人呈现出与命运抗争的姿态,从巴别塔到第三国际纪念塔,从天下⼤同到国际主义,虽然像梦幻彩⾊的泡泡⼀般脆弱易碎,但⼈类互相理解和联合的梦从未停⽌,我们从未放弃向更⾼处攀⾏。曹嘉巍《证词:一座静默的山》240x200x300cm餐桌椅、现成品、气球、电视屏幕这件作品以家庭餐桌为场域,堆积起家庭演变史的地层切片,构成一场关于家庭规训与代际创伤的隐喻剧场。作品在家庭中话题最多的餐桌上进行,其上方有一座家庭史的地层脉络结构。几大地层叙述着一个中国普通家庭的变迁。在地层切片的最上层,则是被这个家庭经营好的和谐景观,在这和谐之下,是诸多的家庭物象被挤压埋藏的不安,餐桌之上共同构建起一座静默的大山。当观者面对面入座其中,面前被厚重的大山所阻挡。这是家庭长期堆砌的琐物挤压埋藏,层层叠嶂,逐渐遮挡住餐桌两边家庭个体间的的视线,横亘眼前的已非传统意义上的用餐空间,而是一座由代际规训构筑的情感褶皱山系。个体间的沟通受到阻碍,家庭成员一起在餐桌上用餐,变为了一场无声静默的剧场。餐桌不再承载共食的温情,在这里,个体的证词被埋入地下。这件作品未做单向批判,而是由装置影像甚至于观者共同来构成关于情感羁绊的动态隐喻——我们既是家族谱系的继承者,也是代际创伤的考古人,在挣脱与回溯的永恒博弈中,完成对亲情本质的重新勘测。在这个艺术场域里,我们都将获得属于自己的叙事版本——实验艺术永远在颠覆与重建的循环中,等待被重新定义。从这个意义上讲,毕业生作品给出的不是定义,而是一份开放问答——邀请每个凝视作品的观众共同续写关于”实验艺术“的未完成答卷。
More

临时闭馆公告 | “中央美院研究生毕业作品展”今日收官 我们520再相约

2025-05-15

尊敬的观众朋友:因布撤展需要,我馆将于2025年5月15日至5月19日临时闭馆,5月20日恢复开放。届时“中央美术学院本科生毕业作品展”将与公众见面,期待您预约观展!中央美术学院美术馆2025年5月14日主编 / 何一沙 责编 / 杜隐珠
More

Why Did The Mural Department Of CAFA In This Session Become Popular? | There Are Only Two Days Left Before The Exhibition Closes

2025-05-13

More than 20 graduate students' works from the Mural Department of the Central Academy of Fine Arts have transformed the art gallery into a "flowing mural laboratory". Many different types of creations among them have won the favor of the audience. The exhibition, covering traditional dry murals, tempera, rock paintings, as well as fiber art, relief sculptures, and installations, not only presents the experimental achievements of diverse media, but also takes cultural memory, social structure, life experience and other topics as slices to construct a brand-new path for mural art to intervene in contemporary life.In this issue, some representative mural works are selected for display. There is more wonderfulness waiting for you to explore on site.| Friendly Reminder |The "Graduation Exhibition of Postgraduate Students of the Central Academy of Fine Arts"will close on May 14.Friends who haven't visited the exhibition yet, don't miss it!01The interweaving and symbiosis of energyCAFAM@ 2025作品名称:《云山》系列五联画屏风《云山—扶光》《云山—灵泽》《云山—扶摇》《云山—霹雳》《云山—彼岸》 作者:钟琳作品材质:木板大漆、岩彩、矿物色、绿螺钿、木樨壳、金箔等 导师:唐晖Title of the Work: "Cloudy Mountains" Series, a Five-panel Screen Painting ("Cloudy Mountains—Radiant Light", "Cloudy Mountains—Spiritual Moisture", "Cloudy Mountains—Soaring", "Cloudy Mountains—Thunderclap", "Cloudy Mountains—The Other Shore")Author: Zhong LinMaterials of the Work: Large-lacquered wooden board, rock colors, mineral pigments, green mother-of-pearl inlay, osmanthus shell, gold foil, etc.Tutor: Tang HuiThis group of works originates from Zhong Lin's childhood memories in southern Jiangxi. It is a place where plants grow wildly and mountains and forests crisscross. In her childhood, she witnessed the spread of mountain fires and the sudden arrival of floods, and those moments were deeply ingrained in her memory. Years later, these memories fermented in her imagination and became the spiritual starting point for her to construct the world depicted in her paintings.The entire group of paintings depicts a mythical imagination where a fierce mountain fire collides with the flood at the foot of the mountain, a scene interwoven with destruction and hope, thus extending into a world full of fantasy. The paintings incorporate animal spirits and plant spirits, which together with the author experience a mysterious journey. Taking intangible natural elements such as the sun, rain, wind, thunder, and tears as the main thread, the work starts from the Bodhi tree in full bloom of the Buddha's hand, with the rising sun in the sky symbolizing the beginning of life, and gradually progresses to the other shore where the Manjusaka flower is in full bloom, symbolizing the end of life, thus forming a long narrative scroll about life, death, and reincarnation.In terms of the language of images, based on the legends of "fire" in the Chinese mythological system, a visual narrative about the outbreak of natural forces has been constructed. Decorative patterns symbolizing fire in traditional East Asian paintings have been incorporated into the paintings to strengthen the spirituality and sense of ritual of fire. In the creative process, the formal language of the shapes of fire in famous works such as the 12th-century painted scroll "Hell Scrolls" has also been borrowed, and these have been reconstructed and integrated with natural images such as plants and mountains, further expressing the interweaving and symbiosis of natural energy and the spiritual world.02Memory and disillusionment, pursuit and returnCAFAM@ 2025Title of the Work: Like a Man Whose Axe-Handle Turned to Rot upon Returning to His HometownAuthor: Hu RongSize of the Work: 360*200 cmMaterial of the Work: Loess, Sand, Mineral PigmentsTutor: Li YangReturning to My Hometown and Feeling Like the Man with the Rotten Axe Handle" comes from Liu Yuxi's poem "Presented to Bai Juyi at a Banquet upon My Return to Yangzhou". The allusion of "the rotten axe handle" is from "Records of the Unusual". It tells the story that in the Jin Dynasty, a woodcutter watched immortals playing chess in the mountains. Without realizing it, hundreds of years had passed. The handle of the axe in his hand had long rotted away, and everything in his hometown had changed completely. The author Hu Rong mentioned that during his childhood Chinese class, he only understood the lines "By the sunken boat a thousand sails glide past; before the sickly tree ten thousand saplings thrive". Now, he suddenly realizes that he has become "the man with the rotten axe handle".The work is composed of three mud slabs, with a total length of 3.6 meters and a height of 2 meters. Employing the traditional technique of dry mural painting in ancient China, it makes use of loess, sand, gelatin, ink, and mineral pigments. The painting is created by sketching with ink and layering colors. It took eight months to finally complete.The picture depicts a fisherman who, on his way back after fishing, rescues a sea turtle from a child and releases it back into the sea. A dragon princess, out of gratitude, invites him to take a tour of the underwater Dragon Palace and treats him warmly. They have a happy time together. One day, the fisherman decides to return to his hometown. The dragon princess gives him an exquisite treasure box and warns him not to open it no matter what. When he comes ashore, he finds that time has passed, his familiar hometown is no longer there, and his relatives and friends are nowhere to be found. Overwhelmed by helplessness and despair, he can't help but open the treasure box. A wisp of white smoke gushes out, and the fisherman instantly turns into an old man with white hair. This is the legend of Urashima Tarō written by the Japanese Sinologist poet Ma Yang.The legend of Urashima Tarō has been significantly influenced by ancient Chinese civilization. Plot elements such as a mortal visiting the Dragon Palace, a dragon princess repaying a kindness, and a temporal dislocation are also found in works like "Annotations to the Waterways Classic", "Sequel to Records of the Supernatural", "The Story of the Dragon Princess", and "The Story of Liu Yi" among the supernatural tales. Hu Rong chose this story as the source of inspiration. It is not simply a reproduction of a foreign-themed story. Instead, through this fable and cross-cultural narrative symbols, Hu Rong expresses his own life experiences of studying in Beijing and going through family changes, explores the fluidity of individual memory and identity, demonstrates the subtle and profound connection between the individual and the world, and presents an inner journey about memory and disillusionment, pursuit and return.03Explore the answers to lifeCAFAM@ 2025Title of the Work: "Mayflies Gazing at the Clear Sky"Author: Wang JinyuSize of the Work: 220*195 cmMaterial of the Work: Oil Painting, WoodcarvingTutor: Ma GangThe author conducts a deep-level dialogue with the world through the work "Mayflies Gazing at the Clear Sky". In the form of a diary of the era, using "I" as the carrier and taking the real-life events heard and felt as samples, the author ponders over the current era and reveals the pain at the individual spiritual level. In the "amusement park", everyone rushes to the wishing pool with an "admission ticket" (gold coin). The wishing pool in the central position carries people's expectations for the future and their endless desires. The flowing water implies that the wishes seem to be never fulfilled. People wander in this amusement park, floating, enjoying, getting lost, and undergoing changes in the whirlpool of desire.The moment when new life peers out from the river water resembling amniotic fluid in the lower left corner, life and death achieve an eerie reconciliation visually. In the lower right corner, there is death and burial. It seems that people are unable to escape the impermanence of fate. In the world within the turtle's enclosure, there are seven strange people on the ship of fools, a giant whose wisdom has been stolen, a maiden who has buried her own soul, an "ant" that wishes to soar into the sky, a mermaid who has been petrified after believing in love, a woman trapped by upbringing, lovers who embrace but hurt each other, dancers surrounding the building, a frog in the well being pulled out and tortured, a frogman who has won the hunt but can no longer move, a bird that refuses to be a tool of differentiation, a discarded book, a scholar who has shed his long gown... Each distorted entity is a slice of the real-life illness. In this amusement park, some people dance with shackles on, while others dismantle their shackles and are reborn. Here, there is both life and death, as well as struggle and hope.The gold foil mirror in the center of the woodcarving incorporates the viewer into the closed loop of the narrative, reflecting the projection of the mayfly of oneself and the real world. The shape of the sun represents the courage to face fate and embrace life in the face of death, and it is the sudden enlightenment after "seeing the clear sky". There is no complete image of a mayfly in the painting, but the "mayfly" can be found everywhere in the painting, and every viewer in front of the painting is also a "mayfly". This is a discussion about me seeking the answers to life, and it is also a path for every soul to find self-reconciliation.04A Healing Space for Inner PeaceCAFAM@ 2025Title of the Work: "Maimu"Author: Cai WanzhenSize of the Work: 330*330 cmMaterial of the Work: Watercolor, AcrylicTutor: Cao Wei"Maimu" takes inspiration from the gentle rain described as "moistening all things without making a sound" in The Book of Songs. It uses watercolor and acrylic to create flowing pinkish-purple lines. The colors naturally blend along the watermarks, and the overlapping light and shadow transform the hazy rain imagery in classical poetry into a contemporary art language.In the current situation full of anxiety, through the changes of light and shadow and colors, a healing space is constructed for the audience, where they can feel at peace and relax both physically and mentally.05Social metaphorCAFAM@ 2025Title of the Work: "uncanny"Author: Li JinyangSize of the Work: 200x300 cmMaterial of the Work: Oil Painting on CanvasTutor: Li Yang"Uncanny" is a feeling that is both familiar and strange, and is unsettling. It is also a social structure and a social metaphor. It revolves around the core image similar to an insect. All parts of the image are closely connected through the limbs of the insect, forming a structure that establishes connections between the images and creating a logical spatial narrative.At the center of the picture is the body of an insect. The source of its life or motivation comes from hunger and thirst. A person is drinking horse milk. In short, the horse is constantly in a state of physical strength depletion. There is a green display screen on the horse's head. This green color keeps stimulating the horse to keep running until the end of its life. This kind of motivation keeps the entire structure in operation.06The contradiction between the individual and social disciplineCAFAM@ 2025Title of the Work: "Urgent! Don't Be Hasty."Author: Wu JianghongSize of the Work: 290x300 cm (variable)Material of the Work: Wax, Quartz Sand, Clay, Oil PaintingTutor: Li Chen"Urgent! Don't Be Hasty." constructs a stage play-style scene, exploring the contradiction between the individual and social discipline from the anxious, impatient and involutionary state of the current young people. A theater is originally a performance designed by humans. It can create contradictions and oppositions to divert people's attention, causing us to overlook the structural problems.The swing sways gently back and forth with the change of air pressure, much like our current state. Everyone is caught up in this environment and is forced to be anxious, impatient and involved in the involution. The fast-paced life makes us ignore the true essence. Just like the stars in the sky, they are artificially defined as romantic and beautiful. Once we truly understand them, we will be disenchanted and sigh with emotion: So that's how it is.07Reconciliation between Reason and DesireCAFAM@ 2025Title of the Works: "The Death of the Swan" I, II, III, IVAuthor: Hou ShuyiSizes of the Works: 120x120 cm; 60x80 cm; 30x40 cm x 2Tutor: Liu XiaohuiThe swan imprisons the spark of Prometheus. The genuine desires are disciplined into institutionalized shoals of fish. The soul is weathered by the sound of clocking in and out into a steel blade of symbols, which eventually stabs into the swan's chest. When the swan dies, the clock of reason stops. The herds trample on the reflection of the curtain wall, and the ancient tide of blood easily overflows the high walls of rational civilization. The soul wanders in the crevice between the iron jungle and the blood-colored wasteland. In the left hand is a pale specimen of alienation, and in the right hand is a chaotic totem of revelry. What fills the chest is nothing but the rusted moonlight.The "The Death of the Swan" series is a work created by the author based on his own life experiences and reflections. In this work, following in the artistic footsteps of Blake, he attempts to establish another universe parallel to the real world to reflect the living conditions of people in the real world.Through the interweaving of elements such as fish, swans, bodies, herds of beasts, and flames, the work expresses the relationship between human desires, rationality, the physical body, and the spirit. It also attempts to embody the theme that "desire is the dialectical unity of scarcity and excess". Among them, the swan is the embodiment of rationality. Its elegance disciplines the primitive desires like flames, and desires turn into institutionalized shoals of fish. However, when the swan loses control over the management of desires, the primitive desires will break through the dam of civilization, transforming into herds of beasts and sharp swords that bring about the death of the swan and ideals, plunging the spirit and soul into a whirlpool of confusion and entanglement. Only by allowing imagination to serve as wings, accepting desires, and promoting the reconciliation between rationality and desire can the soul break free from the whirlpool of confusion and attain true freedom.09Find your own lightCAFAM@ 2025Title of the Work: "Notice of Searching for Light"Author: Gao ChenxiSize of the Main Work: 130×170 cmMaterial of the Work: Oil Painting on CanvasTutor: Ye JianqingIn ancient China, deer often symbolize longevity, wealth and freedom, and they are also symbols of spirituality, kindness and purity. In the West, due to their liveliness, sensitivity and ability to run quickly, deer also carry the meaning of "guide". Therefore, I have chosen the deer as the main image. It serves as the carrier of kind and pure souls. Even if it is lost in confusion at the moment, as a guide, the deer can ultimately find its way in the dense forest.The flowers surrounding the deer are Star of Bethlehem. Their flower language represents pursuit, cherishing, hope and purity, forming a quiet magnetic field around the kind little deer. The circular water patterns and the fish with various postures swimming in the water convey the message that life goes on in a cycle. Life and death are not simply the beginning and the end, but rather a continuous cycle.The keys in the corner of the painting, one above the other, represent countless possibilities and dreams. Everyone will find their own key and unlock the final lock.10Pure formal languageCAFAM@ 2025Title of the Works: "The Ocean", "Fireworks", "Composition of Red, Yellow and Blue", "Gesture Form: Topology of the Heart Symbol" (6 pieces)Author: Yang XiaoyuTutor: Qi PengThe three works below, "The Ocean", "Fireworks", and "Composition of Red, Yellow and Blue", generate dynamic line trajectories through programming algorithms. After freezing these trajectories into two-dimensional images, 3D modeling technology is used to transform the planar paths into three-dimensional relief structures. Taking the line movement data as the framework, the creator constructs multi-dimensional depth through spatial imagination, materializing the traces of time into an interlaced physical space structure. The creation focuses on the pure formal language – reconstructing dynamic traces with minimalist geometry, and simulating the techniques of gestural painting. By ensuring the mathematical order of the structure with numerical control precision, the random rhythm derived from the algorithm is also retained. The sense of mechanical precision and organic fluidity reach a balance on the surface of the relief, ultimately presenting a mechanical poetic quality where rational codes and physical forms permeate each other.The group of works titled "Gesture Form: Topology of the Heart Symbol" (6 pieces) above the on-site pictures is an expansion and extension of the three works below, expressing concern for contemporary society and the psychological state of people. Through the combination of organic gestural forms with highly symbolized abstract expressions, the works capture the psychological landscape of contemporary society, solidifying emotional states into topological visual symbols of the heart."The wall serves as a boundary, but also as a bridge." As Tang Hui, Director of the Department of Mural Painting at the Central Academy of Fine Arts, said, "We read civilization in ancient murals and seek expressions in diverse media. What murals offer us is not just the precipitation of techniques, but also the broadening of our horizons and the enrichment of our souls. We draw strength from history and also cast light towards the future."These works that have "broken out of the circle" prove that murals are no longer just decorations on walls, but a way of thinking about the world. This artistic experiment that has grown out of the Central Academy of Fine Arts may quietly reshape the creative dimensions of contemporary Chinese mural painting.Chief Editor / He Yisha  Editor / Du Yinzhu
More

“研究生会堂”成长叙事会 |2025毕业季 KOL进校园系列活动

2025-05-12

“研究生会堂”成长叙事会 2025毕业季 KOL进校园系列活动主题:逐光而行——美术毕业生的职业选择活动内容:集结毕业生与美院教师、美术馆负责人、策展人、艺术博主、画廊主理人、收藏家等,从创作体系建构、大众传播破圈、作品进入市场等具体方式多重维度,探讨美院毕业生择业、教学与社会互动性、艺术价值生产、传播与转化机制等问题。参与方式:请购买美术馆当日门票,自行前往。欢迎参与。第三场时间:5月 13日 14:00-16:00场地:中央美术学院大学生活动中心(一号楼水景池)|嘉宾 |  第四场时间:5月 14日 14:00-16:00场地:中央美术学院美术馆会议室|嘉宾 |  总顾问:林茂学术顾问:苏新平学术主持:葛玉君策 划:吴啸海活动主持:齐鹏 主办:中央美术学院研究生院协办:中央美术学院美术馆承办:中央美术学院研究生院研学中心主编 / 何一沙责编 / 杜隐珠编辑 / 丰凯梓奇
More

Artistic Tribute on Mother's Day —— Special Feature of "Maternal Narrative" during the Graduation Season of the Central Academy of Fine Arts

2025-05-10

When the fragrance of carnations fills the May wind, an artistic confession at the graduation season of the Central Academy of Fine Arts, which delves into the origin of life, the bonds of growth, and the emotional connections, is quietly taking shape in the exhibition hall. Several young artists, through painting, sculpture, and video, have constructed a dialogue on life. They have distilled the eternal themes of "mother", "maternal love", and "maternal nature" into a visual poem. On the occasion of Mother's Day, they present this artistic gift rich in emotion and warmth to the audience.01See the Weight of TimeCAFAM@ 2025Author: Miao RunzeWork Title: "The Mother of the Mother of the Mother"Tutors: Ning Ying, Feng XinThe graduation work "The Mother of the Mother of the Mother" by Miao Runze from the School of Urban Design of the Central Academy of Fine Arts portrays the humorous and resilient life state of a 98-year-old woman through the records and interviews of his great-grandmother's daily life. With the images that blend documentary and poetic elements, it depicts the tenacious and abundant life background of a mother and a woman.When conceiving the topic for his graduation project, Miao Runze hoped that his work could break out of the framework of traditional family documentaries. He aimed to use humorous and vivid language to tell the story of his great-grandmother, looking back on her past life. It not only shows her positive attitude towards life but also expresses her insights into life experiences and her contemplations on life.02The Initial Gaze of LifeCAFAM@ 2025Author: Yang SongranWork Title: "Traces"Tutor: Mu BaiyanMaterial: Vegetable-tanned CowhideWhen the fingers caress the traces and stitches retained on these sculptures, what one touches is not merely the soft leather. It is the whispers of stretch marks around the waist after a mother gives birth, the murmur of sagging breasts after breastfeeding, and the painful memories of the girdle digging into the flesh. "Traces", created by Yang Songran from the Sculpture Department of the Central Academy of Fine Arts, combines sculpture with vegetable-tanned leather materials. By presenting these "practical" artifacts in a public space, the traumas of mothers that have been deliberately downplayed by society have nowhere to hide. Every stitch is a trajectory of a woman's self-reconstruction.She believes that this is not a display of beauty, but an anatomy of the resilience of a woman's life. Their strength does not lie in being flawless, but in choosing to conceive, struggle and grow despite the scars! This is precisely the greatness of every mother.03The Bonds and Awakening of GrowthCAFAM@ 2025Work Title: Seeing the Letter Feels Like Meeting YouAuthor: Bai RuoxuanTutor Team: Wang Liming, Jin Jun, Feng Mengbo, Liu DejianResearch Direction: Immersive Experience and Game DesignThe immersive interactive video work "Seeing the Letter Feels Like Meeting You" by Bai Ruoxuan from the School of Design of the Central Academy of Fine Arts, through the means of writing and reading letters, narrates the process of the author experiencing and overcoming anxiety. During this process, the mother provided unconditional support. Each concerned letter is filled with warmth. In this dialogue, maternal love always maintains an appropriate distance, silently illuminating the next part of the journey every time the author stumbles.Bai Ruoxuan also wrote a reply to her mother: "As someone who is being a mother for the first time, you have been extremely successful! You have given me a very happy life and a cheerful personality! From now on, I hope you can get rid of the words'mom' and'mother', be a bit selfish, and I hope you can reserve all the best things for yourself in the days to come!" It is believed that this is also the sincere voice of all sons and daughters.The scene of the audience interaction exhibition04The Taste of Reconstructed MemoriesCAFAM@ 2025Work Title: Three MealsAuthor: Huang LiTutor Team: Chen Zhuo, Jin Jun, Wang Liming, Isabel Herguera (External Expert)Research Direction: Research on Video Narrative"Three Meals" is derived from the emotions and experiences of Huang Li, a graduate of the School of Design of the Central Academy of Fine Arts. She said, "In 2024, my mother passed away. The pain of losing a loved one made it difficult for me to express my emotions. My longing for my mother was finally attached to the food she loved during her lifetime." Her creation takes food as the thread of the entire film. By collecting and obtaining the daily dining situations of different families as the foundation, and using the simple form of three-screen juxtaposition, the proposition of "parting" is interpreted as life itself.She hopes to prove that eternal parting is not a dramatic farewell, but the continuation of life that is passing by in every moment of life. Using these ordinary records and ordinary meals as a medium for a dialogue about life, the memory of taste is preserved in the camera.When the lights in the exhibition hall gradually turn on, the wrinkles frozen on the sculptures, the hugs captured in the images, and the exhortations sealed in the letters will all turn into gentle touchpoints. They might be childhood memories hidden beneath the busyness, words of gratitude that one is too shy to express, or an epiphany about the inheritance of life. Here, art is no longer a one-way viewing experience but an emotional resonance with a synchronized heartbeat.Finally, may every mother be able to hold onto her own light through the baptism of time, and may every person who stops by be able to find their own emotional anchor point. Let the love that has not been spoken continue within the texture of art.Chief Editor / He Yisha  Editor / Du Yinzhu
More

神谷幸江:艺术探索是连接当地历史与世界的催化剂——广岛与纽约的案例研究 | 2025CAFAM学术季

2025-05-10

日本东京国立新美术馆首席策展人 神谷幸江「神谷幸江女士以广岛现代艺术馆和纽约日本协会为例,探讨了艺术机构如何通过本土与全球的辩证统一构建跨文化对话平台。广岛馆以原爆创伤为纽带,通过艺术疗愈将地方记忆升华为人类共同议题;纽约协会则聚焦日美文化交融,以创新叙事推动全球再诠释。神谷幸江指出,当代美术馆需植根本土、开放对话、创新叙事,成为连接时空与文化的催化剂。这一观点与央美论坛对科技赋能下美术馆虚实共生的探讨相契合,共同指向艺术机构在全球化时代的使命——通过多元协作与技术融合,深化文化理解,促进艺术价值的跨地域传播。」1.个人背景与核心研究主题神谷幸江女士在担任日本东京国立新美术馆首席策展人之前,曾经在广岛现代艺术馆与纽约日本协会美术馆都担任过首席策展职位,她以两个不同区域城市的美术馆为研究对象,探讨艺术如何在植根本土文化的同时,通过历史与全球性特质的融合,构建起一个跨地域的对话平台,从而促进不同文化之间的交流与理解。2.艺术机构的全球化使命与实践框架神谷幸江强调,艺术机构在全球化的背景下,必须在尊重和维护地方文化基因的基础上,通过跨地域的合作与多元文化的视角,将本土的艺术经验提炼并升华为全人类共同关注的议题。她认为,艺术机构应当成为连接不同文化、不同历史背景的桥梁,通过艺术的力量促进全球性的对话与交流。广岛现代艺术馆聚焦原爆创伤的集体记忆传递,纽约日本协会则致力于日美文化的动态交融。二者虽路径不同,但均体现了“在地性”与“全球性”的辩证统一。这一实践框架要求艺术机构既要深入挖掘地方历史的文化深度,亦需打破地域限制,借助策展策略推动跨文化理解与协作,最终实现历史叙事与当代价值的有机融合。3.具体案例分析与实践1. 广岛现代艺术馆:创伤记忆的全球叙事重构据神谷幸江介绍,广岛现代艺术馆成立于1989年,其核心使命是通过艺术语言重构1945年原爆事件的历史创伤,将其转化为连接过去与未来的文化纽带。馆藏作品不仅记录原爆瞬间的毁灭性场景,更致力于传递个体与集体的记忆。她举例指出,艺术家宫岛达男的数字装置《时间之死》,以1至9的循环数字象征原爆瞬间的“时间停滞”,将抽象概念具象化为历史见证;草间弥生的《复苏的灵魂》通过密集细线隐喻逝去的生命,以极简形式引发对战争伤亡的沉思;奈良美智画中的“小女孩”则以双重眼神设计——一只眼映射原爆蘑菇云,另一只眼望向蓝天——展现创伤记忆与未来希望的交织。该馆的策展实践进一步通过跨文化合作拓展全球性反思。例如,英国雕塑家Henry Moore的原子主题雕塑与日本能剧面具的结合,以及艺术家Simon Starling与能剧大师三井康雄的合作项目,均以破碎的能剧面容象征身份撕裂,将传统艺术形式转化为国际性议题。神谷幸江强调,此类实践需平衡广岛居民的原爆记忆与外来游客的旁观视角,构建“共享记忆”平台,避免单一叙事对历史复杂性的简化。通过艺术疗愈与记忆重构,广岛现代艺术馆不仅建立了地域身份认同,更将地方创伤升华为人类共同议题,实现了从地方叙事到全球对话的跨越。2. 纽约日本协会:多元文化中的动态叙事创新纽约日本协会以促进日美文化交流为核心使命,其策展理念强调“去中心化”,即摒弃单一国家视角,转而关注文化交融中的动态关系。通过建筑与艺术的并置,该机构直观呈现了日本社会从战后重建到后工业时代的复杂转型。以东京建筑演变为例,丹下健三设计的1964年代代木国立体育场融合传统与现代风格,象征战后日本的经济复苏与文化自信;而隈研吾设计的2020年新国立竞技场则以木材与自然元素回应老龄化社会与福岛核灾后的生态反思,体现当代日本对可持续性理念的实践。在艺术领域,纽约日本协会通过先锋展览重构日本叙事。例如,“荒野中的激进主义”聚焦60年代日本先锋派艺术,展现其在装置与行为艺术领域的突破,及其与国际前卫运动的呼应。地方艺术实践(如乡村艺术项目)与全球知识生产的结合,进一步凸显跨地域协作的创新潜力。为增强展览的多维性,该协会打破传统空间布局,将历史档案、建筑模型与当代影像并置,以直观方式呈现东京的城市变迁。这种叙事策略不仅强化了文化交融的深度,也鼓励观众通过批判性思考参与对话,推动日本文化在全球语境中的再诠释。4.策展范式对比与未来使命广岛与纽约的案例揭示了两种差异化叙事路径:广岛以原爆创伤为核心,通过情感共鸣与体验式观展建立身份认同;纽约则以文化交融为框架,通过知识传递与批判性思考映射社会经济变迁。二者在全球化实践中形成互补——广岛通过国际合作将地方创伤升华为人类共同议题,纽约则依托多元文化背景推动日本叙事的全球再诠释。神谷幸江总结,当代艺术机构需承担三大使命:其一,植根本土,深入挖掘地方历史与文化基因,确保叙事的真实性与深度;其二,开放对话,通过跨地域合作与多元视角,构建全球共享的艺术语言;其三,创新叙事,利用技术、空间与策展策略,将静态历史转化为动态体验,激发观众对过去、现在与未来的多维思考。广岛与纽约的实践案例清晰地展示了艺术所承载的深远意义,它不仅仅是历史的记录者,更是连接不同时空、地域与不同群体之间的强大催化剂。通过策展实践,地方性的经验与故事得以跨越地理界限,成为全球文化对话中不可或缺的有机组成部分。这种跨文化的交流与互动,最终促进了文化的传承与再生,使得艺术的影响力得以在更广阔的范围内得到认可和发扬。演讲嘉宾介绍神谷幸江神谷幸江曾担任纽约日本协会画廊总监、广岛市现代美术馆首席策展人以及纽约新博物馆的副策展人。2025 年 4 月将开始担任东京国立艺术中心的首席策展人。神谷幸江是第 12 届上海双年展(2018 年)的联合策展人,并策划了多个国际展览。作为久保田茂子影像艺术基金会的顾问委员会成员,也是国际艺术评论家协会(AICA) 成员。出版物包括《杉本博司:天堂之门》(Skira Rizzoli,2017 年 )、《被摧毁的:冲突时期的艺术与文化》(Mercatorfonds,2014 年)以及《更精选:当代艺术与文化》(Phaidon, 2010 年)。 ∨ 主编 / 何一沙 责编 / 杜隐珠拍照 / 贺伊飞编辑 / 丰凯梓奇
More

打破AI焦虑、“做”出来的央美雕塑 | 2025中央美院毕业季

2025-05-10

在人工智能刷新创作效率的今天,当算法生成的“完美”雕塑模型充斥屏幕时,中央美术学院雕塑系的研究生们选择用多种媒介,在展厅中铺开一场沉默的宣言:香樟木、树脂、PU、金属、石膏、陶瓷、影像等——这些作品以回归本源的创作姿态,重新确认着手工劳作与身体经验在艺术中的不可替代性。几十件凝结温度的作品向人们证明:艺术最珍贵的部分,永远无法被算法计算。  “很高兴,呈现一台没被‘AI焦虑’所困扰的雕塑展,在此,雕塑依然是被“做”出来的。身体、现场、情感、甚至是缺憾,是雕塑不可替代的专业硬核”,中央美术学院雕塑系直属党支部书记孙璐如是说,“同时,作为毕业展的亲历者,具身在美术馆这个文化道场,体会着身心的物性呈现,这美妙的心理体验和高度的仪式感,将会成为每位同学的永恒”,当中央美术学院美术馆的天光洒进展厅,金属上的斑斑锈迹,木材的膨胀张力,石膏固化的余温……这些物质的“语言”,才是雕塑最本真的叙事。在这里,没有AI焦虑的阴影,只有一群年轻人用最动人的方式,追逐着思想之光。01展览现场CAFAM@ 202502展出作品CAFAM @ 2025
More

伊莎贝尔·贝尔托洛蒂:在MacLYON开展本地和国际跨文化合作 | 2025CAFAM学术季

2025-05-10

More

浇不熄的艺术热情 | 央美毕业季中的版画作品释放全新生命力

2025-05-09

More

活动招募 | 跟随导览漫步“冉冉晨城”,参与首都图书馆创意工坊

2025-05-08

“冉冉晨城——中央美术学院美术馆藏北京主题作品展”正在首都图书馆(华威桥馆)B座第二展厅展出。本周末将有两场活动招募公众参与,欢迎预约报名。在书香画意中,感受城市的冉冉晨曦和艺术的跃动光芒。漫步“冉冉晨城”——跟随艺术家和策展人一同看展时间:2025年5月10日周六,10:00-11:00地点:首都图书馆(华威桥馆)B座第二展厅北京中轴印象——立体书制作儿童工作坊时间:2025年5月10日周六,14:00-16:00地点:首都图书馆(华威桥馆)B座第二展厅*活动需报名预约,具体参与方式详见下方活动介绍01.漫步“冉冉晨城”——跟随艺术家和策展人一同看展“冉冉晨城——中央美术学院美术馆藏北京主题作品展”聚焦中国现当代美术史中北京城市形象的艺术叙事,系统性梳理中央美术学院美术馆典藏的北京题材艺术作品。展览以“晨起”“蓬勃”“更新”“择中”四个板块为叙事线索,精选60件艺术作品,呈现了不同代际艺术家在都市景观描绘与人文精神诠释中的风格流变轨迹。本周末,此次展览的参展艺术家周吉荣教授,策展团队高高、易玥,将与观众一起漫步“冉冉晨城”。在观看精彩展品的同时,聊叙不同历史时期艺术创作对城市面貌与社会语境的关注。| 导览嘉宾 |周吉荣中央美术学院二级教授,博士生导师,中央美术学院学术委员会委员,国际学院版画研究院副院长。中国美术家协会会员。作品曾参加国内、国外多项重要展览,获奖十余次项。出版画集、画册10余种。曾多次在国内外举办个人画展。作品被多家重要博物馆、美术馆收藏。高高中央美术学院美术馆副馆长。2010年进入中央美院美术馆工作,主要负责美术馆国际展览项目的组织、策划与实施,以项目负责人的身份主持完成了多个国际艺术展览。| 主持人 |易玥中央美术学院美术馆策划研究部副主任,曾参与策划多个国内外现当代艺术展览,侧重于展览史、展览策划与视觉传播的研究。| 线下导览时间 |2025年5月10日(周六)10:00-11:009:50在展厅签到集合| 线下导览地点 |首都图书馆(华威桥馆)B座第二展厅| 线下参与方式 |识别下方二维码预约活动活动适合成人和15岁以上的未成年人限40人,约满即止*报名后如不能参加请及时取消,否则将可能影响您预约首图其他活动活动须知1.活动开始前30分钟可持预约码签到入场,一人一码,敬请谅解。2.活动开始后30分钟将停止签到,预约成功如无法按时参加,最迟请于活动开始前30分钟取消预约,否则将影响您预约其他活动。3.为保护知识产权,导览过程中未经授权,禁止录音和录像,请勿使用闪光灯或专业摄影设备。4.请勿将食品饮料带入活动场地,场内请勿饮食。5.主办方会对导览进行全程摄录,读者到达现场即视同接受群像、特写等拍摄及传播。6.导览中主讲人和活动嘉宾的观点不代表本馆立场。7.活动内容视具体情况调整,如有变化会及时通知。本次导览为公众安排了导览直播请关注以下线上直播时间与平台| 线上直播时间 |2025年5月11日(周日)17:00-18:00| 线上直播平台 |中央美术学院美术馆官方平台抖音平台@中央美术学院美术馆小红书平台@中央美术学院美术馆首都图书馆官方平台02.北京中轴印象——立体书制作儿童工作坊小朋友们,在北京这座充满古韵与魅力的城市中,藏着一条神秘的 “魔法线”—— 北京中轴线。它宛如城市的脊梁,默默串联起众多闻名遐迩的建筑,见证着北京从古至今的历史变迁。时光回溯至 700 多年前的元朝,皇帝欲打造一座宏伟都城,聪慧的建筑师们灵机一动,规划出一条笔直的轴线,让重要建筑沿此依次排列,北京中轴线由此诞生。宋红雨,《北京胜境全景》,1992年,199.5cm×199.5cm,布面油彩,中央美术学院美术馆藏张桂林,《记忆之四》,2008年,45.5cm×67.5cm,丝网套色,中央美术学院美术馆藏正在展出的“冉冉晨城——中央美术学院美术馆藏北京主题作品展”,呈现了艺术家们围绕中轴线建筑所创作的艺术作品。在随课程导师浏览展览作品和中轴线上的建筑后,小朋友们将亲手制作中轴线上的建筑立体书,并搭建一个属于自己印象中的“中轴建筑”哦!工作坊主题北京中轴印象——立体书制作| 工作坊策划 |肖宝珍中央美术学院美术馆公共教育部主任| 课程导师 |张伊驰中央美术学院2024级建筑专业研究生,从本科到硕士,七年扎根央美建筑系,在空间美学与结构逻辑的探索中,始终怀揣着对美育的热忱。五年间,张伊驰将专业所学转化为美育实践,参与央美“高参小”项目,陪伴孩子打开艺术世界。本次工坊将带领孩子们用彩纸、木料等材料,将天马行空的想象变为立体书、皮影戏道具。美育不仅是技巧的传授,更是创造力的唤醒。| 工作坊时间 |2025年5月10日(周六)14:00-16:0013:50在展厅签到集合 | 工作坊地点 |首都图书馆(华威桥馆)B座第二展厅 | 参与方式 |识别下方二维码预约活动活动适合8-12岁儿童,限20人,约满即止*报名后如不能参加请及时取消,否则将可能影响您预约首图其他活动活动须知1.活动开始前30分钟可持预约码签到入场,一人一码,敬请谅解。2.活动开始后30分钟将停止签到,预约成功如无法按时参加,最迟请于活动开始前30分钟取消预约,否则将影响您预约其他活动。3.请勿将食品饮料带入活动场地,场内请勿饮食。4.主办方会对活动进行全程摄录,读者到达现场即视同接受群像、特写等拍摄及传播。5.活动内容视具体情况调整,如有变化会及时通知。| 关于北京文化艺术基金 |北京文化艺术基金是由北京市文化和旅游局发起设立的公益性基金,重点围绕舞台艺术创作、文化传播交流和艺术人才培养三大领域开展资助。基金面向社会接受申报、资助过程受社会监督、资助成果由社会共享,最大限度调动社会参与文化建设积极性,搭建了一个开放平等、公开透明的艺术资助体系,充分发挥全国文化中心的示范引领作用。| 展览信息 |北京文化艺术基金2024年度资助项目冉冉晨城:中央美术学院美术馆藏北京主题作品展 展览时间:4月18日-5月18日展览地点:首都图书馆(华威桥馆)B座第二展厅 主办:中央美术学院协办:中央美术学院美术馆 首都图书馆支持:中央美术学院科研处主编 / 何一沙责编  / 杜隐珠编辑 / 丰凯梓奇现场图 / 贺伊飞
More

Child Public Education Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Adult Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Sumbit

Group Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Event Booking Form

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

Reminder:

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