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.

: Cold Dew

2026-10-08

Cold Dew
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: Review of the Opening Dialogue for "World-Seeking — An Art-Science Exhibition on Exoplanet"

2026-10-08

Why do we search for such distant planets that can hardly be seen directly? What will scientific data become when it enters an art museum? While scientists are searching for an unknown world, what can artists do?If you were to paint an exoplanet, what would it look like?✧"World-Seeking — An Art-Science Exhibition on Exoplanet" ✦✦ Opening Talk Review✦ ————On September 23, the opening dialogue of "World-Seeking — An Art-Science Exhibition on Exoplanet" took place in the first-floor gallery of CAFA Art Museum. Guests from diverse fields including astronomy, art, curation and tech art exchanged ideas on topics such as “Why do we search for exoplanets”, “How science enters art”, and “How to make specialized knowledge accessible to more people”.—— ✦ Review of Dialogue Speeches ✦ ——Gou Lijun Researcher, National Astronomical Observatories, Chinese Academy of Sciences Professor of Astronomy, University of Chinese Academy of SciencesGetting to Know Those Distant Exoplanets ✦ ————In recent years, thanks to the growing number of sci-fi films and popular cultural works, exoplanets have gradually come into public view. Over the past two to three decades, human understanding of exoplanets has undergone tremendous changes. At first, we mostly wondered “Are there aliens in the universe?” Today, however, a growing number of scientists take exoplanets as a specific research focus, investigating their properties, environments and the possibility of life.The advancement of science itself starts with hypotheses, which are then verified through observation and research. More often than not, what we learn is not a simple “yes” or “no”, but an ongoing process of exploration. For example, based on existing observations, we may infer that a planet’s surface is largely covered by water, yet an “inference” is not a confirmed conclusion. Science moves forward precisely through such cycles of hypothesis, verification and revision.Therefore, this exhibition aims to show the public that science is more than a collection of established conclusions. This exhibition may only mark a modest beginning, yet no one knows whether it will connect to a truly groundbreaking scientific discovery someday in the future. Bringing art and science together also opens up more room for imagination and trial and error — to envision unanswered questions while respecting scientific facts.✦Using the pulsar‑timing method, scientists discovered planets orbiting the pulsar PSR B1257+12. This marks humanity’s first confirmed detection of exoplanets and ushers in a new era for exoplanet researchhttps://science.nasa.gov/resource/extreme-planets/———— ✦ ✦ ✦ ————Jin Jun Director, Professor, Digital Artist of CAFA Art MuseumMay You Find Your Own Answers ✦ ————For many people, “exoplanet” remains a relatively unfamiliar term. Through this exhibition, we hope to re-present these originally specialized and remote scientific questions via art, moving images and spatial experiences. Rather than simply telling visitors what exists in the universe and how many planets scientists have discovered, we aim to offer a space for slow viewing, imagination and reflection.When we gaze at those distant celestial bodies, we are also rediscovering the Earth beneath our feet. Why are we curious about other worlds? What kind of planets can nurture life? How did Earth become what it is today? Though these questions seem to point to the faraway cosmos, they are ultimately tied to our own lives.Therefore, what “Star Quest” intends to achieve is more than a popular science exhibition about exoplanets. It invites everyone to start from a distant planet and discover what resonates with them. It may be a scientific question, a new vision, or a renewed sense of wonder toward our familiar Earth. May each of you find your own answers in this “star-seeking” journey.✦"World-Seeking" gallery———— ✦ ✦ ✦ ————Wang Xuesong Associate Professor, Department of Astronomy, Tsinghua University Scientific Advisor of the ExhibitionWhat Humanity Seeks Beyond Earth ✦ ————If there truly exists an Earth-like planet outside the Solar System, what would we want to know? Does it have water? Does it have an atmosphere? Is its temperature suitable? These seemingly simple questions determine whether we can further judge if a planet could potentially be habitable for life.To date, scientists have discovered a large number of exoplanets. Some are similar to Earth in size, and some orbit within the so-called "habitable zone". Their existence does not guarantee life, yet they offer us a chance to rethink planetary worlds: besides our familiar Earth, are there other places in the cosmos that can sustain life?For this very reason, searching for exoplanets is more than just "looking for another Earth". What we truly want to learn is how special a world like Earth is, and whether life has other possibilities across the universe.✦Artist’s Impression of Exoplanetshttps://science.nasa.gov/resource/exoplanet-types-illustration/ ———— ✦ ✦ ✦ ————Tang Yu Deputy Director and Associate Researcher, Research Office of Central Academy of Fine ArtsWhat happens when science meets art? ✦ ————There is ample room for interaction between science and art. For artists, some seemingly simple scientific knowledge, unfamiliar at first glance, may spark fresh imagination. Nowadays, fields including life science and energy science are continuously integrated into artistic creation, bringing a new dimension to students’ works."Star Quest" is not a conventional exhibition featuring artists and artworks. It combines scientific knowledge, artistic creation, spatial experience and audience engagement. We hope visitors can discover the diverse ways to perceive science, and that this exhibition will inspire new imaginations of outer space.✦"World-Seeking" gallery———— ✦ ✦ ✦ ————Chen Baoyang Digital Artist, Associate Professor of the School of Experimental Art and Science & Art, Central Academy of Fine ArtsChange the Color, See Another Universe ✦ ————Many NASA cosmic images we see online boast rich hues, yet these colours are not necessarily what the human eye perceives. Frequently, scientists convert data captured by telescopes into varied colours, enabling us to detect information otherwise difficult to observe directly. This process itself is fascinating: science supplies data, while art renders these abstract, distant phenomena more tangible.✦"World-Seeking" gallery———— ✦ ✦ ✦ ————Liu Yuhan Project Supervisor of Curatorial Research Department, Curator of CAFA Art MuseumWhat does an exoplanet look like in your imagination ✦ ————The initial inspiration for this exhibition actually came from a NASA poster. There are 30 "planets" displayed in the gallery, while more than 6,300 exoplanets have been confirmed to date. Naturally, we cannot include all of them in the exhibition hall, so we wish to reserve some space for visitors. You may draw your own exoplanet and place your imagined celestial body into this starry sky. ✦"World-Seeking" gallery———— ✦ ✦ ✦ ————Lin Zixuan 13th President of the Tsinghua University Student Astronomy AssociationFinding Questions Worth Pursuing in "Star Quest" ✦ ————Most stars we see in the night sky shine with light we can observe directly. Exoplanets, however, do not reveal themselves so easily. They lie extremely far away, and are often obscured by the brilliant glare of their host stars. For this reason, scientists seldom observe a planet directly. Instead, they infer its existence by detecting changes in the star’s brightness, or the stellar motion induced by the planet’s gravitational pull.The search for exoplanets is therefore a process of uncovering answers from faint, subtle clues. As Xu Bing observes, a vital task of artists is to pose questions. The same holds true for researchers. Though science and art follow different paths, both are driven by questions that demand constant inquiry. We invite you into this space to seek out questions of your own.Artistic Rendering of 51 Pegasi bhttps://www.eso.org/public/images/eso1517a/ ———— ✦ Academic Talk Moderator ✦ ————Liu Xiyan Director of Curatorial Research Department, Curator of CAFA Art MuseumThe opening talk also invited representatives from Beijing New Art Dynamics Social Work Development Center, who took part in painting the planetary artworks for the exhibition. Tang Xiaowen, person-in-charge of the center, shared how the children created these small spheres. When they first received the spheres, the children felt a little hesitant and unsure what to draw. Once they started painting, ideas gradually emerged. They put their imaginations of these “planets” onto the spheres. Eventually, these spheres were brought to the venue and became part of the Star Quest exhibition. For the children, it was an experience to join the exhibition in their own way and envision another world.On that day, Lin Zixuan, the 13th President of Tsinghua University Student Astronomy Association, gave a professional popular science talk on exoplanets for the audience present. He presented cutting-edge astronomical knowledge in easy-to-understand language and guided the audience into the vast, mysterious planetary world beyond the Solar System. Both rigorous and engaging, the talk helped attendees form a more intuitive and in-depth understanding of exoplanet research.During the exhibition, visitors may come to the interactive area to hand-draw a planet of their own, bringing the imaginations in their minds into this starry sky.Star Quest invites you to step into the exhibition hall and behold worlds we cannot yet truly see. Perhaps the next discovered planet awaits us somewhere far away.National Science Popularization Month Series World-Seeking — An Art-Science Exhibition on ExoplanetOrganizer: CAFA Art Museum Academic Support: Department of Astronomy, Tsinghua University Co-organizers: Popularization Committee of Chinese Astronomical Society, Research Office of Central Academy of Fine ArtsExhibition Dates: September 22 – November 8, 2026 Venue: 1st Floor Galleries, CAFA Art MuseumExhibition Team Academic Chair: Yu Yang Exhibition Directors: Jin Jun, Han Wenchao Exhibition Coordination: Gao Gao, Hai Jun, Li Yaochen, Tang Yu Science Advisors: Wang Xuesong, Wang Xiaofeng, Bai Xuening, Zhu Wei, Shi Jingsi Curators: Liu Yuhan, Liu Xiyan Curatorial Assistants: Wang Cong, Zhang Shurong, Tang Ziyu Space Design: Cui Ailan, Yue Dehua Visual Design: Li Qiang, Wu Jiangtao, Wang Chaojing, Wang Yiyang Exhibition Management: Jing Peng, Su Shicun, Chen Xiaohua, Lü Zhifa, Guo Xu Media & Communications: He Yisha, Wu Jing, He Yifei, Du Yinzhu, Guo Hongmei, Min Zhiyi Public Education: Xiao Baozhen, Geng Jinghua, Wang Jun, Yao Yiqun, Liang Wen, Cai Meng Development & Promotion: Sun Wei, Yi Yi, Kou Lei, Jin Jianru Finance: Yang Liu, Men Jing Administrative Support: Yue Junyao, Liu Xingling, Zhang Qian, Jiang SiyuAcknowledgements: Beijing New Art Dynamics Social Work Development Center, ARTMAN Children’s Art Studio, Experimental Kindergarten of Beijing Normal University (Atlantic New Town)Editor-in-Chief / He Yisha Responsible Editor / Du YinzhuEditor / Wang Cong
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: Exhibition Countdown｜Through Fashion

2026-10-08

The interwoven evolution of the spirit of the times across distinct historical periods forms an endlessly surging river. Fashion artifacts, to a large extent, mark the course and trajectory of this river. Among them, clothing, by virtue of its universality and necessity, constitutes an indispensable domain within fashion. In particular, the sartorial aesthetics and dress codes that dominated the cultural landscape of their eras are widely regarded as a weathervane of the zeitgeist and culture. As an ancient saying goes: “Huangdi, Yao and Shun hung their robes and the world was well-governed, drawing inspiration from heaven and earth.” Such clothing systems as a form of fashion not only embody the aesthetic tastes and ritual norms of specific social strata, but also reveal subtle shifts in relations between different social groups. When it comes to the creative practice of individual artists, costume design as artistic creation serves as a unique medium through which artists freely respond to the spirit of their times. This is precisely demonstrated in Professor Lü Yue’s exhibition currently on view at the Art Museum of Central Academy of Fine Arts.On September 16, 2026, Professor Lü Yue’s exhibition "Through·Yue: Witnessing Chinese Fashion — A Retrospective of Lü Yue's Art and Pedagogy" opened at CAFA Art Museum. The exhibition is divided into four sections: “Youth Memories”, “Witness of the Times”, “Academic Reflections”, and “Dialogue with the Times”. It features physical garments, original design sketches, industry video archives, traditional pattern-making techniques, mixed-media fashion installations, and digital interactive experiences. This exhibition presents a comprehensive showcase of the artist’s creative journey and achievements. As the founder of the Fashion Design program at the Central Academy of Fine Arts, a firsthand witness to China’s fashion scene, and one of its accomplished pioneers, Professor Lü Yue’s show also largely reflects the development of the Fashion Program within CAFA’s School of Design, and even the transformations of Chinese fashion over the past half-century.If, in the first two exhibition sections, Professor Lü Yue largely draws upon the inherent physical properties of materials to seek her personal expression of the times within a stable, rational order, the latter two sections delve deeper into the cultural meanings embedded in material media. She experiments with diverse creative logics to embody her perceptions of contemporary society, exemplified by Madame Butterfly and Golden Radiance. Madame Butterfly is a complex paradox. It brings together “the gentle lady and the kitchen maid, freedom and confinement, Chinese handwoven native cloth and Western hoop skirt, hand-dyed printing and laser engraving, Sister Aqing and internet celebrity, plane and volume, past and present, East and West, yin and yang, void and substance. Seemingly unrelated elements reveal a mutually sustaining harmony.” This work vividly captures a vital facet of contemporary society: a large body of traditional cultural elements struggle to find their footing amid modern conditions, taking on an awkward guise. Meanwhile, driven by the consumer logic of industrial and commercial civilization, contemporary society keeps dismantling all established orders and structures. When such deconstruction reaches a certain threshold, a systematic longing for stable order and structure emerges instead. What Madame Butterfly presents is precisely this tangled landscape amid the evolution of the times. Golden Radiance, by contrast, uses visual transformation of physical materials to confront viewers directly with the operational logic of consumer society.Madame ButterflyGolden RadianceProfessor Lü Yue’s fashion works integrate traditional culture with modern design. More precisely, she dedicates herself to exploring expressive languages that enable mutual transformation between the spirit of contemporary fashion and traditional culture. To a considerable extent, such exploration has set a valuable benchmark for the entire fashion industry in China.Through·Yue: Witnessing Chinese Fashion — A Retrospective of Lü Yue's Art and PedagogyDates: September 17 – October 7, 2026Venue: Gallery B, 3rd Floor, Art Museum of Central Academy of Fine ArtsEditor-in-Chief / He Yisha Responsible Editor / Du Yinzhu Text / Hong Mei Installation Photographs / He Yifei
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: From Artworks to Classroom: Practice of Lü Yue’s Fashion Art and Design Education

2026-10-06

01From Artworks to Classroom: Design Education Is Also a Form of PracticeLü Yue led her students in collaboration with Microsoft AI XiaoIce to carry out a cross-disciplinary teaching practice of fashion × AI, Beijing, 2021To understand Lü Yue’s practice solely through her artworks would leave Through·Yue incomplete. Beyond her individual creative output, another long-running thread of her work lies in bringing experimental methodologies back into design education.In 2006, the Central Academy of Fine Arts and Hongik University of South Korea launched a joint curriculum centered on Fashion Art. Students were asked to step away from conventional garment fabrics and rethink the relationships among the body, structure and form using materials such as paper. The subsequent China–Korea fashion art exchanges, together with the international Fashion Art exhibitions held continuously after 2007, brought these originally classroom-based experiments into broader public discourse.Here, the classroom is not a separate undertaking outside artistic practice. For design education within an art academy, the classroom itself serves as a site of experimentation. When students can no longer rely on familiar fabrics, patterns and garment categories, they must re-examine what structure is, what material is, and why the body needs to be enveloped in a particular way. These seemingly “impractical” material experiments do not primarily train skills for making unconventional garments; instead, they cultivate the capacity to pose questions anew.Lü Yue at the curtain-call group photo for CAFA’s special show at the 1st China International College Student Fashion Week, Beijing, 2013Lü Yue teaching undergraduates in CAFA Building 7, Beijing, 2021From this perspective, Lü Yue’s shifts between the identities of designer, educator, artist and curator are not merely separate entries in her resume.Design experience flows into the classroom; artistic experiments reshape design methodologies; teaching generates new works and discussions; exhibitions in turn carry these conversations into a broader cultural field. In this way, her individual practice gradually transforms into a public space accessible to students, peers and creators from diverse cultural backgrounds.This also marks what differentiates an “archive exhibition” from a conventional retrospective. What the archive preserves includes not only those finalized and canonized “representative works”, but also courses, sketches, photographs, exchanges, and experiments that remain inconclusive. History often resides within these modest materials.02 Body, Material and Invisible LabourNeedleworkLü Yue’s works do not merely pursue the single trajectory of “turning clothing into art”. As her practice unfolds, garments become a gateway to bodily experience, material memory and social life.Needlework explores the relationships among the female body, textiles, flowers and manual labour. Originally, “needlework” refers to the long-standing textile, sewing and embroidery labour carried out within domestic spaces. Playing on the homophone of the Chinese character gong in nü gong, the title superimposes labour, colour and the female body into one single concept.No specific human figures appear, yet the body is omnipresent. The lustre of silk, clusters of flowers, corseted silhouettes and suspended torsos collectively transform intimate, meticulous labour into a public form with scale and volume. Those repetitive tasks often concealed behind garments thus move beyond the status of “production process” and become integral to the work itself.No specific human figures appear, yet the body is omnipresent. The lustre of silk, clusters of flowers, corseted silhouettes and suspended torsos collectively transform intimate, meticulous labour into a public form with scale and volume. Those repetitive tasks often concealed behind garments thus move beyond the status of “production process” and become integral to the work itself.Here, the significance of materials lies not only in visual novelty. The lived experience, bodily sensations and traces of time they carry constitute what the audience truly perceives. Handwork matters not simply because it suggests slowness or uniqueness; rather, every repeated gesture embeds human time onto the surface of matter.03 “Being There”: Between Personal Memory and Public HistoryWall of Historical Documents in the Exhibition HallFashion is inherently tied to the notion of “newness”.One season supersedes another; one visual identity replaces the next. New materials, technologies and media of communication emerge continuously. Precisely for this reason, fashion is a field particularly vulnerable to losing its own history. Manuscripts, newspapers, sample garments, photographs and classroom records — materials that may have seemed commonplace at the time — can quickly vanish from public memory if left unpreserved.Through·Yue re-places these materials within a single space and transforms their original nature. A photograph is no longer merely a personal memento, nor is a course document only a record of teaching. Instead, they begin to cross-reference artworks, institutions, industry and social life.In this context, “being there” first denotes a standpoint. It does not seek to overwrite the complex history of the industry with a personal narrative, but acknowledges that history can only be approached through the lived experiences of specific individuals. Lü Yue’s nearly half-century of practice forms the core of this archive exhibition not because one person’s story can stand for Chinese fashion as a whole, but because she has consistently occupied an intersection of multiple realms: from design practice to art academy, from commercial products to artworks, from teaching to curating, from local Chinese practice to international exchange.The timeline of one individual thus becomes an aperture into an era.04 “Through·Yue”: Not an Ending, but a Continuation of QuestionsTo revisit these works today carries another layer of meaning.As artificial intelligence, digital fashion, virtual spaces, new materials and emerging bodily technologies continuously enter design practice, questions that once seemed self-evident — “What is clothing?” “What is the body?” “What does it mean to wear?” — have become open-ended once again. Garments no longer necessarily rely on physical fabrics and the human body.Seen from this perspective, if we look back at Lü Yue’s long-standing exploration of the boundaries between “wearable” and “unwearable”, design and art, materials and the body, we find that these inquiries have not lost their relevance over time. On the contrary, they are unfolding under new technological conditions.The value of “Through·Yue”, therefore, lies not merely in preserving the past.“Through” refers to the fundamental relationship between garment and body, and also signifies passing through and entering. “Yue” means traversing nearly half a century of time, as well as repeatedly stepping beyond established disciplinary boundaries. In this way, the exhibition takes history as a starting point to understand the present and move toward the future, posing a set of ongoing questions:When clothing is detached from the act of being worn, what kind of medium can it become? When tradition enters the contemporary context, how can it continue to grow rather than merely leaving superficial symbols? As technology once again reshapes the boundary between body and garment, what is it that design truly ought to retain?Perhaps herein lies the significance of “Through·Yue”.Through·Yue:Witnessing Chinese Fashion-- A Retrospective of Lyu Yue's Art and PedagogyDates: September 17 – October 7, 2026Venue: Gallery B, 3rd Floor, CAFA Art MuseumEditor-in-Chief / He Yisha Editor / Du Yinzhu
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: CAFAM Cultural and Creative Products Shine at the "Beijing Gifts" Campus Cultural & Creative Zone of CIFTIS 2026

2026-10-03

Recently, the 2026 China International Fair for Trade in Services was successfully held at Shougang Park in Beijing. Cultural and creative products of CAFA Art Museum made a splendid appearance in the “Beijing Gifts” Campus Cultural & Creative Zone, Hall 9 of the fair. As the only art university with both Fine Arts and Design selected as “Double First-Class” construction disciplines, the Central Academy of Fine Arts has set a benchmark for aesthetic standards and design excellence with its cultural and creative offerings. As one of the first batch of National Key Art Museums designated by the Ministry of Culture and Tourism and a pilot institution for cultural and creative development, CAFA Art Museum guides its product development with cutting-edge design concepts. Drawing on the century-old institutional culture and abundant collection resources of the academy, it strives to create creative merchandise that integrates academic value, refined aesthetics and avant-garde design. For this exhibition, CAFAM Creative has selected representative pieces from multiple series: the CAFAM Brand series, CAFAM Collection series, CAFAM Exhibition series, CAFAM Artist series, CAFAM Curated Picks series, CAFA Graduation Season series and CAFA Graduate series.| CAFAM Brand |Centered on the core of CAFA’s campus brand culture — including the campus logo, landmark buildings, natural scenery, historical lineage and spirit of the academy motto — this series extracts distinctive cultural symbols with strong evocative power. Adopting a minimalist and restrained modern design language, it conveys the unique artistic temperament of the Academy. The range of well-crafted, thoughtfully designed merchandise is made for everyday life. In this way, culture is no longer confined to galleries and archives. Users may feel the warmth and profound heritage of CAFA campus culture through casual contact and daily use.| CAFAM Collection |Drawing upon more than 20,000 treasured works in the CAFA Art Museum collection, this series delves deep into the artistic essence and cultural heritage of the artworks. It features a lineup of merchandise closely linked to the original collection pieces with strong recognizability, aesthetic refinement and ingenious design. Rooted in the visual language of the collection, the design carries out secondary creative transformation. Moving beyond simple pattern reproduction, it reinterprets artistic symbols through modern and personalized design, advancing the revitalization of collection resources. Precious artworks thus step out of galleries and integrate into daily life. While using these products, the public can closely engage with the beauty of tradition and art, and imperceptibly sense the cultural power spanning thousands of years. It realizes tangible art education in daily life and opens a pathway for art to travel from the museum halls into people’s everyday lives.| CAFAM Exhibition |Centered on the high-quality ongoing exhibitions at CAFA Art Museum, this series takes the unique thematic core, visual language and profound academic connotations of each show as its design starting point. It extracts striking visual symbols, iconic colour palettes and avant-garde artistic concepts from exhibition spaces, condensing artistic expressions originally confined within galleries into tangible, usable and portable creative merchandise. After leaving the exhibition halls, visitors may retain their gallery memories through these physical objects. The artistic reflections encountered at the museum can be integrated into daily life, creating a two-way connection between the academic value of exhibitions and the public’s everyday experience.| CAFAM Artist |This series gathers creative merchandise by outstanding artists of CAFA. Taking artists’ representative works as core materials, it refines and translates their artistic language, redesigning the forms and spiritual essence of artworks into daily-use cultural products. It builds a bridge for dialogue between creators and the public. The product range includes limited-edition prints, artistic jewellery, fridge magnets, phone stands and other diverse items. Carrying the unique artistic DNA of CAFA, the series transforms artists’ creative inspiration into tangible, portable art objects. It brings academic creation beyond campus and into public life. Every use becomes a dialogue between audiences and the artist in aesthetics and ideas.| CAFAM Curated Picks |With an open and inclusive vision for professional selection, this series discovers and carefully recommends high-quality merchandise featuring distinctive artistic character, thoughtful craftsmanship and refined aesthetic taste. CAFAM Curated Picks continuously broadens the dimensions of visual cultural communication for the museum, exploring more possibilities for promoting an artistic lifestyle. It enables diverse contemporary design expressions and avant-garde artistic thinking to step out of galleries and studios, merging naturally into the public’s daily vision and fabric of life.| CAFA Graduation Season |Centered on the annual campus highlight — the graduation exhibition, this series adopts the key visual identity of the graduation season as design elements. Blending CAFA’s humanistic heritage and artistic aesthetics, it distills the youthful spirit, creative passion and parting sentiments of graduation into souvenirs with both commemorative meaning and practical value. These items serve not only as precious mementos of graduates’ campus life, but also as warm messages from the academy to its students.| CAFA Graduates |Created for CAFA alumni after graduation, this series incorporates original design works by numerous CAFA graduates. Grounded in the artists’ distinctive personal visual language, the collection translates artistic expressions into functional everyday objects. It showcases young creators’ keen perception and continuous exploration of visual storytelling, material experimentation and the integration of art into daily life, bringing academic art into ordinary scenarios.Grand Beauty within InchesCAFAM Gift Shop Awaits YouEditor-in-Chief / He Yisha Responsible Editor / Du Yinzhu
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: Refreshed! "Collection of CAFA Art Museum — Modern Chinese Art" Reopens

2026-09-24

The “Collection of CAFA Art Museum — Modern Chinese Art” exhibition has reopened, featuring 237 classic works from the museum’s collection. Step into the galleries to trace the lineage and feel the human warmth of modern and contemporary Chinese art.> > > >The section “Modern Chinese Art” is not merely a retrospective of the course of modern Chinese art, but also an outlook on the future development of art. Through these works and this artistic journey, visitors may truly perceive the artistic pursuit of successive generations of artists, who refined and advanced their visual language, as well as their outstanding experimental explorations in conceptual innovation. Audiences can also experience the perseverance, resilience and uplifting spirit of the Chinese people.This renewed display introduces eight newly added works, including masterpieces such as Huang Binhong in His Later Years by Jin Shangyi and landscapes by Luo Gongliu. The modern segment of this permanent collection exhibition represents individual artistic expressions. More importantly, it embodies the quests and transformations amid the tides of history, responding to the times through modern forms and visual language.Huang Binhong in His Later YearsJin Shangyi, 1996 Oil on canvas, 115 × 99 cm Collection of CAFA Art MuseumStill Life (Flowers, Books) Chang Shuhong, 1942 Oil on canvas, 79 × 64 cm Collection of CAFA Art MuseumDelivering Charcoal in Snow Ai Zhongxin, 1947 Oil on canvas, 72 × 88 cm Collection of CAFA Art MuseumSong of the Rammer Wang Wenbin, 1962 Oil on canvas, 156 × 320 cm Collection of CAFA Art MuseumBombardment Hua Tianyou, 1946 Bronze cast, 116 × 90 cm Collection of CAFA Art Museum> > > >Collection of CAFA Art Museum — Modern Chinese ArtExhibition Dates: Permanent DisplayVenue: Gallery B, 2nd Floor, CAFA Art MuseumEditor-in-Chief / He YishaEditor / Du Yinzhu
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: Today is the Autumn Equinox

2026-09-23

Today is the Autumn Equinox
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: 中秋、国庆双节开放公告 | CAFAM期待你的到来！

2026-09-23

尊敬的观众朋友：双节将至，为满足广大观众的参观需求，我馆将于中秋节假期（9月25日至9月27日）、国庆节假期（10月1日至10月7日）正常开馆。9月28日（周一）例行闭馆。每日开放时间为9:30-17:30（17:00停止售票）。从经典馆藏到系外行星科普，从中国时尚变迁、当代视觉设计，再至跨越媒介的艺术探索，多元展览集中亮相。这个假期，CAFAM静候你的到来！中央美术学院美术馆2026年9月22日正在展出CAFAM@ 2026
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: GDC Award 2025获奖作品全球巡展北京站如约而至

2026-09-22

9月17日，GDC Award 2025获奖作品全球巡展首站于中央美术学院美术馆三层A展厅&四层展厅启幕。本次展览是由深圳市平面设计协会主办、中央美术学院美术馆承办。GDC设计奖创立于1992年，是中国持续时间最长，最具有国际影响力的综合性设计奖项之一。三十余年来，GDC持续关注中国及全球设计实践的发展，通过作品征集、评审与展示，记录视觉设计领域不断变化的创作面貌。展览集中呈现了2025届奖项评选出的400余件获奖作品，呈现当代视觉设计的多元实践与发展趋势。中央美术学院美术馆馆长靳军致辞中央美术学院美术馆馆长靳军表示，在当下经济发展、设计行业快速变革的时代背景下，这项拥有深厚积淀的奖项在央美呈现，意义尤为重要。如今，平面设计的内涵正在发生深刻变革，早已不局限于海报、标志、刊物等传统载体。屏幕、影像、空间、代码与数据，催生了全新的表达形态，实体与数字、设计与技术、静态与动态不断融合。GDC设计奖拥有三十余年发展历程，诞生于改革开放前沿的深圳，见证了中国设计行业的成长。本次参展作品汇聚国内外设计师，涵盖品牌、字体、出版、数字媒介、空间、社会议题等多元领域，既展现出本土实践，也汇集了全球的设计语言。同时，推动设计艺术的学术研究、公共传播与国际交流，一直是中央美院美术馆的重要使命，它不仅是一个展示空间，更提供了思想碰撞的场所。本次展览也是GDC全球巡展的起点，后续将走进西安、济南、武汉等国内城市，还将赴马来西亚、韩国等海外国家展出。希望借此实现设计观念与文化体验的双向互动，探讨设计与经济、生活、人类文化的紧密关联。深圳市平面设计协会主席刘钊致辞深圳市平面设计协会主席刘钊表示，GDC与中央美术学院有着三十余年的深厚渊源，双方始终保持紧密的学术联结。本次GDC展览落地中央美术学院美术馆，是赛事创办三十多年来首次在北京入驻专业学术美术馆空间举办展览，对GDC而言有着特殊的意义。本次展览汇聚了2024至2025年度国内顶尖的平面设计作品，同时吸纳了俄罗斯、德国等多个国家的优秀设计创作参展，赛事的国际化程度持续提升。相信本次展示能够代表中国设计水平的一个高质量呈现。中央美术学院设计学院党总支书记王子源致辞中央美术学院设计学院党总支书记王子源分享对GDC的认知与了解。GDC及前身赛事培育出了国内初代优秀平面设计师，奠定了行业创作、作品评判的核心标准，形成了近三十年深厚的行业传承。诸多优秀设计师深耕该赛事、斩获佳绩，足以印证其专业含金量。本届展览作品兼具历史传承与年轻化特质，让GDC始终保持鲜活生命力，也持续吸引青年力量投身平面设计领域。当下平面设计看似入行门槛较低，各设计相关领域从业者均可涉足，但央美始终严格界定视觉传达与平面设计的专业边界，深耕领域内的人文精神与专业内核，追求高精尖的专业品质。整体而言，GDC长期坚守高专业水准，为行业发展、学术传承与青年成长提供了重要支撑。深圳市平面设计协会学术委员毕学锋致辞深圳市平面设计协会学术委员毕学锋结合自己多年的亲身经历，谈到了三点看法：第一，GDC见证了平面设计行业的发展与变化。第二，GDC影响了几代设计师的专业理想与职业道路。在不同发展阶段，它都在引导从业者思考：如何深耕专业、如何经营设计事业、如何让设计真正介入社会、融入大众生活。第三，本次展览是一个富有鲜活生机的设计现场，真实折射出当下的中国设计生态。凭借一线设计师的专业把控和国际化视野，GDC已经成为中国具有代表性的设计赛事，在国际上也形成了区别于其他赛事的独特面貌。中央美术学院美术馆副馆长高高担任主持人嘉宾合影本届获奖作品将通过全球巡展，从北京中央美术学院美术馆出发，经过武汉、西安、济南等城市，并延伸至韩国、马来西亚等国家与地区。这是一场作品的流动，也是一场设计观念与文化经验的流动。我们希望通过这场持续展开的全球巡展，让更多人看到今天的平面设计正在发生什么，也让不同地区的设计实践彼此认识、相互启发。GDC设计奖希望把优秀的作品从评选结果转化为可以被共同观看和讨论的公共资源，并以作品为媒介，建立中国设计与世界之间更具体、更持续的交流。展览将持续至10月7日。展览时间2026.9.17-10.79:30-17:30逢周一闭馆展览地点中央美术学院美术馆三层A展厅&四层展厅主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞
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: 9月22日，走进中央美院美术馆“寻星” | 系外行星主题科普艺术展即将上线

2026-09-22

20世纪90年代第一批太阳系外行星的确认（PSR-B1257+12周围行星和飞马座51），拉开了关于系外行星的系统性探索的序幕。此后，人类不断发现那些隐藏在遥远恒星周围的陌生世界——有的比地球更小，有的围绕两颗恒星运转，有的在星际空间中孤独漂泊。然而，它们绝大多数从未被真正“看见”，科学家只能凭借恒星亮度的微变、引力扰动的痕迹与光谱中稍纵即逝的线索，让一个不可见的世界逐渐显现。这场深空探索中，中国科研力量同样留下了坚实足迹：从“望舒”的发现，到LAMOST等重大设施支撑下对热类海王星、超级地球、流浪行星的系统研究……本次展览有幸获得清华大学天文系的学术支持，将前沿科学成果转化为可感可知的现场。作为中央美术学院美术馆全国科普月的特别项目，本次展览以大型空间装置带您沉浸式体验宇宙的宏大尺度与多样星体环境，更设置了艺术共创环节，邀请您亲手绘制属于自己的系外行星——从“观看者”变为“行星创造者”。从一颗星辰开始，去寻找另一个世界。也许我们最终寻找的，不只是遥远的行星，更是人类理解自身、理解地球与宇宙的一种方式。1992年，人类第一次确认太阳系外存在行星，开启了系外行星研究的新纪元。PSR B1257+12 脉冲星行星系统艺术想象图https://science.nasa.gov/resource/extreme-planets/通过星冕仪或特殊掩星技术遮挡恒星强光，直接拍摄行星自身反射或热辐射的微弱光点。此法适合年轻、距恒星较远的大行星，技术难度极高，却是未来分析宜居世界大气的最直接途径。韦伯望远镜拍摄的HIP 65426 b多波段图迄今发现最接近地球大小和质量的行星之一。TRAPPIST-1 e 3D模型截图https://science.nasa.gov/exoplanet-catalog/trappist-1-e/ 望舒（HD 173416 b）是兴隆 2.16 米望远镜高分辨率光谱发现的第一颗系外行星。2008 年发现团队通过测量恒星视向速度的周期性摆动确认了它的存在，这一发现证明我国望远镜已能参与精密的系外行星搜寻。D 173416 b 3D 模型截图https://science.nasa.gov/exoplanet-catalog/hd-173416-b/ “寻星”现场剧透9.22走进央美美术馆探索“另一个世界”“寻星——系外行星主题科普艺术展”开幕对谈时间：2026年9月23日18：00地点：中央美术学院美术馆一层展厅扫码预约名额有限先到先得请从美术馆西门进入对谈人苟利军（中国科学院国家天文台研究员、中国科学院大学天文学教授）靳军（中央美术学院美术馆馆长、教授、数字艺术家）王雪凇（清华大学天文系副教授、展览科学顾问）汤宇（中央美术学院科研处副处长、副研究员）陈抱阳（数字艺术家、中央美术学院实验艺术与科技艺术学院副教授）刘宇晗（中央美术学院美术馆策划研究部项目主管、展览策展人）林子轩（清华大学学生天文协会十三任会长）主持人：刘希言（中央美术学院美术馆策划研究部主任、展览策展人）特别邀请：北京新艺动社会工作发展中心对谈内容 “寻星”展览的开幕跨界对谈，将从天文科普、艺科融合与公众参与等角度展开。来自天文科学、艺术创作、展览策划和公益机构等领域的嘉宾，将分享系外行星探索的科学历程与探索故事、艺术与科学碰撞所激发的创作实践，以及如何将专业的天文知识转化为可感知、可参与的展览语言，借助美术馆的平台，激发青年对科学探索的兴趣与想象，从而拓展艺术与科学交汇的更多可能。2026年全国科普月系列活动寻星——系外行星主题科普艺术展展览时间：2026年9月22日-11月8日展览地点：中央美术学院美术馆一层展厅展览工作组学术主持：于洋展览总监：靳军、韩文超展览统筹：高高、海军、李垚辰、汤宇科学顾问：王雪凇、王晓锋、白雪宁、祝伟、史静思展览策划：刘宇晗、刘希言主编 / 何一沙责编 / 杜隐珠
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Child Public Education Reservation Form

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Adult Public Education Event Reservation Form

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Group Public Education Event Reservation Form

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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

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.