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.

: Announcement On The Temporary Adjustment Of The Audience Entrance

2025-08-15

Dear Visitors,Due to the road construction at the North Gate of the Central Academy of Fine Arts from August 16th to August 24th, the audience entrance for visits will be temporarily adjusted: starting from August 16th, the entrance to the Art Museum will be moved to the East Gate of the Central Academy of Fine Arts (opposite Huajiadi Experimental Primary School). We apologize for any inconvenience this may cause. Thank you for your understanding.Floor Plan of the Visitor EntranceCAFA Art MuseumAugust 15, 2025Reservation Channel╱ CAFAM@ 2025Visitors can make reservations and purchase tickets through the mini-program, WeChat official account, or official website of CAFA Art Museum (see the official website for details on ticket purchase instructions). The daily opening hours are from 9:30 to 17:30, and the museum is closed every Monday.Visitors aged 60 and above, as well as children under 6 years old, are required to purchase "0-yuan tickets for the elderly and children"; individual members of the Chinese Museums Association, active-duty soldiers, national comprehensive fire and rescue personnel, and people with disabilities can purchase "0-yuan tickets for special groups" with relevant certificates.╱ CAFAM@ 2025Chief Editor / He YishaEditor / Du Yinzhu
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: Marc Riboud's Photography | Focus On International Collections

2025-08-15

"The China Mirror" Unit"The China Mirror" presents the "China" in the hearts of four foreign artists through their eyes. These works are not curiosity-driven captures of oriental charm by outsiders, but rather profound observations and sincere expressions by the artists on this ancient yet rapidly changing land of China, leveraging their unique cultural backgrounds, artistic languages, and individual perceptions. They are "China images" reflected through "foreign eyes," forming another dimension in this exhibition that echoes with "International Art Treasures."In the face of China's social reality, humanistic landscapes, and spiritual core, the works of these four artists—Chiyo Yasaki, Agnès Varda, Marc Riboud, and Hiroji Kubota—have become precious samples for exploring how the "perspective of the other" understands, interprets, and even reconstructs the complex cultural image of "China." Their gaze goes beyond simple landscape depiction and photography, delving deeper into the exploration of cultural textures, social pulses, historical accumulations, and contemporary transformations. With their keen perception and personalized artistic techniques, the artists have transformed the image of China into a unique chapter in their artistic language. This process of transformation itself contains rich cultural collisions, understandings, and dialogues.The "China Mirror" unit offers a "from the outside in" cultural gaze, inviting audience friends to temporarily step out of their accustomed local perspectives and try to re-examine the China they are familiar with or think they are familiar with through the lenses and drawing papers of others. This reflection of the "mirror" is not only the result of individual creations by foreign artists, but also the product of cultural exchanges and interactions between China and foreign countries. It reveals the two-way nature of cultural exchanges: when China is regarded as an object, the influence of its culture, the complexity of its image, and its open attitude towards the external world are all clearly visible.This recommendation — Marc RiboudMarc Riboud (1923–2016) was a renowned French photographer, famous for his humanistic care, keen observation, and poetic lens language. His photographic style combines documentary and lyrical elements, excelling at capturing emotions and tensions in everyday moments. He joined Magnum Photos in 1953 and was the first Western photographer permitted to enter China for shooting in the 1950s.At the end of December 1956, Marc Riboud arrived in Hong Kong. On January 1, 1957, he traveled from Hong Kong to Beijing, starting a three-month journey that took him to many cities and villages including the Northeast China, Shanghai, Hangzhou, Chongqing, and Lanzhou. This visit left him with rich image records and marked the beginning of his decades-long journey in China. He came to China more than 20 times, capturing numerous moments full of the spirit of the times, leaving a large number of precious images, and witnessing the profound transformation and tremendous changes of Chinese society.In 2010, after holding a photography retrospective exhibition in Shanghai, Marc Riboud donated some of his important works to CAFA Art Museum. From March 6 to April 2, 2010, CAFA Art Museum held "Fleeting Moments of Intuition: Marc Riboud Photography Retrospective Exhibition", which centered on his documentary works shot in China over nearly half a century, and focused on presenting the rich figures, landscapes and social scenes captured through his lens."Beijing 1957" by Marc Riboud————————————————————————————————————Beijing 1957, Marc Riboud, 1957, 50×40cm, Gelatin Silver Print, Collection of CAFA Art Museum"Beijing 1957" by Marc Riboud————————————————————————————————————Beijing 1957, Marc Riboud, 1957, 50×40cm, Gelatin Silver Print, Collection of CAFA Art Museum"Yan'an 1965" by Marc Riboud————————————————————————————————————Yan'an 1965, Marc Riboud, 1965, 40×50cm, Gelatin Silver Print, Collection of CAFA Art Museum"Shanghai 1971" by Marc Riboud————————————————————————————————————Shanghai 1971, Marc Riboud, 1971, 50×40cm, Gelatin Silver Print, Collection of CAFA Art MuseumThe CAFA Art Museum has a collection of 30 works by Marc Riboud, some of which are also on display in the "International Art Treasures" unit of this exhibition."International Art Treasures" UnitThe international art collection of CAFA Art Museum has formed a unique cross-cultural narrative through its diverse sources and profound historical accumulation. Original 19th-century European oil paintings and their original frames were transferred to the collection through institutional allocation in the 1930s and 1950s. Initially collected for teaching and research purposes, these works, though mostly created by anonymous painters, cover a wide range of themes—from still lifes of flowers, urban life to labor scenes—presenting the true features of the times. They have become material examples for studying 19th-century art, among which Gustave Courbet's Head of a Woman is an outstanding treasure.The diverse collection of prints bears the imprint of socialist art exchanges. Wang Manshu, once Vice President of the Central Academy of Fine Arts, brought back prints created by teachers and students from the Kyiv State Academy of Fine Arts in Ukraine. The woodcut and copperplate techniques employed in these works integrate socialist themes with national customs and history. Meanwhile, Wu Biduan, former Director of the Printmaking Department, systematically collected 56 prints during his study in the Soviet Union, including works personally gifted by renowned artists such as Nikolai Nevrev, as well as precious cultural relics like exercises by his classmates.The global expansion during the new museum period has enriched the collection categories, ranging from a large number of international photography collections to paintings, sculptures, installations, and videos. It includes the humanistic spirit embodied in classic photographic works such as Marc Riboud's Guns and Flowers, as well as The Gatherers by Chilean painter Roberto Matta, which integrates ink-wash painting with Latin American mural styles. This diversified collection not only engages in dialogue with the 19th-century European tradition but also constructs a dynamic archive of international visual culture. With 19th-century oil paintings as the "source", prints as the "vein", and contemporary expansions as the "current", these international art treasures in the collection are not only fragments of art history but also practical testimonies of our participation in international art exchanges through collection, research, and transformation."The Painter on the Eiffel Tower" by Marc Riboud————————————————————————————————————————————————The Painter on the Eiffel Tower, France, Paris, Marc Riboud, 1953, 60×50cm, Gelatin Silver Print, Collection of CAFAM"Afghanistan" by Marc Riboud————————————————————————————————————Afghanistan, Marc Riboud, 1955, 40×50cm, Gelatin Silver Print, Collection of CAFA Art Museum"Guns and Flowers" by Marc Riboud————————————————————————————————————Guns and Flowers, USA, Washington D.C., Marc Riboud, 1967, 50×60cm, Gelatin Silver Print, Collection of CAFA Art Museum"Bratislava" by Marc Riboud————————————————————————————————————Bratislava, Slovakia, Marc Riboud, 1997, 50×60cm, Gelatin Silver Print, Collection of CAFA Art MuseumRelated exhibitions.From April 23 to June 6, 2010, the exhibition "Fleeting Moments of Intuition: A Retrospective of Marc Riboud's Photography" was held at CAFA Art Museum.Click "Read the Original Text" to view the exhibition details.Exhibition information.2025 National Exhibition Season of Art Museums' Brilliant Collections Organized by the Ministry of Culture and TourismInterflowing Artscapes: CAFAM International Exchange Research Exhibition from the CollectionOrganizer: CAFA Art MuseumDuration: July 18 - August 24, 2025Venue: 3A & 3B Gallery, CAFA Art MuseumChief Editor / He YishaResponsible Editor / duyinzhuEditor / Zhu Jingyi
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: Announcement on the Restoration of the North Gate Visiting Passageway

2025-08-15

Dear audience friends,In accordance with the arrangement of the college, the road construction at the North Gate of the Central Academy of Fine Arts will be suspended on August 11th. Visitors can normally enter the museum through the special ticketing passage at the North Gate by swiping their ID cards or other valid documents for ticket verification. The specific date for the resumption of road construction will be subject to the follow-up notice. We apologize for any inconvenience caused.CAFA Art MuseumAugust 8, 2025Reservation Channel╱ CAFAM@ 2025Visitors can make reservations and purchase tickets through the Mini Program, WeChat Official Account, or official website of CAFA Art Museum (see the official website for details on ticket purchase instructions). The daily opening hours are 9:30-17:30, and the museum is closed every Monday.Visitors aged 60 and above, as well as children under 6 years old, are required to purchase the "0-yuan ticket for the elderly and children"; individual members of the Chinese Museums Association, active-duty soldiers, national comprehensive fire and rescue personnel, and people with disabilities can purchase the "0-yuan ticket for special groups" with relevant certificates.╱ CAFAM@ 2025Chief Editor / He Yisha Editor / Du Yinzhu
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: Homecoming: "Arata Isozaki: China In The Eyes Of A Global Citizen"

2025-08-09

On the afternoon of July 15, 2025, the exhibition "Arata Isozaki: China in the Eyes of a Global Citizen" opened in the hall on the first floor of the CAFA Art Museum. Following its showing in Chengdu, the exhibition has returned to the CAFA Art Museum, a building designed by Arata Isozaki. The exhibition features ten selected architectural and urban design projects from among the many works created by the renowned architect Arata Isozaki in China over the past nearly 30 years. Each work is imbued with a profound sense of history, rich contemporary significance, active Sino-foreign dialogue, and a powerful spatial language.Homecoming: "Arata Isozaki: China in the Eyes of a Global Citizen" (Group Photo at the Exhibition Opening)This exhibition selects ten architectural and urban design projects from the numerous works created by renowned architect Arata Isozaki in China over the past nearly 30 years. Each work is full of profound historical awareness, rich contemporary significance, active Sino-foreign dialogue and powerful spatial language.The exhibition title contains two key words:One is "China" – the exhibition reviews Arata Isozaki's practical experiences in China and how they have connected with China's historical and contemporary social and cultural contexts.Arata Isozaki had a lifelong love for traditional Chinese culture and continuously paid attention to the changes in China's modern and contemporary society. He started his practice in China in 1994, when China was embarking on a rapid urbanization process. Over the subsequent nearly 30 years, for each project, whether located in the heart of an ancient city or in an empty new urban area, Isozaki strived to use innovative spatial language to respond to China's traditions and current drastic changes, while exploring future possibilities.The second is "world citizen" – the exhibition explores how Arata Isozaki examined Chinese issues from a global perspective.Arata Isozaki is a "world citizen architect" who transcends national and ethnic boundaries. In his practices in China, he always incorporates Chinese issues into the global context for discussion and integrates various world cultural resources into Chinese projects.Another implication of "world citizen" is that in many of his Chinese projects, Arata Isozaki consistently incorporated several spatial themes that he had been pondering throughout his life and that hold universal significance. This exhibition specifically highlights two of them:Theme 1: "Technology and Ruins"On the one hand, Arata Isozaki continuously and passionately explored how various new technologies—such as long-span spatial grids, megastructural urban infrastructure, cybernetics, robots, and the Internet—could bring about the liberation of human space. On the other hand, however, he often expressed a pessimistic judgment about technology and the future of cities. From a developmentalist perspective, ancient ruins can always "hatch" new cities; conversely, no matter how advanced and magnificent a new city may be, it will inevitably collapse and become ruins in the future.Theme 2: "Decentralized Archipelago"In the classical definition, the role of architecture has always been associated with maintaining power, hierarchy, centers, and order. However, Arata Isozaki, who began his practice in the 1960s when the "postmodern" trend emerged, frequently attempted to resist the sole and absolute "center" through various spatial means. Sometimes, he directly subverted the "center" by using ironic techniques such as inverting and reversing classics and fragmenting them into ruins; at other times, he tried to indirectly dismantle the center by creating a decentralized and networked "archipelago."For the display of individual design works, in addition to using relatively conventional media such as models, architectural drawings, conceptual sketches, and photographs, we have also specially created a set of "spatial sections" and a set of "thinking island diagrams" for each project."Spatial Sections" highlight the foreground, aiming to summarize the architectural value of each project. In my view, Isozaki's spatial concepts are concentrated in his distinctively personalized yet deeply classical "syllogistic" spatial configuration—pedestal, wall body, and roof. Therefore, vertically cutting through his buildings and presenting them in the form of "sections" seems to be a most appropriate approach."Thinking Island Diagrams" lay out the background, attempting to sort out the historical context and ideological origins of each project. Combining the display of archaeological fragments with the drawing style of ancient nautical charts, we seek to demonstrate how, in each project, Isozaki navigated through such "fragments" or "archipelagos" as the contemporary context, technological innovation, traditional inheritance, and the evolution of architecture itself; how he wove ideas and refined languages; and how he ultimately added his own fragments and islands to the vast sea of human civilization.After nearly three decades of unremitting efforts, Arata Isozaki's works in China have formed a splendid archipelago. We are fortunate to invite you to visit each island one by one through this exhibition, appreciate the wonders of each island, and navigate between them to experience the distant echoes among the archipelago.The distant echoes among the archipelago collectively reveal China in the eyes of a world citizen: a pluralistic, open country that cherishes traditions, looks to the future, and actively interacts with the world. — Curator: Zhu TaoSketch of the facade and conceptual plan of Shenzhen Cultural Center, 1997, provided by Arata Isozaki + Hu Qian StudioAerial rendering and elevation of Shanghai Expo Performing Arts Center, 2006, provided by Arata Isozaki + Hu Qian StudioHomecoming: At the opening ceremony of the exhibition "Arata Isozaki: China Through the Eyes of a World Citizen", Professor Cui Donghui from the School of Architecture, Central Academy of Fine Arts, co-curator of the exhibition, introduced the 机缘 (origins) and core content of the exhibition. Meanwhile, she recalled the little moments of Mr. Arata Isozaki's "returning home" from 21 years ago to the present. Afterwards, President Lin Mao of the Central Academy of Fine Arts delivered a speech, paying tribute to Mr. Arata Isozaki for leaving the marks of international vision and local care on this land, and encouraging young people to learn from his persistent exploration spirit of "how to make architecture take root in culture and connect with the future". Finally, Professor Zhu Tao, the curator, and Ms. Hu Qian jointly guided everyone through the exhibition works and communicated with them.After the opening ceremony, the guests moved to the academic lecture hall of the art museum for the academic seminar session.The roundtable forum themed "Arata Isozaki: China Through the Eyes of a World Citizen" was hosted by Associate Professor Shi Yang from the School of Architecture, Central Academy of Fine Arts. Centering on topics such as "Arata Isozaki and CAFA", "Architecture and Art", and "Arata Isozaki and the Present", Professor Zhu Tao from the University of Hong Kong, one of the curators, pointed out that Arata Isozaki examined Chinese architecture with the "perspective of a world citizen", integrated tradition and future, and responded to the cultural tensions in the process of rapid urbanization.Mr. Pan Gongkai, former president of the Central Academy of Fine Arts, fondly recalled the construction process of the CAFA Art Museum. He emphasized that it was precisely based on the high trust in Arata Isozaki that this in-depth cooperation and achievement transcending systems and cultures was made possible. He once again underscored the educational philosophy of CAFA's architectural education, which is to "cultivate architects with artistic literacy", emphasizing that architecture should possess cultural awareness and aesthetic judgment, and adhere to a unique path different from the traditional engineering discipline.Professor Xie Xiaofan, who was then in charge of the CAFA Art Museum project and former vice president of the China National Academy of Painting, shared his insights on "the responsibility supported by trust" and emphasized that respect for the original work should not be ignored. Professor Cheng Qiming from the Central Academy of Fine Arts, starting from the philosophical thinking of "studying things" to "studying space", interpreted the philosophical core behind Arata Isozaki's designs.Professor Che Fei, Dean of the School of Art and Design at Beijing Institute of Fashion Technology, and Professor Hu Qian, co-founder of Arata Isozaki + Hu Qian Studio, respectively, starting from their communication experiences, emphasized Arata Isozaki's humanistic stance of "constructing vitality amid contradictions" and "integrating emotions into technology".Exhibition site.————————————————————————————Exhibition information.————————————————————————————Chief Convener: Pan GongkaiAcademic Advisor: Lü PinjingCurators: Zhu Tao, Cui DonghuiAcademic Host: Hu QianExhibition Coordinator: Shi YangExhibition Design: Zhu Tao Architecture StudioExhibition Execution: Huo Panwang, Meng QingfengHost: Central Academy of Fine ArtsOrganizer: CAFA Art MuseumCo-organizers: Arata Isozaki + Hu Qian Studio, Red Seal Art CenterExhibition Period: July 15 - August 24, 2025Venue: 1st Floor Hall, CAFA Art MuseumChief Editor / He Yisha Editor / Du YinzhuEditor / Zhu Jingyi
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: Announcement on the Temporary Adjustment of the Visitor Entrance

2025-08-08

Dear audience friends:Due to the road construction at the North Gate of the Central Academy of Fine Arts from August 11th to August 24th, the visitor entrance is temporarily adjusted as follows: starting from August 11th, the entrance to the Art Museum will be moved to the East Gate of the Central Academy of Fine Arts (opposite Huajiadi Experimental Primary School). We apologize for any inconvenience caused. Floor Plan of the Visitor EntranceCAFA Art MuseumAugust 8, 2025Reservation Channel╱ CAFAM @ 2025Visitors can make reservations and purchase tickets through the Mini Program, WeChat Official Account, or official website of the Art Museum of the Central Academy of Fine Arts (see the official website for details on ticket purchase). The daily opening hours are 9:30-17:30, and the museum is closed every Monday.Visitors aged 60 and above, as well as children under 6 years old, are required to purchase "0-yuan tickets for the elderly and children". Individual members of the Chinese Museums Association, active-duty military personnel, national comprehensive fire and rescue personnel, and persons with disabilities can purchase "0-yuan tickets for special groups" with relevant certificates.╱ CAFAM @ 2025Chief Editor / He YishaEditor / Du Yinzhu
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: Chen Junyu: Exploration Of Guan Shanyue Research Model In The Professional Construction Of Art Museums | 2025 CAFAM Academic Series

2025-08-06

Shenzhen Guan Shanyue Art Museum Chen Junyu「Since its establishment in 1997, Guan Shanyue Art Museum in Shenzhen has gone through 28 years of development and is about to celebrate its 30th anniversary. Over the past 30 years since its founding, Guan Shanyue Art Museum has carried out various curatorial practices and has received extensive support from the national art museum community.」1.The Development History and Collection Characteristics of Guan Shanyue Art MuseumGuan Shanyue Art Museum was founded in 1997. As a cultural institution established during a special historical period, its birth is closely linked to the pulse of the times of the city of Shenzhen. At that time, just as Hong Kong was returning to the motherland, Mr. Guan Shanyue donated 813 of his works and a large amount of documentary materials to the museum free of charge. The collection of these precious artistic heritage has laid an important artistic and cultural foundation for Guan Shanyue Art Museum and even the city of Shenzhen, and enhanced the historical and cultural accumulation of the city.The Guan Shanyue Art Museum was completed on June 25, 1997On this basis, Guan Shanyue Art Museum has always taken the artistic research of Mr. Guan Shanyue as its core academic vein, committed to strengthening this cultural positioning through systematic practices, and gradually establishing distinct academic brand characteristics in the process.2.Challenges And Achievements In Art Research And Exhibitions Of Guan ShanyueSince its establishment, the academic work of the Guan Shanyue Art Museum has received strong support from professional institutions in the national art museum community. Especially in the field of 20th-century art research, many authoritative scholars in the academic circle, such as Professors Chen Lüsheng and Li Weiming, have continuously provided academic guidance to the Guan Shanyue Art Museum. This has not only provided a profound theoretical foundation for the research system but also nurtured a group of young scholars who continue to grow in this field.Building on such academic research, Guan Shanyue Art Museum has analyzed and studied Mr. Guan Shanyue's art within the context of the development of fine arts in the 20th century. It has successively curated and launched a series of thematically exhibitions with academic depth, such as "Journey to Foreign Lands" and "Earth-Shattering". Gradually, substantial research results have been formed. By 2011, Guan Shanyue Art Museum successfully was selected as a "National Key Art Museum".A series of thematically focused exhibitions with academic depth held at Guan Shanyue Art MuseumAfter becoming a key art museum, Guan Shanyue Art Museum also faces new challenges and opportunities. When visitors go to Guan Shanyue Art Museum, they often mainly aim to appreciate the artworks of Mr. Guan Shanyue. The high public expectation for the exhibition of Guan Shanyue's art is a normal situation that Guan Shanyue Art Museum faces, which also prompts the museum to continuously explore ways to activate traditional resources through innovative means. For this reason, the museum has continuously deepened the planning of special exhibitions on Guan Shanyue, such as the exhibition of collected fine works represented by the "Shanyue Danqing" exhibition, which was also selected into the "National Art Museum Collection Fine Works Exhibition Season" project of the Ministry of Culture and Tourism."Shanyue Danqing" ExhibitionSimilar cases also include the early attempts at digital curation by the Guan Shanyue Art Museum. Its curated sketch-themed exhibition "There's Another World Where the Journey Is Hard" featured a joint display of works by artists such as Guan Shanyue, Pang Xunqin, and Wu Zuoren, created during their sketching trips in the southwest and northwest regions.In recent years, the traveling exhibitions of Guan Shanyue's art have further developed, with their content continuously enriched. They cover special topics such as his long scroll creations, plum blossom themes, paintings of rivers and gorges, and sketches from Dunhuang, with the exhibition tour reaching places like Dunhuang and Xinjiang. The newly launched exhibition "Innovations in the Way of Painting" has collaborated with the Chengdu Art Museum and, with academic support from the Central Academy of Fine Arts, further deepened the research on Guan Shanyue's art and his innovative ideas.3.Guan Shanyue Art Museum and the Cultural Development of ShenzhenWhile engaging in academic development, Guan Shanyue Art Museum has also been deeply involved in the construction of Shenzhen's urban culture.As one of the larger-scale professional art venues in Shenzhen, Guan Shanyue Art Museum has taken the initiative to assume the mission of promoting the development of design art in Shenzhen.Guan Shanyue Art Museum has taken the initiative to assume the mission of promoting the development of design art in ShenzhenIn 1999, Shenzhen hosted the "Design Exhibition Area of the 9th National Art Exhibition", which drew the city's attention to art and prompted the municipal government to incorporate design culture into its urban development strategy. In 2008, Shenzhen was awarded the title of "City of Design" by UNESCO, with the Guan Shanyue Art Museum playing a key role. The museum has systematically built a platform for the display and research of urban design culture by continuously curating professional exhibitions such as the Shenzhen Graphic Design Exhibition, and hosting national-level projects including the "Design Exhibition Area of the 11th National Art Exhibition" and the Ministry of Culture's "China Design Exhibition". This has formed an academic dual track that equally emphasizes Guan Shanyue's artistic research.4.The digital construction of Guan Shanyue Art MuseumIn response to the new demands of urban development, especially the trend of integrating art and technology, Guan Shanyue Art Museum has actively responded to the government's cultural development strategy.The "Remolding and Reengineering" digital art exhibition, launched in 2022, showcased many important works by leading domestic digital artists and innovatively used the concept of virtual digital humans for exhibition narration.Using the concept of virtual digital humans for exhibition narrationIn recent years, the iteration of digital art has been accelerating. Many digital art concepts continue to emerge and then be eliminated. After expert argumentation, Guan Shanyue Art Museum established the theme of "digital humans". The final presentation effect is highly consistent with the urban temperament of Shenzhen and has been widely recognized by the public. Since then, the museum has further extended its planning to include digital art exhibitions such as the "Plant Intelligence" themed exhibition, continuing to explore the expressive possibilities of digital art.Plant Intelligence ProjectThis year, Guan Shanyue Art Museum plans to launch the "New Future" artificial intelligence-themed exhibition, focusing on artistic creation practices in the context of artificial intelligence technology. The artist group from the Central Academy of Fine Arts has also deeply participated in the above-mentioned digital art project, and their academic support is of great value to Guan Shanyue Art Museum's exploration of digital art exhibitions.Looking back on its 28-year development history, Guan Shanyue Art Museum has always been based on academic research. In the dual mission of inheriting Guan Shanyue's artistic spirit and promoting the development of urban design culture, it has gradually built an academic ecology that emphasizes both tradition and the contemporary. Its recent practices in the field of digital art mark that Guan Shanyue Art Museum is actively responding to the new requirements put forward by technological changes for the functions of art museums, and continuously exploring the innovative development path of cultural institutions in the new era.Introduction of the keynote speaker -Chen JunyuChen Junyu was born in Yangjiang, Guangdong in May 1972. He graduated from the Department of Chinese Painting, Guangzhou Academy of Fine Arts in 1996. He has been working at Shenzhen Guan Shanyue Art Museum since 1996 and currently serves as the director of Shenzhen Guan Shanyue Art Museum and a national first-class artist. He also holds concurrent positions as the president of Shenzhen Youth Artists Association, a member of the Theory and Art Committee of Guangdong Artists Association, and a director of Shenzhen Artists Association. He is a member of China Artists Association.Editor-in-Chief / He YishaResponsible Editor / Du YinzhuEditor / Wang YifanText Compilation / Li Ze
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: Wang Fa: Innovative Practices Of Art Museums Empowered By Digital And Intelligent Technology | 2025 CAFAM Academic Series

2025-08-03

Jiangsu Provincial Art Museum Wang Fa「Against the backdrop of the rapid development of digital technology, as an art museum with a profound historical accumulation, the Jiangsu Provincial Art Museum has actively embraced new technologies amid the tide of the times, committed to exploring innovative paths and promoting profound changes in the development model and management methods of art museums.Exhibition planning and public education are the main windows through which art museums provide public services, cultural services, and popularize social aesthetic education to the society. In recent years, in its exhibition projects and public education projects, the Jiangsu Provincial Art Museum has, through the empowerment of digital technology and new media, practiced a new cultural service model driven by the dual wheels of "technology + art". This model has helped the art museum break through the limitations of physics and time, reconstructed the way of participating in art, and thus more effectively fulfilled its public welfare function of serving the society.」1. Innovative Practices Empowered by Digital TechnologyFuture Laboratory: Technological Aesthetics and New Media Installation Art ExhibitionThe empowerment of digital technology is opening up unprecedented possibilities for art museums in areas such as exhibition planning and public education.In the field of exhibition planning, the application of digital technology has significantly enhanced the interactivity of exhibitions. In October 2023, the Jiangsu Provincial Art Museum curated and launched the exhibition "Future Laboratory: Tech Aesthetics and New Media Installation Art Exhibition". With the help of images and new media installations, this exhibition presented a collection of artistic works with experimental, exploratory and interactive features through audio-visual interaction, delving into the innovative relationships between humans, society, machines and information. As a thematic exhibition to celebrate the 45th anniversary of reform and opening up, its planning did not limit itself to the conventional narrative framework of the main theme, but focused on the intuitive impact and changes that technology has on people's daily lives. The exhibition carefully constructed an immersive and participatory technology experience space by means of cutting-edge technical methods such as multimedia images and digital interactive installations. At the same time, considering the large audience flow and high experience demand during the National Day holiday, the exhibits in the exhibition also abandoned the single-line communication mode and generally adopted multi-dimensional touch and conversational interactive devices. Visitors could trigger changes in the works through somatosensory interaction, voice commands, etc., or shuttle through digital landscapes with the help of virtual reality technology, resonating artistically with mechanical installations, and fully experiencing the joy of "everyone is a creator" in the integration of technology and art. Although the exhibition only lasted for two weeks, it attracted more than 30,000 visitors and won wide acclaim and praise from the society.Future LaboratoryDuring the exhibition, a supporting new media art workshop was held simultaneously, with participating artists invited to give personal instruction. It not only showcased the artists' innovative achievements in fields such as artificial intelligence art and data visualization in a concentrated manner but also built a humanistic bridge between technology and art. Through interactive experiences, the audience could not only intuitively feel the unique expressiveness of digital aesthetics but also deeply reflect on the profound impact of technological progress on social ethics and interpersonal relationships. This reflects the diverse aesthetic dimensions that digital art endows the public with in the context of the new era.2.Practical Exploration of Public Education in Art Museums Under Digital TechnologyIn terms of public education, the core value of digital technology lies in its powerful ability to break through the limitations of time and space.This ability is first reflected in the widespread application of the "cloud exhibition" model, which enables high-definition and high-quality art resources of art galleries to be widely shared on Internet platforms. It provides convenient cultural services for audiences restricted by time and distance, and this initiative has also become an important part of the daily work of art galleries.Another breakthrough is that relying on digital platforms, it can efficiently and stably realize remote synchronous teaching, live teaching and course recording, accurately delivering high-quality art education resources from art galleries to regular art classrooms. This not only effectively promotes the overall improvement of the quality of aesthetic education in remote areas and rural areas, but also provides key support for improving the professional literacy of grass-roots art teachers.The common connecting line of the three points: Jiangsu, Shanxi, and JiangxiFor a long time, the public education activities of the Jiangsu Provincial Art Museum mainly focused on traditional offline workshops, lectures, and guided tours, which had limitations such as a narrow coverage and resources being mostly concentrated in developed areas. Therefore, starting from 2021, the Jiangsu Provincial Art Museum launched the "Art Inspires the Soul" youth aesthetic education program. This program, featuring remote interaction as its core, has built a curriculum system integrating online and offline aesthetic education courses, carried out rural public education activities, and joined hands with experienced primary and middle school teachers from municipal and district levels to form a professional teaching team. So far, the team has grown to more than 40 people, and has carried out over 100 online and offline aesthetic education courses in 19 counties and districts, more than 40 primary and middle schools, and 10 communities in Jiangsu, Shaanxi, Jiangxi, Tibet and other regions, covering more than 10,000 students.The courses not only focus on knowledge output but also attach importance to practical experience. For example, Jiangsu is the hometown of watermark printmaking. To deepen the practical experience of aesthetic education courses, the project specially designed and distributed a "watermark printmaking experience package" to each student, and sent supporting tools and materials to cooperating rural schools, allowing students to personally experience the joy of creating watermark prints. This measure has effectively made up for the shortage of practical resources for rural aesthetic education.The students of Pukou Dougang Primary School in Nanjing are having a classAt the digital technology level, the project relies on the "Internet + Aesthetic Education" dual-teacher classroom model, comprehensively utilizing scenarios such as audio-visual interaction, distance teaching, and live lectures. The online teaching platform takes the collections and exhibition resources of the Jiangsu Provincial Art Museum as the core content of the courses, which has greatly expanded the radiation range and social benefits of the museum's public education, allowing the public to gain a more multidimensional experience.To sum up, through innovative practices empowered by technology, the Jiangsu Provincial Art Museum is effectively promoting the coverage of cultural and artistic resources to a wider group and creating richer experiences. These projects and activities driven by in-depth digital technology not only enrich the content and form of exhibitions but also make the art museum increasingly an important link connecting social life, taking deeper roots in the daily life of the public.Development and Trial Listening of Woodcut Printmaking CourseJiangsu Provincial Art Museum is assuming a more open and inclusive posture, earnestly fulfilling its mission as an important public cultural service institution, and committed to ensuring that the abundant artistic achievements truly serve the people's growing spiritual and cultural needs.Introduction of the SpeakerWang FaWang Fa, a native of Nantong City, Jiangsu Province, graduated from Nanjing Normal University. He currently serves as Director, Secretary, and First-Class Artist of the Jiangsu Provincial Art Museum. He is also a Director of the China Artists Association, a recipient of the government special allowance, a member of the National Art Committee of the China Artists Association, a distinguished researcher of the Chinese Painting Professional Committee of the China National Academy of Painting, a distinguished researcher of the Fine Brushwork Painting Academy of the China National Academy of Arts, Director of the Flower-and-Bird Painting Art Committee of the China Fine Brushwork Painting Society, and an adjunct professor at the School of Arts, Nanjing University. His works have been selected into the 3rd National Youth Art Exhibition, the 8th, 13th, and 14th National Art Exhibitions. He won the Bronze Award at the 10th National Art Exhibition, the Award Nomination at the 11th National Art Exhibition, the "Fu Baoshi Award" in 2015, the 2nd, 3rd, and 4th "Jiangsu Wenhua Art Award", and was named "Zijin Cultural and Artistic Talent" of Jiangsu Province in 2020.Chief Editor / He YishaResponsible Editor / Du YinzhuEditor / Wang YifanText Compilation / Li Ze
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: Freeze The Delicate World In Chang Shuhong's "Still Life" | CAFAM Collection Exhibition

2025-08-03

> > > >The second phase of "Collection Exhibition of CAFA Art Museum – Modern Chinese Art" is on display at the CAFA Art Museum. The "Modern Chinese Art" section includes 22 newly added works, ranging from traditional Chinese paintings, oil paintings to prints. These works are not only the individual expressions of artists but also embody the exploration and reform in the torrent of history, responding to the times with modern forms and languages. This push will focus on Chang Shuhong's Still Life (Flowers, Books), allowing us to experience the delicate world of art together.Chang Shuhong, Still Life (Flowers, Books), 1942, oil on canvas, 79×64cm, collected by CAFA Art MuseumChang Shuhong was an outstanding figure with achievements in painting, archaeology, and more. As a pioneer of studying in France, he studied there from 1927 to 1936 before returning to China. Still life, created（around the Dragon Boat Festival）in June 1942, was painted during the War of Resistance in Chongqing. It depicts a warm orange-red scene by the window, featuring a vase filled with blooming wildflowers basking in sunlight, exuding vitality. A printed cloth is laid out by the window, and a finely crafted blue porcelain plate is placed on the table. Behind the vase, there is a stack of books, and at the forefront of the painting is a letter. The author meticulously depicted the envelope, indicating that it might be an official document of significant importance to him, worthy of being painted and commemorated.Still Life, partial imageThe colors of the work are rich and harmonious. The yellow flowers are bright and vivid, serving as lively highlights in the painting. They form a calm base tone together with the reddish-brown and dark green of the pottery jar, while the soft tones of the window scene in the background play a supporting role. The interweaving of warm and cool colors not only showcases vitality but also conveys a quiet atmosphere. Through the depiction of a simple scene, the artist presents the warmth and beauty of life.Still Life, partial imageThis work also reflects Chang Shuhong's exploration of the "Chinese oil painting style", replacing the depicted objects from "French ones" with "Chinese ones". In 1943, after the creation of this painting, he established the National Dunhuang Art Research Institute, which brought about tremendous changes in his professional identity and family life. Afterwards, he lived and worked in Dunhuang for as long as 50 years and was honored as the "Guardian of Dunhuang".> > > >Collections Of CAFA Art Museum——Modern Chinese Art(Phase II)Exhibition Duration: Starting from July 1, 2024Venue: Gallery A, 2nd Floor, CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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: International Collection Focus | "Opening" The Video Experience of Roman Signer

2025-07-31

From 19th-century European oil paintings to contemporary art, spanning three centuries; from the Americas to Oceania, connecting five continents. More than 200 international art collections gather here and now, meeting us in the present. This exhibition marks the first overall appearance of the international artworks in the collection of the CAFA Art Museum, presented in two parallel sections: "International Art Treasures" and "Chinese Mirrors". The "International Art Treasures" section sorts out the collections from the perspective of cultural diversity, demonstrating the international vision and diverse pattern in the construction of the museum's collection system. The "Chinese Mirrors" section, taking the works created in China by four foreign artists with China as the theme as samples, presents the images of China from a foreign perspective.Many of these works once lay silent in storage, yet each bears distinct imprints of its era and inherent artistic value. Piece by piece, batch after batch, the enrichment and accumulation of international art collections not only reflect the development course of the art museum, the achievements of art education and international exchanges at the Central Academy of Fine Arts, but also outline, from a side angle, the cultural exchanges between China and foreign countries as well as the global art ecosystem.The international collection of CAFA Art Museum dates back to the 1930s. The European oil paintings from the former collection of the Beiping Research Institute and the individual collection of Yasaki Chiyo formed the initial foundation. Starting from the 1950s, the Academy systematically purchased and collected European and Soviet works during the construction of its exhibition hall. Supplemented by donations from teachers and gifts from international artists, the scale of the collection gradually took shape. Works by renowned artists such as the Soviet Union's Kravchenko and Japan's Kazuyama Matazo, donated by embassies in China and international friends, are all precious relics of their era.The art museum designed by Arata Isozaki was completed in 2008, marking a new stage in the development of the international collection. Significant contemporary artworks have entered the collection through donations from collectors, institutions, and embassies: including the conceptual art of Joseph Beuys from Germany and Yoko Ono, a Japanese-American; paintings by Sean Scully from Ireland and Ha Dong-joo from South Korea; sculptures by Bjørn Nørgaard from Denmark; video works by Roman Signer from Switzerland; photographs by Agnès Varda and Marc Riboud from France; as well as works by other international art masters such as A.R. Penck from Germany and Roberto Matta from Chile. Together, they weave a network of international art.Open, Roman Signer, 2014, 1 minute and 42 seconds, video, Collection of CAFAM, Start, Roman SignerRoman Signer was born in Switzerland in 1938. Since 1972, he has participated in major exhibitions including the Venice Biennale in 1976 and 1999, as well as Documenta Kassel in 1987. Aktion vor der Orangerie (Action in Front of the Orangerie) at the closing ceremony of Documenta Kassel has become a classic project. Roman Signer has established himself as one of the most significant artists in the fields of explosive actions, activism, time-based sculpture, and video art.Roman Signer has a long-standing connection with China. He first visited China in 1981, returned in 2011, and from October 23 to November 23, 2014, an exhibition entitled "Roman Signer: Videos and Films 1975-1989 and Now" was held at the Art Museum of the Central Academy of Fine Arts. Roman Signer spoke of his works in this way: "Most of my creations are personal. All my initial attempts were for my own experience. Later, through video dissemination, others invited me to carry out small-scale, public on-site actions. But these are not creations like performance art; they are without audience awareness."Related exhibitions.Click "Read Original Text" to view the details of the exhibition.On display.文化和旅游部“2025年全国美术馆馆藏精品展出季”项目2025 National Exhibition Season of Art Museums' Brilliant Collections Organized by the Ministry of Culture and Tourism流动的艺域——中央美术学院美术馆藏国际艺术交流研究展Interflowing Artscapes: CAFAM International Exchange Research Exhibition from the Collection主办：中央美术学院美术馆Organizer: CAFA Art Museum展览时间：2025年7月18日-8月24日Duration: July 18 - August 24, 2025展览地点：中央美术学院美术馆 3A和3B展厅Venue: 3A & 3B Gallery, CAFA Art MuseumEditor-in-Chief / He Yisha Editor / Du Yinzhu
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: CAFAM Collection Exhibition | "Modern Chinese Art" Gets Its First Renewal

2025-07-31

"Collections Of CAFA Art Museum -- Modern Chinese Art" features 22 newly added works covering traditional Chinese painting, oil painting, and printmaking. These works are not only the individual expressions of artists but also embody the exploration and reform in the torrent of history, responding to the times with modern forms and languages. This update of the collection exhibition is an in-depth artistic invitation that integrates the ancient and the modern. It is hoped that the audience can feel the vitality of Chinese art and civilization in the dialogue between ancient patterns and modern compositions, as well as in the collision between traditional charm and contemporary spirit.
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CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.