Exhibitions and Events-News- CAFA Art Museum

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: 中央美院中国画的百年探索：观300余件“传移模写”力作的传承与创新

2025-01-20

传移模写中央美术学院中国画临摹教学作品展2025年1月21月13:30开展中央美术学院美术馆三层展厅“传移模写：中央美术学院中国画临摹教学作品展”将于2025年1月21日13:30在中央美术学院美术馆开展。本次展览由中央美术学院主办，中央美术学院中国画学院、中央美术学院美术馆承办，展出央美百年来中国画临摹教学的临摹作品、课徒稿及临创转化创作共300余件，旨在挖掘“传移模写”古法在当代高等美术院校中国画教学中的学理价值与时代新意，并探讨在全球化语境下中国画认知体系的深厚内涵与积极意义。传承经典继往开来新时代中国画教学的责任与使命林茂中央美术学院院长上个世纪初以来，传统中国画教学模式的发展与探索一直都是国内高等美术院校教学研究的重点。时至今日，这套以临摹、写生、创作“三位一体”教学方法为基础的中国画教学体系依然充满活力，在新时代文化艺术事业的建设中承担起历史责任与时代使命，并持续探寻中国画教学体系的未来发展方向。传承经典是中国画专业化、学院化教学的历史责任。中国画的发展创新，离不开对传统经典作品的传承。在20世纪50年代，叶浅予先生曾指出一个科学的教学模式应包含“由临摹到写生”、“由基本练习到创作”的序列性环节。1959年，在叶浅予、蒋兆和、李可染与郭味蕖等先生的共同努力下，明确提出了“三位一体”的教学结构，在方法上将临摹、写生与创作有机结合，从原则上使传统、生活与创作相统一。在该模式下，临摹被赋予了古为今用的价值观，从而使传统中国画在时代精神思潮中获得新的诠释、传承与发展。继往开来是中国画教学体系更新优化的时代使命。中国画如何在保持传统文化底色的同时，探索新的艺术语言与视觉形式，是中国画学科教学体系发展的重要问题。临摹教学不仅是挖掘耕耘的过程，更是一种植根于传统而服务于创作的文脉源泉。在全球化视野的文化语境下，不仅要积极探寻中国画发展的新路径，同时也鼓励与促进中国画跨学科、跨领域的交流探讨与理论研究，在保持中国画学科专业性与纯正性的同时，建设更具开放性的、可持续发展的艺术创作生态。学院历届教师对历代经典绘画临摹教程的教学探索与系统建构，塑造了百年中国画学科教学体系的基本框架，树立了学科建设发展和教学路径设计的基本理念。“传移模写：中央美术学院中国画临摹教学作品展”所展示的央美老一辈艺术工作者与在校师生的临摹作品、课徒示范及临创转化创作，呈现出较为系统完备的教学规划和学科建制，展示了近百年来中国画学科上绍古法、下启新制的责任担当和文化使命。展览作品通过对经典、遗产、精研、变化四大版块的生动展示，激活传统绘画程式语言在当下的审美价值与文化意义，对探索当前中国画学科的人才培养模式与话语体系建构有重要的启示性意义。中央美术学院中国画学院在百年传承下依然保持着朝气蓬勃的青春活力，与代代相传的学院学脉密不可分。希望学院在宏大的时代课题中，完善“专精”与“广博”相结合的育人格局，坚守新时代新艺术的责任与使命，不忘初心，勇猛精进，以山川浑厚之笔墨，写草木华滋之篇章，迈向“为中国画”的崇高艺术之旅的新征程。展览分为“典范”“遗产”“精研”“变化”四个单元，各展览版块之间相互关联，组成了系统性的中国画临摹教学体系。01典范展示20世纪50年代以来中国画专业师生的临摹作品，关注临摹教学的取法基础。齐白石《记八大山人画稿》纸本水墨 30.5cm×16.4cm 1907年北京画院藏齐白石临清朱耷《瓶花》纸本水墨 30cm×25.5cm 年代不详北京画院藏于非闇临传北宋赵佶《御鹰图》绢本设色 165cm×80.5cm 1954年北京画院藏王雪涛临明吕纪《雪梅斑鸠》纸本设色 165cm×81cm 1950年代王雪涛纪念馆藏李可染《仿八大山人图》纸本水墨 76cm×42cm 1943年李可染艺术基金会藏郭味蕖临元吴镇山水纸本水墨 117.5cm×26.5cm 1940年代郭味蕖美术馆藏刘凌沧临清殿藏本《王安石像》纸本设色 50cm×33cm 年代不详黄均临传唐韩干《牧马图》纸本水墨 33cm×37cm 1953年宗其香临德国铜版画纸本设色 60x105cm 1942年中央美术学院美术馆藏蒋采萍临传五代顾闳中《韩熙载夜宴图》局部绢本设色 28cm×77cm 1958年卢沉临宋佚名《朱云折槛图》绢本设色 128cm×66cm 1958年范曾临宋佚名《菊花》纸本设色 59cm×37cm 1959年周思聪临清殿藏本《萧何像》纸本设色 51cm×40cm 1959年郭怡孮临清任颐四条屏纸本设色 180cm×48cm×4 1960年邓林临唐韩滉《五牛图》纸本设色 21cm×147cm 年代不详贾又福临清龚贤作品纸本水墨 30cm×24cm 1963年02遗产展现历届学院师生对莫高窟、麦积山、永乐宫、法海寺等地壁画的考察临摹，以物质文明和社会文化的视角重构古代艺术遗产。邓白临麦积山石窟壁画飞天纸本设色 47cm×78cm 1953年中央美术学院美术馆藏叶浅予临敦煌石窟壁画珍禽瑞兽纸本设色 63cm×56cm 1954年中央美术学院美术馆藏吴作人临麦积山石窟壁画甲马局部纸本设色 72cm×87cm 1953年中央美术学院美术馆藏孙宗慰临麦积山石窟壁画伎乐纸本设色 58.5cm×38cm 1953年中央美术学院美术馆藏张仃临炳灵寺壁画《比丘像》纸本设色 37.5cm×29cm 1952年中央美术学院美术馆藏李斛临唐敦煌石窟壁画（二）纸本彩墨 59cm×63.2cm 1961年家属藏陆鸿年临麦积山石窟壁画佛像纸本设色 117cm×120cm 1953年中央美术学院美术馆藏陆鸿年、戴泽临麦积山石窟壁画《狩猎图》纸本设色 90cm×720cm 1953年中央美术学院美术馆藏陆鸿年临敦煌莫高窟57窟壁画局部纸本设色 98cm×67cm 1961年王定理临明法海寺壁画《水月观音》纸本金线描 136cm×69cm 1998年中央美术学院美术馆藏方增先、刘勃舒临敦煌石窟壁画《法华经变》局部纸本设色 56cm×65cm 1954年中央美术学院美术馆藏胡勃临唐代敦煌壁画《菩萨像》纸本设色 101cm×34cm×2 1979年03精研既展现民国以来传统主义画家在面临西方和现代艺术观念冲击过程中，对于深入研究自身文化艺术传统，继承文化艺术精神的自觉；又展示现代教育体系中，精研古法的传统经验与学院教育进一步融合。贺良朴山水画稿片纸本水墨 34cm×45cm×10 1920年代中央美术学院美术馆藏萧俊贤山水画稿片纸本水墨 28cm×33cm×5 1918-1922年中央美术学院美术馆藏汪鸾翔花卉稿片纸本设色 32cm×43.5cm×3 1924年中央美术学院美术馆藏陈师曾《山水册》纸本水墨 11.5cm×17cm×8 1917年中央美术学院美术馆藏萧谦中山水画稿片纸本水墨 28cm×31cm×4 32cmx45cmx2 1920年代中央美术学院美术馆藏邵逸轩山水画稿片纸本水墨 45cm×33cm 1926年中央美术学院美术馆藏王梦白花卉稿片纸本水墨 31cm×33cm×10 1922年中央美术学院美术馆藏
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: 今日大寒

2025-01-20

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: What does your "Nostalgia" look like after folding time? | Let's explore the emotional expression of "Flowing Nostalgia"

2025-01-19

The Chinese refer to the longing for their hometown and native land as "Nostalgia"，This deep - rooted nostalgic sentiment may be manifested ina preference for certain foods,or in memories evoked by a particular sound,or in the pursuit of the "traces" left by ancestors in one's body.So, what does your "Nostalgia" look like?It is hoped that everyone can find the answer after visiting this exhibition....On January 17th, the fourth exhibition of the third phase of the Wide Angle ° Project, "Flowing Nostalgia - An Ecological Narrative Interweaving Matter, Senses, Technology, and Imagination", opened at CAFA Art Museum. The exhibition has Fei Jun as the academic advisor and is curated by Wang Jing and Xing Dan. Artists such as Chen Baoyang, Long Pan, Qiu Yu, Shi Ziyuan, Tang Keyang, Wang Xintong, Xu Ziyi, and the Genomic Gastronomy Center (Norway, USA) participated in the exhibition.Guests attending the opening ceremony included: Han Wenchao, Secretary of the Directly - affiliated Party Branch of the Art Museum of the Central Academy of Fine Arts; Hai Jun, Deputy Director of the museum; Du Yicai, Secretary of the General Party Branch of the Chinese Painting Academy; Yu Yang, Director of the Scientific Research Department; Feng Haitao, Dean of the School of Continuing Education; Fei Jun, the academic advisor of the exhibition and a professor in the Art and Technology direction at the School of Design; Wang Jing, the exhibition curator and Deputy Director of the Planning and Research Department of the Art Museum; Xing Dan, the exhibition curator; representatives of the participating artists, Qiu Yu, Shi Ziyuan, and Xu Ziyi; Liu Weiwei, Director of the Beijing Times Art Museum; as well as representative teachers from relevant departments and guests from all walks of life. Gao Gao, Deputy Director of the Art Museum, served as the host.中央美术学院美术馆直属党支部书记韩文超致辞韩文超在致辞中首先感谢大家在年底繁忙之际对美术馆的关注与支持。广角°项目已运营三年，空间虽不规则，却在每次展览中展现出百变可能。本次展览策展人之一王静擅长从新锐视角出发，借用艺术手段深度思考并呈现当下处境。参展艺术家邱宇的作品，将生活中常见的万家灯火、窗户等事物，以艺术形式引发观者对人和自然、万物关系的思考。“液态乡愁”展出在跨年之际，也是希望观众带着浓浓的乡愁与家人团聚。本次展览学术顾问、设计学院艺术与科技方向教授费俊致辞费俊表示，此次展览空间极具开放性与实验性，每次策展人都能像视觉魔术师般，给观众带来全新体验。谈及“乡愁”这一主题，他认为其饶有趣味。乡愁不仅有个体层面，还有物理层面的探讨价值。结合当下时代思考，未来人类群体的乡愁可能不再局限于如今的个人乡愁，如百年后的乡愁对象或许是显卡、自由网络空间等。此次展览其特别之处在于有温度，以技术媒介诠释乡愁这一原始艺术情结，展现出了技术的温情。八位艺术家通过声音、视觉纪录、AR等方式，构建起一种更动态、更具共性的乡愁体验，有望超越个体的、固化的乡愁。艺术家代表邱宇致辞艺术家代表邱宇分享了参展感受。他谈到，“乡愁”是展览的关键，“液态”这一意象富有特色，如同他在央美的经历，具有流动性和浸润性，渗透到生活与创作之中。作品在二层展厅的半开放空间中展示，使“乡愁”宛如连接他的故乡、第二故乡（央美）以及通向未来数字、影像领域的通道，承载着个体经验、生活与创作历程。展览策展人代表、美术馆策划研究部副主任王静致辞王静在发言中感谢美术馆的支持以及八位参展艺术家从不同角度对“乡愁”概念进行的延展与阐释。她期望借助“乡愁”概念，让艺术家运用新媒介手段拓展艺术表达的维度与空间。此外，美术馆2层C展厅这个百变空间也为展览策划带来了全新的创作与思考启发。美术馆副馆长高高担任主持人“故乡”一词适用于每一个人，但是每个人心中的故乡却各有不同。展览试图透过物质与身体感官的互相调动，呈现乡愁交织出的时间与空间的错落交叠。艺术家通过装置、影像与科技方式展开各自的探索，呈现出对记忆、感知和故土的关联。乡愁成为一种营养、一种底色，渗透在每个人的作品中，青年艺术家在流转的乡愁中探寻未来，与过去、与故乡千丝万缕的牵连，在时间的折叠中，成为面向未来的折射。开幕结束之后，#fff食物设计工作室为大家带来了一场以展览主题为灵感的食物现场，邀请观众通过身体力行的方式加入到这场食物现场中。展览将持续至2025年3月9日。
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: It can't be hidden anymore! Get a sneak peek at the "treasures in storage" revealed for the first time by CAFA Art Museum

2025-01-18

The exhibition opens on January 21st, 20252A Gallery, CAFA Art MuseumThe CAFA Art Museum is one of the key national art museums. Upholding the academic concept of "inclusiveness and continuity, building on the past to create the future", it has made great efforts in the construction of contemporary public cultural spaces and the collection of artworks, and is committed to constructing a unique art history narrative. The "Art of Ancient China" exhibition that is opening this time is the second part of the permanent display of the CAFA Art Museum. The first part, "Art of Modern China", opened in July 2024."Ancient Chinese Art" displayOver 200 ancient art exhibits from the museum's collectionIt is divided into two major categories: "utensils" and "calligraphy and paintings".The time span is two thousand yearsThe exhibition is further divided into nine sub - categories: bronze mirrors, portrait bricks, figurines, ceramics, religious statues, figure paintings, flower - and - bird paintings, landscape paintings, and calligraphy, covering the main types of ancient Chinese art. Most of the collections in the "utensils" category are being exhibited for the first time.Ancient Chinese art serves as the foundation for constructing Chinese cultural aesthetic concepts, a channel for understanding the inheritance of the Chinese nation's spirit, and an inspiration source for contemporary artistic innovation. In terms of selecting collections, based on the opinions of the Appraisal Group for Ancient Chinese Calligraphy and Painting in 1983 (Xie Zhiliu, Qi Gong, Xu Bangda, Yang Renkai, Fu Xinian, Liu Jiuan, Xie Chensheng) and the Appraisal Group of the Central Academy of Fine Arts in 2024 (School of Humanities, Center for Art Archaeology of the Central Academy of Fine Arts), the art museum has selected more than 200 collections for exhibition, with a time span of two thousand years, according to the standards of aesthetic taste, ritual and music systems, and cultural connotations.Booth - setting TidbitsIn terms of innovative displays, the art museum has organically integrated with courses related to digital media art research, ancient calligraphy and painting research, art archaeology research, and traditional art restoration at the academy. It has conducted in - depth explorations in the digital simulation restoration of traditional culture and immersive interactive experiences. Different types of digital cultural relics in the exhibition hall create an atmosphere of cross - temporal dialogue between modern digital art and ancient traditional art.Artworks are a mirror of the times, reflecting the social features and people's emotions from ancient times to the present. They serve as a visual clue for us to interpret history. Through this art collection exhibition, visitors can experience the artistic characteristics of different eras and explore the spirit and essence that have always permeated ancient Chinese art.The exhibition will open on January 21st, 2025, and be permanently displayed in Exhibition Hall A, on the second floor of the art museum. Interested visitors are welcome and should not miss it.Collection Of CAFA Art Museum -- Ancient Chinese ArtExhibition Time: Starting from January 21st, 2025Exhibition Venue: 2A Gallery, CAFA Art MuseumChief Editor / He YishaManaging Editor / Du YinzhuOn - site Photos / He Yifei
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: An Ecological Narrative Interwoven With Materiality and SensoryExperiences,Technology and Imagination｜“Flowing Nostalgia” will Open

2025-01-14

Young Experiment Project SpaceSponsorCAFA Art Museum "Wide Angle ° Young Experiment Project Space" was launched at the beginning of 2022. Adhering to the concept of promoting the multi-dimensional exploration of curatorial and creative work by young teachers of the Central Academy of Fine Arts, the museum's independent space on the second floor and a half of the museum has become a piece of experimental field for young teachers to create, research and plan exhibitions. At present, we have completed the collection and selection of the three phases of the program (eighteen exhibition programs have been selected).Flowing Nostalgia——An Ecological Narrative Interwoven With Materiality and SensoryExperiences,Technology and Imagination Exhibition time: January 17 - March 9, 2025Exhibition Venue: Exhibition Hall C, 2nd Floor, Art Museum of the Central Academy of Fine Arts Academic adviser: Fei JunArtists: Chen Huoyang, Long Pan, Qiu Yu, Shi Ziyuan, Tang Keyang, Wang Xintong, Xu Ziyi, Genome Gourmet Center (Norway, USA)Curator: Wang Jing, Xing DanThe fourth exhibition of the third phase of "Wide Angle ° Young Experiment Project Space" , "Flowing Nostalgia——An Ecological Narrative Interwoven With Materiality and SensoryExperiences,Technology and Imagination", will be held on January 17th at CAFA Art Museum. The exhibition has Professor Fei Jun as the academic consultant. It is curated by Wang Jing and Xing Dan. Artists including Chen Baoyang, Long Pan, Qiu Yu, Shi Ziyuan, Tang Keyang, Wang Xintong, Xu Ziyi, and the Genomic Gastronomy Center (Norway, US) participate in the exhibition.The term "hometown" applies to everyone, yet each person's perception of their hometown is unique. The Chinese refer to the longing for their hometown and native land as "nostalgia for the homeland". This deep - seated local complex may be manifested in a preference for certain foods, in memories evoked by a particular sound, or in the pursuit of the traces left by ancestors within one's body. Through the interaction between materials and physical senses, the exhibition attempts to present the overlapping of time and space interwoven by nostalgia. Amid the encounters of various conceptions of hometowns, nostalgia is fluid, seeping into the creations of each artist unconsciously. As a creative emotion, nostalgia can be a constantly changing situation.Artists embark on their respective explorations through installations, videos, and technological means, presenting the connections among memory, perception, and native land. Nostalgia becomes a kind of nourishment and a background color, permeating the works of each individual. Young artists explore the future amidst the shifting nostalgia. The intricate ties with the past and their hometowns, within the folds of time, turn into a reflection towards the future.Chen Baoyang, "What Hasn't Been Falsified Is Science", 2021Chen Baoyang combines the emotion of "nostalgia" into augmented reality (AR) works, overlapping the imaginary world recorded in ancient classics with contemporary reality, and exploring the rich present with imagination to express his imagination of his hometown. People, non-people, technology, gods, under the forest, on the clouds, the future and the deep world are all entangled in the "Shenchuan". "Shenchuan" was once the embodiment of the gods in people's hearts, and the world of gods that cannot be disturbed is now hiding in bursts of explosions. Whether the Mountain God had escaped, transforming into electrical equipment with the ore, or diving deeper into the earth was still unknown. Through the perspective of mushrooms, Long Pan reveals the relationship between people, technology and forests entangled with it, and starts thinking about how to build a coexisting future as planetary life. Qiu Yu's works start from the memory and experience of his hometown, and pay attention to the balcony as a living landscape presented to the outside world. Balcony is a boundary of architecture and the connection between individuals and society. The balcony gives people an experimental field full of imagination and infinite possibilities, like a living laboratory. This experience stems from the accumulation of daily knowledge and long-term life inheritance. Technology, nature, and all kinds of hidden forces gather here. Since we can't retreat to the wilderness, the balcony, a place where culture and nature connect, carries our infinite imagination of the future ecology.Long Pan, Express Delivery in Deep Time, 2024Qiu Yu, The Connecting Place, 2022A familiar sound wave can evoke people's specific experiences and memories through the auditory sense. Shi Ziyuan's work Summer Night simulates the chirping of insects by rubbing silk threads. Various materials make sounds in sequence, ultimately combining to form a story that takes place on a "summer night" in the hometown, transporting us to different time dimensions, where we can converse with the past across time. Xu Ziyi's work All My Memories: The Genealogy of Tools regards tools as the externalization of human consciousness. Through tools, humans are able to engrave their self - consciousness into the evolutionary process of primates in nature. Tools are like an extension of life. The material of Journey into Nothingness was scanned during Wang Xintong's journey to northwest China. The work is stitched together from a radar - scanned model of the space of an old - fashioned train during the journey. In the 夹缝 between reality and virtuality, memories like dreams are aroused, traversing and hovering amidst landscapes in various decomposed states.Shi Ziyuan, Summer Night, 2019Xu Ziyi, All My Memories: The Genealogy of Tools - 1, 2023Wang Xintong, Journey into Nothingness, 2021The documentary part of the exhibition includes Tang Keyang's "Nameless Hometown" column and the Center for Genomic Gastronomy's "Food Hacking: The Gut Bacteria Garden". The documentary part and the artworks in the exhibition mirror each other, connecting everyone's essential food, food culture, emotions, and memories, constructing an ecological narrative that intertwines science and imagination, matter and soul.After the opening ceremony, #fff Food Design Studio will present a food - themed live event inspired by the exhibition at the museum café. We invite visitors to participate in this live food - related activity. Here, food is no longer merely an object to be chewed and consumed. Every act of decomposing food stirs our emotional memories associated with taste, and is linked to the deep - seated and tender homesickness. This offers a different perspective for understanding and experiencing the theme of the exhibition.The Center for Genomic Gastronomy, Food Hacking: The Gut Bacteria Garden, 2016The Center for Genomic Gastronomy (CGG)This exhibition will last until March 9, 2025.Tang Keyang, Nameless Hometown, 2024Academic AdvisorFei Jun is a professor and doctoral supervisor in the Art and Technology direction at the School of Design, Central Academy of Fine Arts, as well as the founder and creative director of the collective ART+TECH. In 1992, he graduated from the Printmaking major of the Central Academy of Fine Arts and obtained a bachelor's degree. In 2005, he graduated from the Electronic Integrated Art major of the School of Art and Design, Alfred University in the United States and obtained a master's degree. He has served as the director of the Digital Media Studio at the School of Design, Central Academy of Fine Arts, and co - curator of the Beijing Media Art Biennale.ArtistsChen Baoyang is a technology artist and curator. He has obtained double master's degrees from Columbia University and the School of Visual Arts in New York. Currently, he teaches at the School of Experimental Art and Technological Art of the Central Academy of Fine Arts. He closely integrates art and technology, exploring their integration and co-existence. In his creations, he deconstructs the power changes brought about by new technologies and explores the influence of technology as an ideology.Long Pan's creations mainly involve collaborating with biological materials such as fungi. She is also interested in making the invisible alienation in the environment visible through biotechnologies like "phytomining" and "fungal degradation". Her research direction is to interpret, from the perspective of non - human organisms, the deeper and often overlooked relationship between human survival and the environment in contemporary industrial society, so as to explore and present the "secret correspondences" within the entire life network that humans inhabit.Qiu Yu graduated from the School of Design at the Central Academy of Fine Arts, holds a Ph.D. in the Art and Technology direction, and teaches at the Shanghai Academy of Fine Arts, Shanghai University. Engaged in the creation and research of art and technology, Qiu Yu uses a combination of mixed media such as sound, video, installation, and biology, along with technological means, to explore the internal logic and language relationships inherent in technology, as well as the perception of life influenced by mixed media.Shi Ziyuan graduated from the Sculpture Department of the Central Academy of Fine Arts with a bachelor's and master's degree, and is currently pursuing a doctoral degree at the Graduate School. In her creative works, she often uses different media such as sculpture, kinetic installations, and videos to explore visual, auditory, and somatic sensory experiences. By doing so, she breaks people's fixed impressions of surrounding things, and prompts viewers to think about the authenticity of their individual experiences and judgments.Dr. Tang Keyang is the chief researcher of the Future Laboratory at Tsinghua University, and the director of the Center for Perception and Consciousness Research. He is a doctoral supervisor at the School of Fine Arts and the School of Architecture, Tsinghua University, and was named an "Outstanding Talent in the New Century" by the Ministry of Education. As an expert in art gallery and museum architecture, from an interdisciplinary perspective, he focuses on "spatial intelligence", engages in innovative practices of typological architecture and cultural spaces, as well as interactive research on vision, psychology, and behavior.Wang Xintong is a new media artist who works and lives in Beijing. She graduated from the Central Academy of Fine Arts with a bachelor's degree in Digital Media Art at the undergraduate level. For her postgraduate studies, she graduated from Parsons School of Design, obtaining a master's degree in Design and Technology. Her creative forms mainly include immersive narrative videos, projection installations, and virtual reality. As a player who experiences life as a sand table game, her works often start from personal interests and observations of society, and she uses technical means to visualize the observed findings and absurd imaginations.Xu Ziyi was born in Hangzhou in 2004. He is currently studying at Central Saint Martins, University of the Arts London. Through the tension between regeneration and forgetting, he explores how to revive past existences invisibly. Xu Ziyi was shortlisted for the "Ignite" Young Artists Award jointly organized by UCCA Center for Contemporary Art and Shanghai Xintiandi in 2023.CGG is an artist - led think tank initiated in 2010 by Kathrine Kramer (Norway) and Zach Denfeld (USA), which studies biotechnology and biodiversity in the human food system. They collaborate with scientists, chefs, hackers, and farmers to conduct research and exhibitions in Asia, Europe, and North America.Curator Wang Jing, a curator and the deputy director of the Planning and Research Department of the Art Museum of the Central Academy of Fine Arts, is engaged in contemporary art curation and critical writing. Recently, she has focused on exhibition practices exploring the relationship between art and the local context. She has served as the chief editor of art periodicals such as Art Museum, Scope Art Magazine, and Oriental Art·Elite. The exhibition projects she curated have been selected for the 2022 National Art Fund Communication, Exchange and Promotion Program, the 2021 National Art Museum Young Curator Support Plan of the Ministry of Culture and Tourism, etc.Xing Dan, a curator and the person in charge of the "Vibrating Ecology" column on art and technology in The Paper Magazine, is engaged in research and curation in the art + technology field. She is committed to the research of mixed - media narratives and topics related to biology and ecology. She attempts to explore the diversity of technologies and the possibility of art and technology creating a cross - border living environment for future humans and the co - prosperity of all things through an everyday narrative approach. She won the Curator Award of Hyundai Blue Prize Art+Tech in 2022.Chief Editor / He YishaEditor / Du Yinzhu
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: Jin Shangyi: "There Is No Individuality Without The Nationalities Being Reflected In The Paintings" | Huang Binhong in His Late Years, CAFAM Collection

2025-01-11

>>>>Huang Binhong in His Late Years, Jin Shangyi, 1996, oil on canvas, 115×99cm, Collection of CAFA Art MuseumHuang Binhong in Late Years is a representative work of Jin Shangyi's peak period of oil painting, created in 1996. This work is now on display in the "Modern Chinese Art" collection of CAFA Art Museum.The picture depicts Huang Binhong, one of the Four Great Masters of Chinese Painting in his later years, sitting on a rattan chair in a long robe. The background is set off by Huang Binhong's ink and water landscape works, using mostly small brushstrokes, combining the chapped points of Chinese painting with the pointillism of oil painting. Black and gray are the main colors of the picture, embellished by Huang's face, hands, and a few small areas of bright yellow leaking out of the rattan chair.The brightest part of the painting is at the top right of the picture - Huang Binhong's white beard - which quickly focuses the viewer's attention. Jin Shangyi has carefully carved Huang Binhong's features and hands, the head with fine brushstrokes to create solid features, the tightly furrowed brow on the forehead to carve out a few wrinkles and grooves; each joint of the hand is clearly visible, the veins protruding, and the control of these details exquisitely embodies the subject's state of mind.The delicate strokes and the profound capture of the spirit of the characters allow the audience to feel the serenity and transcendence of Huang Binhong's philosophy of art, and at the same time, it also reflects Jin Shangyi's tribute to his artistic predecessors, and is a profound interpretation of the artistic concept of "both form and spirit".Jin Shangyi once said: "I painted this work to try to do the experiment of nationalization of oil painting, that is, the experiment of combining ink and oil painting. In this kind of experiment, I want to express the spirit of national culture in Chinese art", "Nationality is the biggest personality, and individuality is a small personality, and there is no personality if there is no nationality embodied in the painting". The nationalization of oil painting is an important subject of modern Chinese oil painting, and also an important exploration direction of Jin Shangyi's oil painting art. "Huang Binhong in Late Years" conveys the artistic realm of this painting master's vigor and freedom.>>>>Collection Of CAFA Art Museum-- Modern Chinese ArtExhibition Period: July 23, 2024 onwards Exhibition Venue: CAFA Art Museum, 2F, Gallery BExhibition Professional Lighting Sponsor: AKZU (Shenzhen EKZU Lighting System Co., Ltd.)Architectural Design Consultant for Exhibition Space: China Academy of Building ResearchEditor-in-Chief / He Yisha Editor / Du Yinzhu
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: Art: The Expression of Life's Inspiration | On January 12th, Let's Visit CAFA Art Museum

2025-01-07

The exhibition "Collection of CAFA Art Museum - Modern Chinese Art" will reopen on January 12th. Composed of classic works from the museum's collection, this exhibition presents the historical development of Chinese art. It is an academic exploration to bring the museum's collections to life, and also serves to provide society with a rich cultural and historical panorama, aesthetic education resources, as well as the core values for art teaching and research.The 20th century was an important period for the development of Chinese art. The Central Academy of Fine Arts has been involved in this process from the very beginning and has played a positive role in promoting and leading the way. Its teachers and students have created a large number of classic works, which have had a huge impact on the history of modern Chinese art.This exhibition showcases over 200 Chinese artworks from the 20th century collected by the museum. Taking time as the main thread, it is divided into three sections: 1900 - 1949, 1950 - 1976, and 1977 - 2000, presenting the development context of the century-long plastic arts. Through this exhibition, visitors can experience the artistic pursuits and explorations of different periods, as well as the era features presented in the artworks. Here will introduce the main content of the third section of the exhibition, "1977 - 2000".The Third Section1977 - 2000The period from 1977 to 2000 witnessed that the reform and opening up brought about tremendous social changes that emancipated people's minds, and also ushered in a new stage of development for fine arts. Facing an open world and a relaxed environment, artists conducted in-depth reflections on history, culture, human nature, etc., and at the same time, looked forward to the future with full confidence. Artists paid attention to the development laws of art creation, carried out discussions and explorations, tried various breakthroughs, strived for diversification in aspects such as language, form and theme of their works, and gradually formed their own styles. The research on the essence and laws of art also advanced to a deeper level. The artworks from the collection of CAFA Art Museum of the Central Academy of Fine Arts also fully embody the changes and innovations of this period. The rise and fall of various artistic concepts, the aesthetic transformation of diverse genres, the inheritance and development of the integration of Chinese and Western elements, and the expression where form serves the connotation have endowed these artworks with a truly "independent life".From 1977 to the early 1980s, works such as The Young Man Resisting Illness, Tibetan Girl, Little Eighth Route Soldier and Girl Washing Hair demonstrated an attention to reality and reflections on human nature. The mid-1980s to the early 1990s was a golden age for the diversified development of art. Not only did people like Jin Shangyi explore neoclassicism and modern oil painting language, and Li Keran and others express the integration of Chinese painting and Western painting techniques, but also Yang Feiyun and others made contributions to realistic painting. Examples include Huang Binhong in His Later Years, The Hills Bathed in the Glow of the Setting Sun and Sisters (Buryat Ethnic Group). The Corridor of the Affiliated Middle School, Chuan, Charm of Snow and Under the Window after the Rain are good examples. Meanwhile, after going through restoration, reconstruction, as well as technological innovation during this period, the printmaking of the Central Academy of Fine Arts entered a more mature and in-depth development stage. Represented by Xu Bing and Su Xinping, prints became more diverse in themes and forms, such as Places with Mountains and The Quiet Town No.1.These works all showcase the rich artistic characteristics and the spirit of the times. The inspiration for art from life is multi-faceted, and hoped that this exhibition can touch the hearts of the audience and prompt them to think about life and human nature.>>>>The Third SectionSome of the artworks on displayThe Young Man Kangsheng by Su Gaoli, 1977, Oil on Paper, 78.5×54.5 cm, Collected by CAFA Art MuseumTibetan Girl by Sun Jingbo, 1979, Oil on Panel, 80×55 cm, Collected by CAFA Art MuseumThe Girl Washing Her Hair by Chen Danqing, 1980, Oil on Panel, 54×68 cm, Collected by CAFA Art MuseumMy Hometown Yimeng Mountain No.1: Bringing a Message to Mother by Wang Yidong, 1982, Oil on Canvas, 184×170 cm, Collected by CAFA Art MuseumSisters (Buryat Ethnic Group) by Yang Feiyun, 1982, Oil on Canvas, 140×118 cm, Collected by CAFA Art MuseumChuan by Yu Hong 1988 Oil on canvas 130×140cm Collection of CAFA Art MuseumThe Corridors of The Affiliated Middle School by Wei Qimei 1990 Oil on canvas 118x140cm Collection of CAFA Art MuseumQuiet Night (Portrait Series of Wen Yiduo No.3) by Wen Lipeng, 1991, oil on canvas, 132x162cm, Collection of CAFA Art MuseumThe Rising Moon by Ma Changli, 1992, oil on canvas, 60x73cm, Collection of CAFA Art MuseumHuang Binhong in Later Years by Jin Shangyi, 1996, oil on canvas, 115×99cm, Collection of CAFA Art MuseumUnder the Window after Rain by Dai Shihe, 1998, oil on canvas, 120×120 cm，Collection of CAFA Art MuseumSnow Rhyme by Hong Ling, 1999, oil on canvas, 97x145cm, Collection of CAFA Art MuseumRural Life by Xie Dongming in 1999, oil on canvas, sized 80×120cm, Collection of CAFA Art MuseumGreen Mountains in the Glow of the Setting Sun by Li Keran, 1980s, ink and color on paper, 70×46.5cm, collected by the CAFA Art MuseumDream of Dunhuang - Deep Affection between Mother and Child by Tang Yongli, 1995, ink and color on paper, 82x82cm, collected by CAFA Art Museum Little Eight Roads by Sun Zixi, 1977, lithograph, monochrome, 59×47cm, Collection of CAFA Art MuseumSpring Tides by Yan Han, 1978, monochromatic woodblock print, 35×40cm, collected by CAFA Art MuseumPlaces with Mountains by Xu Bing, 1988, monochromatic woodblock print, 53×72.5cm, collected by CAFA Art Museum Silent Town No.1 by Su Xinping, 1989, monochromatic lithograph, 53×68cm, collected by CAFA Art Museum>>>>Collection Of CAFA Art Museum-- Modern Chinese ArtExhibition Period: July 23, 2024 onwards Exhibition Venue: CAFA Art Museum, 2F, Gallery B Editor-in-chief / He Yisha Editor / Du Yinzhu
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: Today's Minor Cold

2025-01-05

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: National Social Science Fund Project | The 3rd Keynote Forum is About To Kick Off At ENNOVA Art Museum

2025-01-03

"Research on the Future Development Trend of China's Art Museums" (Approval No. 22AF011), is a key project approved by the National Social Science Foundation of China for Art in 2022. The project leader is Zhang Zikang, professor of the Central Academy of Fine Arts (former director of CAFA Art Museum, now director of ENNOVA Art Museum).The research phase of the project consists of four thematic forums, and the third thematic forum will be held on January 5, focusing on the "Current Situation and Reflections on the Development Trend of Intellectual Development of Art Museums". Through the sharing and exchanging of art museum practitioners and education researchers, the forum will discuss the reflections of art museums on the construction of intellectual space, the shaping of cultural understandings, the renewal of the education model, etc., and further analyze the initiatives around these reflections. Through the sharing and exchanges between art museum practitioners and education researchers, the forum discussed the thinking of art museums in constructing intellectual space, shaping cultural understanding, and renewing education models, and further analyzed the initiatives around these thoughts. The forum consists of two sub-themes: "Concept: From Knowledge Production to Intellectual Participation" and "Practice: From Museum Public Education to Museum Intellectual Learning".The initiator and keynote speaker of the forum is Zhang Zikang, the moderator of the forum is Gao Gao, a member of the project team, and the moderators of the sub-forums are Huang Guanghui and Liu Xiyan, members of the project team. The forum is planned to be co-organized with the New Interpretation Art Museum to cooperate on the social promotion and dissemination of the project's milestones.Forum InformationForum theme：“The Current Situation And Thoughts On The Development Trend Of Knowledge-Based Art Museums”Sponsor：CAFA Art MuseumCo-sponsor：ENNOVA Art MuseumTime：2025年1月5日9:00-17:00Venue：Conference Room of ENNOVA Art MuseumForum agendaForum ModeratorGao GaoDeputy Director of the CAFA Art MuseumProject team member主旨发言张子康中央美术学院教授新绎美术馆馆长项目负责人发言题目：美术馆智识型发展趋势的研究现状论坛上半场“概念：从知识生产到智识参与”论坛上半场主持人黄光辉澳门科技大学人文艺术学院副教授校学术及管理委员会委员项目组成员论坛发言嘉宾孙晓霞中国艺术研究院艺术学研究所副所长《艺术学研究》主编发言题目：近代西方艺术与科技互动的历史特征与当代启示蓝庆伟策展人、艺术批评家发言题目：智识与分众：美术馆之于观者的感受力关昕中国社会科学院中国历史研究院副研究馆员中国社会科学院大学历史学院副教授发言题目：文明性与人民性：民俗展览的知识表征分野孙骞谦现任教于中央美术学院人文学院发言题目：4E认知与空间互动高登科清华大学艺术博物馆博士后清华艺科院美育实验室学术委员会主任发言题目：数字美育：AIGC迎向窥见未来的灵光论坛下半场“实践：从美术馆公共教育到美术馆智识学习”论坛下半场主持人刘希言中央美术学院美术馆策划研究部主任项目组成员论坛发言嘉宾罗怡独立策展人、博物馆顾问中国文化艺术发展促进会学术委员社科院城市研究所文化与旅游委员会执行委员发言题目：美术馆的新角色：AI&人&艺术的智识共同体吴秀华前香港大学美术博物馆馆长发言题目：香港大学博物馆的教研使命裴少菲武汉美术馆副馆长发言题目：城市美术馆融合视域下的美育智识实践孟勐艺术学博士、在站博士后清华大学美术学院助理研究员发言题目：模仿与祛魅：科技如何成为公共教育的生产资料艺术教育小组（左：张滨右：叶洪图）大连理工大学建筑与艺术学院教师艺术教育小组发起人发言题目：AI时代艺术教育项目的创作转型：以艺术教育小组的作品《个人史》为例孙天艺中央美术学院博士发言题目：从“泰特交换”看美术馆的“参与式”策略论坛闭幕总结高高
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: Countdown 3 Days | Finding Peace and Depth in Realistic Slow Art

2025-01-02

As a traditional form of painting, realistic oil painting is particularly precious in the fast-paced and digitized modern society. The 20th Anniversary Exhibition of Chinese Realistic Painting School, which is now on display on the third floor of the Art Museum of the Central Academy of Fine Arts, allows viewers to calmly feel the emotions and connotations of the artists' brushstrokes, and to experience the spiritual core of truth and imagination. This aesthetic experience of "slow art" is a balance and supplement to the modern fast-food culture, allowing people to find a peace and depth in the impatience.Warm Tips: "China Realistic Painting School 20th Anniversary Exhibition" will be closed at 17:30 on January 5, friends who have not viewed the exhibition do not miss it~!
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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.