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.

: 春日喜讯 | “中央美术学院美术馆藏陈列——现代中国美术”荣获文旅部2024年度全国美术馆优秀展览项目

2025-04-29

近日，文化和旅游部发布了“文化和旅游部办公厅关于开展2024年度全国美术馆优秀项目评选工作的通知”，共评选出10个“2024年度优秀展览项目”，其中，我馆策划展出的“中央美术学院美术馆藏陈列——现代中国美术（1900-2000）”展览入选优秀展览项目名单。展览概况陈列现场长期陈列的推出，既是中央美术学院美术馆对经典馆藏探索、活化的重要探索，是对收藏研究工作的阶段性总结，也是对习总书记提出中国的美术馆要在高质量收藏、高水平利用、高品质服务上下功夫的指示的积极响应，更是对新时代美术馆核心价值的展示，是丰富与建构中国新时代的美术史研究物质呈现的努力。陈列现场“中央美术学院美术馆藏长期陈列”的呈现不仅是久远恢宏的艺术史的生动书写，更是学院教学实践的重要资源，承载着百年美院艺为人民的学术积淀，见证了中国美术教育筚路蓝缕的发展历程。陈列现场011900-1949021950-1976
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: Whose Artistic DNA Is Stirred Again Upon Seeing This "Apple" In The 2025 CAFA Graduation Season? (Including Benefits)

2025-04-29

When the main visual image of the 2025 graduation season of the Central Academy of Fine Arts was released – a warm-colored apple surrounded by halos suspended in the void, this visually striking symbol instantly awakened the viewers' artistic memories. The theme of this year's graduation season at the Central Academy of Fine Arts is "Moving Forward in Pursuit of the Light". This imagery, which is both classical and modern, precisely expresses an inquiry into and reconstruction of the essence of art.The main image of this graduation season takes the object that every art student first comes into contact with as the carrier. Through the flow and smudging of the illuminated surface on the white plane, it implies that light is the foundation and prerequisite for all our observations and creations. The overall visual style is delicate and elegant, emphasizing that at a moment like the graduation season, the path we have traveled should illuminate the path ahead, and the continuous pursuit of art is always hidden in that beam of light attached to the object. This not only tears open the surface narrative of visual art but also metaphorically represents the spiritual core of contemporary art education.In an era where 1.7 trillion digital images are generated every second, the main visual of the 2025 CAFA graduation season, in a gesture of returning to simplicity, reconstructs the most basic modeling elements into a visual declaration full of a sense of the future. When viewers gaze at this luminous object suspended in the void – those eternal propositions about light and shadow, form, and concept are giving birth to new strength amidst a gentle ambiance.At the same time, many audiences have also expressed their opinions and unique insights into art on various self-media platforms. This interactivity has also reconstructed the social interpretation space of the image of this graduation season.Well,After seeing this shining apple,Whose artistic DNA has been stirred again?Leave your thoughts in the comment section.The comments from the top 10 viewers who receive the most likesWill each be awarded a ticket to the graduation season during the May Day holiday.Let's get close to the light, follow the light, and become the light.The 2025 CAFA graduation seasonIs waiting for your arrival!Chief Editor / He Yisha Editor / Du Yinzhu
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: Official spoiler! More than 3,000 postgraduate works are gathered in the graduation season of CAFA

2025-04-28

In late April at the Central Academy of Fine Arts, the fragments of flower catkins float in the spring breeze. In the exhibition hall of the CAFA Art Museum, a group of young graduates are carefully infusing their passion, confusion, and expectations into their paintings bit by bit, shaping them into sculptures, and integrating them into the code. This graduation season of CAFA, titled "Marching Towards the Light", is quietly brewing like a silent storm at the end of spring.The artistic context, created by more than 500 master's and doctoral students, takes emotions, philosophy, and humanistic care as its foundation, deconstructing "Marching Towards the Light" into an artistic language that transcends time and space. Today, on the second day of the works' move-in, let's go deep into the front line of exhibition arrangement and unveil some spoilers of this mysterious event...Light serves as both a medium and a carrier of memory. When 532 graduates choose light as their vessel, this exhibition ceases to be an endpoint; instead, it becomes the first draft of countless possibilities. In 2025, we look forward to you "Marching Towards the Light" with us.Visitors can make reservations and purchase tickets through the WeChat mini-program, WeChat official account, or official website of the CAFA Art Museum (for detailed ticketing instructions, please refer to the official website). The daily number of visiting spots is limited and will be closed once fully booked. During the graduation season, the museum is open as usual on Mondays.When making a reservation, valid identification documents must be used for real - name registration. Each person can only make one reservation per day. After a successful reservation, visitors should arrive at the venue at the reserved time. During the graduation season, visitors can enter the museum through the special ticket access at the north gate of CAFA by swiping valid identification documents such as ID cards for ticket verification.Chief Editor / He Yisha Editor / Du YinzhuSome pictures are provided by students
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: Jin Jun: The Integration Of The Virtual And The Real And Symbiotic Development Of Art Museums In The Post-digital Era | 2025 CAFAM Academic Series

2025-04-27

Jin Jun, Director of CAFA Art Museum「In today's era, the rapid development of technology is profoundly transforming every aspect of our lives, and the field of art is no exception. Recently, at the "Cultural Engine —— International Art Museum Summit Forum of the Central Academy of Fine Arts", Jin Jun, the director of CAFA Art Museum, delivered a keynote speech. With the theme of "The Integration and Symbiotic Development of the Virtual and the Real in Art Museums in the Post-digital Era", he deeply explored how art museums can achieve the integration of tradition and modernity, as well as the integration of the physical and the virtual under the impetus of the wave of technology. He also discussed the far-reaching impact of such integration on the development of art and the public's art experience.」01.Empowered by TechnologyTraditional and Classic ArtJin Jun first pointed out that traditional art museums, as spaces for the collection and display of art treasures, provide the public with an important venue to be influenced by art and understand different cultures. However, in the development of the art field, there are differences in the development speed among different regions and fields. The advancement of technology, especially the emergence of new media technology, has brought new possibilities for the display of traditional artworks, enabling them to break through the limitations of time and space and present themselves to the public in a brand-new look.The presentation of traditional art in an immersive digital virtual way is a typical practice of technology empowering traditional art. Through immersive digital means, audiences can experience artworks in the environment of a specific art museum in different places and feel the overall scale and details of the artworks in space. This new way of presentation not only gives the audience a more intuitive understanding of the artworks but also endows traditional art with new vitality. For example, with regard to the painting Listening to the Qin by the Song Dynasty in China, through the digital virtual method, the audience can interactively feel the humanistic thoughts and the humanistic spirit based on nature at that time, thus obtaining a deeper new experience. In addition, the re-creation of Chinese traditional artworks in a digital way has also been an important direction of exploration in recent years. This kind of re-creation incorporates modern cognitive understanding. Taking some traditional Chinese landscape paintings as examples, the presentation in a digital dynamic way makes these ancient paintings radiate new vitality and brings the audience a brand-new visual enjoyment.02.Digital Art under the Support of TechnologyNew FormsWith the continuous development of technology, new art forms are constantly emerging. Jin Jun mentioned that digitalization, the transformation of pixelated forms, colors, and new interpretations of tradition are all directions for the exploration of new art forms. For example, the digital dynamic sculptures created by Turkish artists, through digital means, enable the sculptures to show their unique charm in motion and bring new changes to the daily space. This digital dynamic art form not only presents a new look in the space of art museums but also plays an important role in public spaces.The advancement of technology has also brought new ways to interpret art forms. For example, by combining traditional machinery with digital sensing technology, novel art forms such as human-machine dance have been created. In the Beijing Media Art Biennale once held at CAFA Art Museum, European artists transformed human nerve commands through programming, enabling machinery to drive the human body into a dancing state. This unique artistic experience has given the audience a deeper understanding of the integration of art and technology.In addition, the integration of technology and art is also reflected in the combination of biological themes and dynamic art. In the Media Art Biennale in 2023, works related to ecological integration demonstrated the combination of technology and art through dynamic techniques, triggering people's ethical reflections on technological progress. At the same time, artists are also exploring participatory interactions between technology and traditional art, real-time rendering, and the construction of online exhibitions of traditional ancient art, etc., enabling the audience to appreciate the charm of traditional art through online platforms.03.From the Physical Space to the Digital Ecological EntityJin Jun further elaborated on the transformation trend of art museums from physical spaces to digital ecological entities. The development of digital technology has made it possible for a global art network to take shape. For example, the National Portrait Gallery in Washington presents the appearance of its museum through digital means, and Google Arts & Culture has created digital exhibition halls, allowing audiences to appreciate artworks from all over the world via the Internet. The construction of this digital ecological entity not only breaks the limitations of the physical space of traditional art museums but also provides a broader platform for the dissemination and exchange of art.Jin Jun further elaborated on the transformation trend of art museums from physical spaces to digital ecological entities. The development of digital technology has made it possible for a global art network to take shape. For example, the National Portrait Gallery in Washington presents the appearance of its museum through digital means, and Google Arts & Culture has created digital exhibition halls, allowing audiences to appreciate artworks from all over the world via the Internet. The construction of this digital ecological entity not only breaks the limitations of the physical space of traditional art museums but also provides a broader platform for the dissemination and exchange of art.In addition, digital technology is also used to enhance the audience's experience. For example, the application of VR technology enables the audience to experience artworks in a brand-new way. Director Jin Jun is leading the disciplinary team to cooperate with multiple institutions to explore how to use new spatial methods to construct a digital twin art museum space. This digital twin art museum space will take the physical art museum as the carrier and create a virtual space corresponding to the physical art museum through digital means, bringing the audience an art experience of the integration and symbiosis of online and offline.04. The Integration of the Virtual and the RealThe Present and the Future Finally, Jin Jun emphasized the importance of the integration of the virtual and the real. He mentioned that the integrated development of the original artworks and dynamic video works in the exhibition space of "Dreams in the Mortal World" is a typical case of the integration of the virtual and the real. In addition, in the VR display in the 798 Art Zone, visitors can walk around the zone while wearing VR glasses and experience the appearance of the digital space. This way of integrating the virtual and the real not only provides the audience with more options when appreciating artworks but also offers new ideas for the future development of art museums.In the post-digital era, the integration of technology and art has become an irreversible trend. Technology not only provides new means for the display and dissemination of traditional art but also gives birth to new art forms and artistic experiences. The transformation from the physical space to the digital ecological entity, as well as the direction of the integration of the virtual and the real, all paint a beautiful blueprint for the future development of art museums. We have every reason to believe that with the help of technology, art museums will be able to better fulfill their functions of cultural dissemination and art education, enabling more members of the public to appreciate the charm of art and feel the profound cultural heritage.Introduction of the Guest Speaker●●●●●●●●●●●●Jin JunDirector of CAFA Art Museum, Professor, Doctoral Supervisor; Dean of the School of Design and Arts, Beijing Institute of Technology. He has presided over a number of major design projects, including the design of the dynamic sports icons for the 2022 Beijing Winter Olympics. He has organized and planned more than 40 series of special art exhibitions under the theme of "Looking Back and Reflecting · Rereading the Classics", including the "Invitation Exhibition of Famous Chinese Painters in the 20th Century", etc. Recently, he has completed the creation and planning of digital immersive artworks, such as the "Equal Views in the Digital Realm: Exhibition on Traditional Art and Technological Research", as well as the planning of the "Immersive Art Design Exhibition of the National Centre for the Performing Arts: Art in Life" and the "Beijing Media Art Biennale", etc.∨Chief Editor / He Yisha Editor / Du YinzhuText Arrangement / Xu XiOn-site Photos / He Yifei
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: Year-round Exploration of Liberal Arts | The CAFAM Annual Pass is Here!

2025-04-25

Special Kind Reminder1. Please bring a valid identification document when entering for a visit to facilitate the verification of your membership status.2. When activating the annual pass for an individual card, please bind the information of your accompanying person, and this information cannot be changed. When activating a family card, you need to bind the information of your family members, and this information cannot be changed. (If there is only one minor, you can fill in this information repeatedly.)3. The accompanying person whose information has been bound needs to swipe their ID card to enter the venue. Minors must be accompanied by at least one guardian to enter the venue.4. During the graduation season, annual pass members do not need to make a reservation.5. Visitors are restricted to entering the art museum only once on the designated visiting day.The cover of the Student Card features the famous work "David" by Teacher Yu Hong. This classic sketch, which was created in 1984, is likely the most renowned portrait of David in China and may also be the most widely circulated one. Countless people got to know what a sketch is and what the basic standards of the Central Academy of Fine Arts are starting from this work. Countless students with artistic dreams have gazed at it and painstakingly copied it stroke by stroke...The cover of the Personal Card features the work "Han · Nine Consciousnesses" by Teacher Chen Wenji. Since 2006, Chen Wenji has stopped his realistic paintings that he had been creating for more than twenty years and embarked on a new creative journey of his own. There are no longer any recognizable objects in the paintings, but only some conceptual graphics: circles, cones, ellipses, triangles, or inclined planes with rounded corners... However, these are by no means the forms in minimalist or optical illusion paintings. Instead, the artist uses them to create a "vision that is exclusively self-enclosed yet infinitely extended."The cover of the Family Card features the work "Early Morning" by the renowned late artist Mr. Zhou Sicong. Mr. Zhou was one of the most outstanding artists in China in the 20th century, excelling in figure painting. His masterpiece "The People and the Premier" participated in the exhibition celebrating the 30th anniversary of the founding of the People's Republic of China and won the first prize in the National Art Exhibition. The work on the cover is his graduation creation at the Central Academy of Fine Arts in 1963, depicting the scene of Tiananmen Square under the red morning sun in the early morning. The peaceful and tranquil atmosphere emanating from the work endows the entire painting with an exceptionally simple and pure quality. ● ○Let's meet in May, during the graduation season.Chief Editor / He Yisha Editor / Du Yinzhu
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: Compulsory Course for Entering the Industry | Countdown to the Recruitment of the "Art Museum Operation and Exhibition Planning" Training Course

2025-04-23

Enter the Behind-the-Scenes World of the Art MuseumUncover the Secrets of Its OperationExplore the Art MuseumExperience the Unique Perspective of the CuratorDraw Back the Curatorial CurtainDiscover the Stories Behind the Art MuseumIn contemporary society, exhibitions have become an indispensable and important part of people's cultural lives. The curation of art galleries is not only a reflection on classical art but also an exploration and response to contemporary creativity. Countless people who are passionate about art gather here, jointly witnessing how art transcends time and space, conveys beauty, inspires thinking, and demonstrates the resonance of culture and the depth of spirit.This spring, the "Social Aesthetic Education Program of Chinese Aesthetic Education Campaign" of the School of Continuing Education of CAFA, in collaboration with the CAFA Art Museum, has grandly launched the "Short-term Training Courses on Art Museum Operation and Exhibition Planning (the 4th/5th Sessions)". This course has especially invited a group of experts and scholars who have delved deeply into the fields of art museum operation and curation. They will conduct an in-depth analysis of industry trends and share how to, while adhering to the aesthetic education mission of art museums, expand the boundaries of art dissemination with innovative thinking, enabling the power of beauty to reach a broader social group and promoting the continuous development and diverse expression of art. Hai Jun Deputy Director of the CAFA Art MuseumProfessor and Doctoral Supervisor of CAFACourses: "Operation and Sustainability of Art Museums""At present, the driving force of technology and the profound changes in social structure are reshaping the operational logic of cultural institutions. As an institutional form that undertakes public cultural functions, art museums inevitably face the pressure of transformation. Against the backdrop of the increasing limitations of the traditional model that relies on government funding and ticket revenues, how to achieve the sustainable development of art museums has become a fundamental issue that cannot be avoided... At its core is the establishment of a mechanism that can maintain self-regulation and continuously produce public value in a complex environment. This mechanism not only depends on a diversified economic support structure, but also requires that the institutional design reflects a balanced consideration of academic autonomy, public nature, and social effectiveness.The sustainable development of art museums must go beyond the technical discussions at the management level and enter into a re-cognition of their institutional essence and cultural responsibilities. This includes: how to deal with the tension between academic research and communication, how to respond to the growing demands for social participation, how to expand a reasonable relationship with the market while maintaining the independence of art, and how to enhance its long-term vitality as a cultural infrastructure through structural organizational reforms." Gao Gao Deputy Director of CAFA Art MuseumCourses: "Operation and Management of Art Museums"If, in the past... visitors were led into a state of passivity by the paintings, then our current design aims to make people take the initiative and become more active. This should be the purpose of my design for this exhibition room.Modern museums are institutions with educational functions. In addition to providing the public with an aesthetic experience, art museums also need to convey knowledge to people. For a modern art museum, since the art categories it involves are very extensive and the art forms displayed are significantly different from traditional art forms, many artworks make the audience feel confused and unable to understand. Therefore, art education becomes even more necessary and important.——Selected from "Alfred H. Barr and the Early Establishment of the Museum of Modern Art in New York" Li Yaochen Director of the Collection Department of CAFA Art MuseumAssociate Researcher of the CAFA Art MuseumCourses: "Overview of the Collection Management Work in Art Museums""The characteristics of an art museum lie in its non-profit nature, public accessibility, and the establishment of a systematic academic framework based on the research of its collections. Systematic collection is an important feature that distinguishes an art museum from other art institutions such as art galleries. The research, exhibitions, and dissemination carried out based on these collections have formed the unique characteristics and cultures of art museums or art galleries.......At the current stage of China's development, the development of permanent exhibitions in art museums is definitely an important trend for the future. The academic depth and the quality of the collections required for permanent exhibitions are higher than those for temporary exhibitions. Planning permanent exhibitions will inevitably mobilize research forces on a wider scale. During the process of studying the collections, identifying their advantages, and sorting out the context, all the deficiencies in one's own work will be exposed, which is a test of one's own research ability and the architecture of all aspects of the art museum. This is a function that temporary exhibitions do not possess. This is also a great promotion for the construction of art museums in China.——Selected from: "Li Yaochen: A Tentative Discussion on the Systematic Collection and Permanent Exhibition in Art Museums” Liu Xiyan Director of the Planning and Research Department of CAFA Art MuseumAssociate Researcher of CAFA Art MuseumCourses: "Modern Curatorial Practice of Classic Exhibitions""The collection displays in China's early art museums demonstrate a process of learning from overseas while constantly adapting overseas experiences to China's actual situation. Overseas experiences played the role of a skeletal structure, assisting the art museums at that time in grasping several major directions that needed attention in planning the display of collections. However, when the early practitioners were adding flesh and blood to this skeleton, they did not completely copy the "Western methods." Instead, after taking into account China's art forms, the special relationship between collection and exhibition, the current situation of aesthetic education, and other factors, they depicted a local appearance for it, demonstrating an outstanding exploration of handling the relationship between Chinese art and Western art through the display of collections and using this as a representation of ideology. Although, as mentioned earlier, these early explorations were stifled in their potential for further development by the flames of war, these practices still had a significant impact on the subsequent thoughts regarding the display of collections in Chinese art museums."——Selected from: "Liu Xiyan: Applying Western Methods in China — A Review of the Collection Exhibitions in China's Early Art Museums in the Early 20th Century"There are also more wonderful courses…Intensive Class(Enrollment in Progress)Weekend Class(Enrollment has been closed)*The art museum has the right to make adjustments to the courses under the same conditions.We sincerely invite you to embark on a journey of artistic enhancement together, delving deep into the operation of art galleries and the planning and execution behind exhibitions. This training workshop places great emphasis on "face-to-face interaction with mentors" and "personalized guidance." Under the guidance of experienced mentors, all you need is a bit of curiosity about art and a touch of interest in art galleries. Let conversations unfold under the mentors' guidance, and together, we can appreciate the beauty of all-encompassing art and culture.| Friendly Reminder |The registration for the "Short-term Training Course on Art Museum Operation and Exhibition Planning (Weekend Class)" has been closed as of April 5th. The registration for the "Short-term Training Course on Art Museum Operation and Exhibition Planning (Intensive Class)" will close on May 15th. For more information, you can call Teacher Jin at 15957702868 for consultation, or click "Read More" to jump to view the course prospectus.The Social Aesthetic Education Action Plan of "Chinese Aesthetic Education Campaign"The Continuing Education College of the Central Academy of Fine Arts actively practices the spirit of serving the public through aesthetic education. Guided by the core spirit of General Secretary Xi Jinping's speech at the Symposium on Cultural Inheritance and Development, it gives full play to the professional and talent advantages of affiliated institutions to provide a sustainable high - quality development plan for the implementation of the "Chinese Aesthetic Education Campaign" of the Central Academy of Fine Arts. The "Chinese Aesthetic Education Campaign" Social Aesthetic Education Action Plan of the Continuing Education College of the Central Academy of Fine Arts is jointly participated by the experts and scholars of the Central Academy of Fine Arts, contributing wisdom and strength to the dissemination and promotion of the aesthetic education spirit of the Central Academy of Fine Arts.CAFA Art MuseumThe CAFA Art Museum is a professional and international modern art museum integrating functions such as academic research, exhibition display, collection, restoration, and public education. Its history can be traced back to the early 1950s. It is the first professional art exhibition hall built after the founding of the People's Republic of China and is also one of the first batch of key art museums in the country. Adhering to the academic concept of "inclusiveness, inheriting the past and creating the future", CAFA Art Museum serves society with "knowledge", is committed to the construction of contemporary public cultural spaces, presents the artistic civilization of mankind to the general public from a new perspective, and shares the culture of the times with all sectors of society.Chief Editor / He Yisha Editor / Du Yinzhu
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: The reservation channel for the 2025 graduation season of the Central Academy of Fine Arts is about to open & Announcement of temporary museum closure

2025-04-21

Dear audience friends:Due to the need for exhibition setup and removal, our museum will be temporarily closed from April 22nd to April 29th, 2025. It will officially reopen on April 30th. The "Graduate Graduation Works Exhibition" will be held during the same period. A total of 532 master's and doctoral students will participate in the exhibition. At that time, more than 3,000 works by graduates will be gathered at the Central Academy of Fine Arts. We sincerely look forward to your visit.CAFA Art Museum2025年4月21日At 00:00 on April 23rd, the online reservation and ticketing channel for the 2025 graduation season of the Central Academy of Fine Arts will be opened. Audiences can make reservations and purchase tickets through the WeChat mini-program of CAFA Art Museum, its official WeChat account, or the official website (for detailed ticketing instructions, please refer to the official website). The number of daily visiting slots is limited and will be available until fully booked. During the graduation season, the Art Museum will be open as usual on Mondays.When making a reservation, you need to use a valid ID document for real-name registration. Each person can only make one reservation per day. After a successful reservation, the audience should arrive at the museum according to the reserved time. During the graduation season, you can enter the museum through the special ticket inspection channel at the north gate of the Central Academy of Fine Arts by swiping a valid ID document such as an ID card for ticket inspection.Chief Editor / He Yisha Editor / Du Yinzhu
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: Walking In The Light | The 2025 Graduation Season Of The Central Academy of Fine Arts Shines Brightly!

2025-04-21

主编 / 何一沙责编 / 杜隐珠
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: Today Is Grain Rain

2025-04-20

Today is Grain Rain.
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: Sixty Masterpieces From CAFAM Collection Interpret The Vitality Of Beijing City | The Premiere Exhibition Of "Rising At Dawn" Kicks Off At The Capital Library

2025-04-19

On April 18th, just as the Grain Rain was approaching, the exhibition "Rising At Dawn — Exhibition of Artworks with the Theme of Beijing Collected by CAFA Art Museum " opened as scheduled at the Capital Library. Titled "Rising At Dawn", this exhibition aims to showcase the vigorous vitality of Beijing's urban culture and also sketches out the cultural landscape of the ancient capital with a history of thousands of years breaking through the dawn in the long river of time. The symbiosis between the Central Academy of Fine Arts and the development of Beijing city is a brief history of practice of art intervening in urban civilization. The exhibition brings together 60 masterpieces created by artists of different generations from the 1940s to the present. It presents their continuous exploration of the urban theme and also reflects the spirit of their times and their cultural ideals.This exhibition is hosted by the Central Academy of Fine Arts, jointly undertaken by CAFA Art Museum and the Capital Library. It has received strong support from the Scientific Research Office of CAFA and is also a project funded by the Beijing Cultural and Art Foundation in 2024.Group photo of the guestsThe guests attending the opening ceremony included: Jin Jun, Director of CAFA Art Museum; Han Wenchao, Secretary of the Direct Party Branch; Yu Yang, Director of the Scientific Research Office of CAFA; Sun Tao, Director of the National Thematic Art Creation and Research Center of CAFA; Li Nianzu, Deputy Director of the Capital Library, and others. Gao Gao, Deputy Director of CAFA Art Museum, served as the host.Jin Jun, Director of CAFA Art Museum，delivered a speechJin Jun, Director of CAFA Art Museum, stated that this exhibition has gathered some of the excellent works related to the theme of Beijing from the collection of CAFA Art Museum. It covers themes such as urban landscapes and humanistic spirits, and explores the interactive relationship between artistic creation and the social context in different historical periods. The exhibition takes the four sections of "Dawn", "Vitality", "Renewal" and "Centering" as the narrative threads, reflecting the urban mirror images from multiple dimensions. The successful holding of this exhibition is inseparable from the full support of the Capital Library in terms of venue, technology and other aspects, as well as the strong assistance of the Beijing Cultural and Art Foundation. It is hoped that the audience can feel the vigorous urban vitality of Beijing in the exhibition "Rising At Dawn"!Li Nianzu, Deputy Director of the Capital Library, delivered a speechLi Nianzu, Deputy Director of the Capital Library, pointed out that Beijing, which has a history of more than 3,000 years of urban construction and over 870 years of being the capital city, has the code of stratified growth engraved in its urban genes. Just as shown by the theme of this exhibition, "Rising At Dawn", "rising" not only represents the awakening of the city bathed in the first rays of the morning sun, but also symbolizes the cumulative growth of the accumulation of civilization. "dawn" not only refers to the 3,000-year memory of urban construction along the banks of the Yongding River, but also metaphorically implies the shining edge of the capital city in the new era at the break of dawn. The holding of this exhibition will further promote the exchanges and cooperation between the Capital Library and the Central Academy of Fine Arts. Together, they will explore new paths and models for the protection and inheritance of Beijing's culture, enhance the cultural soft power of the capital city, and write a new chapter in the prosperous development of Beijing's culture!Yu Yang, Director of the Scientific Research Office of CAFA, delivered a speechYu Yang, Director of the Scientific Research Office of CAFA, said that although this exhibition is limited in scale, it is very exquisite and worth viewing carefully. With the support of the Beijing Cultural and Art Foundation, "Rising At Dawn" has gathered the classic works of the senior artists of the Central Academy of Fine Arts over the past 80-odd years, as well as the works on the theme of Beijing that have been collected by the art museum and remained in the academy in recent years. Through four units, it has constructed a corridor of time and space, presenting the features of the capital city in different eras. At the same time, the exhibition is held in the Capital Library, which has a history of 110 years. The combination of calligraphy and paintings conforms to the logic of art appreciation. It is hoped that the Central Academy of Fine Arts and the Capital Library will deepen their cooperation in scientific research and creation in the future, so that high-quality exhibitions can benefit more audiences.Gao Gao, Deputy Director of CAFA Art Museum of, served as the hostGroup photo taken at the opening ceremonyThe exhibition will last until May 5th. It is hoped that the audience can encounter the authentic artworks in the corridors of bookshelves in the Capital Library, and feel the urban cultural context and contemporary innovation of Beijing amidst the fragrance of books and the charm of paintings.01DawnArtists' diverse depictions of the moment of dawn construct a dynamic pictorial book of urban humanities. These works interpret in a way of visual poetics that the dawn is not merely a physical moment of the transition between day and night, but also an aesthetic manifestation of the vitality of the city.Liu Jingui, "The Street Sweeper", 1984, 83.5cm×288cm, color on paper, collected by CAFAMXie Yan, "The Forbidden City in the Morning", 1997, 185cm×205cm, oil on canvas, collected by CAFAM02VitalityThe attention paid by artists of different generations to urban life presents diverse cross-sections of the urban ecosystem in different eras. These artworks deconstruct "vitality" into an organism that keeps growing, and they have become another dimensional yardstick for measuring the progress of urban civilization.Shi Xiguang, "Joining the Young Pioneers", 1964, 78cm×104.5cm, color on paper, collected by CAFA Art MuseumTan Quanshu, "One of the Series of Paintings of Tiananmen Construction Site II", 1958, 27cm×41cm, color woodblock print, collected by CAFA Art MuseumGuang Jun, "The Small Street on a Festival Day", 2018, 90cm×70cm, color woodblock print, collected by CAFA Art MuseumQu Guangci, "Wangfujing", 1994, 40cm×35cm×118cm, 50cm×65cm×116cm, 50cm×43cm×106cm, colored fiberglass reinforced plastic, collected by CAFA Art Museum03RenewalThe artists' visual dissection of the architectural texture and cultural memory reveals the deep logic of the renewal of the ancient capital: It is not merely the reorganization of physical space, but also the transplantation of collective memory and the reconstruction of the spiritual field.Shao Shenglang, "Scenery of Beijing No. 8: Autumn Rain on Jingshan Hill", 1961, 65cm×34cm, ink and color on paper, collected in CAFA Art MuseumDai Ze, "Banbi Bridge in the Summer Palace", 2002, 41cm×55cm, oil on canvas, provided by the collectorWang Qi, "Overpass from the Melody of the Street Series of Paintings", 1987, 40.2cm×28cm, monochrome woodblock print, collected in CAFA Art MuseumZhang Guilin, "Memory No. 5", 2008, 45.5cm×67.5cm, screen printing with multiple colors, collected in CAFA Art MuseumMiao Xiaochun, "Standing", 2007, 253cm×444cm, collectible fine art inkjet print, collected by CAFA Art Museum04Choose the central positionArtists transform the wisdom of city construction into a visual grammar. The central axis is not only the hub of the physical space, but also a spiritual anchor for the identification of civilization.Ai Zhongxin, "Remaining Snow on the Forbidden City", 1947, 38cm×70cm, oil on wood panel, collected by CAFA Art MuseumYazaki Chijiro, "Beihai Park in Beiping", 1947, 23.4cm×31cm, pastel on paper, collected by CAFA Art MuseumWen Jinyang, "Qianmen, Spring Festival", 1953, 43cm×56.5cm, oil painting on wood panel, collected by CAFA Art MuseumTan Quanshu, "Tiananmen Square", 1958, 35.5cm×25.5cm, monochrome woodblock print, collected by CAFA Art MuseumZhou Jirong, "Landscape - The Drum Tower", 2013, 60cm×75cm, screen printing with multiple colors, collected by CAFA Art Museum| Regarding the Beijing Cultural and Artistic Fund|The Beijing Cultural and Artistic Fund is a public welfare fund initiated and established by the Beijing Municipal Bureau of Culture and Tourism. It focuses on providing financial support in three major areas: the creation of stage art, cultural communication and exchanges, and the cultivation of artistic talents. The fund accepts applications from the public, and the funding process is subject to social supervision. The achievements of the funding are shared by society. It maximally mobilizes the enthusiasm of social participation in cultural construction, establishes an open, equal, public and transparent art funding system, and gives full play to the exemplary and leading role of the national cultural center.| Exhibition Information |北京文化艺术基金2024年度资助项目Rising At Dawn：中央美术学院美术馆藏北京主题作品展展览时间：4月18日-5月5日展览地点：首都图书馆（华威桥馆）B座第二展厅主办：中央美术学院协办：中央美术学院美术馆首都图书馆支持：中央美术学院科研处主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞
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Child Public Education Reservation Form

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Group Public Education Event Reservation Form

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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.