Exhibitions and Events-News

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

CAFAM讲座预告|从传统到未来:中式科幻与跨媒介叙事

2025-05-22

时间:2025年5月22日(周四)18:30- 20:30 地点:中央美术学院美术馆 报告厅 报名方式请扫描上方二维码报名参加讲座特别提示:受场地限制,讲座对校外公众开放300个名额。观众17:30后可凭登记的二维码,从美术馆西门进入报告厅,央美在校生无需扫码。主讲人:吟光学术主持:唐晖主持人:王芳主办:中央美术学院壁画系        中央美术学院壁画系直属党支部协办:作家出版社        中央美术学院美术馆讲座简介:“盛世出科幻。”从中式科幻的兴起讲起,介绍经典科幻的发展脉络和重要流派,从黄金时代“三巨头”到“新浪潮运动”、“赛博朋克”等高峰;进而阐述中式科幻寻找主体性的可能,如“丝绸朋克”“中华未来主义”等实验。并结合行业项目,阐述幻想世界观建构和跨媒介“分布式叙事”,探索对东方审美意趣与人文思想精神的创新转化——从过去看见未来、在未来重现过去。在科技时代,以科幻作为方法,通过“科幻原型”设计和“思想实验”,培养“未来定义权”与技术共生意识,开发想象力和研判未来趋势的能力——当AI袭来,以科幻为矛,持艺术以盾。吟光吟光,科幻作家。代表作品《港漂记忆拼图》《上山》《海上舟》《天海小卷》等,获央视读书“十大好书”、作家出版社“年度好书”、《亚洲周刊》全球华文十大小说、当当影响力作家、香港女作家协会“小说年度创作奖”等,英文版入选中宣部“丝路书香”工程,改编跨媒介剧场收藏于香港文学馆,科幻片参展第80届威尼斯电影节。蓬莱科幻学院首任院长、香港作家联会及世界华人科幻协会常务理事、香港女作家协会副理事长,带领机构推出“东方幻想”元宇宙科幻大会、“文学x新媒体”跨界艺术项目,将科技迭代运用到文艺发展,创造未来叙事的多重可能。唐晖唐晖,湖北武汉人。1987年毕业于湖北美术学院附中 ,1991年毕业于中央美术学院壁画系并留校任教。2019年获博士学位,现为中央美术学院壁画系教授,系主任,博士生导师,院学术委员会委员。作品被中国美术馆、湖北省美术馆、中央美术学院美术馆、香港大学美术馆、香港M+艺术中心、日本茨城县政府、美国肯尼迪艺术中心、北京鸿坤美术馆等机构收藏。其代表作有:《时空一击》(1991年作)、《时空一击-续》(1996年作)、《红色飞行器》(1996年作)、《中国家庭模型店》(1996年作)、《只是一声问候》(1997年作)、《唐城计划》(2002年作)、《纪念碑系列》(2009年作),以及《新宿的雪》、《主人公系列》、《北京新地标》等。出版的专著《唐晖1991-2008》、《庄严的怅惘》、《唐晖画鹿2014-2016》。2019年主持了第五套人民币视觉升级设计工作,50元,20元,10元,5元及1元的团花图案,钱币背面西湖风景,三峡风景的绘制者。王芳王芳,中央美术学院博士、副教授,中国美术家协会会员,中国壁画学会会员,中国女画家协会会员 。2019年公派澳大利亚国立大学访问学者。作品曾参加第十三届全国美展、第三届中国北京国际美术双年展、全国首届壁画大展、首届国际壁画双年展、2008造型艺术新人展等国家级大展。获2008造型艺术新人展佳作奖。举办个展澳大利亚国家肖像馆、澳大利亚国立大学Badger&Co。油画作品、论文刊登在《美术》、《美术观察》、《美术研究》、《美术向导》、《中国美术馆》、《中国当代艺术》、《中国油画》、《中国壁画百年》等期刊杂志。出版专著:《素描基础入门》,2019年,人民美术出版社。吟光作品“科幻原型”与“思想实验”:跨媒介创作《港漂记忆拼图》文艺与科技融合带来新的视角与挑战,展望未来,一种可能的趋势是跨媒介、跨学科共创同研。数字技术与文学创作的深度融合,新的叙事方式可能会诞生,呈现多媒体、多维度、立体式的超文本“复形”形态。《港漂记忆拼图》以香港文化为基底,讲述了游离在大都市新青年的成长经历与身份寻找。创新性结合戏曲美学和科幻设定,借都市景状,道出过去、现代与未来之交接,背后映射这一代年轻人的心灵境况和时代场域。跨媒介“分布式叙事”,以科幻小说、媒体剧场、科幻影片、叙事架构图、电子音乐、昆曲的多重叙事,打造IP生态链,共同构建柔软的东方科幻和记忆旅程。多媒体的多元感知方式在文本叙事之外增加不同视角和体验,而这样多元文化交融也与小说故事发生之地——香港构成了巧妙的呼应。世界观建构:东方幻想跨界小说《天海小卷》《海上舟》将东方神话、哲学诗学和文化遗产作为科幻设定起点,重述古典意趣,融以现代气息与科技元素,“从过去看见未来、在未来重现过去”,延续并拓展《山海经》等脉络,打通中西审美、都市观察与未来构想。《天海小卷》《海上舟》《上山》《行歌吟》讲述“吟游诗人”的游历视界,原创音乐结合故事剧情,复活“诗乐同源”传统,架构融合奇幻、科幻、古风的“艺术乌托邦”世界观设定。对东方意趣与人文思想的创新转化,让中华传统文化展现当下鲜活的生命力,是新一代文艺工作者塑造身份认同并建立东方美学话语的尝试。把时代社会风貌、多种艺术形态整合在一起的“立体小说”与创作集群(creative composition),如与MYStudio等合作科幻舞剧,灵感源自中国古代天文观念、山水画时空哲学、敦煌壁画乐舞、楚骚传说等,走向人类、机器、社会和自然共存的未来。AI共创未来:主办“东方幻想”元宇宙科幻大会文艺创作受到科技影响,反过来也要重视文艺对科技的引导作用,对社会的参与度与改造程度,发挥其主体性,由“新”文艺推动“新”科技。科幻作为一种前瞻性的文化实践,更可以创造和塑造未来。“东方幻想”元宇宙科幻大会是中国科幻界与艺术界在元宇宙对国际的首次亮相,开创了线上线下、跨国创作和交流的新模式。包含元宇宙科幻文献展、元宇宙音乐节、自动化戏剧、高峰跨界论坛“从数字吟游到后人类”等内容,搭建跨领域平台,邀请刘慈欣等海内外著名科幻作家参会。基于协同共智,以前是创作者中心,现在出现了用户和作者共创,而人工智能的跨学科、跨地域、跨时段等特性,能否实现跨媒介、跨阶层、跨文化,甚至帮助人类重建与万物的共生联结?或者是反方向?未来尚待探索。多年前鲁迅曾说:“此后如竟没有炬火,我便是唯一的光。”当AI袭来,以科幻为矛,持艺术为盾。主编 / 何一沙责编 / 杜隐珠
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相约520 | 属于中央美院本科生毕业展的“艺见钟情”

2025-05-22

就算读不懂艺术理论也没关系,当你站在作品前突然心跳漏了一拍,这场毕业展的目的就达到了—— 毕竟心动,从来不需要理由。所谓“艺见钟情”,便是央美学子们用几年的时光打磨出的一句话:“世界或许不够完美,但艺术能让我们相信美好、珍惜美好”。预约通道2025中央美院毕业季CAFAM@ 20252025中央美院毕业季线上预约购票通道已开启,观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票(购票说明详见官网)。每日观展名额限量约满为止,毕业季期间美术馆周一正常开放。预约时需使用有效证件进行实名预约,每人当天只能预约一次,预约成功后,观众按预约时间到场。毕业季期间,在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞 丰凯梓奇
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CAFAM学术季“青年论坛”征稿启事 | 钩沉与新解——央美美术馆藏品个案研究

2025-05-22

“中央美术学院美术馆藏陈列”于2025年3月开幕,随之展开的美术馆学术季也于同期启幕,系列聚焦于行业发展、美术馆管理、藏品研究的活动将在2025年持续举办。美术馆计划通过学术季这一国际化的视野和跨文化的对话,扩展自身丰富馆藏的社会化认知,探讨当代艺术博物馆在全球化和数字化背景下的担当与使命,为公众提供深度参与艺术对话的平台,实现学术研究与公共教育、社会参与的有机融合。目前已于3-4月完成“文化引擎——中央美术学院国际美术馆高峰论坛”“全国高校艺术博物馆联盟会议”,并计划于6-9月举办演讲论坛和专题论坛。“中央美术学院美术馆藏陈列——现代中国美术”展览现场“中央美术学院美术馆藏陈列——古代中国艺术”展览现场作为学术季的收官活动,美术馆拟定于2025年10月举办“青年论坛”,主题为“钩沉与新解——央美美术馆藏品个案研究”,旨在将青年一代的研究纳入到藏品研究、陈列更新的讨论中。现诚向海内外青年研究者公开征稿,组委会将依据论文内容及质量,确定论坛发言人选。届时,来自艺术及文博领域的专家学者将出席本次论坛,并就与会者的发言进行点评与讨论。征稿主题为“钩沉与新解——央美美术馆藏品个案研究”,内容为针对“中央美术学院美术馆藏陈列”中的近现代美术、古代书画、古代文物作品进行个案研究。馆藏陈列从中央美术学院美术馆2万余件展品中精选近五百件优秀作品,分为“古代中国艺术”和“现代中国美术”两部分。其中“古代中国艺术”部分选取了217件藏品,以“器物”和“书画”为两大类型,包含铜镜、画像砖、俑、陶瓷、宗教造像、人物画、花鸟画、山水画、书法九个子类藏品,时间跨越两千年。“现代中国美术”部分选取了馆藏20世纪中国美术作品247件,以时间为线,梳理呈现了油画、中国画、版画、雕塑等百年造型艺术的发展脉络。相关作品范围详见附件“馆藏陈列展出作品清单”,同时欢迎各青年学者到现场参观“中央美术学院美术馆藏陈列”,观看作品实物以助于深入分析及研究。
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展览预告|国家艺术基金2025年度传播交流推广项目“新中国设计的诞生”鲁美站即将启幕

2025-05-20

总策划:徐扬、林茂、许金龙特邀顾问:常沙娜学术主持:吕品晶学术顾问:杭间、许平、蒋兴旺展览总监:赵璐、胡秉文、赵双丽展览执行总监:王雄、靳军、韩文超、海军、高高展览统筹:庄革发、宋喜珍、陈亮、韩立萍、刘红日、林涛、张超、魏强、代刚项目负责人:纪玉洁策展人:周博、纪玉洁特邀策展人:赵璐联合策展人:张儒赫展览文献:刘春芽、徐恺、吴炜、杨欣欣、夏晴、孟楠展览助理:谢书旖、凌晨、于明慧、黄心仪、许梦伊、陈珊珊、王轩逸巡展策展助理:张倩媛、张良铭、陈家怡视觉设计:闵志伊、丁小川、庞明昊空间设计:薛梓桢、丁嘉仪、阎冠廷、杨雨霖、梅宛晨、张智豪、曲怡璇、宋柯杭、李金帝、李木紫特别鸣谢(机构):中央美术学院档案室、中国工业博物馆、辽宁工业展览馆、辽宁省建筑设计研究院有限责任公司、沈阳城市规划展示馆、沈飞航空博览园、沈阳音乐学院、大连博物馆、大连市规划展示中心、中车大连机车车辆有限公司、旅顺博物馆、鞍钢集团博物馆、抚顺煤矿博物馆、丹东抗美援朝纪念馆、长春博物馆、长春规划展览馆、长春电影制片厂、长影旧址博物馆、长春一汽集团红旗文化展馆、长拖1958文创园、吉林大学地质博物馆、哈尔滨博物馆、哈尔滨规划展览馆、哈尔滨工业大学博物馆特别鸣谢(个人):马克辛、赵国志、周永红、杨军、张天一、贾延良、周容、唐薇、王人殷、崔冬晖、彦风、戴梦、谢亚平、马鸿锦、历丽丽、曹阳、陈雪、陆刚、李世奇学术支持:国家社科基金艺术学重点项目“新中国设计史研究”(21AG012)课题组主编 / 何一沙责编  / 杜隐珠
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518博物馆日限定福利|“中央美院本科生毕业展”剧透抢先看

2025-05-19

当518国际博物馆日遇上中央美术学院毕业季,一场艺术与青春的碰撞正在美术馆酝酿。“中央美术学院本科生毕业作品展”第一阶段即将启幕,集中展出中国画学院、书法学院、版画系、雕塑系、设计学院、建筑学院、人文学院的毕业作品。今天,我们深入布展现场,为你揭开这场年度艺术盛事的幕后花絮,更有20个免费观展名额限量放送(评论区留言最期待的院系作品,即有机会获得毕业季门票一张)。走进央美美术馆,脚手架与展墙之间,年轻学子正在与时间争分夺秒。 当布展的灰尘还未落定,毕业生们仍在为某个细节争执不休。他们用砂纸打磨作品边缘的姿势,像极了在这个时代不愿妥协的棱角。5月20日起,来央美美术馆见证:那些曾不被看好疯狂构想;那些凌晨三点的执念与脆弱,那些铺满工作室的草稿,终将在你的参与下获得千万种共鸣的注解。 预约通道2025中央美院毕业季CAFAM@ 2025主编 / 何一沙 责编 / 杜隐珠现场图 / 贺伊飞
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什么才是央美的“实验艺术” ? | “中央美院研究生毕业作品展”精彩回顾

2025-05-15

当艺术的边界在实验中消融,当故事的肌理被重新编织,中央美术学院实验艺术与科技艺术学院的年轻创作者用跨维度的实践,诠释了实验艺术对当代语境的深度回应。那么,什么才是央美的“实验艺术”呢?展厅中“实验”二字被反复解绑又重组,在这里能看到他们关于媒介创新、叙事解构、跨界融合和社会镜像的探索。这场以多元叙事为表象的展出,实则是关于艺术本质的哲学追问。也许,真正的实验性永远存在于过程中,以唤醒观众对不确定的觉知。| 温馨提示 |“中央美术学院本科生毕业作品展”即将于5月20开展,精彩不容错过!01媒介创新CAFAM@ 2025李湘宜《双城记》340*340*300cm偶戏表演 表演时长12min双城记是一出讲述医疗游民境遇的偶戏表演。父亲带着女儿来到城里看病,女儿在住院,而父亲只能在城里四处寻找落脚处。在这一天中,父亲接连与不同角色相遇,他们丑态百出又解囊相助,在白天与黑夜中展现出千差万别的面孔。作者以表演行为艺术为媒介,讲述了一个沉重的医疗议题。小小的身躯直击现实,展现了社会百态与人情冷暖,内涵深刻,引发了许多观众的共鸣。Mady Cheng《五福四海》200*245*235cm 综合材料全球化曾是某种必然,一种历史叙事的方向。对于成长于90年代末至2010年国际学校的作者而言,世界的连结性并非抽象概念,而是一种日常经验——不同语言中交错,饮食习惯在餐桌上交融,身份流动在对话之间展开。“地球村”不仅是经济与文化的框架,更是他早年世界观的基石。然而,今日的现实指向另一条轨迹。去全球化正在成为主导趋势,国家间的壁垒再度强化,区域性的文化与经济格局加深分裂。在这样的背景下,《五福四海》试图借助味觉的媒介,重构全球经验,召唤那些曾经共存、彼此滋养的关系。菜肴不仅是物理性的混合,更是社会记忆的沉淀,承载着过往的理想,也折射出当下的矛盾。在这场宴席之中,食物超越其生理功能,成为文化的隐喻、历史的载体和情感的出口。一桌菜,既是一次回溯,也是一次提问:当全球化不再是共识,我们该如何重新理解彼此?02叙事解构CAFAM@ 2025罗厚麟《流浪艺人》300*300*300cm 漫画、瓦楞纸板这件作品截取自作者的漫画《南方蟑螂》中未完成的第四章“流浪艺人”,故事以90年代虚构的南方县城为背景,当流浪马戏团闯入这座潮湿的南方小镇,帐篷里每天都在上演着不同的奇幻剧场。罗厚麟《流浪艺人》300*300*300cm 漫画、瓦楞纸板这件作品截取自作者的漫画《南方蟑螂》中未完成的第四章“流浪艺人”,故事以90年代虚构的南方县城为背景,当流浪马戏团闯入这座潮湿的南方小镇,帐篷里每天都在上演着不同的奇幻剧场。观众创作的故事赵祎彤《声域地理》尺寸可变影像、公共电话机、开发板、串口屏幕 《声域地理》作品由影像及改装公共电话构成。公共电话作为载体,承载着不同语境下的通话画面:影像通过电话屏幕进行播放,声音通过电话手柄内部播放,观众需拿起听筒才能接收对话内容。由此构建起个体与装置之间的私密互动场域,呈现出多种情绪状态及其背后的情感模式与流动轨迹。影像分为视频和音频两个部分。视频部分拍摄周围处于不同人生阶段的人的通话,通话内容自然发生,内容大致围绕:成长、未来、反叛、心动、距离......与此同时邀请来自不同国家的朋友针对上述主题展开通话。对话者在听不懂彼此语言的情况下,使用各自母语进行对话,通过语气或表情来感知彼此的情绪。以此创造陌生通话者之间自然微妙的谈话氛围,激发原始而直接的交流。最后用这些跨文化对话替换了视频原声,创造出时空交错的交流体验。03跨界融合CAFAM@ 2025王典《艺术市场:从西红柿到艺术》2.4x2.4mAI生成的大量西红柿的艺术阐释、1/4块西红柿作者想通过这次作品去做一个当代艺术的确立性实验,利用AI技术去为西红柿赋予艺术内涵。作品整体以镜面装置形式呈现,在空间中利用墙体90度夹角的位置放置两块镜面,去构建出一个虚实结合的视觉空间。镜面上密密麻麻的文字,是AI根据一颗西红柿所生成的各个角度的艺术阐释,如同艺术世界里纷繁复杂的观点与话语,在镜面的互相反射下延伸,形成了一个看似没有尽头的文字迷宫。底部的西红柿,以其鲜艳的色彩和真实的存在,打破了文字的抽象,成为这个迷思空间中的现实锚点。所有AI生成的各个角度的艺术阐释从上至下由疏至密呈倒三角形排列,镜面上的文字与现实空间虚实结合将西红柿一切为四,不完整的西红柿通过镜面的映像却又完整成一体。使西红柿的真实存在与镜面上虚幻的文字形成对比,想去对艺术界纷繁话语做一个幽默、戏谑地回应。当观众驻足作品前,不仅能看见镜子里无限延伸的文字,还能目睹自己也交织其中,仿佛自身也融入了这场艺术探讨。这件作品期望通过这种视觉与概念的双重碰撞,邀请观众走进这个空间,在文字的反射与西红柿的真实之间,来寻找属于自己的艺术答案。04社会镜像CAFAM@ 2025牟韵婷《达奇茨方糖工厂》280cm*280cm*350cm不锈钢、传送机械、方糖、宣纸、矿物颜料《达奇茨方糖工厂》取自捷克⼩镇达奇茨的⽅糖⼯⼚。1843年,世界上第⼀块⼯业化生产的⽅糖诞⽣于此。从这⾥开始,⽅糖便成为了西方社会现代化和工业化进程中的重要符号。同时,糖也是西方殖民活动向殖民地掠夺的重要目标资源之一。在结构上,这件作品化用了老彼得·勃鲁盖尔的《巴别塔》一画中的图像,以金属结构制作,包含一个螺旋滑梯,一条上下循环的传送带,和一个可以自转的圆盘底座。在内容上,这件作品以两种国际主义的隐喻构成了一对二元化的对比关系,在滑轨上不断下滑的、带有达奇茨方糖工厂标志的盒装方糖指代基于殖民活动的资本主义全球化扩张,以及其所倡导的虚伪的国际主义现正不断下坠。这个世界破破烂烂,但总有⼈在缝缝补补。⽆论是作为个体还是民族,总有人呈现出与命运抗争的姿态,从巴别塔到第三国际纪念塔,从天下⼤同到国际主义,虽然像梦幻彩⾊的泡泡⼀般脆弱易碎,但⼈类互相理解和联合的梦从未停⽌,我们从未放弃向更⾼处攀⾏。曹嘉巍《证词:一座静默的山》240x200x300cm餐桌椅、现成品、气球、电视屏幕这件作品以家庭餐桌为场域,堆积起家庭演变史的地层切片,构成一场关于家庭规训与代际创伤的隐喻剧场。作品在家庭中话题最多的餐桌上进行,其上方有一座家庭史的地层脉络结构。几大地层叙述着一个中国普通家庭的变迁。在地层切片的最上层,则是被这个家庭经营好的和谐景观,在这和谐之下,是诸多的家庭物象被挤压埋藏的不安,餐桌之上共同构建起一座静默的大山。当观者面对面入座其中,面前被厚重的大山所阻挡。这是家庭长期堆砌的琐物挤压埋藏,层层叠嶂,逐渐遮挡住餐桌两边家庭个体间的的视线,横亘眼前的已非传统意义上的用餐空间,而是一座由代际规训构筑的情感褶皱山系。个体间的沟通受到阻碍,家庭成员一起在餐桌上用餐,变为了一场无声静默的剧场。餐桌不再承载共食的温情,在这里,个体的证词被埋入地下。这件作品未做单向批判,而是由装置影像甚至于观者共同来构成关于情感羁绊的动态隐喻——我们既是家族谱系的继承者,也是代际创伤的考古人,在挣脱与回溯的永恒博弈中,完成对亲情本质的重新勘测。在这个艺术场域里,我们都将获得属于自己的叙事版本——实验艺术永远在颠覆与重建的循环中,等待被重新定义。从这个意义上讲,毕业生作品给出的不是定义,而是一份开放问答——邀请每个凝视作品的观众共同续写关于”实验艺术“的未完成答卷。
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临时闭馆公告 | “中央美院研究生毕业作品展”今日收官 我们520再相约

2025-05-15

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

2025-05-15

5月11日下午,中央美术学院美术馆隆重召开了2025年志愿者见面会暨2024年志愿者表彰大会。中央美术学院美术馆馆长靳军、直属党支部书记韩文超、副馆长高高、副馆长海军、公共教育部主任肖宝珍、办公室副主任岳君瑶、公教部项目主管王军等出席了会议,近50余名志愿者齐聚一堂。自2024年6月底重新招募以来,中央美术学院美术馆的志愿者队伍不断壮大,吸引了上百名热心志愿者。2025年新招募的志愿者们又为队伍增添了一批新鲜血液。中央美术学院美术馆馆长靳军中央美术学院美术馆馆长靳军首先致辞,他从社会服务和美育的角度,阐述了志愿者在美术馆工作和观众服务中的重要意义和作用,同时希望有更多的人参与到志愿服务工作中,推动社会文化传播和进步。中央美术学院美术馆直属党支部书记韩文超中央美术学院美术馆直属党支部书记韩文超对2024年度志愿者们的辛勤付出表示感谢,并肯定了志愿者管理制度的进步和规范化。他强调,志愿服务的数量和质量是衡量社会文明进步的重要标尺,也是加强精神文明建设、培育和践行社会主义核心价值观的重要内容。他希望志愿者们在服务过程中也能有所收获,丰富自己的艺术认知而得到成长。中央美术学院美术馆副馆长海军中央美术学院美术馆副馆长海军从故宫二十周年志愿者队伍谈起,深入阐述了志愿服务在社会美育工作中的重要作用。他指出,志愿服务不仅是连接社会大众和美术馆的桥梁,更是传递美术馆文化品位的重要载体。志愿服务不仅是一种工作,更是情怀和力量。他希望志愿者们以高质量的服务,将中央美术学院107年的丰厚藏品和艺术资源呈现给公众,为社会公众带来强情感、强知识、强互动的链接。中央美术学院美术馆副馆长高高中央美术学院美术馆副馆长高高为志愿者们介绍了美术馆的概况,包括历史、建筑特色、展览脉络与分类、学术规划和藏品特色。她还提到线上学习资源和讲座等活动,希望能帮助志愿者们深入了解美术馆的各个方面,以便他们能更好地服务观众,成为美术馆与公众之间的桥梁。中央美术学院美术馆公共教育部主任肖宝珍公共教育部主任肖宝珍在发言中系统阐述了部门职能体系与工作规划。回顾2024年7月至2025年4月,公共教育部接待VIP导览266场,服务嘉宾约四千余位,公益导览627场次,服务观众上万人次,她着重总结了上年度志愿者队伍的建设成果及实践经验,公教部将延续过往的艺术知识培训体系和跨馆参观学习计划,这将有效提升志愿者的艺术品鉴能力、拓宽艺术视野,更能促进理论知识与实践能力的深度融合。中央美术学院美术馆办公室副主任岳君瑶为了确保志愿者们的后勤保障和规范化管理,办公室副主任岳君瑶详细讲解了志愿者管理规定、志愿者的服务内容和岗位职责以及注意事项,进一步明确了志愿者的职责和权利,确保每位志愿者在服务过程中都能顺利、高效地完成各项任务。中央美术学院美术馆公共教育部项目主管王军项目主管王军老师为志愿者们分享了导览服务技巧、工作注意事项以及毕业季采访和讲解工作的要点。他用生动的语言和实用的方法,让在座的志愿者们受益匪浅。他最后说“咱们展厅见”,让在座的志愿者们跃跃欲试。优秀志愿者代表刘越男分享了自己的导览经历。她谈到:“在做导览时,我遇到过各种各样的观众。有的对艺术史很了解,会在讲解后和我交流,让我学到不少新知识;也有的完全不了解艺术,在听完讲解后会说‘原来作品还能这样去解读’。这让我意识到,导览的价值不仅在于传递信息,更在于帮助观众建立和艺术对话的桥梁。”同时,她也分享了一些自己导览的经验。靳军馆长为2024年度15名优秀志愿者颁奖中央美术学院美术馆2024-2025年度优秀志愿者:黄丽敏、陈嘉嘉、常青、董海洋、李沐晓、邢溪予、赵颖轶  苗润斌、刘越男、刘卫红、姜丽娟、乔爱莲、温京晶、安娜、杨泽仪 (排名不分先后)在美术馆的日常工作中,志愿者导览不仅是服务工作,更是美术馆的形象代表,承担着美育服务的重要职责。通过志愿者们的热情导览,艺术作品的故事和知识得以生动地传递给观众,为中央美术学院美术馆的公共教育事业贡献着不可或缺的力量。愿每位志愿者化作星火,在艺术长路上执光同行;让我们以热忱为笔,继续勾勒那些被温暖照亮的城市晨昏。当画框盛满月光,导览词浸润晚风时,相信你们的光芒终将叩响千万扇心扉,让美与希望在人间枝繁叶茂。主编 / 何一沙 责编 / 杜隐珠供稿 / 公共教育部
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Why Did The Mural Department Of CAFA In This Session Become Popular? | There Are Only Two Days Left Before The Exhibition Closes

2025-05-13

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

2025-05-12

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

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Adult Public Education Event Reservation Form

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Group Public Education Event Reservation Form

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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Event Booking Form

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Reminder:

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