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.

: Homecoming: "Arata Isozaki: China In The Eyes Of A Global Citizen"

2025-08-09

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

2025-08-08

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

2025-08-06

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

2025-08-03

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

2025-08-03

> > > >The second phase of "Collection Exhibition of CAFA Art Museum – Modern Chinese Art" is on display at the CAFA Art Museum. The "Modern Chinese Art" section includes 22 newly added works, ranging from traditional Chinese paintings, oil paintings to prints. These works are not only the individual expressions of artists but also embody the exploration and reform in the torrent of history, responding to the times with modern forms and languages. This push will focus on Chang Shuhong's Still Life (Flowers, Books), allowing us to experience the delicate world of art together.常书鸿《静物（花、书）》 1942年布面油彩 79×64cm 中央美术学院美术馆藏常书鸿是一位兼具绘画、考古等多方面成就的杰出人物。作为旅法先驱，他于1927至1936年间在法留学，后学成归国。这幅《静物》创作于1942年6月端节（夏至）左右，正式在抗战期间的重庆，以温暖的橙红色调描绘了窗前之景，花瓶之中插满盛放的野花，他们沐浴在阳光之下，极富生命力。带着印花的布铺在窗前，桌上还放着做工精致的蓝色小瓷碟，花瓶后放着一摞书，画面最前面是一封信，作者对于信封进行了极为细致的描绘，从信封上可以看到这应该是一个公函，或许对于作者有着重要的意义，要在画面上描绘、纪念。《静物》局部图作品的色彩浓郁且和谐。黄色花卉明亮鲜艳，成为画面活泼亮色，与陶罐的棕红、深绿形成沉稳基调，背景窗景的柔和色调则起烘托作用，冷暖色调交织，既展现生机又传递静谧氛围。作者通过简单的场景描绘展现了生活的温馨与美好。《静物》局部图这件作品同时也体现了常书鸿对于“中国油画体式”的探索，将描绘对象从“法国的”置换为“中国的”。在此画创作后的1943年他筹建了国立敦煌艺术研究所，迎来其职业身份和家庭生活的巨大转变，此后在敦煌生活、工作长达五十年，并被誉为“敦煌守护神”。>>>>中央美术学院美术馆藏陈列——现代中国美术（第二期）展览时间：2024年7月1日起展览地点：中央美术学院美术馆2层A展厅主编 / 何一沙责编 / 杜隐珠
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: International Collection Focus | "Opening" The Video Experience of Roman Signer

2025-07-31

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

2025-07-31

"Collections Of CAFA Art Museum -- Modern Chinese Art" features 22 newly added works covering traditional Chinese painting, oil painting, and printmaking. These works are not only the individual expressions of artists but also embody the exploration and reform in the torrent of history, responding to the times with modern forms and languages. This update of the collection exhibition is an in-depth artistic invitation that integrates the ancient and the modern. It is hoped that the audience can feel the vitality of Chinese art and civilization in the dialogue between ancient patterns and modern compositions, as well as in the collision between traditional charm and contemporary spirit.
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: "New China Artists: Hu Yichuan" Edited By Professor Cao Qinghui Of The Central Academy Of Fine Arts Has Been Published

2025-07-28

New China Artists: Hu Yichuan胡一川的代表作品有哪些？曹庆晖教授还编著过哪些关于艺术家的书籍？给我推荐一些介绍中国现代美术家的书籍编著：曹庆晖出版发行：中国青年出版社出版日期：2025年5月第1版第1次“十四五”国家重点出版物出版规划项目、CAFAM学术丛书《新中国美术家·胡一川》，由曹庆晖教授在2020年策划的“站在人生的前线——胡一川艺术与文献展”（点击文末“阅读原文”了解展览）的基础上于2021年编著成稿。2022年，有专家在阅读书稿后认为：“阅读《胡一川》书稿，让我走进一个真实的胡一川世界，为他的传奇人生、革命精神所振奋，为他的创作激情和执着追求所感染，为他的家国情怀、爱情故事所感动。胡一川用他的一生诠释了革命艺术家的坚毅执着、使命担当、真诚质朴、大爱无私的人格魅力与伟大情怀。期待这部书早日与读者见面。”2025年，《新中国美术家·胡一川》通过国家新闻出版署图书重大选题备案后由中国青年出版社印刷出版。这也是编著者曹庆晖在2024年领衔编著出版《新中国美术家·滑田友》之后，再次依托展览策划成果与中国青年出版社合作，在“十四五”国家重点出版物出版规划项目、CAFAM学术丛书系列出版中取得的又一展览图录编辑与研究成果。中国美术家协会主席范迪安在序言中阐述道：“从观赏作品到阅读文献，这对于我们理解胡一川先生及这一代艺术家的精神品质，对于我们认识20世纪中国美术的文化属性，特别是许多属于思想性的探索与建树，无疑具有重要的学术意义。”CAFAM学术丛书“新中国美术家”系列以中央美术学院美术馆的学术研究和馆藏作品为依托，呈现新中国成立后，几代美术名家的艺术人生之路。通过个案研究，梳理这段发生在近现代传统美术转型后的风云激荡的美术史。中央美术学院美术馆自上世纪五十年代起便以展览的形式参与到新中国美术史的书写之中。随着迈入新时期后迎来的美术馆学术建设的系统化发展，中央美术学院美术馆持续地推动丛书的编写和出版，使其立足于中央美术学院美术馆扎实的学术研究工作，这些工作既包括对馆内藏品、展览的基础性梳理，也包括对艺术史、艺术理论和美术馆学的深入思考。———————————————————— □ ————————————————————胡一川简介作者简介曹庆晖，中央美术学院人文学院美术史系教授，致力于中国近现代美术史、美术教育史、艺术物料学及美术馆典藏研究与展览策划，参与策划以校史、学科、人物为中心的作品文献展20多个，著有《美育一叶》《走进学院的中国画》等，发表论文被《新华文摘》、人大复印报刊资料《造型艺术》转载。《新中国美术家·胡一川》《新中国美术家·胡一川》目录不同于“站在人生的前线——胡一川艺术与文献展”的物料空间编辑工作，针对资料平面编辑工作的特定性，编著者曹庆晖从封面到体例、从作品到文献、从梳理到研究，均结合展览的主题与策划对《新中国美术家·胡一川》进行了有经有权的处理。对于编辑体例，考虑到图录分章不宜过多以及文字编辑工作本身所要求的严谨规范，编著者一方面剪裁了不适于平面转化利用的第一展览板块“胡一川这个同志——大家所了解的胡一川”的视频采访内容，另一方面将展览其他4个呈现胡一川艺术人生内容的板块——“木刻与文献”“油画与文献”“美育与文献”“苦难与幸福”——并为一章，同时融入第一展览板块和展柜等其他辅助空间的照片和文献内容，总题为“艺术·人生”，从而形成以“主旨·策划”“艺术·人生”“专题·研究”和“后记”为基本章节的《新中国美术家·胡一川》编辑体例。《新中国美术家·胡一川》内页对于专题研究，其实并不止于“专题·研究”一章发表的从创作、展陈展开深入讨论的两篇文章，开篇呈现的展览主旨与策划写作无疑也是专题研究的一种。在《新中国美术家·胡一川》中，编著者很注意在章节大专题下对小专题的材料编辑和聚焦。因之，也就有了围绕木刻、油画创作和美育工作编辑、组织胡一川手稿材料的诸多列目和呈现，有了通过胡一川日记书信编辑而成的《到武汉去》《苦海深处》《千里之外》等文献汇编。将各类物料有机整合到某专题之下加以编辑，并在此基础上择题展开深入的专门讨论，是《新中国美术家·胡一川》在编著中自觉实施的编研方法。《新中国美术家·胡一川》内页对于书籍装帧，编著者希望既考虑胡一川绘画艺术辨识度但又不落常规，既突出“站在人生的前线”的主题但又不抽象，最终选定胡一川的一件水粉小画稿《出击之前》（25.7cm×21.3cm，1942年）为封面，并以胡一川1937年1月23日日记中的一句话——“你应该勇敢地跑到时代的前头当旗手，而不应该只握着时代的尾巴”——为封底，从书籍装帧而不是海报设计的需求呈现“站在人生前线”的主题。《新中国美术家·胡一川》封面封底展开图编后记曹庆晖：为了人生进步和美好——写在《胡一川》编后阅读胡一川的作品和文稿，走进胡一川的世界，深深地为一位在救亡图存的时代里成长起来的有理想有责任的文艺战士，积极投身于民族解放和国家建设的前线，振臂呼号、放声歌唱的奋勇作为所振奋；深深地为一位讲团结紧张严肃活泼、有觉悟也有苦恼的党员干部严以律己、克己奉公的奉献精神所感慨；深深地为一位有血有肉、有情有义的男子汉和他忠孝、慈悲、恋爱、生死的故事与人生长情所感动。站在人生的前线——是时代沧桑巨变的急切召唤和需求，是胡一川的切实响应和行动步履。在献身正义和争取自由的血火革命中，在追求光明和幸福的人生道路上，胡一川所代表的中国现代艺术先锋之一面——以画笔为刀枪，冲锋陷阵；以画笔为琴瑟，讴歌信仰——收获的艺术和精神财富，远比我们从教科书上看到的描述要精彩、浓郁、艰辛、坚定。同时从中也清楚地看到，胡一川作为时代的一分子，从20世纪三四十年代的革命年代，到五六十年代的建设年代，到八九十年代的开放年代，在思想认识上也深深地钤印着时代的印痕。胡一川之所以是胡一川，就是他坚持自己的理解、认识和选择。特别感谢广州美术学院胡一川研究所在展览策划和图书编著时在物料方面给予的大力支持。对于入展入编的会议记录稿、讲话发言稿、工作笔记、日记、书信、回忆等原稿文字以及其他的发表文字，本书在研究所提供文字基础上，在尊重原稿原刊、不影响阅读和理解的原则下予以梳理和编校，尽可能顺其自然，力求让文字呈现较充分地反映胡一川所处时代的特点和风采。编辑此书，与其说是和“站在人生的前线——胡一川艺术与文献展”相联系，对胡一川艺术人生的再记录，不如说是对蕴含其中的精神价值和经验智慧的深入挖掘与研究的再期待。与其说是为了学术研究，不如说是为了人生进步和美好。是为记。内　页
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: CAFAM公教活动回顾 | 从观展到讲解！”小导览员”的华丽蜕变

2025-07-24

2025年7月15日，中央美术学院美术馆第二届“小导览员”公益课程圆满完成。本次公益课程是中央美术学院美术馆在探索和实践中国青少年美育的重要环节，对加强我国基础教育美育建设、弘扬中华美育、丰富儿童艺术文化体验具有重要的作用。本次课程设置三大模块：艺术知识学习、导览技巧培训和实战考核，由中央美术学院美术馆公共教育部王军老师主讲。王军老师示范导览王老师通过生动幽默的教学方式，为孩子们带来系统化的导览培训。循序渐进地引导孩子们掌握导览要点，并结合每位学员的实际情况和个体差异，开展差别化教学，真正做到“因材施教”。”每个孩子都是独特的，我们要做的就是发现他们的闪光点。"王老师如是说。王振振老师讲解《横云山民行乞图》来自中央美术学院油画系的王振振老师为学员们讲解了中央美术学院馆藏古代艺术展中的书画部分，并以海派大师任伯年的镇馆之宝《横云山民行乞图》为例，深入浅出地解析了绘画作品的欣赏要点，并引导学员们思考如何理解和讲述艺术作品的内涵与价值。中华女子学院播音与主持专业祝佳月讲授讲解技巧来自中华女子学院播音主持系的祝佳月老师为小朋友们带来了一堂生动实用的导览语言技巧课。课程中，祝老师从语音发声的基础入手，细致讲解了正确的呼吸方法、发声技巧以及语言表达训练方式，帮助孩子们掌握清晰、流畅的导览表达。祝佳月老师结合专业播音主持经验，通过趣味互动和示范练习，不仅提升了孩子们的导览能力，更增强了他们的语言表达自信，为未来的公共讲解打下坚实基础。7月13日的考核现场，小学员们自信大方的表现让老师们惊喜不已。从最初的紧张到现在的从容，短短几天时间，孩子们已经能够独立完成专业讲解。讲解现场“看到孩子从不敢开口到侃侃而谈，这种成长太让人感动了。"家长动情地说。值得一提的是，本届课程吸引了来自广东、内蒙古、广西、辽宁等全国多地的小朋友参与，展现了美术馆美育工作的广泛影响力。美术馆直属党支部书记韩文超在结课仪式上总结发言7月15日，在“中央美术学院美术馆小导览员公益课程”结课暨颁奖仪式上，中央美术学院美术馆党支部书记韩文超发表讲话。本届课程不仅让孩子们深入领略中华传统艺术精髓，更培养了表达能力和责任感。相比往届，今年课程在参与广度和互动深度上均有显著提升，成功助力孩子们从”艺术参观者"蜕变为"文化传播者"。他表示，美术馆将持续推出优质公共教育项目，让艺术滋养更多家庭，并寄语小导览员们继续传承文化，传播艺术之美。家长代表发言来自广东的林稀宝同学的家长作为代表分享了参与感受。林先生专程从广东带孩子来京学习，她表示，短短课程期间就明显看到孩子从腼腆不敢开口到能够自信流畅表达的蜕变，对老师们专业负责的教学态度和课程”干货满满"的内容设置给予高度评价。学员代表分享感受来自北京第一实验小学的小导览员徐艺珊同学分享了自己的学习心得。她表示，通过本次学习，不仅能够近距离观赏馆藏大师作品，更透过铜镜、汉代画像石、唐三彩、陶俑、瓷器、书画等珍贵文物，深入了解了不同历史时期的社会文化生活。”想要讲好一件作品，需要具备多方面的综合能力。"徐艺珊在分享中提到，课程让她意识到艺术导览需要持续的学习积累。从梳理讲解内容到现场表达，她感到自己在艺术理解和表达能力上都有明显提升。这场"视觉盛宴"让她仿佛穿越时空与古人对话，并期待未来能继续参与美术馆的学习活动。仪式最后，中央美术学院美术馆副馆长海军、副馆长高高为小导览员们颁发证书。美术馆副馆长海军为小导览员们颁发证书美术馆副馆长高高为小导览员们颁发证书
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: 丹青里的凝视：袁镜蓉仕女图中的时代印记 | CAFAM馆藏陈列

2025-07-24

>>>>《女仙图》，袁镜蓉，轴，纸本设色，清，纵102cm 横48cm，中央美术学院美术馆藏题跋：袁镜蓉，字月渠，随园老人女孙，吴侍郎梅梁淑配也。能诗，善花鸟，画仕女尤长。艳而不冶，秀雅有唐人笔韵，洵为嘉道间闺秀之杰出者。与先祖母钟太夫人结姊妹行，此帧系其手赠，余幼时即见之。迄今几四十年矣，无题款印记，久恐失传，志其姓字原委如此。后之鉴者，庶得信有征焉。时光绪二年岁在丙子二月花朝，叔宪张度题。钤印：张度（朱文方印）、叔宪（白文方印）、辟非（朱文长方印）鉴藏印：叔宪所保（白文方印）、传壁经堂确定真品记（白文方印）《女仙图》局部图袁镜蓉，字月渠，江南奉贤（今上海）人，生于清代诗画簪缨之家。其家学渊源深厚，祖父袁秉直曾任江西巡抚，父亲袁厚堂官至广宗知县，后适工部侍郎吴杰为室。虽张度于画跋中附会其为袁枚孙女，然其才情本自卓然——工诗词，擅丹青，尤以花鸟人物见长。笔下仕女，非但得其形貌，更摄其神韵，一颦一笑间尽显闺阁雅致。诗画相生，笔墨间自有一段清淑之气，既承家学之粹，又见女子之慧，堪称清代闺秀艺文之典范。《女仙图》局部图这幅无款钤印的仕女图卷，在绢素上悄然诉说着一个关于时代审美的秘密。画中三位佳人风姿绰约，其构图意趣与乾隆年间苏州坊间盛行的木版"三美图"竟有惊人的血脉相通——那些在民间雕版上反复出现的丽人形象，此刻在闺秀画家的笔下获得了更为精致的重生。细观画面，仕女们手持药锄、提篮采芝的细节，为这幅世俗美人图平添几分道教仙韵。这种雅俗交融的表现手法，在女性画家的创作中实属凤毛麟角。袁镜蓉或许未曾意识到，她笔下的柳眉杏眼、弱质纤纤，恰是那个时代男性凝视下的完美投射。当木版年画的市井趣味与闺阁丹青相遇，我们看到的是不同艺术媒介在视觉语言上的奇妙共鸣，更是性别权力在艺术创作中留下的深刻印记。>>>>中央美术学院美术馆藏陈列——古代中国美术（第二期）展览时间：2024年7月1日起展览地点：中央美术学院美术馆2层A展厅主编 / 何一沙责编 / 杜隐珠编辑 / 王一帆
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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.