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公众招募 | 传承雅芳——中央美术学院美术馆藏品鉴赏与再创作体验活动

2024-09-11

文金扬 十三陵水库工地 1958年 43X 69cm木板油彩正值收获时节,秋风送爽,“中央美术学院美术馆藏陈列——现代中国美术”正在展出,此次展览作品共计200余件,主要以油画、雕塑、版画、水墨为主,作品创作于1900-2000年间,跨越了一个世纪。戴士和 雨后窗下 1998年,120x120cm 布面油彩这一时期,正值新文化运动兴起,一批知识分子及学者,在思想、文化、政治、科学方面有了新的想法,他们积极学习西方的先进思想与文化,探索中国的现代化发展道路。艺术同样也不例外,中国学院美术教育在观念和技法上有了大的变化,为了更深入了解这一时期的绘画作品,我馆将于9月12日与大家一起欣赏原作、抒发己意,体验实践的写意绘画。工作坊简介■ 学习方式:1.导览老师带队参观展览30分钟,学员自行选择喜欢的风景画作拍照。2.观展后,去往工作坊进行实践绘画。■ 课程内容:1.学员自行选择展览中任一风景作品,由老师分析其风格与特点;2.讲述水性材料的特点和运用;3.绘画过程中老师穿插演示指导;4.围绕风景、山水主题绘画;5.考虑作画的方便与学员好入手,我们将以纸质水性材料为主要作画方式;6.创作实践:在导师的指导下,学员可完成一张或若干张完整的绘画作品;7.作品分享与讨论:学员展示自己的作品,并与其他参与者交流心得。■ 绘画技巧关键词:晕染、皴擦、厚涂、薄染、直接画法、多层叠加、颜料调配、毛笔的运用、远近景处理、意临。■ 绘画材料知识:1.水彩纸厚实的特点,便于初学者容易快速上手,其绘画媒介可以用水彩颜料、国画颜料、彩色铅笔、铅笔、钢笔等,学员可自由发挥。2.水彩颜料的色彩丰富,便于学习调色技巧。3.宣纸,可画出水墨韵味的国画。■ 公众需要准备的材料:水彩纸、宣纸、铅笔。工作坊报名时间:9月12日(周四)上午10:00-12:00地点:中央美院美术馆 会议室体验对象:18岁以上成人人数:15-20人■报名方式:请添加微信13910187193(姚老师),标注“工作坊+真实姓名+电话+职业”发送申请,名额有限,报满为止。报名成功者会收到短信回复,请勿重复提交报名。注:1.本次体验请自行购买美术馆门票。2.工作坊全程免费参与。3.活动最终解释权归中央美术学院美术馆所有。■专业导师:西老师,油画专业、美术学博士主编 / 何一沙责编/ 杜隐珠
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"1949年第一届全国美展作品资料典藏展" 今日开展

2024-09-11

中央美术学院人文学院典藏研究“1949年第一届全国美展”作品资料典藏展主办:中央美术学院人文学院协办:中央美术学院美术馆展览时间:2024年9月10日—2024年10月8日展览地点:中央美术学院美术馆四层展厅
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CAFAM展览预告 | “大艺不言——林岗先生百岁艺术展” 即将开幕

2024-09-10

                          百年辉煌·中央美术学院艺术名家                    大艺不言——林岗先生百岁艺术展                       主办:中央美术学院                         承办:中央美术学院党委宣传部                   中央美术学院美术馆                   中央美术学院油画系                       支持:中国国家博物馆                    北京美术家协会                       展览时间:2024年9月11日–10月13日                       展览地点:中央美术学院美术馆3层B展厅                       开幕时间:2024年9月11日下午3:00                       开幕地点:中央美术学院美术馆3层B展厅▲▲▲“创作过程的苦与乐,也是一种精神享受;我喜欢这种感觉,随心所欲!”——林岗林岗先生是中国当代油画家,中央美术学院油画系教授,1999年获俄罗斯文化部授予的普希金勋章,并被聘为俄罗斯圣彼得堡列宾美术学院名誉教授,2014年获中国文学艺术联合会颁发的第十一届“造型表演艺术成就奖”,2018年获首批“中央美术学院杰出教授”称号。2024年是林岗先生的期颐之年,本项目是中央美术学院“百年辉煌·艺术名家”系列展览之一,也是学校弘扬立德树人精神,传承前辈名家大师传统的重要活动。1950年代,林岗在苏联写生1950年代林岗在苏联留学时期与同学合影,左一林岗,左二李玉兰1958年,林岗在苏联列宁格勒列宾美术学院(USSRschool ),老师为他指导2017年,林岗在画室邵大箴称林岗是“辛勤、智慧的艺术探索者”,林岗先生自己认为艺术需要99%的努力加1%的天赋。本次展览以回顾林岗先生80余年的艺术历程为基本思路,展览通过“热血与感觉——早期经历和《群英会上的赵桂兰》”“使命与拼命——留学苏联的七年时光”“情感与形式的统一——历史画的创作探索”“色与形的韵味——色彩在写生中的探索”“播种者——画室制教学实践”“更直接一些——抽象探索中的空间”六个板块,全面勾勒林岗艺术创作的轮廓,并着重展示不同时期、不同绘画风格之间的内在统一,捕捉林岗先生艺术生命的脉搏。《群英会上的赵桂兰》(作者放大原作)林岗  绢本设色  138 x 176cm 1951年 中央美术学院美术馆藏《 狱中》  林岗 布面油彩 160x282cm 1961年 中国国家博物馆藏《万里征程诗不尽(马背诗篇)》 林岗,厐壔 布面油彩 180x298cm 1977年  中国国家博物馆藏《峥嵘岁月(长征路上)》林岗,厐壔 布面油彩 165x300cm 1979年 中国国家博物馆藏▲▲▲ 艺术,靠爱好、本能加汗水 ——林岗《日落时分》 林岗 45x35cm 木板油彩 1963年 艺术家自藏▲▲▲ 我现在觉得好的色彩要有巧克力的感觉,成熟、浑厚、丰富。——林岗 《倒影》 林岗 43×38cm 纸板油彩 1977 艺术家自藏《赛马小英雄雪巴》林岗 53.6×78cm 布面油彩 1978年 艺术家自藏▲▲▲ 现代艺术就是每个人可以尽量发挥自己的才华,自己的想象力,我们最基本的思想就是给同学自由。我们非常看重学生自己的性格和爱好,在第四工作室成立的发言上我强调了“自然流露”四个字。——林岗《攀登》 林岗 150x124cm 布面丙烯 2008年 艺术家自藏▲▲▲ 曾国藩的名言:莫问收获,但问耕耘。——林岗 “创作过程的苦与乐,也是一种精神享受;我喜欢这种感觉,随心所欲!”林岗先生深爱他所从事的艺术创作,也希望本次展览能将林岗先生创作中的“苦与乐”与观众分享。展览将持续至10月13日。| 艺术家简介 |林 岗1924 年生于山东省宁津。中央美术学院油画系教授,中国美术家协会会员,历任油画系研究生导师、油画系第二工作室、第四工作室主任。1947 年入华北联合大学美术系学习。1949 -1950 年为北京中央美术学院研究生,留校任教。1954 - 1960年入原苏联列宾美术学院油画系学习,毕业于约干松工作室。之后继续在中央美术学院油画系任教。作品数十次参加全国性、北京市及中央美术学院等画展、联展以及赴国外之画展,并为国内外博物馆及私人收藏。入典英国剑桥世界名人传记中心编《世界名人录》,为世界范围内“500 名杰出人物”,获“20 世纪成就奖”;并入典美国名人传记研究院编《世界名人录》,获“杰出人物奖”;获中国文学艺术联合会颁发的第十一届造型表演艺术成就奖;获首批“中央美术学院杰出教授”称号。出版有《林岗画集》(人民美术出版社)。百年辉煌·中央美术学院艺术名家大艺不言——林岗先生百岁艺术展主办:中央美术学院  承办:中央美术学院党委宣传部     中央美术学院美术馆      中央美术学院油画系支持:中国国家博物馆     北京美术家协会展览时间:2024年9月11日–10月13日展览地点:中央美术学院美术馆3层B展厅总策划:徐扬 林茂项目策划:袁元 徐新立展览总监:靳军 韩文超展览统筹:王春辰 高高 吴琼特别支持:林延 韦佳 彭伟华策展人:李垚辰展览协调:赵晶 孙文  设计总监:纪玉洁主编 / 何一沙责编/ 杜隐珠
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全国科普教育基地 | “固态沉积:有关矿物的存档”即将开幕

2024-09-10

2024年全国科普日系列活动固态沉积:有关矿物的存档Solid Sedimentation:An Archive of Minerals  展览时间:2024年9月10日—10月8日展览地点:中央美术学院美术馆一层展厅开幕时间:2024年9月14日下午1点开幕地点:中央美术学院美术馆一层展厅艺术家郭城、葛若雯、郝锐昌、罗黛诗陆平原、李勇、时子媛、Viktor Brim 于渺、卓凡、张晓琳朱文婷/美丽科学、展望 岩石保存了地球存在至今漫长而复杂的记忆,矿物是深层时间的存储介质,将刻录在岩层中的历史读取,我们得以在过去的档案中推演未来演化的线索。宇宙是矿物的故乡,微行星在反复碰撞、合体后构成了地球以及携伴而生的岩层,其间蕴含的元素微粒在地质作用下形成矿物,如此历经几十亿年的灼烧、沉积、变质,新生的矿物又不断地重构着地球形态。 在地质学家眼中,岩石不是一个名词而是一个“动”词,矿物也并非都是无机的,而是“活”的。地球是一个全球性的(物质和能量)交换系统,各个圈层之间的相互作用演变,不停地将原始物质转化成新的形式。地层之下保存着地球时间的记录,化石让我们可以快速一窥过去,而岩石构造和变动告诉我们历史的完整故事。 目前已知地球上蕴藏着六千余种不同类型的矿物质,这个数量可能远远大于太阳系中的任何一颗行星。我们不曾想过的地方,比如每天喝的水中都有矿物的存在。每种矿物形成的化学成分、结晶构造都有所不同,因此它们产生了各自独特的属性。而这些属性被人类发现、采掘、应用,从建筑、冶金、能源、化工、农业,从宇宙矿物到餐桌上的食盐,从制作芯片的石英到小学生的铅笔,矿物无所不在。 随着能源开采、填海造陆等一系列大型基建和地球工程的展开,人类活动已逐渐成为地质运动之外重塑地球的新生力量。目前人类每年排放的二氧化碳量比地球上所有火山的排放量多了50倍;我们所搬运的沉积物比世界上所有河流所搬运的多了一个数量级。而在地质叙事的时间尺度中,这一切却又转瞬即逝,唯有石头记录着地球的一生。正如蒂莫西·莫顿(Timothy Morton)的生动描述:“当我们掀开人类尺度看似光滑的海德格尔表面时,会发现一个洞穴,一个由化石、水晶、钟乳石和石笋构成的巨大洞穴,其中的过去与未来正一个接一个地滑过,并闪闪发光。” 展览“固态沉积:有关矿物的存档”,由沉积的时间为入口,试图通过相互缠绕的矿物、地质与历史的思辨、生命和资源的协同演化,带我们进入“地理调解”的语境,以更为生态的视角组织起地层内部媒介与人类之间的可持续新生关系,重新书写自身。作为全国重点美术馆,中央美术学院美术馆多年来积极推动全国科普工作,2021年向教育部递交详实的参评资料,成功入选了2021-2025年首批全国科普教育基地,也是全国大学美术馆中第一个全国科普基地。本次展览为美术馆围绕2024年全国科普日系列活动特别策划的科普展,也是美术馆第二个科普展览。#部分参展作品Exhibited works陆平原 | Lu Pingyuan陨石猎人The Meteorite Hunters2019文本 | text297x420mm展览由陆平原的《陨石猎人》带我们进入太阳系诞生之初的时刻。“后期重轰炸期”的陨石撞击使地球长期处于熔融状态,随着时间的推移,岩浆慢慢冷却,凝结为我们脚下的大地。而故事中的“陨石猎人”小组,试图完全逆转所发生的一切,将地球上的全部陨石发射回太空,以此来保证地球的“纯净”。 《宇宙大道》发生在一条经过陨石撞击摩擦所形成的大道上。《建筑》描述的是小组努力置换一块早已变成蚂蚁窝的小型陨石。《天外货币》讲述了小组如何收集一个已经被充当成某城市货币的陨石的故事。三篇故事随机掉落在展厅,等待着“猎人”的发现。展望 | ZHAN Wang素园造石机——1小时等于1亿年Suyuan Stone Generator:1 Hour Equals 100 Millon Years2010影像视频、雕塑 | video、sculptures尺寸可变 | Dimensions variable地球是一台巨大的反应釜,自然界中的物理与化学实验从未有一刻停歇。展望的《素园造石机 一 1小时等于1亿年》通过模拟自然中的元素:“风、雨、浪、震、火、晒”来进行箱体内的塑造,使其能在一个小时内模拟地球上亿年的风化、沉积、搬运等物理实验。结晶同样是自然界中普遍存在的现象,美丽科学团队通过一系列化学实验,在培养皿中生长出了如画般的晶体景观、探索了多种物质的结晶过程。朱文婷/美丽科学Zhu Wenting/ Beauty of Science凌、原、晶体花园The Arctic、The Vibrancy、Crystal Garden时子媛 | Shi Ziyuan回响室Echo Chamber2021陶瓷、水、石 | ceramics、water、stone220x220x20cm矿物与我们的历史文化、生产生活息息相关,甚至用石头就能书写关于人类存在至今的一切。但石头在我们日常观念中又是普通的微小,是最常见的自然物之一。时子媛《回响室》这件作品试图改变人们的常规视角,用漂浮在水面上的“石”,打破这一物象亘古不变的自然属性,以撞击的空灵声回应启示。随着采掘主义的出现,矿物被视为可争夺的资源,不断地从地层体内被榨取、掏空,以此来满足人类的生产生活发展。破坏与保护、资源与生命的纠缠关系,在于渺《额姆宇宙》和 Viktor Brim《Dark Matter》的影像中,以抚顺西露天矿坑和米尔内钻石矿坑两个地点展开,为我们共同讲述了有关矿业开采的故事。于渺 | Mia Yu额姆宇宙Eme Cosmos20244K影像、彩色、立体声 |  4K Color (Stereo)23’34” 长白山的满族先民中流传着大地母神额姆的传说。女神俯卧大地,身体里布满子宫,万物栖息在她的躯体之上。一百年来,这个传说已尽凋零。多年以后的一个冬日,从北方来了两个采故事的人,他们进入一个被掏空的巨大矿坑,采集额姆的故事,也采集来自过去和未来的声音。额姆跟随他们穿越能源风景,也进入一个个能源基础设施的现场。她变成三个机器化身悄悄接近他们,给他们讲述她过去的故事,也唱起来自未来的歌。Viktor Brim | 维克托·布里姆暗物质Dark Matter20204K影像、彩色有声 |  4K、color、sound19'52” 雾蒙蒙的后世界末日景观在连续的嗡嗡声中逐渐清晰可见,摄像机深入其火山口的漩涡中,开始寻找雅库特钻石场和金矿中雇佣劳动的机器和设备的痕迹。进入米尔内钻石矿场是一件黑暗、危险和秘密的事情。这是因为采矿活动的一部分是在 1993 年俄罗斯政府在雅库特发起的核弹试验中进行的。放射性物质、重金属工业的痕迹以及火箭部件使该地区变成了有毒景观。影像将矿区的地形、历史、现状和叙事总结为几个章节,其间有关爆炸、有毒物质、垂死的动物、被毁坏的自然,以及超自然现象,它们共同组成了一个复调而生动的叙事图景。郭城 | Guo Cheng琥珀系列Amber2019混凝土、人造物 |  concrete、unknown material9x9x3cm;7x10x9cm;5x20x15cm;4x7x5cm地质层作为一种记忆媒介,存储着人类和自然共处的复杂历史。郭城《琥珀》系列作品将这一概念具象化为人造物/技术物的化石,超越人类存在的时间尺度,保存至无尽的未来。《一个被恰当重塑的过往》《过往|新的过往》系列项目,以完全相反的方式呈现着地质档案刻录下的痕迹。在挖掘-筛选-清理-回填的过程中创造了一块面积1平米的“无人类痕迹”的土地。作品通过清除土壤中二战的废弃残渣和吸附的微塑料颗粒,重新书写地层内部媒介与人类的关系。一个被恰当重塑的过往;过往|新的过往A Felicitous Neo-pastThe New Past | The Past2017 录像、彩色 、有声 |  video、color、sound摄影、艺术微喷 | photography、Art Giclée6’41”  151x200cm 开幕活动Opening event主讲人:刘强刘强,博士,中国科学院地质与地球物理研究所博物馆馆长讲座主题:《地质之美 无与伦比》讲座时间:9月14日  14:00-15:00讲座地点:中央美术学院美术馆报告厅 本次科普讲座将从地球的三大类岩石(沉积岩、岩浆岩、变质岩)出发,介绍在各种地质营力作用下岩石风化后保留在地球表面形成的奇特地质地貌景观。通过分享的大量图片,一起领略亚洲、欧洲、北美洲、南美洲、澳洲、非洲等地鲜为人知却又美轮美奂的地质之美。主讲人:李扬李扬,北京大学地球与空间科学学院副教授,英国伦敦大学学院(UCL)荣誉副教授讲座主题:《一粒砂的时空之旅》讲座时间:9月14日  15:00-16:00讲座地点:中央美术学院美术馆报告厅 地球是我们所知唯一有生命的星球,从岩浆肆虐的太古宙,到冰雪漫天的元古宙,再到生机盎然的显生宙,地球46亿年波澜壮阔的演变历史中,一直都有砂的参与。本报告将通过阅读一粒砂,带您回顾地球从蛮荒到宜居的演变、聆听岩浆澎湃的脉搏、并领略由一粒砂驱动的科技革命的魅力。 对谈人:邱志杰邱志杰,天津美术学院院长、中央美术学院教授对谈时间:9月14日  16:00-16:30对谈地点:中央美术学院美术馆报告厅 更多精彩 敬请期待展览信息“固态沉积:有关矿物的存档”主办单位:中央美术学院美术馆、中央美术学院科技艺术研究院、中央美术学院实验艺术与科技艺术学院 展览时间:2024年 9月10日—10月8日展览地点:中央美术学院美术馆一层展厅 展览总监:靳军、韩文超展览统筹:王春辰、高高 策展人:邱志杰执行策展人:马秋子科学顾问:刘强、李扬 展览协调:金简如、徐欣晨设计统筹:纪玉洁展览设计:能量事务所资料整理:安思潼、张佳妮特别鸣谢:张继栏、王啸然主编 / 何一沙责编/ 杜隐珠
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CAFAM讲座预告丨马丁·肯普:天堂的幻象——但丁《天堂篇》与绘画中的神圣之光

2024-09-10

▉活动信息天堂的幻象:但丁《天堂篇》与绘画中的神圣之光Visions of Heaven: Dante’s Paradiso and Divine Light in Painting• 主讲人 LecturerMartin Kemp 马丁·肯普牛津大学艺术史系荣休教授Emeritus Professor, Oxford University• 与谈人 Discussant邵亦杨 Shao Yiyang中央美术学院教授Professor, Central Academy of Fine Arts活动时间 Time北京时间2024年09月11日(周三)15:00Sep. 11th, 2024, (Wed) 15:00 (GMT+8)活动地点 Venue中央美术学院美术馆报告厅CAFA Art Museum Auditorium (No.8, South Huajiadi Rd., Chaoyang Dist., Beijing, China)主办机构 Organizers中央美术学院Central Academy of Fine Arts佳作书局Paragon Book Gallery协办机构 Co-organizers中央美术学院人文学院School of Humanities, Central Academy of Fine Arts中央美术学院美术馆CAFA Art Museum▉活动预约/ 或 /扫码报名参与线下活动活动流程主题讲座15:00-17:30@中央美术学院美术馆报告厅冷餐会17:30-18:30@中央美术学院美术馆咖啡厅 活动将于14:30开始签到入场。内容提要但丁·阿利吉耶里(Dante Alighieri,1265—1321年)的《神曲》是西方文学中伟大的诗篇,但丁无拘无束的想象力与他所处时代的科学基础相得益彰,其文字也描绘了引人入胜的视觉画面。与《地狱篇》和《炼狱篇》相比,《天堂篇》对大多数读者来说并不那么熟悉,但它却是精神本质的最高体现,其中一个重要主题便是但丁所描绘的天堂之光对感官的压制。描绘这种不可视的光似乎超出了绘画的物质能力范围,但文艺复兴时期的艺术家们找到了表现神圣之光的创造性方法,并经历几个世纪在巴洛克艺术上达到高潮。在本场讲座中,马丁·肯普教授将探究但丁对神圣之光的憧憬,以及受到这种憧憬影响,文艺复兴及后世艺术家对这种令人目眩神迷的、天体爆炸般的光亮的创造性描绘。相关作品邵亦杨 教授Professor Shao Yiyang中央美术学院教授中央美术学院教授、人文学院副院长。2003年悉尼大学博士毕业,曾任墨尔本大学客座教授,2024世界艺术史大会学术筹委会委员,曾多次在世界艺术史大会和美国美术史年会上主持会议或发言。2019年获国际中国当代艺术批评奖。主要著作有:《后现代之后》(2008,上海人民美术出版社)《穿越后现代》(2012,北京大学出版社)《西方美术史》(2014,北京大学出版社)《20世纪现当代艺术史》(2018/2021,上海人民美术出版社)《全球视野下的当代艺术》(2019,北京大学出版社)《西方艺术:一部视觉的历史》(2022,北京大学出版社);主编翻译《意大利文艺复兴新艺术史》(2024,江苏凤凰美术出版社)。主编 / 何一沙责编  / 吴靖
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中央美院美术馆公益导览安排(9月10日-9月17日)| 志愿者持续招募

2024-09-10

为了艺术更广泛的普及和传播,我馆将为公众提供公益的志愿者定时导览服务。本服务无须预约,请观众按时前往相应展厅入口展览前言墙前,“公益讲解指示牌”处等候即可。美术馆导览志愿者持续招募中,欢迎广大艺术爱好者、讲解爱好者加入!报名方式(1)点击“阅读原文”或访问链接:https://www.cafamuseum.org/gallery/volunteer,点击“加入志愿者”,填写《中央美术学院美术馆志愿者报名表》,报名时请注明申报岗位;(2)报名时间:长期有效;报名咨询时间:每周二至周日上午09:30—12:30 下午13:30—17:30,报名咨询电话:010-64771575;(3)有意愿者通过网络报名等方式,经中央美术学院美术馆审核合格后,统一参加面试,面试择优录用,合格者参加志愿者岗前培训。经培训、考核合格后,将能正式成为中央美术学院美术馆志愿者;(4)志愿者有申请退出志愿服务的权利。申请者应提前一个月告知公共教育部并及时交还志愿者证件。正在展出中央美术学院美术馆藏陈列——现代中国美术展览时间:2024年7月23日起展览地点:中央美术学院美术馆二层B展厅主编 / 何一沙责编/ 杜隐珠
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CAFAM讲座预告丨卡斯珀·皮尔逊:佛罗伦萨萨塞蒂礼拜堂的时间、空间和再现

2024-09-09

     ------------------------------------------------------------------------------                         讲座时间:9月10日(星期二)18:30-20:30                         讲座地点:中央美术学院美术馆报告厅扫码线下报名注:受场地限制,讲座对校外公众开放300个名额,先到者优先,请携带身份证原件在中央美术学院北门扫码登记入校;本场讲座将安排字幕翻译。线上观看------------------------------------------------------------------------------学术主持:邵亦杨主讲人:卡斯珀·皮尔逊(Caspar Pearson)主办机构:中央美术学院人文学院协办机构:中央美术学院美术馆                                              活动流程  ---------------------------------------------------------18:00-18:30 活动签到18:30-18:35 邵亦杨教授开场主持18:35-20:00 卡斯珀·皮尔逊(Caspar Pearson)讲座分享20:00-20:30 对谈环节------------------------------------------------------------------------------讲座简介 题目:佛罗伦萨萨塞蒂礼拜堂的时间、空间和再现(Time,Space and Representation at the Sassetti Chapel, Florence)      卡斯珀·皮尔逊教授将会在讲座中介绍自己对多梅尼科·吉兰达约在佛罗伦萨圣特里尼塔萨塞蒂教堂壁画的最新研究。壁画由多梅尼科·吉兰达约创作于1483年至1485年间,用于装饰富有的佛罗伦萨银行家弗朗西斯科·萨塞蒂(Francesco Sassetti)的礼拜堂。萨塞蒂为佛罗伦萨统治者洛伦佐·德·美第奇(Lorenzo de ' Medici)工作,并与他结盟。这些画描绘了圣弗朗西斯的生活,但它们将13世纪的故事与15世纪晚期佛罗伦萨的许多元素——萨塞蒂和吉兰达伊——融合在一起,给整个教堂增添了一种奇怪的当代感。自从阿比·瓦尔堡(Aby Warburg)在20世纪初发表了两篇关于这座教堂的文章以来,这些壁画一直是学术界争议的焦点。其中体现出的时间和地点的混合意味着什么?我们应该如何理解肖像画数量的激增,以及萨塞蒂、吉兰达约和洛佐·德·美第奇在一些场景中的形象?卡斯珀·皮尔逊教授认为,壁画对表现的力量、图像存在的本质以及艺术家和赞助人与艺术作品的关系揭露了惊人的发现。这些画作也可以被理解为一种对时间的强大冥想:一种基于神学和日常经验所启发的冥想,这种冥想源于时间、空间、地点和绘画想象力之间的相互作用。------------------------------------------------------------------------------                 ▅  嘉宾简介------------------------------------------------------------------------------                                                                                          Casper Pearson  卡斯珀·皮尔逊教授(Caspar Pearson)于2020年加入伦敦大学高级研究院、瓦尔堡研究所,担任1300-1700年艺术史部研究主任。他的研究方向主要集中在意大利文艺复兴时期的艺术和建筑,除此之外,他对文艺复兴历史编纂和文艺复兴后期文化研究方面颇有建树。他尤其关注图像和城市书写、视觉再现与地点之间的关系,以及文艺复兴时期的建筑和城市主义理论,撰写了许多关于当代建筑和视觉文化方面的文章。他目前他正致力于完成一部阿尔贝蒂的新传记,研究15世纪晚期意大利绘画中的城市表现以及早期现代英国戏剧中毁灭主题的意义。                                             邵亦杨 邵亦杨,中央美术学院教授,博士生导师,人文学院副院长, 西方美术史研究负责人,中国美协艺术理论委员会委员,世界艺术史协会委员,中国油画学会理事,江苏凤凰美术出版社视觉文化系列执行主编,2003年获悉尼大学哲学博士,曾任墨尔本大学客座教授,在世界艺术史大会,美国美术史年会,做会议主持或发言。2019年获国际中国当代艺术批评奖。主要著作有:《后现代之后》(2008 上海人民美术出版社)《穿越后现代》(2012,北京大学出版社),《西方美术史》(2014,北京大学出版社),《20世纪现当代艺术史》(2018/2021),上海人民美术出版社),《全球视野下的当代艺术》(2019,北京大学出版社) 《西方艺术:一部视觉的历史》(2022 北京大学出版社),主持翻译《文艺复兴新艺术史》(2024,江苏凤凰美术出版社)。主编 / 何一沙责编 /杜隐珠
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广角°青年实验项目空间 | “玉·见广角——钱亮玉质媒材艺术研究展”即将启幕

2024-09-08

广角°青年实验项目空间 主办中央美术学院美术馆“广角°青年实验项目空间”于2022年初启动首期,我馆秉承推动中央美术学院青年教师在策展与创作方面多维探索的理念,使美术馆二层半的独立空间,成为青年教师创作研展、展览策划的一块实验田。目前已完成三期方案的征集、评选(现有十八个展览方案入选)。玉·见广角——钱亮玉质媒材艺术研究展展览时间:2024年9月10日—2024年10月7日展览地点:中央美术学院美术馆2层C展厅开幕时间:2024年9月14日13:30开幕地点:中央美术学院美术馆2层C展厅>>>>>“广角°青年实验项目空间”第二期第六个展览:“玉·见广角——钱亮玉质媒材艺术研究展”将于9月10日在中央美术学院美术馆2层C展厅开展。本次展览为中央美术学院城市设计学院副教授钱亮的个人作品展。展览由著名美术史论家、《中国雕塑》执行主编宋伟光教授担任学术主持,中央美术学院副研究员曾小凤担任策展人。展览试图把富于历史和文化意义的“玉”,引入广角空间,结合钱亮以玉镯边角料为主要媒材创作的作品,可以说是由广角而遇边角,又从边角中见新视角。借助对玉材的琢磨构造,钱亮用作品串联起遇玉、礼玉、琢玉乃至最后放空治愈的空间逻辑关系,并借此展开对历史文化、社会生活、科学技术等方面的不同维度的探索与思考。展览开幕式将于2024年9月14日(周六)下午13:30于中央美术学院美术馆2层C展厅举办。钱亮的作品看似很好读,他的雕塑有一种简明、平铺直叙的生活气质,像是我们生活中不经意就能够看到的事物,经他的手,一木一石在自然而然中生发了人情、人性和人格,让我们似乎感受到了平常事物中的美感和诗意。但,这只是表象。作品的“不经意”实则是钱亮的有意而为,我们的眼之所见一旦进入艺术家的观察、感受和审美,便有了似曾相识、熟悉而又陌生的样子。在艺术创作中,这种“不经意”之中潜藏的“有意”,具有可贵的美学动因,它体现的是钱亮对雕塑艺术的本体、材料、观念和功能的时代思考。玉石是钱亮近十年来做作品的主要材料,他对玉材的思考和创作,从最初的把玩、物非物、应物造型,到自觉以一种媒介再造的当代视野,研究玉石材料作为中国语言、中国方式的表现空间。这是一个艺术家从关注材料、形式上的感官愉悦,到向内在的文化、身份、归属、自我意识等方面的不断探求,从追求好看、好玩,到重视心理和文化碰撞交融的需求和感受,这正是当代雕塑从原物置入迈向观念、文化和精神型的体现。《叠翠1#》玉镯边角料、螺栓,36×18×67cm,2022年《叠翠系列之岁寒三友》玉镯边角料、螺栓,尺寸可变,2023年《叠翠7#》玉镯边角料、螺栓,23×20×62cm,2023年展览的作品,围绕钱亮的新作《叠翠》展开,玉镯边角料大大小小的孔洞和太湖石形成一种同构关系,展现出一种具有中国文化精神和审美意蕴的圆缺感。钱亮用金属螺栓把废弃的玉镯边角料紧固在一起形成叠山叠石,同时,暴露在外的金属螺栓,又给人一种现代的机械感、运动感。这是一种既融又变的创作理念,通过“叠”的视觉方式,展现了一种“惜物尽用”的造物思想和东方美学精神。《不确定的未来》玉镯,尺寸可变,2024年《不确定的未来》将成品的玉镯嵌入美术馆展厅墙面,一个个半圆的玉镯安装在壁面上,有深有浅、有宽有窄、层叠向上,它让人联想到攀岩,光影和玉石诱人的光泽交相辉映,墙根处还散落着一些摔碎的玉镯,这是一个充满了挑战和不确定性的环境,预示着一次震撼心灵的探险之旅。钱亮用碎玉镯做的这件作品,其实放大了我们每个人生命之路中的相聚和别离,出走和回归,失去和得到,那种“不确定性”总是在有意与无意之间。《和再生之环》玉镯边角料、螺栓,尺寸可变,2024年《和光同尘》玉粉,尺寸可变,2024年《再生之环》和《和光同尘》以一隐一显、一明一暗、一体一用、一音一形的方式,讲述着玉雕更富生命力和延展性的故事……《琵琶行》玉珠,40×40×50cm,2019年《琵琶行》(局部)《百家姓系列》玉、墨,45×45×5cm每件,2021年《寓德于玉》玉镯边角料,尺寸可变,2024年《玉石·遇时》玉器,尺寸可变,2015年《我与你同在》玉,15×6×2cm,2021年玉,对于钱亮来说,不单是做雕塑的一种材料,还是儿时的记忆、家乡的历史文化、家庭的温度和那潜移默化的、与岁月一起沉淀下来的某种使命。以“玉”为媒介,进入当代雕塑语境并对其文化根性进行反刍和探寻,“见”是遇见、也是看见,见随万物,产生对物的观察、认识和理解,它作为一种方法论将所见之物升华为一种艺术表达的主题和内容。这种东方式的“见”之道,指向了“玉”这一同时拥有器和道双重身份的“物”的无限可能性。我想,这也是钱亮用“玉·见”创作,继而以“玉·见”为名推动玉雕进行当代性转化的重要内涵。联系当代雕塑尤其是当代艺术的文化语境,玉雕的创作在本质上体现的是从一块物质之石到文化之石的生成过程,经过艺术家的加工,它得以成为一个同时拥有“器”(工艺)和“道”(文化)双重身份的“物”。如果沿着玉雕“器以载道”“器道合一”的审美心理去实践雕塑,而且要走出自己的艺术道路,是一件极不容易的事。雕塑,归根结底是一个制造“物”的过程。钱亮的智慧之处,在于他能够逆向地从玉雕“不雕”、“造物”的角度去开拓创作路径。当他将日常生活的美学作为玉雕创作的一个新生长点时,生活中那些不太引人注意的细节、那些习以为常而被忽视的东西,有了和人不期而遇、耳目一新之感,呈现出一种包含生活经验积淀和生命体味的诗性之美。>>>>>艺术家简介钱亮,艺术学博士,中央美术学院城市设计学院副教授、硕士研究生导师,拉合尔教育大学客座教授、博士研究生导师,中国民间文艺家协会中国非遗艺术设计研究院副秘书长,中国轻工珠宝首饰中心专家委员会委员,中国美术家协会会员,《当代工艺》副主编,国家社科基金艺术学项目《当代中国玉雕艺术创造性转化与创新性发展研究》(已结项)主要课题组成员,第十七届神工奖大赛评委,福州市雕刻艺术学会副会长。参加国内外展览活动百余次,曾获国家艺术基金青年艺术创作人才资助项目、“中国 姿态·第三届中国雕塑大展”中国雕塑青年新锐奖、《雕塑》杂志2022年度泛雕塑艺术优秀奖,部分作品被土耳其伊斯坦布尔市政府、上海市普陀区人民政府、铜陵市人民政府、衡水市人民政府、中国美术馆、长春世界雕塑公园雕塑艺术馆、山东美术馆、河南艺术中心、成都和合之道国际艺术公园等政府、艺术机构及个人收藏,陆续策划四届“玉·见”系列玉质媒介艺术展,出版专著《起承转合:中国传统玉器与当代雕塑》,编著《玉·见迭变:中国当代玉质媒介艺术展作品文集》,在《美术研究》《艺术评论》《文艺论坛》等刊物发表文论 20 余篇。策展人简介曾小凤,艺术学博士,中央美术学院副研究员,硕士研究生导师,任职于国家主题性美术创作研究中心,主要从事中国现当代美术与批评史、国家主题性美术创作研究。在国家级核心期刊发表学术论文三十余篇,论文获首届王朝闻美术学论文奖(2020),连续两年入选中国美协“全国美术高峰论坛”(2020、2021)获最高奖项入会资格,北京市文联“北京文艺评论年度推优活动”优秀长评(2023)。个人独立主持国家社科基金艺术学项目《新中国革命历史画的创作生产研究》课题、北京市文联基础理论课题项目《中国现代美术批评的思潮与运动研究》课题、中央美术学院自主科研项目等,参与国家社科基金艺术学重大项目、教育部哲学社科研究项目、文旅部全国美术馆馆藏精品集油画卷编选项目等。担任《20世纪中国美术批评文选》(2017年中国文艺评论基地资助项目)、《共和国美术记忆》(中央宣传部2019年主题出版重点出版物)等美术史编著副主编,著有《先锋的寓言——“美术革命”与中国现代美术批评的发生》。 >>>>>玉·见广角——钱亮玉质媒材艺术研究展展览时间:2024年9月10日—10月7日展览地点:中央美术学院美术馆2层C展厅展览工作组学术主持: 宋伟光艺术家: 钱亮策展人: 曾小凤策展助理: 康悦 付廷栋展览协调: 李捷设计统筹: 纪玉洁展览设计: 付廷栋主编 / 何一沙责编 /杜隐珠
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CAFAM展览预告 | “从来风俗亦有诗”即将开幕

2024-09-07

从来风俗亦有诗——馆藏作品中的古今人物风貌展览时间:2024年9月10日—10月8日展览地点:中央美术学院美术馆3层A展厅开幕时间:2024年9月10日下午3点开幕地点:中央美术学院美术馆3层A展厅开幕主题讲座:从来风俗亦有诗主讲人:黄小峰(中央美术学院人文学院院长、展览学术顾问)讲座时间:2024年9月10日下午4点讲座地点:中央美术学院美术馆学术报告厅2024年全国美术馆馆藏精品展出季活动,共评选出30个项目纳入《2024年全国美术馆馆藏精品展出季活动目录》。中央美术学院美术馆策划的“从来风俗亦有诗——馆藏作品中的古今人物风貌”荣幸入选。作为一种独特的艺术形式,古代风俗画不仅具有“风化幽微”的教化功能,还通过生动的视觉图景展现了各时代的社会风貌和文化特征。今天,随着摄影与影像技术的普及,现代艺术家们以现实主义的视角和浪漫主义的情怀同样捕捉着当下的瞬间,借助镜头的视野与感光的成像,定格事件,渲染时代。尽管这些表现手法跨越数个世纪,但它们在审美特性和精神内核上却始终如一。本次展览将古代风俗画与现代影像并置,旨在通过现代作品的视角,引导观众更深刻地理解古代风俗画中的人民性与诗意情怀。展览分为“颂太平景观”和“捕寻常一瞬”两个板块,展示了社会礼仪与日常生活中的艺术表达。艺术家们通过宏观图景与微观细节的不同处理方式,探索了这两类作品在画面表现和情感传递上的共性。这其中,现代作品如同一束锥光,照亮了传统风俗画中的诗意,投射出不同时代中国人民积极生活的身影。展览将持续到10月8日。部分参展作品| 第一板块 |颂太平景观仇英(款) 《岁朝图》(卷) 绢本设色 明 中央美术学院美术馆藏倪端 《汴河奇观》(卷)/局部  绢本设色 明 中央美术学院美术馆藏沈嘉禾 《前门摄影长卷》/局部 摄影 1984年 首都图书馆藏缪晓春 《余》 摄影 2007年 中央美术学院美术馆藏刘松年(款) 《豳风七月》(卷)/局部  绢本设色 宋 北京画院藏| 第二板块 |捕寻常一瞬罗聘 《人物》(扇面) 纸本设色 清 中央美术学院美术馆藏詹巩 《尧民击壤图》(册)/之一 纸本设色 清 中央美术学院美术馆藏阮义忠 《“人与土地”系列,屏东县牡丹乡旭海》 摄影 1986年 中央美术学院美术馆藏钱慧安 《人物故事》(页) 纸本水墨 清 中央美术学院美术馆藏许培武 《一个潮汕家族近一个世纪的跨洋经历》 摄影 2016年 广州美术学院美术馆藏从来风俗亦有诗——馆藏作品中的古今人物风貌主办:中央美术学院美术馆支持:北京画院、首都图书馆、中国美术学院美术馆、广州美术学院美术馆赞助:020ART、北京鑫河艺博文化有限公司、北京飞行鱼文化发展有限公司、北京百展文化科技有限公司展览时间:2024年9月10日—10月8日展览地点:中央美术学院美术馆3层A展厅展览总监:靳军、韩文超展览统筹:王春辰、高高学术顾问:黄小峰策展人:刘希言、李垚辰策展助理:王若冰、陈冠石设计统筹:纪玉洁展览设计:曹群、赵格空间设计:看好艺术设计主编 / 何一沙责编/ 杜隐珠
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CAFAM公教活动回顾|“小导览员”走进美术馆

2024-09-06

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Child Public Education Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Adult Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Sumbit

Group Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

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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Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

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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