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.

: Exploring Realistic Painting with Chang Lei and Yang Jiannong | CAFAM Live Preview

2024-12-27

Monday, February 30, 14:00On TikTok, WeChat Video, Xiaohongshu, BiliBiliFollow @ CAFA Art Museum official account"The 20th Anniversary Exhibition of Chinese Realistic Painting School" is on displaySpecial invitation for this live broadcastChang Lei, a member of China Realistic Painting SchoolYang Jiannong, founder of Xixi CultureExplore the world of realistic painting togetherC A F A MLive Streaming Introduction-------------------------------------------------------------| Live streaming guest |Chang LeiVice President of the Oil Painting Institute of the Chinese National Academy of ArtsMember of the Chinese Realist Painting School| Live streaming host |Yang JiannongFounder of Xixi CultureTiktok@CAFA Art MuseumXiao Hongshu@CAFA Art MuseumBiliBili@CAFA Art MuseumThe 20th Anniversary Exhibition of the Chinese School of Realistic Painting Exhibition Period: December 17, 2024 - January 5, 2025 Exhibition Venue: Central Academy of Fine Arts Art Museum, 3rd Floor Gallery Editor-in-Chief / He Yisha Editor / Du Yinzhu
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: “Shape" and "Color" Germination, Growth | "Zhou Ting's Color Intuition" As Promised

2024-12-27

On December 15, the third exhibition of the third phase of Wide Angle°-Youth Experimental Project Space, "Various Shapes and Colors -- Zhou Ting's Color Intuition", was opened at CAFA Art Museum. This exhibition is the solo exhibition of Zhou Ting, an associate professor of the Central Academy of Fine Arts, with designer Sun Hua and Liu Qing, an associate professor of the sculpture department of CAFA, as curators.Wen Guozhang, a veteran professor of the Central Academy of Fine Arts, Zhang Junjuan, deputy secretary of the party branch and vice principal of the secondary art school attached to the Central Academy of Fine Arts, Han Wenchao, secretary of the party branch directly under the Art Museum, Liu Qing, curator of this exhibition and associate professor of the sculpture department of the Central Academy of Fine Arts, Sun Hua, designer and curator of this exhibition, and Zhou Ting, exhibiting artist and associate professor of the secondary school attached to the Central Academy of Fine Arts, made the opening speech; and heads of other teaching and research units and relevant teachers, including the Department of Oil Painting, Department of Modeling Fundamentals, School of Chinese Painting, Department of Fresco, School of Restoration, Graduate School, Publicity Department, Integrated Media Center, and the Central Academy of Fine Arts, attended the opening ceremony. The heads of other teaching and research units and administrative departments such as the Department of Oil Painting, Department of Basic Modeling, School of Chinese Painting, Department of Mural Painting, School of Restoration, Graduate School, Propaganda Department, Media Center, and the Central Academy of Fine Arts Secondary School and other relevant teachers attended the opening ceremony of the exhibition. Gao Gao, deputy director of the Museum of Fine Arts, served as the host.Speech by Mr. Han Wenchao, Secretary of the Directly Affiliated Party Branch of CAFA Art Museum In his speech, Han Wenchao briefly introduced the basic information of the Wide Angle° program. He said that Zhou Ting is the second teacher from the attached middle school to be selected for this program, and the presentation of this exhibition demonstrates Zhou Ting's decades-long pursuit of art in its truest form. Her works express her exploration of the beauty of color, and when she walks into the exhibition hall, she can feel her purest love for life, her family, and the things around her, which she integrates into her images, hoping to bring emotional resonance to the audience.Speech by Wen Guozhang, a veteran professor of the Central Academy of Fine ArtsIn his speech, Wen Guozhang shared his experiences and insights in teaching at the academy. The Central Academy of Fine Arts has become the highest art school from the foundation laid by Xu Beihong, Wu Zuoren and other pioneers as well as the legacy of excellent teachers. Mr. Ma Changli still life teaching as an example, highlighting the teaching of the Academy of Fine Arts is not only to impart knowledge, but also to stimulate and inherit the talent of art. As Zhou Ting's teacher, he hopes that the basic teaching can be inherited and continued to build a unique system of art education in the Central Academy of Fine Arts.Speech by Zhang Junjuan, Deputy Secretary of the General Party Branch and Vice Principal of Fine Arts School Affiliated to CAFAOn behalf of the affiliated school, Zhang Junjuan congratulated the opening of this exhibition. She talked about how every time she looks at Zhou Ting's works she can feel a moment of heartfelt emotion. The yellow color in the exhibition hall allows everyone to see Zhou Ting's inner light, and the display of still life in the colors that teachers and students are most familiar with is Zhou Ting's constant expression of his artistic legacy as an artist. She hopes that more teachers from the affiliated schools will join the Wide Angle° program.Speech by curator and designer Sun HuaSun Hua said that this exhibition expressed Zhou Ting's analysis and summary of her artistic course. He mentioned that Zhou Ting has always maintained a simple love for painting for many years, which is touching. Zhou Ting has the habit of making a foundation in painting, and her personality and appearance are born from this. The color effects accidentally formed by the remaining pigments in the works are magnified and become valuable parts of the artist's independent individual. This exhibition is not only the presentation of Zhou Ting's personal art, but more importantly, she is representative, reflecting the thinking of many teachers in the affiliated school on basic skills, basic teaching and the changes of the times.Speech by Zhou Ting, artist and associate professor of Fine Arts School Affiliated to CAFAIn her speech, Zhou Ting thanked the Central Academy of Fine Arts, the affiliated middle school, the art museum and the curators for their support and help for this exhibition. Many things to be explained she wrote on the exhibition wall with a pencil, which belongs to her own special way of expression, and hoped that everyone would give valuable opinions.Gao Gao, Deputy Director of the Museum of Fine Arts, acted as moderatorGuests photoThe painting intuition of shape and color cannot be separated from the natural self-carriage, the muscle memory cultivated in the academy, or the awakening of self-consciousness.Those still lifes displayed in the exhibition seem to pull back in time to the classrooms of the past. However, the same still life is interpreted in different colors by different people. Behind these unique presentations is the flow of the artists' respective consciousness, a reflection of their keen sense of color.The more artistic styles develop into "in full swing" today, the more worth observing and studying how the "shape" and "color" of the basic visual units germinate and grow in individual artists.This exhibition will last until January 12, 2025. We look forward to welcoming you into Zhou Ting's world of color.Editor-in-Chief / He Yisha Editor / Du YinzhuSite Map / He Yifei
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: 10位诗人 VS 10位版画家 | 文学与艺术的跨界碰撞

2024-12-26

● 纸 ● 海 ●● 上 ● 洋 ●
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: 跨年大展：“何处寻行迹”巡展今日在安徽省美术馆启幕！

2024-12-25

文化和旅游部“2023年全国美术馆馆藏精品展出季”优秀项目何处寻行迹——中央美术学院美术馆藏古代会话中的人与自然展览时间：2024年12月19日-2025年2月23日展览地点：安徽省美术馆三层6、7号展厅今日，由中央美术学院美术馆与安徽省美术馆合作举办的“何处寻行迹——中央美术学院美术馆藏古代绘画中的人与自然”巡展在安徽省美术馆三层6、7号展厅启幕。“幽人空翠间，何处寻行迹”，这是一件中央美术学院美术馆藏清代山水画尾的画家自题（朱昂之《仿王蒙山水图》）。群峰涧谷、竹林叠影间，一座茅堂掩映其中，一位盘坐于团垫上的士人，正望山静思。在中国古代山水画中，除却烟容巨壮的宏阔山水，常见此类点景人物间或漫布于画中。他们或行波远渡、或观山望瀑、或牧放树下、或云间对弈、或烹茶小憩，似是画家随意拨点，又有画龙点睛之妙，让静止的画面仿佛随着人物的动势和目光流转起来。画中之人，是实写，还是虚笔？画中之景，蕴含着何种情怀？人与景之间如何构成了一种映照与互文？他们又与今天的观看者有什么联系？这些问题，正是此次展览试图提供给公众的一个观看山水画的新向度：从“人”的在场与观看出发，重新进入山水画，观察并串联起不同时代的古代山水画和人物画的叙事共性，籍由山水中的人与人物间的景，重新理解中国传统文化思想中人与自然的共生关系。事实上，中华文明历来崇尚天人合一、道法自然。《易经》云，“观乎天文，以察时变；观乎人文，以化成天下”；《庄子》言，“天地与我并生，而万物与我为一”。人与自然和谐共生的自然观和宇宙观，始终贯穿于我们的文化思想中。古人一方面尊重造化规律、时节物理，以自然之道养生宁家；另一方面，他们还注重对景物环境的感悟和寄情，通过索景寻幽和文人活动，或于自然中澄怀味象、寻得心源，或以景致喻自我、以自然染心迹。基于此，中央美术学院美术馆围绕其古代绘画收藏精品，以古人与自然共生的智慧和理想为切入点，从“意象玲珑”“人境相偕”“四时景物”三个角度，展示饱含文化情思的自然生态、寄情林泉烟霞的畅怀人生，以及顺应四季物理的人民生活。通过找寻画中的人物行迹、观察和带入人在山水间的种种活动，使今天的观看者能够切身地理解古代绘画的所达、所寄和所思，并在悠游画中山水的过程中放松身心。展览从央美美术馆的馆藏历代绘画中精选了明清山水画和人物画四十余套，既包括李士达的《匡庐泉图》、陆治的《桃源图》、査士标的《群峰树色图》、蓝瑛的《白云红树图》、任伯年的《米癫拜石图》等经典名作；也包括较少展出的特色藏品，如张宏的《仿古山水册》、梅清的《山水》、钱慧安的《人物故事册》等。该展览入选了文化和旅游部“2023年全国美术馆馆藏精品展出季”，并获评优秀项目。理解中华文明的突出特性、挖掘中国传统文化的深刻内涵、促进人与自然的和谐共生，已经成为中国式现代化建设的重要要求。“人与自然”是一个亘久的话题，在思考二者共生之道时，回望传统并非固步自封，而是重新诠释并拓展古老的人与自然观的内涵。这次与安徽省美术馆合作的展览，将古代书画与现代视角联系起来，将古代哲思与现代规划贯穿起来，由画中行迹寻得自然哲学，或将为传播经典自然理念、传承中华传统文化提供新的助力。《匡庐泉图》轴李士达绢本设色明中央美术学院美术馆藏《仿张僧繇画法山水》轴祁豸佳纸本设色明中央美术学院美术馆藏《桃源图》轴陆治绢本设色 1565年中央美术学院美术馆藏《山水》轴张宏纸本设色 1638年中央美术学院美术馆藏展览现场主编 / 何一沙责编 / 杜隐珠
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: CAFAM部分展厅临时闭展公告

2024-12-25

尊敬的观众朋友：因布撤展需要，我馆二层B展厅将于12月26日（周四）临时闭展，预计1月11日（周六）恢复开放，其他当前展览正常展出，由此给您带来的不便敬请谅解。中央美术学院美术馆2024年12月24日当前展览 ◤中国写实画派20周年展展览时间：2024年12月17日-2025年1月5日展览地点：中央美术学院美术馆三层展厅纸上海洋诗歌/版画国际交流展展览时间：2024年12月10日-2025年1月5日展览地点：中央美术学院美术馆四层展厅形形色色色色形周亭的色彩直觉展览时间：2024年12月15日-2025年1月12日展览地点：中央美术学院美术馆二层C展厅主编 / 何一沙责编 / 杜隐珠
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: CAFAM Experimental Theater | Flow -- Performance

2024-12-23

身体为圆，呼吸为韵。自转，公转，四肢随惯性运动，将圆形语义扩张，观形、听声、寻味，无限洄游往返……表演时间2024.12.25 15:00-15:50演出地点中央美术学院美术馆阶梯空间参与方式凭美术馆当日门票即可观看《洄》——作为身体实验作品系列表演的第一场，是为寒冬跨年之际而特别创作，舞蹈家海龙以身体为艺术媒介，运用“自转”和“公转”的身体行动方式，伴随着颂钵的声音频率以及来自藏区香料挥发的气味，与美术馆这一特殊空间共同构成了非确定性的激发、干扰或想象。在美术馆里身体就是艺术品本身，通过身体运动对“洄游”概念不断扩展，模糊了时间与空间的边界，构建出无限延续的艺术语境，象征宇宙的律动，四季的轮回，周而复始，使人与人、人与空间、人与时间、人与艺术之间不断构建多维的美学关系。本次表演是舞蹈家海龙在中央美术学院美术馆的首次尝试，未来将不断推出新的身体实验作品，敬请期待。杨海龙作品《画皮》创作于2015年摄影：陈英秋杨海龙作品《画皮》创作于2015年摄影：付晓杨海龙作品《姽嫿·西游》创作于2017年摄影：朱敬江杨海龙作品《画皮》创作于2015年摄影：胡一帆杨海龙作品《画皮》创作于2015年摄影：长庚| 身体艺术家 |杨海龙当代舞蹈艺术家、舞者。毕业于中央民族大学舞蹈学院，KRIRK大学艺术学硕士，新加坡ODT驻团艺术家及舞蹈总监，原北京9当代舞团创始人及执行艺术总监。中华儿童文化艺术促进会舞蹈艺术委员会特聘专家，第十三届“桃李杯”全国青少年舞蹈教育教学成果展示评审专家，主演电影短片“Scaramazza”获戛纳电影节SFC市场认证，加拿大多伦多诺利伍德国际电影节最佳舞蹈电影，国家艺术基金2015年青创人才获得者，曾任职于北京歌剧舞剧院、北京当代芭蕾舞团主要演员。| 视觉总监 |孙华设计师和策展人、中央美术学院艺术学博士。| 声音艺术家 |王先明颂钵疗愈师自然声音疗愈师、唱诵师。独立音乐人、音乐制作人。毕业于中央音乐学院，资深艺术教育行业从业者，曾作为小柯剧场音乐剧演员活跃于舞台，后进行颂钵疗愈、自然声音疗愈、唱诵等方面的研究，尤其专注于氛围及疗愈音乐的制作和声音现场。项目赞助：西藏尼木县藏香协会项目策划：中央美术学院美术馆公共教育部项目执行总监：耿菁华项目组：梁雯郭贺彤场务：陈小华姚轶群梁雯王军郭贺彤单位鸣谢：西藏追光者绘画工厂有限责任公司原麦山丘个人鸣谢：温泽徐新主编 / 何一沙责编 / 杜隐珠
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: Don't miss it! Witness the stunning performance of "Twenty Years of the Realist Painting School"

2024-12-22

On December 19th, the "20th Anniversary Exhibition of the Chinese Realist Painting School" opened at the Central Academy of Fine Arts. This exhibition is jointly hosted by the Central Academy of Fine Arts and the Chinese Realist Painting School, and organized by the Art Museum of the Central Academy of Fine Arts. The Oil Painting Institute of the Chinese National Academy of Arts and the Beijing Jin Shangyi Art Foundation serve as supporting units. A total of 41 artists were invited to present over 220 classic realist artworks.The guests attending the opening ceremony include: senior professors from the Central Academy of Fine Arts and specially invited artists of this exhibition, Pan Shixun, Sun Weimin, Gao Tianxiong, and Hu Jiancheng; Lin Mao, the president of the Central Academy of Fine Arts, and Liu Peiyuan, the deputy secretary of the Party Committee and secretary of the Discipline Inspection Commission; the founders of the Chinese Realist Painting School: Ai Xuan, Yang Feiyun, and Wang Yidong; members of the painting school and representatives of their families, Xu Mangyao, Liu Kongxi, Yuan Zhengyang, Guo Runwen, Chao Ge, Zhang Li, Long Liyou, Li Shijin, Weng Wei, Pang Maokun, Li Guijun, Ma Lin, Zhang Yibo, Zhu Chunlin, Chang Lei, Wu Chengwei, Yu Ming, Xu Hong, the wife of Zheng Yi, Zhang Hongfang, the wife of Xin Dongwang, and Zhao Xiaoyan, the wife of Wang Shaolun. Also present are Guo Yuanchao, the director of the office of the Realist Painting School; Duan Jimin, the editor-in-chief of Jilin Fine Arts Publishing House, and Sun Gang, the responsible editor; Lv Cunyi, who has long supported the activities of the Chinese Realist Painting School; as well as the heads of departments and administrative offices such as the Oil Painting Department, the Basic Modeling Department, the Chinese Painting Academy, the Sculpture Department, the Calligraphy Academy, the Restoration Academy, the Urban Design Academy, the Sino-French Institute of Art and Design Management, the Graduate School, the National Thematic Art Creation and Research Center, the Education Development Foundation, the Scientific Research Office, the Party Committee's Teachers' Work Department (Personnel Office), the Party Committee's Publicity Department, the Party Committee's Student Work Department, and the Art Museum.Lin Mao, President of the Central Academy of Fine Arts, Delivered a SpeechLin Mao stated that over the past twenty years, the "Chinese Realist Painting School" has gathered more than thirty representative artists with strong capabilities in China, and numerous outstanding and classic artworks have continuously emerged. The goal of the establishment of the "Chinese Realist Painting School" is to establish a high-standard Chinese contemporary realistic oil painting. It respects traditional culture, emphasizes the humanistic and rational spirit, and pursues the perfect quality of paintings. Upholding this concept, the "Chinese Realist Painting School" closely follows the changes and development of contemporary society, constantly enriches its language forms, adapts to new social aesthetic needs, examines life and nature from an Eastern perspective, and proves the eternal value of realism in terms of rationality, morality, and aesthetics through persistent artistic practice. Moreover, it has made outstanding contributions to the creation of theme paintings in the new era, demonstrating broad development prospects and vigorous vitality.Yang Feiyun, one of the founders of the Chinese Realist Painting School and the Dean of the Chinese Oil PaintingInstitute of the Chinese National Academy of Arts, delivered a speech.Yang Feiyun believes that realism is not the goal of realistic painting, nor is it the end of painting. Realism is an irreplaceable expressive force and a highly vital carrier of painting language. In this era of images, although some social functions have been taken over by images, the spiritual aesthetic function of figurative painting is irreplaceable. The Chinese Realist Painting School insists on using figurative visual art to observe the spiritual world of contemporary society. In the multi-dimensional pattern of contemporary art, it retains an irreplaceable territory of expression. He expressed gratitude to all sectors of society and academic peers for their attention, support, encouragement, and criticism over the years. He also stated that he will use high-quality painting language to depict the Chinese people well, and represent Chinese aesthetics, Chinese emotions, and Chinese spirit.Jin Jun, the curator of the Art Museum of the Central Academy of Fine Arts, delivered a speech.Jin Jun mentioned that the Realist Painting School is an important art group representing the achievements of oil painting language in the new era. Since its establishment, it has been active in the Chinese art circle for 20 years. With their exquisite skills and profound insights, and a humanistic sentiment of cherishing life and paying attention to reality, the artists have presented their delicate and rich observations of the world accurately and artistically.At the same time, the Art Museum of the Central Academy of Fine Arts is renowned for its rich and diverse collections. The permanent exhibition of the museum's collections, the section on modern Chinese art, showcases many classic representative works of realistic oil paintings that mark important nodes in the development of modern Chinese art. The holding of this exhibition precisely forms a beneficial dialogue with the historical collections of the museum, allowing the audience to more intuitively feel the close connection between the Realist Painting School and the inheritance and development of Chinese realistic oil painting.Gao Gao, the deputy curator of the art museum, served as the host.The Chinese Realist Painting School has gathered representative artists with strong capabilities in China. Upholding traditions and being brave in innovation, it has won extensive attention and support from all sectors of society and has become a distinct banner in the Chinese oil painting field. The display of classic works in this exhibition is the best testament to the artists' tireless pursuit of excellence. The exhibition will last until January 5th, 2025.Group photo at the opening ceremonyGuests visit the exhibitionList of Artists Specially Invited Exhibiting Artists: Jin Shangyi, Pan Shixun, Sun Weimin, Gao Tianxiong, Hu Jiancheng, Lin MaoExhibiting Artists: Ai Xuan, Yang Feiyun, Wang Yidong, Chen Yanning, Xu Mangyao, He Duoling, Liu Kongxi, Yuan Zhengyang, Guo Runwen, Wang Hongjian, Chao Ge, Zhang Li, Long Liyou, Xia Xing, Li Shijin, Xu Weixin, Weng Wei, Pang Maokun, Leng Jun, Yin Xiong, Li Guijun, He Hongzhou, Ma Lin, Zhang Yibo, Zhu Chunlin, Xu Qingfeng, Chang Lei, Wu Chengwei, Lai Yuan, Yu Ming, Wang Zijiao, Chen Yifei, Zheng Yi, Xin Dongwang, Wang ShaolunSome of the exhibited works何红舟《乐葵与文森》布面油画 100cm×100cm 2020年何红舟《乐葵与文森》布面油画 100cm×100cm 2020年马琳《天际》布面油画 160cm×150cm 2021年吴成伟《惠安女系列—静静地等待》布面油画 162×145cm 2024年吴成伟《惠安女系列—静静地等待》布面油画 162×145cm 2024年吴成伟《惠安女系列—静静地等待》布面油画 162×145cm 2024年王子娇《春》布面油画 35×25cm 2021年陈逸飞《蓝衣仕女》布面油画 147cm×147cm 2001年郑艺《凡心已炽》布面油画 160×180cm 1999年忻东旺《古董商》布面油画 60x50cm 2012年王少伦《美丽班》布面油画 61×50cm 2012年..............................................................................................................................................................................中国写实画派二十周年展主办单位：中央美术学院中国写实画派承办单位：中央美术学院美术馆北京东轩艺术发展有限公司支持单位：中国艺术研究院油画院北京靳尚谊艺术基金会北京渥德艺术中心北京全素科技展览时间：2024年12月17日-2025年1月5日展览地点：中央美术学院美术馆三层展厅主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞
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: 今日冬至

2024-12-21

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: CAFAM论坛综述 | 现场——展览作为切入文艺评论的角度

2024-12-20

2024年11月29日，由中国文艺评论（中央美术学院）基地、中央美术学院美术馆、中央美术学院文艺评论研究中心主办的“现场——展览作为切入文艺评论的角度”论坛在中央美术学院美术馆举行。本次论坛共分三场，各场议题分别为“在场与观察：从展览观察到展览评论”、“立场与创作：从艺术实践到展览策划”和“展场与历史：从展览史到展览知识生产”，邀请了来自当代艺术批评、策展、艺术史及美术馆等领域的中青年学者针对其撰写评论的经验和思考展开讨论，并在每场汇报结束后由不同专家进行针对性的评议。高高中央美术学院美术馆副馆长论坛伊始，中央美术学院美术馆副馆长高高代表美术馆向各位学者的到来表示欢迎与感谢。她表示，本次论坛是中央美术学院美术馆首次同中国文艺评论（中央美术学院）基地与中央美术学院文艺评论研究中心进行的合作。在介绍完整体流程后，中国文艺评论（中央美术学院）基地副主任、中央美术学院文艺评论研究中心执行主任傅怡静与中央美术学院美术馆直属党支部书记韩文超分别对本次论坛进行致辞。傅怡静中国文艺评论（中央美术学院）基地副主任中央美术学院文艺评论研究中心执行主任傅怡静在发言中表示，今年是文艺工作座谈会召开十周年，习近平总书记在座谈会上指出要用历史的、人民的、艺术的、美学的观点去评判作品，也要营造文艺批评的良好氛围。这是问学之津要指引。今年6月，中央美术学院与中国文艺评论家协会签订了文艺评论合作备忘录，其中明确的任务之一就是开展有针对性的美术作品展览的评论活动。此次论坛旨在以展览以及由展览铺陈开的艺术现场作为重点研究对象，对展览进行评论、研究，总结展览评论的现状和问题。最终的目是借此向公众推荐展览、普及美育。未来，文艺评论基地将持续探索和实践协同联动的评论人才培养新机制，围绕美术馆、学校以及各地的文艺展览现场，组织一系列的展评撰写工作坊及优秀展评的汇编与出版活动，充分发挥文艺评论引导创作、推出精品、提高审美、引领风尚的作用，回应社会审美需求。韩文超中央美术学院美术馆直属党支部书记韩文超对项目的背景与美术馆现状做了简要的介绍，并对论坛的重要性与意义进行讨论。他指出，中央美术学院美术馆从自身出发，在进行馆藏研究以及构建固定陈列的基础上，积极触发青年项目空间，秉持科研机构的特性。除了展览呈现以外，理论研究包括文艺评论等自身学术体系的构建也是美术馆的重要工作之一。在艺术评论方面，此次论坛从现场出发，通过将展览作为切入文艺评论的角度，再次点明了展览与理论研究、文艺评论的并行状态。从美术馆自身学术体系建设的角度而言，论坛所荟萃的各项文献资料对于未来的学术整理以及出版有着重要作用。在传统与当代相互交织的时代，本次论坛以“现场——展览作为切入文艺评论的角度”为题，是务实的，也是充满新意与力量的。第一场 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在场与观察：从展览观察到展览评论主持：高高中央美术学院美术馆副馆长评议：刘礼宾中央美术学院教授、中国文艺评论（中央美术学院）基地副主任、中央美术学院文艺评论研究中心副主任论坛第一场由高高主持，刘礼宾进行评议。高高对本场的五位发言嘉宾缑梦媛、许柏成、沙鑫、葛秀支和朱莉进行了简要介绍。他们从艺术观察的客观角度出发，发现艺术现场的新问题、重审评论与展览的关系。缑梦媛中国艺术研究院副研究员、《美术观察》副主编缑梦媛以“展览即评论”为题，从期刊如何观察展览、如何以专题讨论的方式呈现对展览的思考等角度，对展览与评论的二元关系进行了讨论。展览如同写作，其意义的发生关涉到艺术机制、批评话语、公共空间等多样的复杂因素。因此，展览是有态度的艺术表达，也是一种切入文艺评论的方式，而其态度最为直观的传达者通常为策展人与艺术家。她指出，期刊对展览的观察与专题性讨论，不只显现为对一类文艺现象的观察，其展览选择、话题设定等都带有基本的前提观念和价值判断。从期刊关于展览的专题讨论中分析当前展览的几个突出特点，可以一定程度上揭示展览作为文艺评论的态度显现，也可以体现出专业期刊参与文艺评论的主流态度。许柏成中国互联网新闻中心、艺术中国主编许柏成以“媒体时代，展评何为？”为题，以其工作经验出发，从展评的新变化和对当下展览与展评的再思考等角度，探讨主流媒体如何能够在当下发挥自己的影响力和导向性作用。他提出，展览评论区别于展览报道，对作者的综合能力有较高的要求，同时对于大众美育普及、促进艺术创作、引导行业风向具有重要作用。在每个人都能在互联网上成为主角的媒体时代，主流媒体更需秉持严肃的文艺批评观，构建主流的批评风向。回顾历史，批评与媒体相互交织，小展评也可做出大文章。随着艺术展览的专业化和媒体生态的发展，展评所关注的内容和承载的媒介也在发生变化。媒体应摒弃一味赞扬或一味批判的批评观，提升观察力、解读力与建设力。许柏成同时呼吁各家媒体加强展评栏目的建设，建构优秀展评的评选标准，让好的展评滋养美育，推动形成风清气正的创作评论环境。沙鑫四川美术学院艺术人文学院西部艺术与中华民族共同体研究院主任沙鑫在题为“重返大地：美术馆展览‘地质生态’转向下艺术评论的方法实践”的汇报中指出，国内美术馆展览在近年来开始形成了一种“地质生态”的转向，展览内容在“去架上”的趋势下更多地呈现为表现自然与现实地理地貌的视觉文本构架。面对中国当代艺术创作、美术馆展览及策划的“地质生态”转向，艺术评论应该如何介入其中，进而更好地观察和书写成为新的现实挑战。沙鑫在本次发言中，对三场美术馆展览及策展人的工作方法进行了案例分析，在美术馆展览“地质生态”转向的新辖域内，阅读由策展人、艺术家共同绘制的中国当代艺术新的视觉地图，讨论变动中的艺术评论对象、场域以及调适当下艺术评论的工作方法，寻找艺术评论新的生长点。葛秀支清华大学艺术博物馆馆员、中国美术批评家年会副秘书长葛秀支以“走向现代：引领艺术史的展览”为题，从1863年法国落选者沙龙、1913年美国纽约军械库展览以及巴尔在现代艺术博物馆中担任馆长时的种种展览案例，对推动和引领现代艺术发展、构建艺术史的展览进行了梳理与链接。她指出，了解现代艺术的艺术语言变迁和重要展览是研究现代艺术的重要切入点。在早先的现代主义展览中，作为策展人的艺术批评家，他们致力于构建艺术风格或流派，体现当代人的日常生活和文化精神需求，引领当下艺术潮流。而现当代艺术博物馆的建立也为现当代艺术的发展与收藏提供了有力的保障。优秀的展览必须有鲜明的学术主题和问题意识，而这也是判断展览的重要参照之一。朱莉中央美术学院学报编辑部副研究员朱莉以“‘编辑’艺术：关于展览评论的实践、方法与思考”为题，分享了三个部分的内容。第一部分，她先从自己的三篇展评实践案例出发，谈及四种展评写作的思路和方法，包括：历史化写作的意识；展评写作对象的选择；感性经验的理性表达；评论何以成为一种个人独立创作。第二部分，她从历史视野考察了艺术世界中作为职业的“编辑”身份的出现，讨论了展览评论乃至艺术批评与艺术历史之间的关系。她选取两段历史切片，分别是20世纪20年代围绕《美展》会刊的展评实践，以及80年代中期作为“编辑”的批评家的集体出场，如何在传媒的帮助下成为推动85美术运动的“支配性”力量。“编辑”作为现代社会的一种重要的角色，通过对艺术现场、艺术家、现象与思潮的描述、阐释与评价，使得“被编辑、被选择”的艺术碎片最终成为形塑艺术史的早期材料。第三部分，她提出对于“展览评论”这一批评写作文体的思考：1.为什么严肃的展览评论越来越少了？2.展览评论写作的价值判断及其现实。3.从纸媒到数字媒体的变迁中，“编辑”身份及其话语系统的变化。评议：刘礼宾中央美术学院教授、中国文艺评论（中央美术学院）基地副主任、中央美术学院文艺评论研究中心副主任中央美术学院教授、中国文艺评论（中央美术学院）基地副主任、中央美术学院文艺评论研究中心副主任刘礼宾对论坛第一场发言进行了总结和评议。刘礼宾指出，本场发言重点关注近年来展览评论的发展情况、切入视角，并尝试探讨展览评论存在的问题与解决方案，提供了诸多可供研究的展览案例与评论议题。各与会者结合自身经验，从展览的各个方面出发，探讨了诸如媒体传播、边界、跨界、展览主体构建、展览评论介入艺术史、“地质生态”转向、多元主义和主题性叙事等话题，为怎样写展览评论与怎样看展览评论提供了丰富的视角。回顾历史，在民国时期，乃至在20世纪以来的艺术世界中，展览评论就为中国近现代艺术的转向提供了动力，这无疑也说明了展览评论之于文艺事业的价值。而何为有效评论，何为真正的评论写作，如何真正地写出有价值的展览评论，如何秉持一定的评判立场等——这些是从业者仍需思考的问题与方向。第二场 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立场与创作：从艺术实践到展览策划主持：刘希言中央美术学院美术馆副研究员、策划与研究部主任评议：冀鹏程《美术》杂志社社长、中国美术家协会策展委员会副秘书长刘希言中央美术学院美术馆副研究员、策划与研究部主任论坛第二场由刘希言主持，冀鹏程进行评议。刘希言对本场的五位发言嘉宾林书传、卢征远、刘畑、薛良以及许崇宝进行了简要介绍，他们是行业内活跃的策展人，实践方向也各有不同，主要围绕展览创作和策展反思进行分享。林书传南京艺术学院副研究员、美术馆副馆长林书传以“‘行走’——作为一种策展方法”为题，从个人的工作经验出发，提出“行走”的策展理念。他认为，“行走”的核心在于从一个目的地到一个未知的地方，保持好奇心，以及在行走的过程中思考如何组织测量语言和呈现方法。而对于长期从事与美术馆和策展相关的工作的策展人而言，如何抛弃惯性、秩序、术语、陈旧的方法，已经表达了一种从“白盒子”出走的态度。而在当策展成为了一种相对稳定的形态时，我们探讨的应是一种不稳定的形态，并保持警惕。在其中，警惕的不是作为空间的美术馆，而是一种安全、陈旧且稳定的美术馆策展状态。若策展能够成立为一种方法论，“行走”式的策展或许是一个黏合策展人、艺术家以及各方力量的有效实践。卢征远中央美术学院教授、造型学科基础部副主任卢征远以“艺术家与策展人双重角度下的展览差异”为题，将个人的两个艺术项目作为案例，呈现其基于艺术家与策展人双重身份下的思考与实践。通过自身案例的呈现，他指出在当代艺术领域里，艺术家与策展人的双重身份带来了全新的视角和创作场域，也带来了机遇与挑战。这种融合不仅促进了艺术作品的多样性，也拓宽了观众的理解范围。从创作者到策展人，每一次转变都是对自我认知的一次深化，也是对作品意义重新审视的过程。通过这样的实践，双重身份下的工作者能更加灵活地运用各种媒介和技术手段，鼓励多元对话，创造出既具有个人特色又能引发共鸣的艺术体验，成为连接不同思想、文化和社会议题的桥梁。刘畑中国美术学院跨媒体艺术学院当代艺术与社会思想研究所执行所长刘畑以“策展的批评与自我批评”为题，从一位策展人的工作出发，从“批评的单位”、“多重的外部”、“内部与自我”以及“预批评与可批评”这四个方面，对当下的批评进行思考。他指出，艺术批评常常围绕展览及艺术家个体为单位展开。而于展览而言，来自观众、同行、媒体、学者等的批评，提供了可贵的“外部视角”和不同的参照系，而策展人在这些坐标和理解的轨迹间进行切换。策展（包含创作）的“内部视角”与外部视角相交互，产生叠加了不同视角的“自我批评”。在此之中，更为重要的是建立“视差”中的理解，从而避免陷入狭隘的单一视角。不仅如此，在策展的过程中，已然内嵌了“预批评”的思考。而一个有价值的展览，或许正在于它的“可批评性”。薛良北京画院美术馆负责人薛良以“何要浮名——以策展方式启示当下艺术创作”为题，从基于北京画院美术馆而策划的大量有关于齐白石以及20世纪中国近现代美术史的展览经验出发，讨论展览是如何作为观点、态度以及理念的载体，以彰显其自身价值。“何要浮名”为齐白石晚年的一方常用印，表述的是白石老人在面对声名时的冷静态度。艺术家的“实”，其根本是艺术家不断创新、创造，不断超越自我的核心价值。薛良指出，基于对齐白石的不断研究所形成的一系列展览实践，策展的价值不断彰显，促使我们不断反思艺术体系，启发大家对艺术市场的批判和警醒并激发对于艺术创作的责任的批判性思考。许崇宝泰康美术馆研究员许崇宝以“装束美与现实感：蒋兆和艺术的转型”为题，聚焦于今年在泰康美术馆举办的纪念蒋兆和诞辰120周年“境在苍穹寥廓中：蒋兆和艺术文献展”，从其学术研究、策划历程以及展览评论等各角度进行讨论。他指出，蒋兆和从多元媒介并行实践到转向以“国画”为主要创作媒介的期间，综合性的、面向社会现实的创作而形成的现代视觉意识，滋养了他的国画人物创作。许崇宝围绕蒋兆和主持创办的《美的装束》杂志和他的图案绘画展开了对蒋兆和艺术转型问题的分析讨论，并以《卖子图》《流浪的小子》《流民图》等代表性作品和他在20世纪50年代的教学为例论证这一转型的重要性和深远影响。评议：冀鹏程《美术》杂志社社长、中国美术家协会策展委员会副秘书长《美术》杂志社社长、中国美术家协会策展委员会副秘书长冀鹏程对第二场主题发言进行了总结评议。他谈到论坛第二场的与会者主要由展览的参与者——策展人与艺术家构成。冀鹏程首先简要总结了几位策展人的不同实践角度：林书传的“行走”概念、卢征远的多重“身份”、刘畑的“视差”理解，以及薛良与许崇宝基于特定展览的学术思考。他认为这些来自不同机构、经验背景各异的策展人，展现了多样化的工作样本、策展灵感与方法体系，而他们在不同中也存在普遍性，即都较为关注展览评论作为策展实践延伸的功能和意义。事实上，创作、策划、现场正是展览评论关照的多个方面，不仅如此，基于特定展览所进行的深入研究，其成果也存在着跨领域和跨学科的应用空间。从这一点来看，冀鹏程肯定了本场发言者为学界所提供的既鲜活又具有反思性的思考和实践。第三场 | 立场与创作：从艺术实践到展览策划主持：沈森 | 广州美术学院副教授、新美术馆学研究中心副主任评议：曹庆晖 | 中央美术学院教授、北京文艺评论家协会副主席沈森广州美术学院副教授、新美术馆学研究中心副主任论坛第三场由沈森主持，曹庆晖进行评议。沈森对本场六位嘉宾王志亮、李垚辰、曾小凤、吴晶莹、张晨和尹冉旭进行了简要介绍。他们从历史的语境中去考察展览史与文艺评论之间的关系，借助中外展览历史的视角，展开关于展览现场与艺术发展关系的讨论。王志亮河北大学艺术学院教授王志亮以“1977年‘图像’展：点燃后现代艺术的时刻”为题，指出在一般的艺术史书写中，展览史的缺席暗示了研究者们常忽略对于“事件”的关注。同时，对于进入艺术史的展览，其策展人和批评家对于艺术家及其作品的修辞和表述往往在研究中被忽略。王志亮认为，在1977年“图像”展开幕之后，紧接着就迎来了批评话语对图像的修辞。“图像”展并不是后现代艺术的发源地，而是点燃后现代艺术的一把火。“图像”展只不过正巧遭遇了后现代理论，准确地说是法国和德国理论，成为当时批评家论述后现代的重要案例，才充当了后现代艺术起源的角色。所以说，“图像”展之前，后现代燃烧的材料都已存在，它只是那根点燃这堆材料的火柴。李垚辰中央美术学院美术馆副研究员、典藏部主任李垚辰以“发现历史的脉搏——中央美术学院建校百年展览史（1918—2018）研究的思考”为题，介绍了中央美术学院百年展览史的基础研究成果，梳理了相关美术展览举办的内容、时间、地点、组织形式等基本内容的时代发展特征，探讨展览史研究的时代意义。他指出，百年美术展览从无到有，不断地规范化、专业化、学术化，有着明确的发展历程，也与社会发展连接紧密。研究展览活动可以挖掘其在历史发展、社会美育影响当中的重要作用，并侧面体现国家历史的发展。中央美术学院作为中国艺术的重要发生场域，学院的展览不仅体现学校的教学与发展，更是将最新的知识和艺术理解推广到社会，在引导社会艺术思潮，提高社会对于美术的认识方面有重要作用。曾小凤中央美术学院国家主题性美术创作研究中心副研究员曾小凤发言的题目是“看见风景——1955年第二届全国美展与油画‘中国风’的肇始”。她指出，油画“中国化”问题在1955年第二届全国美展中伴随着董希文、吴作人、艾中信等画家的风景题材油画进入大众化和民族化视野，它集中展现了从美协领导到画家们自觉在风景画中注入政治内容和思想性的努力，体现了要在中国本位文化立场发展油画的自觉。在油画“中国化”“民族化”的肇始阶段，马克西莫夫的观察和点评，让业内的画家对什么是“油画”有了更深层次的认识，如何提高油画的创作水平和研究、创造油画的民族风格问题，在第二届美展之后成为发展中国油画最核心的问题。吴晶莹中央美术学院科研处副研究员吴晶莹以“无界，抑或有界？——‘大地魔术师’展览与当代艺术批评的全球化转向”为题，借助对于1989年由时任蓬皮杜当代艺术中心馆长的让-休伯特·马尔丹作为主策展人策划的“大地魔术师”展览的观察与研究，讨论该展览如何成为在20世纪80年代末90年代初“艺术全球化”得以确立的标志性事件。她指出，“大地魔术师”展览以视觉的方式表明世界正蜕变为一个更开放、去欧洲中心主义和多中心的新结构。而以此展览为契机和对象，艺术批评也迎来了“全球化”的历史转向。“无界”，抑或“有界”，自此成为当代艺术批评的核心议题。张晨中央美术学院人文学院副教授张晨以“作为物的绘画——从展览到艺术史”为题，从艺术家袁运生、王音等的展览现场入手，结合具体绘画作品，主要引用来自马塞尔·莫斯的人类学著作，布莱希特、格洛托夫斯基的戏剧理论，以及福柯、德勒兹等围绕绘画艺术的讨论，以阐释一种存在于中国当代艺术当下与历史之中“作为物的绘画”，并希望借此呈现这一概念不仅可用于解释绘画作品及其理论意涵，亦能关乎绘画艺术发展的过往谱系，以此朝向一种对于现当代艺术史书写的反思与启发，并展现艺术批评、展览策划与艺术史研究之间彼此互动的有机关系。尹冉旭北京大学社会学系博士后尹冉旭以“物质文化研究与展览史书写”为题，将物质文化研究带入展览史书写的语境中，探讨了“物”这一基本对象进入展览史的路径，“物”与“非物”如何在话语和实践层面成为策展的立场，以及今天如何回到对物的关注。循着展览史上对物的特性的不断发现、转化这条线索,围绕“可见“与”不可见”即“陈-藏”这组基本的人和物的互动关系，提出当代的展览史书写及其作用于展览策划与更广泛的社会生活的可能性。她指出，物质文化研究将展览史带入了一个更广阔的人类学领域。这种研究方法重新审视了物和人的主客体关系，强调物在和人的互动关系中推动人的社会关系的组织与展开。从这个角度来说，展览的“当代性”也指向了一种即时关系，反映的是群体结构和展示物之间互相生成的当下过程。曹庆晖中央美术学院人文学院教授委员会主任、中国文艺评论家协会造型艺术委员会副主任中央美术学院人文学院教授委员会主任、中国文艺评论家协会造型艺术委员会副主任曹庆晖对第三场论坛发言进行了总结评议。他首先总结了本场六位美术史学者的发言，他们从理论发展、事件话题、后续影响等角度提取了在中外艺术史中具有转折性意义的重要展览个案，在溯源其策划始末的基础上分析这些展览进入艺术史的知识生产机制，进而为当下的展览策划提供一定的历史参照。曹庆晖指出，本场的几个历史展览研究，都涉及策展范围转变或引入新的研究范式这样带有转折性的角度，而这可能正是上述机制的一部分。不仅如此，曹庆晖也谈到了当下展览评论存在的一些问题，譬如如何处理策展人与评论家的身份重合，如何在展览研究中与国内外的理论思潮达成一种有效地契合等，这些不仅是策展人要考虑的问题，也是评论家要考虑的问题。在论坛最后，刘礼宾对整场论坛进行了总结发言。首先，他回顾了本场论坛的三个议题，肯定了其成果，并对大家的到来再次表示感谢。本期论坛围绕“现场”这一特定场域展开，意在把展览作为切入文艺批评的角度，从而勾连起展览评论、展览史研究以及美术史研究等多元领域。刘礼宾指出，中国文艺评论（中央美术学院）基地是中国文联和中央美术学院合作建设的重要学术平台，其价值不可忽视。同时，他强调在当下艺术评论多元化发展的当下，如何创造新的议题与有价值的活动，是我们不断面临的挑战。刘礼宾在最后说到，本次“现场——展览作为切入文艺评论的角度”论坛是中国文艺评论（中央美术学院）基地以及中央美术学院文艺评论研究中心同中央美术学院美术馆的重要合作，期望该论坛其在未来能继续发展，持续关注当下新的展览评论议题，不断产出有价值、有质量的学术成果。“现场——展览作为切入文艺评论的角度”论坛主办：中国文艺评论（中央美术学院）基地、中央美术学院美术馆、中央美术学院文艺评论研究中心总策划：傅怡静、靳军、韩文超、刘礼宾组织：刘希言、沈森、李捷时间：2024年11月29日（周五）9:30-17:00地点：中央美术学院美术馆会议室主编 / 何一沙责编 / 杜隐珠综述整理：罗若凡
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: What is it like to see the work of more than 40 realistic painters at once?

2024-12-19

One night twenty years ago，A group of painters in an office of the School of Urban Design, Central Academy of Fine Arts started to plan for this group of realistic oil painting.The establishment of the "Chinese Realistic Painting School" serves as a representativethat returns to the classics, returns to skills and returns to the public,it adheres to the "origin" of the language of oil painting and the "essence" of the connotation of oil painting, absorbs the essence of Western oil painting, integrates the profound local cultural connotations, and has grown into a flourishing branch with deep roots.
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CAFA Art Museum Publication Authorization Agreement

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

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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.

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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.

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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.

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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.

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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.