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CAFAM讲座预告丨法国艺术家对话央美教授,探究穿梭古今超越维度的艺术史

2024-05-21

物,景,情往返于主客之间讲座时间:2024年5月21日(星期二) 18:30-20:00 讲座地点:中央美术学院美术馆学术报告厅报名方式: 请扫描上方二维码报名参加讲座 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;本场讲座将安排交传翻译。 学术主持:邵亦杨(中央美术学院人文学院副院长)主讲人:伊莎贝尔·科纳罗(法国艺术家) 特邀嘉宾:张然(今日美术馆馆长)圆桌嘉宾刘商英(中央美术学院油画系教授,艺术家)邬建安(中央美术学院实验艺术与科技艺术学院教授、艺术家)耿雪(中央美术学院雕塑系教师、艺术家) 主办机构:今日美术馆、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18:35-18:40 今日美术馆馆长张然致辞18:40-19:10 艺术家伊莎贝尔·科纳罗创作分享19:10-20:00 嘉宾圆桌讲座简介伊莎贝尔·科纳罗(Isabelle Cornaro)将古典主义风景的二维平面转为三维立体的装置。从父母辈的珠宝开始,她尝试着探索“物”与“景”的概念。她的创作经常超越我们赋予艺术品的传统术语。伊莎贝尔·科纳罗,Paysages II,2010例如那些大型装置,艺术家认为它是空间中的一种绘画。而那些装饰性的珠宝、项链、发丝则在艺术家手中构成极其抽象的极简风景。科纳罗对于“景观”的诠释以及对殖民历史的构建最终都回到我们与物体之间的关系。物体是我们自身的延伸,带有感情、记忆、情绪。本次谈话将从科纳罗的创作中对于现成物的运用出发,发掘日常物与当代艺术之间的联系,以及这些联系是如何承载人类情感与历史变迁的。伊莎贝尔·科纳罗,Savane autour de Bangui et le fleuve Utubangui 10,摄影,35×50cm,2007,该系列作品将于今日美术馆展出本次活动将汇集当代艺术领域来自不同文化,不同研究及实践背景的艺术创作者、研究者和教育者,从伊莎贝尔·科纳罗的创作出发,围绕艺术与观念的交汇、艺术与艺术史的对话延展至跨文化交流与艺术创作、展览等话题。艺术家身份之外,科纳罗同时也是一位策展人及艺术教育工作者。通过分享和交流,探索当代艺术的多维面向,启发思考,共同探索艺术的无限可能性。嘉宾简介邵亦杨,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)。伊莎贝尔·科纳罗(Isabelle Cornaro)于1974年出生于法国,在巴黎和日内瓦生活和工作。她的作品涉及多种媒介,如装置、雕塑、影像和绘画等。在过去的16年里,她一直在探索物体及其自身图像之间的关系,原件和复制品之间的关系。她的研究围绕着物体(特别是装饰性的物件),价值和艺术之间的关系展开。通过对物质象征、知觉经验和复制品等问题的讨论,她也在探索如何将形式和语言转化,例如将一幅古老的大师画作转化为三维装置,将一部电影转化为图谱,或将极简主义的词汇转化为富有更多情感的语言。科纳罗曾在众多艺术机构举办过个人展览,包括法国塞里尼昂当代艺术博物馆(2019),布鲁塞尔爱马仕基金会(2016),英国南伦敦美术馆(2015),法国巴黎东京宫(2015),英国布里斯托尔Spike Island(2015),瑞士伯尔尼美术馆(2013),法国格勒诺布尔Le Magasin当代艺术中心(2012),法国波尔多地区当代艺术基金会(2012), 德国杜塞尔多夫艺术博物馆(2009)等。刘商英,蒙古族,1974年生于中国云南省昆明市;现为中央美术学院教授,任教于油画系第三工作室,工作生活于北京。 自2011年至今,刘商英先后多次深入西藏阿里、内蒙古额济纳旗、新疆罗布泊、阿尔金山、天山等地进行野外现场绘画项目,持续以创作发生地为单元,先后创作了《玛旁雍错》系列、《胡杨与沙》系列、《荒原计划》系列、《沙子泉》系列、《祁曼塔格》系列、《彩虹》系列、《天山》系列及《花谷道》系列,并将在现场完成的绘画放置在项目现场真实的自然场域中展示,以此来探讨绘画与项目发生地之间的关系。重要个展包括“在世界之间行走”(西海美术馆,2022)、“谁的绘画”(星空间,2021)、 “生命场”(内蒙古阿拉善盟额济纳旗红城遗址,2017)、“青山半入城”(常熟美术馆,2016)、“空故纳万境”(中国美术馆,2015)、“浮云”(北京中间美术馆,2013)。作品曾在海内外重要艺术机构展出,其中包括:广东美术馆(广州,2023)、北京民生现代美术馆(北京,2022)、松美术馆(北京,2020)、多利亚潘菲利美术馆(意大利,2019)、保加利亚国家美术馆(保加利亚,2019)、梅格基金会美术馆(法国,2018)、中华艺术宫(上海,2018)、维多利奥美术馆(意大利,2015)、印尼国家美术馆(印尼,2014)、纽约艺术学院(美国,2013)、中国美术馆(北京,2012)、关山月美术馆(深圳,2011)、中央美术学院美术馆(北京,2010)等。此外,刘商英曾参加第3届中国新疆国际艺术双年展(中国,2023)、首届北京艺术双年展(中国,2022)、2022武汉双年展(中国,2022)、第14届达喀尔非洲当代艺术双年展(塞内加尔,2022)、2021成都双年展(中国,2021)、第4届圣地亚哥双年展(智利,2015)等国内外双年展。 邬建安,1980年生于北京,现为中央美术学院教授,博士生导师。邬建安的艺术思辨和视觉创造,核心在于借助那些看似远离今日生活的情境,表达⼈类⽂明历史中永恒的部分,唤醒人内心感受中隐秘幽微却宏大磅礴的潜意识,进而引发对时代和⼈的反思与观照。如著名美术史学者、芝加哥⼤学教授巫鸿所⾔,“他的想象力总在几个维度上同时进行,他的作品也总在几个维度上同时刺激和扩展人们的艺术想象。他游走于文字和图像之间,在抽象与具象之上又加上⼀个叙事维度……他驰骋于古今之间,把当下的⼈们在瞬息间带往诡谲奇邈的洪荒时代。他跨越媒材和⻛格:绘画、雕塑、剪纸、装置提供给他多样的语汇,但同时激起跨界、综合、打乱、超越的欲望。”2017年,邬建安的作品代表中国参加第57届威尼斯双年展。近年来,作品先后参加《思维的线索:馆藏中的⾏动抽象》(美国伯克利美术馆及太平洋影像艺术中心,2022)、《超融体:2021成都双年展》(中国成都天府美术馆,2021)、《玻璃应力:未来之窗》(俄罗斯国⽴艾尔⽶塔什冬宫博物馆,2021)、《开物:当代中国的⽇常与想象》(法国⾥尔伯爵夫⼈博物馆,2021)、《生生不息——叙事的⻩河》(银川当代美术馆,2020)、《纸上谈缤》(意⼤利那不勒斯国家考古博物馆,2019)、《第七届越后妻有⼤地艺术三年展》(日本新泻越后妻有,2018)、《蛇形》(日本东京森美术馆,2019;新加坡艺术科学博物馆,2017)等重要展事,并在北京、上海、⾹港、纽约等地举办多次个⼈艺术展。他的代表作品进入大都会艺术博物馆、波士顿美术博物馆、洛杉矶郡立艺术博物馆、伯克利美术馆及太平洋影像艺术中心、巴⻄奥斯卡·尼迈耶博物馆、澳⼤利亚白兔艺术收藏、北京民生现代美术馆、上海星美术馆、日本福冈亚洲艺术博物馆、中央美术学院美术馆、康奈尔⼤学赫伯特 F. 约翰逊艺术博物馆等美术馆的馆藏。现代传播集团、汇丰尚玉中心、陈⼀丹基金会,以及爱马仕、迪奥、宝格丽等机构亦收藏有邬建安的作品。2019年,邬建安入选CCTV纪录频道出品的《中国想象⼒》,这也是他的首部个⼈纪录⽚。他获得的主要艺术奖项包括“2022年度卓越艺术人才奖助”(Asian Cultrual Council 纽约亚洲⽂化协会),(“2018年度40 Under 40亚洲卓越艺术家”(Perspective《视野》)、“2020 Best of the Best年度艺术家”(《罗博报告》)、“2017年度青年力量”(《南方⼈物周刊》)等。耿雪,1983年生于吉林。2007年于中央美术学院雕塑系本科毕业,并获学士学位。2014年于中央美术学院版画系研究生毕业,获硕士学位,导师徐冰教授。现任教于中央美术学院雕塑系。作品涉及陶瓷、雕塑、绘画、影像等不同媒介。受邀参加的重要展览包括2019年第58届威尼斯双年展中国馆、2018年第21 届澳大利亚悉尼双年展、2017年第57届威尼斯双年展平行展、2014韩国釜山双年展等。陶瓷、雕塑、绘画、及影像作品被诸多国内外公共机构收藏,包括中国中央美术学院美术馆、河南博物院、武汉美术馆、筑中美术馆、香港 M+美术馆/乌利.希克收藏,英国威尔士国家博物馆、美国威斯康星大学 查森美术馆、韩国光州美术馆、日本濑户美术馆、澳大利亚白兔美术馆、荷兰皇家陶瓷博物馆、 加拿大西蒙弗雷泽大学图书馆、澳大利亚维多利亚国家博物馆、澳大利亚动力博物馆等。影像作品曾入选的电影节展映有“中国动画百年,万籁鸣文献展——中国独立动画电影论坛特别展映”,成都大学美术与影视学院美术馆;11.IZDANJE 25FPS 电影节,克罗地亚;“Here out there”展,芬兰赫尔辛基艺术节;荷兰HAFF 国际动画电影节,荷兰乌特勒支大学博物馆;斯洛伐克ANČA国际动画电影节等。主编  / 何一沙责编 / 杜隐珠
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CAFAM讲座预告 | 琼·斯尼泽 :1970年后美国的女性艺术发展

2024-05-21

讲座名称:《1970年后美国的女性艺术发展》Lecture Title: "The Development of Women's Art in America After 1970" 讲座时间:2024年5月22日18:30-20:30Time: 18:30-20:30,22ndMay,2024 讲座地点:中央美术学院美术馆学术报告厅Location: Auditorium, CAFA Art Museum 讲者:琼·斯尼泽(哥伦比亚大学巴纳德学院艺术史和视觉艺术系联合系主任)Speaker: Joan Snitzer(the Co-Chair of the Department of Art History and Visual Arts at Barnard College, Columbia University)主持:王春辰  (中央美术学院美术馆副馆长)Host: Wang Chunchen (Deputy Director of CAFAM) 讲座介绍 受20世纪70年代女性主义艺术运动的启发,通过艺术创作和组织艺术实践活动的美国女性艺术家们,逐渐获得美国公众认可并进入主要画廊或博物馆。琼·斯尼泽教授将在讲座中详细剖析那些曾被认为是“另类”艺术史、技术、形式和材料的艺术作品及女性艺术家,是如何被纳入美国主流文化并受到公众关注。当前纽约主要画廊和博物馆展出的女性艺术作品将成为本次讲座的亮点。 Inspired by the feminist art movement of the 1970s, American women artists gradually gained public recognition and entered major galleries and museums through their creative works and organized art practices. In this lecture, Professor Snitzer will analyze in detail how art works and female artists, once considered "alternative," in terms of art history, techniques, forms, and materials, have been incorporated into mainstream American culture and gained public attention. The highlight of this lecture will be the current exhibitions of women's art in major galleries and museums in New York. 讲者简介                                                    琼·斯尼泽教授 斯尼泽教授曾担任美国著名艺术家和波普艺术运动的主要人物安迪·沃霍尔助手,自1986 年起在美国哥伦比亚大学任教,教龄已近 40 年,现为哥伦比亚大学巴纳德学院视觉文化与艺术史系联合主任。 斯尼泽教授目前所授课程包括“意象与形式”,一门为当代艺术实践提供历史理论的课程; 以及 “高级工作坊”,这是一门为正在准备毕业作品集的视觉艺术专业学生开设的课程。2006 年,因其卓越的教学成果获得了玛格丽特·米德奖,并于今年获得哥大颁发的“最佳教学奖”。 斯尼泽教授在教学同时亦从事艺术批评写作与视觉艺术创作。斯尼泽教授师从著名艺术史学者和批评家本杰明·布赫洛和罗莎琳德·克劳斯。她认为绘画是视觉交流的重要途径以及个人和社会价值的表现方式。她的作品曾展出于纽约现代艺术博物馆(纽约)、 MoMA PS1 (纽约)、布朗克斯美术馆(纽约)、大卫•诺兰画 廊(纽约)、2B 画廊(布达佩斯)、Ajolote Contemporaneo 画廊(墨西哥) 等国内外艺术机构。作品被美国银行、高盛、保德信金融集团、IBM 等多家著名机构以及私人收藏。 斯尼泽教授一直保有对非营利世界的热情, 1980 年她在纽约布朗克斯美术馆创办的“市场中的艺术家”(AIM)项目,至今已运营 45 年,为职业上升期的艺术家提供了展览机会和学习交流空间。斯尼泽教授还是美国历史最悠久的、由艺术家运营的女性非盈利艺术空间 A.I.R 画廊的主要指导之一,并同时在世界各地多次举办个人绘画作品展览与公益讲座。 自斯尼泽教授在安迪沃霍尔的工作室“银色工厂”工作起,她陆续结识了尚-米榭·巴斯奇亞 安娜·曼迪耶塔 杰夫·昆斯等多位在当代艺术中举足轻重的艺术家,见证了纽约当代艺术的发展。 Professor Joan Snitzer served as an assistant to the renowned American artist and key figure of the Pop Art movement, Andy Warhol. She has been teaching at Columbia University in the United States since 1986, with nearly 40 years of teaching experience. She is currently the Co-Chair of the Department of Art History and Visual Arts at Barnard College, Columbia University. Professor Snitzer's current courses include "Imagery and Form," a course that provides historical theory for contemporary art practice, and "Advanced Studio,” a course designed for visual arts students preparing their graduation portfolios. In 2006, she received the Margaret Mead Award for her outstanding teaching achievements, and this year, she was awarded the "Excellence in Teaching Award" by Columbia University. In addition to teaching, Professor Snitzer is also engaged in art criticism writing and visual arts creation. She studied under renowned art historians and critics Benjamin Buchloh and Rosalind Krauss. She believes that painting is an important means of visual communication and a way of expressing personal and societal values. Her works have been exhibited at the Museum of Modern Art (MoMA) in New York, MoMA PS1 (New York), the Bronx Museum of the Arts (New York), the David Nolan Gallery (New York), 2B Gallery (Budapest), and Ajolote Contemporaneo Gallery (Mexico), among other domestic and international art institutions. Her works are in the collections of major institutions and private collectors, including Bank of America, Goldman Sachs, Prudential Financial, and IBM. Professor Snitzer has always maintained a passion for the non-profit world. In 1980, she founded the "Artist in the Marketplace" (AIM) program at the Bronx Museum of the Arts in New York, which has been operating for 45 years and provides exhibition opportunities and spaces for professional growth for emerging artists. Professor Snitzer is also one of the key advisors to A.I.R. Gallery, the oldest artist-run, non-profit women's art space in the United States. She has held numerous solo painting exhibitions and public lectures worldwide. Since working at Andy Warhol's studio, "The Silver Factory," Professor Snitzer has met several significant contemporary artists such as Jean-Michel Basquiat, Ana Mendieta, and Jeff Koons, witnessing the development of contemporary art in New York. 讲座相关作品                                       安娜·门迪耶塔,《剪影系列》,1976年                                                    Ana Mendieta, Silueta Series, 1976.                                       辛迪·舍曼,《无题电影剧照 #21》,1978年                                                    Cindy Sherman, Untitled Film Still #21, 1978                                                    珍妮·霍尔泽,《受伤的地球》,在格拉斯哥举行的光投影展,以配合第26届联合国气候变化大会(COP26), 2021                                                    Jenny Holzer, Hurt Earth, light projection in Glasgow to coincide with the Cop26 climate conference, 2021.                                                    朱莉·梅赫雷图,《高盛壁画》, 2009年                                                    Julie Mehretu, Goldman Sachs Mural, 2009.                                                    莎拉·茨的作品《三重点·天文馆》于2013年创作,使用的材料包括木材、钢材、塑料、石头、绳子、风扇、投影仪,                                                    以及打印在杜邦纸上的岩石照片。这件作品在第55届威尼斯双年展美国馆展出。                                                    Sarah Sze, Triple Point (Planetarium), 2013,Wood, steel, plastic, stone, string, fans, overhead projectors,                                                     photograph of rock printed on Tyvek, U.S. Pavilion 55th International Art Exhibit La Biennale Di Venezia.主编  / 何一沙责编 / 杜隐珠
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CAFAM讲座预告 | 琼·斯尼泽 :1970年后美国的女性艺术发展

2024-05-21

讲座名称:《1970年后美国的女性艺术发展》Lecture Title: "The Development of Women's Art in America After 1970" 讲座时间:2024年5月22日18:30-20:30Time: 18:30-20:30,22ndMay,2024 讲座地点:中央美术学院美术馆学术报告厅Location: Auditorium, CAFA Art Museum 讲者:琼·斯尼泽(哥伦比亚大学巴纳德学院艺术史和视觉艺术系联合系主任)Speaker: Joan Snitzer(the Co-Chair of the Department of Art History and Visual Arts at Barnard College, Columbia University)主持:王春辰  (中央美术学院美术馆副馆长)Host: Wang Chunchen (Deputy Director of CAFAM) 讲座介绍 受20世纪70年代女性主义艺术运动的启发,通过艺术创作和组织艺术实践活动的美国女性艺术家们,逐渐获得美国公众认可并进入主要画廊或博物馆。琼·斯尼泽教授将在讲座中详细剖析那些曾被认为是“另类”艺术史、技术、形式和材料的艺术作品及女性艺术家,是如何被纳入美国主流文化并受到公众关注。当前纽约主要画廊和博物馆展出的女性艺术作品将成为本次讲座的亮点。 Inspired by the feminist art movement of the 1970s, American women artists gradually gained public recognition and entered major galleries and museums through their creative works and organized art practices. In this lecture, Professor Snitzer will analyze in detail how art works and female artists, once considered "alternative," in terms of art history, techniques, forms, and materials, have been incorporated into mainstream American culture and gained public attention. The highlight of this lecture will be the current exhibitions of women's art in major galleries and museums in New York. 讲者简介                                                    琼·斯尼泽教授 斯尼泽教授曾担任美国著名艺术家和波普艺术运动的主要人物安迪·沃霍尔助手,自1986 年起在美国哥伦比亚大学任教,教龄已近 40 年,现为哥伦比亚大学巴纳德学院视觉文化与艺术史系联合主任。 斯尼泽教授目前所授课程包括“意象与形式”,一门为当代艺术实践提供历史理论的课程; 以及 “高级工作坊”,这是一门为正在准备毕业作品集的视觉艺术专业学生开设的课程。2006 年,因其卓越的教学成果获得了玛格丽特·米德奖,并于今年获得哥大颁发的“最佳教学奖”。 斯尼泽教授在教学同时亦从事艺术批评写作与视觉艺术创作。斯尼泽教授师从著名艺术史学者和批评家本杰明·布赫洛和罗莎琳德·克劳斯。她认为绘画是视觉交流的重要途径以及个人和社会价值的表现方式。她的作品曾展出于纽约现代艺术博物馆(纽约)、 MoMA PS1 (纽约)、布朗克斯美术馆(纽约)、大卫•诺兰画 廊(纽约)、2B 画廊(布达佩斯)、Ajolote Contemporaneo 画廊(墨西哥) 等国内外艺术机构。作品被美国银行、高盛、保德信金融集团、IBM 等多家著名机构以及私人收藏。 斯尼泽教授一直保有对非营利世界的热情, 1980 年她在纽约布朗克斯美术馆创办的“市场中的艺术家”(AIM)项目,至今已运营 45 年,为职业上升期的艺术家提供了展览机会和学习交流空间。斯尼泽教授还是美国历史最悠久的、由艺术家运营的女性非盈利艺术空间 A.I.R 画廊的主要指导之一,并同时在世界各地多次举办个人绘画作品展览与公益讲座。 自斯尼泽教授在安迪沃霍尔的工作室“银色工厂”工作起,她陆续结识了尚-米榭·巴斯奇亞 安娜·曼迪耶塔 杰夫·昆斯等多位在当代艺术中举足轻重的艺术家,见证了纽约当代艺术的发展。 Professor Joan Snitzer served as an assistant to the renowned American artist and key figure of the Pop Art movement, Andy Warhol. She has been teaching at Columbia University in the United States since 1986, with nearly 40 years of teaching experience. She is currently the Co-Chair of the Department of Art History and Visual Arts at Barnard College, Columbia University. Professor Snitzer's current courses include "Imagery and Form," a course that provides historical theory for contemporary art practice, and "Advanced Studio,” a course designed for visual arts students preparing their graduation portfolios. In 2006, she received the Margaret Mead Award for her outstanding teaching achievements, and this year, she was awarded the "Excellence in Teaching Award" by Columbia University. In addition to teaching, Professor Snitzer is also engaged in art criticism writing and visual arts creation. She studied under renowned art historians and critics Benjamin Buchloh and Rosalind Krauss. She believes that painting is an important means of visual communication and a way of expressing personal and societal values. Her works have been exhibited at the Museum of Modern Art (MoMA) in New York, MoMA PS1 (New York), the Bronx Museum of the Arts (New York), the David Nolan Gallery (New York), 2B Gallery (Budapest), and Ajolote Contemporaneo Gallery (Mexico), among other domestic and international art institutions. Her works are in the collections of major institutions and private collectors, including Bank of America, Goldman Sachs, Prudential Financial, and IBM. Professor Snitzer has always maintained a passion for the non-profit world. In 1980, she founded the "Artist in the Marketplace" (AIM) program at the Bronx Museum of the Arts in New York, which has been operating for 45 years and provides exhibition opportunities and spaces for professional growth for emerging artists. Professor Snitzer is also one of the key advisors to A.I.R. Gallery, the oldest artist-run, non-profit women's art space in the United States. She has held numerous solo painting exhibitions and public lectures worldwide. Since working at Andy Warhol's studio, "The Silver Factory," Professor Snitzer has met several significant contemporary artists such as Jean-Michel Basquiat, Ana Mendieta, and Jeff Koons, witnessing the development of contemporary art in New York. 讲座相关作品                                       安娜·门迪耶塔,《剪影系列》,1976年                                                    Ana Mendieta, Silueta Series, 1976.                                       辛迪·舍曼,《无题电影剧照 #21》,1978年                                                    Cindy Sherman, Untitled Film Still #21, 1978                                                    珍妮·霍尔泽,《受伤的地球》,在格拉斯哥举行的光投影展,以配合第26届联合国气候变化大会(COP26), 2021                                                    Jenny Holzer, Hurt Earth, light projection in Glasgow to coincide with the Cop26 climate conference, 2021.                                                    朱莉·梅赫雷图,《高盛壁画》, 2009年                                                    Julie Mehretu, Goldman Sachs Mural, 2009.                                                    莎拉·茨的作品《三重点·天文馆》于2013年创作,使用的材料包括木材、钢材、塑料、石头、绳子、风扇、投影仪,                                                    以及打印在杜邦纸上的岩石照片。这件作品在第55届威尼斯双年展美国馆展出。                                                    Sarah Sze, Triple Point (Planetarium), 2013,Wood, steel, plastic, stone, string, fans, overhead projectors,                                                     photograph of rock printed on Tyvek, U.S. Pavilion 55th International Art Exhibit La Biennale Di Venezia.主编  / 何一沙责编 / 杜隐珠
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“2024中央美院本科生毕业展”火热开启

2024-05-20

清晨一场雨带来清凉初夏2024中央美院毕业季持续保持热度本科生毕业作品展第一阶段今日开启油画系壁画系实验艺术与科技艺术学院城市设计学院艺术管理与教育学院(中法)艺术与设计管理学院集中亮相作品分布在中央美院美术馆、石膏馆以及上海中法学院校区精彩毕业季一起相约初夏
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布展剧透 | “2024中央美院本科生毕业作品展”即将到来!

2024-05-18

5月19日,“2024中央美院本科生毕业作品展(一)”即将开展。本阶段将展出油画系、壁画系、实验艺术与科技艺术学院、城市设计学院、艺术管理与教育学院、(中法)艺术与设计管理学院的毕业生作品。展期将持续至6月2日。观众可通过“央美美术馆”小程序、“中央美术学院美术馆”微信公众号或“中央美术学院美术馆”官网进行预约购票(购票说明详见官网)。每日观展名额限量,约满为止(毕业季期间,周一正常开放)。
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公教活动回顾 | “曼声徐度——昆曲在美院”展览

2024-05-17

2024年4月21日,“曼声徐度——昆曲在美院”展览圆满落下帷幕。展览期间,在校团委、美术馆、人文学院、版画系等单位的大力支持下,主办方精心策划并组织了一系列丰富有趣的公共教育活动。这些活动不仅延伸了展览的外沿,为广大师生和观众带来生动的文化体验,更展现出昆曲活动在百年央美厚重文化底蕴滋养下所焕发出的崭新活力。/01/ “曼声徐度”滋兰昆曲社 甲辰(2024)清明公期曲会 4月4日,是展览开幕后的第三天,适逢清明假期,春和景明,樱花翻飞。下午两点,“曼声徐度”滋兰昆曲社甲辰(2024)清明公期曲会在美术馆学术报告厅举行。参加曲会的除中央美术学院滋兰昆曲社师生曲友以外,还有来自北京师范大学以雅昆曲社以及北京昆曲研习社等单位的曲友和嘉宾。 曲会秉持桌台清唱的法度与传统,生动展现了新时代高校曲社恪守传统、孜孜以求传承业余昆曲活动薪火的不懈努力,鲜活而又鲜明地诠释了本次展览的核心理念。曲会合影曲会由策展人主持滋兰昆曲社师生合唱曲会现场 /02/花音满庭——昆曲乐赏会 4月11日午后,由版画系发起并精心策划的“花音满庭——昆曲乐赏会”在5号楼版画系中庭举行。来自版画系的老师和同学们与滋兰昆曲社师生一道相聚海棠树下,细品新茗,共赏清音。大家围绕昆曲展开交流,一同感悟中华优秀传统文化之美,解码中华美学精神的相同基因。席间,滋兰昆曲社师生还清唱了部分代表性曲目。 活动结束后,版画系师生陪同滋兰昆曲社师生参观了水印木刻工作室,随后又一同参观了“曼声徐度——昆曲在美院”展览,由策展人进行了详细讲解。乐赏会现场乐赏会后策展人为版画系师生讲解展览/03/ “滋兰社长面对面”分享交流活动 4月12日下午,“滋兰社长面对面”分享交流互动在展览第三部分“空谷传音”展厅内举行。在现场参与活动的滋兰昆曲社历任社长有:苏畅(2018-2019届,第十任社长)、彭楚月(2019-2021届,第十二任社长)、王楠(2021-2022届,第十三任社长)、钟子骥(2022-2023届,第十四任社长)。活动由滋兰昆曲社现任社长戴熙桐、副社长吴柳婵主持。 活动中,社长们进行了清唱示范。随后,社长们又邀请在场观众们一同入座清音桌,亲身体验昆曲传习的魅力。社长们还分享了自己入社的机缘,以及担任社长的感悟。最后,活动在大家合唱《沁园春·雪》的曲声中圆满结束。滋兰社长面对面活动现场,在场观众入座清音桌,体验清唱、共话昆曲 /04/策展人“面对面”导览交流活动 4月13日下午,“曼声徐度——昆曲在美院”展览策展人董永俊、王瑀及本次展览视觉设计师胡贤明老师一同莅临展场,为观众进行专题导览,并在导览结束后围绕昆曲清唱、滋兰昆曲社发展历程、展览策展和展陈设计等诸多方面展开分享交流。活动同时还邀请了滋兰昆曲社社员在“空谷传音”展厅内为观众带来桌台清唱展示。 策展人、设计师与观众面对面现场交流/05/学术讲座:风流蕴藉义崇雅——漫论昆曲之美 4月19日下午两点,专题讲座“风流蕴藉义崇雅——漫论昆曲之美”在美术馆会议室进行,主讲人王浩教授携策展人董永俊、王瑀老师与在场听众一起漫论昆曲、欣赏经典昆曲唱段。 讲座中,王浩老师引用相关历史文献解释了昆曲的定义,介绍了历史上与昆曲相关的文人、艺人等内容,最后又介绍了昆曲成为“人类口头和非物质遗产代表作”的过程并对此进行了辨析。 讲座结束之际,在场听众还一同欣赏了朱復先生在滋兰昆曲社建社一周年曲会上清唱《千钟禄·惨睹》【八阳】的录像。最后,王浩老师还与滋兰昆曲社社员一起为观众们示唱了散曲若干。王浩教授讲授讲座结束后与听众的合照/06/ 昆曲研习工作坊 4月20日下午一时许,本次展览的最后一场公教活动——昆曲研习工作坊在展览现场开始。工作坊由滋兰昆曲社前社长钟子骥同学主持,他首先带领学员们参观了“曼声徐度——昆曲在美院”展览,通过详尽的讲解使各位学员初步了解基本常识与理念。滋兰昆曲社资深社员施廷琦在现场向学员们讲解了自己的参展作品。 参观结束后,学员们在钟子骥同学和曲社社员的指导下从认识曲谱开始,系统体验拍曲,体会口传心授的妙处。研习结束后,学员们就各自的体验与收获进行了分享交流。大家纷纷表示,通过一下午的研习,不仅得以初步认识昆曲曲谱,更切身感受到了传统昆曲桌台清唱的魅力。滋兰昆曲社资深社员施廷琦向工作坊学员们介绍展出的个人作品工作坊现场照片曼声徐度,不绝如缕。展览虽已落幕,但昆曲在美院的故事还在继续…… 曼声徐度——昆曲在美院展览时间:2024年4月2日—4月21日展览地点:中央美术学院美术馆2层C展厅主编  / 何一沙责编 / 杜隐珠
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公教活动回顾 | “曼声徐度——昆曲在美院”展览

2024-05-17

2024年4月21日,“曼声徐度——昆曲在美院”展览圆满落下帷幕。展览期间,在校团委、美术馆、人文学院、版画系等单位的大力支持下,主办方精心策划并组织了一系列丰富有趣的公共教育活动。这些活动不仅延伸了展览的外沿,为广大师生和观众带来生动的文化体验,更展现出昆曲活动在百年央美厚重文化底蕴滋养下所焕发出的崭新活力。/01/ “曼声徐度”滋兰昆曲社 甲辰(2024)清明公期曲会 4月4日,是展览开幕后的第三天,适逢清明假期,春和景明,樱花翻飞。下午两点,“曼声徐度”滋兰昆曲社甲辰(2024)清明公期曲会在美术馆学术报告厅举行。参加曲会的除中央美术学院滋兰昆曲社师生曲友以外,还有来自北京师范大学以雅昆曲社以及北京昆曲研习社等单位的曲友和嘉宾。 曲会秉持桌台清唱的法度与传统,生动展现了新时代高校曲社恪守传统、孜孜以求传承业余昆曲活动薪火的不懈努力,鲜活而又鲜明地诠释了本次展览的核心理念。曲会合影曲会由策展人主持滋兰昆曲社师生合唱曲会现场 /02/花音满庭——昆曲乐赏会 4月11日午后,由版画系发起并精心策划的“花音满庭——昆曲乐赏会”在5号楼版画系中庭举行。来自版画系的老师和同学们与滋兰昆曲社师生一道相聚海棠树下,细品新茗,共赏清音。大家围绕昆曲展开交流,一同感悟中华优秀传统文化之美,解码中华美学精神的相同基因。席间,滋兰昆曲社师生还清唱了部分代表性曲目。 活动结束后,版画系师生陪同滋兰昆曲社师生参观了水印木刻工作室,随后又一同参观了“曼声徐度——昆曲在美院”展览,由策展人进行了详细讲解。乐赏会现场乐赏会后策展人为版画系师生讲解展览/03/ “滋兰社长面对面”分享交流活动 4月12日下午,“滋兰社长面对面”分享交流互动在展览第三部分“空谷传音”展厅内举行。在现场参与活动的滋兰昆曲社历任社长有:苏畅(2018-2019届,第十任社长)、彭楚月(2019-2021届,第十二任社长)、王楠(2021-2022届,第十三任社长)、钟子骥(2022-2023届,第十四任社长)。活动由滋兰昆曲社现任社长戴熙桐、副社长吴柳婵主持。 活动中,社长们进行了清唱示范。随后,社长们又邀请在场观众们一同入座清音桌,亲身体验昆曲传习的魅力。社长们还分享了自己入社的机缘,以及担任社长的感悟。最后,活动在大家合唱《沁园春·雪》的曲声中圆满结束。滋兰社长面对面活动现场,在场观众入座清音桌,体验清唱、共话昆曲 /04/策展人“面对面”导览交流活动 4月13日下午,“曼声徐度——昆曲在美院”展览策展人董永俊、王瑀及本次展览视觉设计师胡贤明老师一同莅临展场,为观众进行专题导览,并在导览结束后围绕昆曲清唱、滋兰昆曲社发展历程、展览策展和展陈设计等诸多方面展开分享交流。活动同时还邀请了滋兰昆曲社社员在“空谷传音”展厅内为观众带来桌台清唱展示。 策展人、设计师与观众面对面现场交流/05/学术讲座:风流蕴藉义崇雅——漫论昆曲之美 4月19日下午两点,专题讲座“风流蕴藉义崇雅——漫论昆曲之美”在美术馆会议室进行,主讲人王浩教授携策展人董永俊、王瑀老师与在场听众一起漫论昆曲、欣赏经典昆曲唱段。 讲座中,王浩老师引用相关历史文献解释了昆曲的定义,介绍了历史上与昆曲相关的文人、艺人等内容,最后又介绍了昆曲成为“人类口头和非物质遗产代表作”的过程并对此进行了辨析。 讲座结束之际,在场听众还一同欣赏了朱復先生在滋兰昆曲社建社一周年曲会上清唱《千钟禄·惨睹》【八阳】的录像。最后,王浩老师还与滋兰昆曲社社员一起为观众们示唱了散曲若干。王浩教授讲授讲座结束后与听众的合照/06/ 昆曲研习工作坊 4月20日下午一时许,本次展览的最后一场公教活动——昆曲研习工作坊在展览现场开始。工作坊由滋兰昆曲社前社长钟子骥同学主持,他首先带领学员们参观了“曼声徐度——昆曲在美院”展览,通过详尽的讲解使各位学员初步了解基本常识与理念。滋兰昆曲社资深社员施廷琦在现场向学员们讲解了自己的参展作品。 参观结束后,学员们在钟子骥同学和曲社社员的指导下从认识曲谱开始,系统体验拍曲,体会口传心授的妙处。研习结束后,学员们就各自的体验与收获进行了分享交流。大家纷纷表示,通过一下午的研习,不仅得以初步认识昆曲曲谱,更切身感受到了传统昆曲桌台清唱的魅力。滋兰昆曲社资深社员施廷琦向工作坊学员们介绍展出的个人作品工作坊现场照片曼声徐度,不绝如缕。展览虽已落幕,但昆曲在美院的故事还在继续…… 曼声徐度——昆曲在美院展览时间:2024年4月2日—4月21日展览地点:中央美术学院美术馆2层C展厅主编  / 何一沙责编 / 杜隐珠
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公教活动回顾 | “曼声徐度——昆曲在美院”展览

2024-05-17

2024年4月21日,“曼声徐度——昆曲在美院”展览圆满落下帷幕。展览期间,在校团委、美术馆、人文学院、版画系等单位的大力支持下,主办方精心策划并组织了一系列丰富有趣的公共教育活动。这些活动不仅延伸了展览的外沿,为广大师生和观众带来生动的文化体验,更展现出昆曲活动在百年央美厚重文化底蕴滋养下所焕发出的崭新活力。/01/ “曼声徐度”滋兰昆曲社 甲辰(2024)清明公期曲会 4月4日,是展览开幕后的第三天,适逢清明假期,春和景明,樱花翻飞。下午两点,“曼声徐度”滋兰昆曲社甲辰(2024)清明公期曲会在美术馆学术报告厅举行。参加曲会的除中央美术学院滋兰昆曲社师生曲友以外,还有来自北京师范大学以雅昆曲社以及北京昆曲研习社等单位的曲友和嘉宾。 曲会秉持桌台清唱的法度与传统,生动展现了新时代高校曲社恪守传统、孜孜以求传承业余昆曲活动薪火的不懈努力,鲜活而又鲜明地诠释了本次展览的核心理念。曲会合影曲会由策展人主持滋兰昆曲社师生合唱曲会现场 /02/花音满庭——昆曲乐赏会 4月11日午后,由版画系发起并精心策划的“花音满庭——昆曲乐赏会”在5号楼版画系中庭举行。来自版画系的老师和同学们与滋兰昆曲社师生一道相聚海棠树下,细品新茗,共赏清音。大家围绕昆曲展开交流,一同感悟中华优秀传统文化之美,解码中华美学精神的相同基因。席间,滋兰昆曲社师生还清唱了部分代表性曲目。 活动结束后,版画系师生陪同滋兰昆曲社师生参观了水印木刻工作室,随后又一同参观了“曼声徐度——昆曲在美院”展览,由策展人进行了详细讲解。乐赏会现场乐赏会后策展人为版画系师生讲解展览/03/ “滋兰社长面对面”分享交流活动 4月12日下午,“滋兰社长面对面”分享交流互动在展览第三部分“空谷传音”展厅内举行。在现场参与活动的滋兰昆曲社历任社长有:苏畅(2018-2019届,第十任社长)、彭楚月(2019-2021届,第十二任社长)、王楠(2021-2022届,第十三任社长)、钟子骥(2022-2023届,第十四任社长)。活动由滋兰昆曲社现任社长戴熙桐、副社长吴柳婵主持。 活动中,社长们进行了清唱示范。随后,社长们又邀请在场观众们一同入座清音桌,亲身体验昆曲传习的魅力。社长们还分享了自己入社的机缘,以及担任社长的感悟。最后,活动在大家合唱《沁园春·雪》的曲声中圆满结束。滋兰社长面对面活动现场,在场观众入座清音桌,体验清唱、共话昆曲 /04/策展人“面对面”导览交流活动 4月13日下午,“曼声徐度——昆曲在美院”展览策展人董永俊、王瑀及本次展览视觉设计师胡贤明老师一同莅临展场,为观众进行专题导览,并在导览结束后围绕昆曲清唱、滋兰昆曲社发展历程、展览策展和展陈设计等诸多方面展开分享交流。活动同时还邀请了滋兰昆曲社社员在“空谷传音”展厅内为观众带来桌台清唱展示。 策展人、设计师与观众面对面现场交流/05/学术讲座:风流蕴藉义崇雅——漫论昆曲之美 4月19日下午两点,专题讲座“风流蕴藉义崇雅——漫论昆曲之美”在美术馆会议室进行,主讲人王浩教授携策展人董永俊、王瑀老师与在场听众一起漫论昆曲、欣赏经典昆曲唱段。 讲座中,王浩老师引用相关历史文献解释了昆曲的定义,介绍了历史上与昆曲相关的文人、艺人等内容,最后又介绍了昆曲成为“人类口头和非物质遗产代表作”的过程并对此进行了辨析。 讲座结束之际,在场听众还一同欣赏了朱復先生在滋兰昆曲社建社一周年曲会上清唱《千钟禄·惨睹》【八阳】的录像。最后,王浩老师还与滋兰昆曲社社员一起为观众们示唱了散曲若干。王浩教授讲授讲座结束后与听众的合照/06/ 昆曲研习工作坊 4月20日下午一时许,本次展览的最后一场公教活动——昆曲研习工作坊在展览现场开始。工作坊由滋兰昆曲社前社长钟子骥同学主持,他首先带领学员们参观了“曼声徐度——昆曲在美院”展览,通过详尽的讲解使各位学员初步了解基本常识与理念。滋兰昆曲社资深社员施廷琦在现场向学员们讲解了自己的参展作品。 参观结束后,学员们在钟子骥同学和曲社社员的指导下从认识曲谱开始,系统体验拍曲,体会口传心授的妙处。研习结束后,学员们就各自的体验与收获进行了分享交流。大家纷纷表示,通过一下午的研习,不仅得以初步认识昆曲曲谱,更切身感受到了传统昆曲桌台清唱的魅力。滋兰昆曲社资深社员施廷琦向工作坊学员们介绍展出的个人作品工作坊现场照片曼声徐度,不绝如缕。展览虽已落幕,但昆曲在美院的故事还在继续…… 曼声徐度——昆曲在美院展览时间:2024年4月2日—4月21日展览地点:中央美术学院美术馆2层C展厅主编  / 何一沙责编 / 杜隐珠
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“首届青年批评家论坛”将于5月19日在中央美术学院美术馆举办

2024-05-16

首届青年批评家论坛 主办:中央美术学院美术馆承办:中央美院美术馆当代艺术批评与策展研究中心 时间:2024年5月19日地点:中央美术学院美术馆报告厅 “首届青年批评家论坛”将于5月19日在中央美术学院美术馆举办,本次论坛以“当下艺术现状之我见”为主题,分为“现象观察”、“策展研究”、“艺术批评现状之思”、“艺术批评史学研究”四场,邀请当代艺术批评、策展、艺术史以及艺术市场领域的青年学者、批评家分享最新的学术研究成果、独立的观点与主张,展开思想的交流与碰撞。有兴趣前来参加论坛的听众,请通过中央美术学院美术馆小程序购票入馆。 会议日程  // 8:30-9:00    开幕仪式 主持人:王春辰   致辞:高高   对青年批评家的祝辞:贾方舟    // 9:00-9:50    第一场:现象观察 主持人:于洋    赵炎 | “去物质化”与当代新媒体艺术  李亭宇 | 意义脱位时刻:关于技术图像时代的批评困局   徐薇 | 价与值:艺术作品的两张脸   王基宇 | 公共流量时代:人民艺术的五种可能// 9:50-10:10    对话互辩 // 10:10-10:20    茶歇 // 10:20-11:10    第二场:策展研究 主持人 | 刘礼宾   王丹云 | 思想作为双年展的策展方法—以第八届横滨三年展为例纪玉洁 | 动机、立场与判断力—设计批评作为设计展的策展方法 秦晋之 | 论当代中国艺术家合法性赋权系统       苏典娜 | 再评美国60年代的反文化运动       11:10-11:30    对话互辩 13:30-15:00    第三场:艺术批评现状之思 主持人 | 盛葳   林梓 | 精神分析话语引入艺术批评语境的意义   罗逸飞 | 不要身份,但要性别:当代女性主义批评   蔡润玮 | 面对驯化与投机:批评的具象化回归   邓雅心 | 媒介转场:自媒体下的当代艺术批评   蒋苇 | 当代艺术的话语转向与点石成金的艺术批评   朱莉 | “泛媒介”浪潮下艺术批评的话语表征与范式转向    郑新雅 | 何种批评合适?—论艺术批评的过度理论化   张骁锐 | 内或外、真与伪—关于艺术批评与“理论—虚构”     // 15:00-15:20    对话互辩 // 15:20-15:30    茶歇 // 15:30-16:40   第四场:艺术批评史学研究 主持人 | 范晓楠   吴晶莹 | 重释的策略:“前卫”概念的历史流变与中国境遇       徐旷之 | 从杯中风波到文化战争:《十月》诞生的历史语境、定位及局限性       王志亮 | 辩证统一论的尴尬—1979-1983关于形式美、自我表现和现实主义的论争     曾小凤 | “五四”语境下的中国美术批评何以成史?   刘白芊 | 话语权力的博弈与竞争:极简艺术批评的“公众困境”       黄浩立 | 从“观念”到“思考”:当代艺术批评在“同时代性”概念中的意义构成      // 16:40-17:00    对话互辩// 17:00-17:30    闭幕式 王端廷 | 总结发言
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CAFAM公众招募 | 2024中央美院研究生毕业作品展 系列公共教育活动

2024-05-13

2024年“心向往之--中央美院毕业季”如约而至,我们怀着激动的心情又一次踏进了央美的校园。这是青春绽放的时节,更是艺术宴。CAFAM公共教育部策划了系列公教活动,包括公益导览和专业工作坊等。我们诚挚的邀请大家一起参与活动,在这浪漫夏日共同见证美院人的艺术、青春与创造。 01毕业生的自我阐述——我的作品我来讲在奔赴艺术的道路上,我们的毕业生们如此执着而热烈,如此虔诚而谦逊。毕业展是他们呈现自我卓越的舞台,更是公众了解他们的平台。我们在这里向大家发出邀请,请你们站在展厅内,站在作品前,聆听毕业生的创作理念,感受青年艺术家的气息和情怀。在5月12日这天,我们邀请了近百位优秀毕业生共聚美术馆,为艺术爱好者们讲解自己的作品,深度阐释青年艺术家创作面临的当代文化语境,感受美院的教育传承和文脉发展。 活动时间: 5月12日10:00-12:00                   5月12日14:00-16:00活动地点:美术馆各层展厅作品讲解:各专业毕业生参与方式:无需预约,公众可随时加入队伍聆听讲解。02志愿者公益导览在毕业展期间,我们邀请志愿者们采访了多位优秀毕业生,并系统整理了相关资料。届时我们的导览志愿者,将在展厅内进行免费的定时的公益讲解,欢迎大家前来参观交流。导览时间:上午10:00-12:00                 下午14:00-16:00导览诠释:美术馆志愿者团队参与方式:请大家准时在美术馆一层前台集合,志愿者将带领大家前往各展厅。03工作坊《水晶里的世界》——创意精微素描绘画 | 工作坊介绍 |  水晶包裹体(李雪涛拍摄) 在地球诞生后的最初2.5亿年,众多矿物形成。它们见证了生命演化,助力了人类文明。本次工坊聚焦神奇的“幽灵水晶”,带您探索其形成过程,并以创意素描的方式描绘其内含物。这是一次艺术与科学的交融之旅,导师将带领您领略自然与生命之美。| 工作坊报名 |工作坊时间:5月12日(周日)14:00-16:00工作坊地点:美术馆会议室招募对象:18岁以上成人招募人数:15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。报名成功后,将收到微信回复。请勿重复提交报名。注:工作坊全程免费参与。2.活动最终解释权归中央美术学院美术馆所有。| 毕业作品介绍 |《SiO2》作品细节图 矿物是自然界稳固的构成基石,是生命健康不可或缺的保障,更是人类文明持续发展的坚实支柱。作品《SiO2》以幽灵水晶为原型,将其内在杂质具象化,重新审视矿物在生命与生产中的重要作用。装置部分模拟冰块融化质感,隐喻不可再生资源的逐渐消逝。| 工作坊导师 |李雪涛原北京军区通信部副部长、军区信息化专家委常务副主任。资深矿物爱好者,长期从事地质文化和矿物知识公益科普活动。特别对包裹体水晶的科学体系、文化内涵及市场规律,有着独道见解和深入实践。葛若雯2024年中央美术学院壁画系硕士研究生,中央美术学院壁画系第三工作室。矿物科学绘画师,为《矿物日历》,《神奇的矿物图解》等图书的插图作者。曾获中国地质调查局、中国地质大学、中国国家地理、浙江省地质博物馆等举办的科普奖项。主编  / 何一沙责编 / 杜隐珠
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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

Name:
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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