Exhibitions and Events-News

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

CAFAM讲座预告 | 托马斯·萨拉切诺:共生

2024-03-21

托马斯·萨拉切诺(1973年生)是一位居住在柏林的阿根廷裔艺术家,他的艺术项目有关生命形式与生命塑造的对话,致力于重新思考资本世时代的知识主线,并认识到多样化的存在方式如何涉及多重意义。二十多年来,萨拉切诺发起了多个开源、集体和跨学科项目,旨在重新思考大气的共同创造,包括Museo Aero Solar(2007至今)、Aerocene基金会(2015至今)和Arachnophilia,致力于追求生态社会正义,实现一个无碳排放的社会。
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“新中国设计的诞生” 春分开幕

2024-03-20

2024年3月20日,“新中国设计的诞生(1945-1959)”展览开幕式在中央美术学院美术馆2层A展厅开启。本次展览以20世纪40、50年代中国社会的巨变为背景,围绕1945-1959年之间的中国设计与中国现代文明和历史文化之间的关系,从“前进 前进”“视觉革命”“积极的工业化”“人民的时尚”“民族 科学 大众”五个板块,以实物、图像、影像和文献等多种途径展出作品二百余件,系统地呈现中国现代设计史发展中的这个重要阶段。
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CAFAM展览预告 | 绘画的提问:一个世界性的课题

2024-03-19

展览“绘画的提问:一个世界性的课题”将于2024年3月20日至2024年4月20日在中央美术学院美术馆举办。此次展览邀请了陈雷、陈曦、戴增钧、吴啸海、王茜瑶五位艺术家,涵盖了60后、70后、90后三代人,形成了中国当代绘画的一个时间线。五位艺术家的创作各有言说的特点,都有讨论的绘画特质及引申的话题,这些都是研究中国当代绘画的内容。
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CAFAM展览预告|新中国设计的诞生(1945-1959

2024-03-18

20世纪中叶的中国经历了社会巨变,中国的社会性质从半殖⺠半封建地社会过渡到新⺠主主义社会,进而又通过大规模的社会主义改造进入社会主义社会。
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“艺荟中西”全国巡展在中央美院美术馆拉开序幕

2024-03-16

2024年3月14日上午10点,由国家艺术基金资助的“艺荟中西——海上丝绸之路视角下的 19 世纪澳门及广东地区图像展”(以下简称为“艺荟中西”)开幕式在中央美术学院美术馆隆重开启。
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CAFAM工作坊招募 | “游空追形”展览公共教育活动

2024-03-14

2024年3月6日, “广角°青年实验项目空间”迎来第二期第四个项目:“游空追形——李展的雕塑新作”。展览通过三十件作品,呈现出艺术家近年来雕塑创作的思考,作品囊括艺术家自2013年起,尤其聚焦于他2018年至今的创作阶段。此次展览中,艺术家尝试填补在传统的雕塑教学系统中,或许依旧缺位的创作思维,如何将雕塑的内外关系打通,形成某种更开放、更丰富的空间关系与张力,成为他近年来雕塑艺术本体研究的核心。我馆根据展览的学术主旨,策划了两场公共教育活动,邀请感兴趣的小伙伴共同参与。工作坊一雕塑平衡之美——线条的空间与力量《寒鸦》 李展 2022年 75x50x65cm 石膏、铁丝、石膏纱布| 工作坊介绍 |雕塑是空间的艺术,除了像传统对空间的体量占有,雕塑还可以具备如同建筑与器物一样的功能性与空间感。好的雕塑能让人百看不厌,沉浸其中随着形体游走。本次课程导师将带领大家观看展厅内的作品,体会雕塑的造型艺术语言,围绕“力的相互作用”, 创作相应的动物形象,启发公众对于空间的感知与想象。| 工作坊报名 |工作坊时间:3月16日(周六)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: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。报名成功后,将收到微信回复。请勿重复提交报名。注:1.工作坊全程免费参与。2.请报名成功的公众于活动当天准时在美术馆一层大厅集合并签到,我们将带领大家集体前往活动地点。3.活动最终解释权归中央美术学院美术馆所有。| 工作坊导师 |慕华志 2023年就读中央美术学院雕塑系,师从王伟教授,李展副教授。工作坊二CAFAM儿童雕塑工作坊——力与形工作室一角| 工作坊介绍 |无论是空间、张力的建构,无论具象还是抽象,雕塑都需要通过形状去传达,可平缓,亦可强烈,都在传达着雕塑的力。本次儿童活动旨在通过对雕塑家李展的作品的参考临摹学习,带领大家共同创作与动物相关的作品,体会艺术家如何将形与力结合,展现雕塑的张力。| 工作坊报名 |工作坊时间:3月17日(周日)14:00-16:00工作坊地点:美术馆展厅及会议室招募对象:8岁以上热爱艺术的儿童(每位儿童限一位家长陪同)招募人数:15人报名方式:请编辑“儿童活动+参与者姓名+年龄+电话”发送短信至13261936837(梁老师),名额有限,报满为止。报名成功者将会收到短信回复,请勿重复提交报名。注:1.工作坊全程免费参与。2.请报名成功的公众于活动当天准时在美术馆一层大厅集合并签到,志愿者将带领大家集体前往展厅及活动地点。3.活动最终解释权归中央美术学院美术馆所有。| 工作坊导师 |孙岱林2018-2023年就读中央美术学院造型学院雕塑系第一工作室。2023至今,研究生就读中央美术学院雕塑系。“游空追形——李展的雕塑新作”展览时间:2024年3月3日—3月28日展览地点:中央美术学院美术馆2层C展厅
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CAFAM直播|艺荟中西—海上丝绸之路视⻆下的19世纪澳⻔及⼴东地区图像展

2024-03-14

3月15日(周五)10:00在 抖音关注@中央美术学院美术馆 官方账号与您不见不散一起探索文化艺术交流对于视觉图像的影响讲丨解丨嘉丨宾吕澎吕澎,艺术史家、艺术评论家、艺术策展人。现为四川美术学院特聘硕士导师、教授,澳门科技大学特聘教授。历任四川戏剧家协会副秘书长、《艺术·市场》杂志执行主编、广州双年展艺术主持、中国美术学院艺术人文学院副教授、成都市美术馆学术委员会主任、银川当代美术馆艺术总监、那特艺术学院院长。汪蓝中国美术学院美术学博士,旅法艺术家,现任澳门科技大学人文艺术学院副教授,博士生导师。研究方向:美术史、中外文化交流史、艺术创作与理论。澳门特区政府文化局学术研究奖学金获得者,作为项目负责人先后主持过国家艺术基金、澳门基金会、澳门高教基金、澳科大研究基金等学术研究项目,并获多个学术成果奖和教学杰出奖。汪蓝积极参与澳门高等艺术教育建设及学术研究活动,致力推动澳门艺术创作与国际文化艺术交流活动。担任澳门美协理事、澳门国际油画学会副会长、中国书画人才专业委员会理事、澳门中国画研究生创研会副会长、沪澳经济文化发展协会副会长、澳门古典音乐学会会长。主持人何一沙中央美术学院美术馆媒体宣传部主任抖音平台 直播通道 扫码观看部分展览作品乾隆皇帝半身冬装像Portrait of Emperor Qianlong in Winter Suit郎世宁 Giuseppe Castiglione1756-1757年 Circa 1756-1757高丽纸本油彩Oil on Paper62.6x51cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan家中一景 Domestic Scene佚名Anonymous19世纪中期 Mid-19th Century布本油彩Oil on Canvas With The Original Frame50.7x63.5 cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan"浴火重生的广州十三行风光 The Hongs after the Fire(传)顺呱 Sunqua(attribute to)约1855年 Circa 1855布本油彩 Oil on Canvas With The Original Frame45.7X59.7cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan展览信息“艺荟中西——海上丝绸之路视角下的 19 世纪澳门及广东地区图像展”展览时间:3月14日—4月20日展览地点:中央美术学院美术馆2层B展厅主办单位:澳门科技大学合作单位:银川当代美术馆协办单位:中央美术学院美术馆支持单位:澳门特别行政区政府文化发展基金项目负责人/策展人:汪蓝学术委员会主任:吕 澎项目团队:张志庆 赵洗尘
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游空追形 | 艺术家如何思考雕塑中的“力”

2024-03-13

浅论雕塑语言中的“力”(节选)文 | 李展作为造型艺术,与平面展开的二维艺术不同,雕塑存在于三度空间当中,是真实的物质实体。这一特点决定了它的语言唯一性,即关乎于空间、体积、形状和材质这几大要素。形体在空间中起伏、延伸、围合,引起观者特殊的对于空间的感知与想象,这是雕塑语言要素中的核心,是雕塑语言的基本逻辑,一切修辞围绕这一逻辑发生,构成丰富而多变的雕塑语法。《面具》 李展 2015年 44x105x72cm 香樟木《壇》 李展 2018年 53x36x48cm 石膏、铁丝、墨“力”在物理学上的定义是“物体之间的相互作用,是使物体获得加速度和发生形变的外因”,“力”是人们日常生活中最熟悉、最切近自身的感官体验之一。① 那么雕塑语言中的力指的是什么呢?我们知道,审美是人类的特有属性,是其在智力、情感方面区别于动物的重要体现,审美的本质其实是人类对自身的关照,因此一切艺术的审美准则都源自于对生命本身的细致体会。钱绍武先生在他的文章中曾经说过,一切生命都是从核心开始生长,向外扩张的同时承受着大气压力,逐渐生长 成为柱状或球状体,体现出生命体有机的形状特点②。这一说法道出了雕塑审美的一个重要特点——关于生命生长过程中所遭受的一对“抗力”——即自内向外扩张的力(张力)与大气自外向内施加的力(压力)之间的关系问题。留法归来的郑可先生曾受到欧洲现代雕塑的极大影响,他曾说道:“雕塑这个词的含义已不再是传统的含义,即指以某种技术手段来表示的特定艺术,它是借用这个人们习惯称呼的词来统称一切立体造型艺术。一张纸,用手在上面向下压或从下向上顶,产生了凹凸,这就打破了平面而创造了立体,从观念上可以认为它产生了雕塑意念”③——因此 “凹凸”“起伏”是产生三度空间的根本,而这都是由于“力”的存在和作用使然。《鸮鼎》 李展 2018年 62x42x64cm 石膏、铁丝、墨《寒鸦》 李展 2022年 75x50x65cm 石膏、铁丝、石膏纱布雕塑的行为围绕这一“力的相互作用”而展开,雕塑家创造出的造型,无论饱满、萎缩,膨胀、干瘪——都是“二力作用”的结果,这是来自于身体的、行为的,同时也慢慢在人类文明史上形成了审美的自觉。不仅仅雕塑领域,书法中“力透纸背”所强调的“力”——所谓“惟笔欲行,如有物拒之,竭力而与之争,期不涩而自涩矣”—— 那种运笔的力与“如有物拒之”④ 的力所形成的对抗关系,同样是一种审美现象,甚至诞生出一种独特的“涩感”的美,这种“涩感”其实指的就是一种摩擦力,而且是在书者心中刻意制造出的一种力的摩擦,在力的作用下书写出的线条具有韧性、刚性的特点,与随意点划拖拽的线条是完全不同的;在绘画领域,同样,保罗 · 克利在他关于“线条的力学”研究中说道:“一条曲线内在的‘弯曲或弹性’,不仅是由于所展示出来的弧度与力度的关系,还是刀在材料的阻碍下最终克服并超越而出的手的轨迹”⑤,这里他明确借用了“力”的概念。中国画大家齐白石的作品中大量出现长而挺拔的线条如虾须、荷花茎,据说亦是在运笔极慢的状态下画就,在这里齐白石以书入画,将书法中的运笔方式融入绘画之中,执笔在纸上顶力而行,画出的线条劲健挺拔,同样是“力”的显现;太极拳中所强调的“柔中带刚”“绵里藏针”, 是指在力的运动过程中的相互对抗,一招一式都是带着“劲儿”的,看似绵软缓慢 的运动中充满了对力的“控制”。很多人喜欢捏气泡纸,是很解压的一件事,说白了就是人类调动力的作用所产生的一种快感的表现,书法家借线条表现力,画家通过色块、图形表现力,或者通过身体的运动表现力,雕塑家通过形体、空间去表现力。 《悲鸣》 李展 2022年 25x86x57cm 石膏、铁丝、石膏纱布《躯壳》 李展 2022年 10x50x33cm 香樟木在现实的三维世界中,力使物体产生运动,使形体产生位移,力的相互作用制造了空间的凹凸,也揭示出空间所具有的“正负性”,形体的起伏变化就是在力的较量中不断衍生,假如雕塑的自身形状是“正”空间,那么围绕着、包裹着雕塑的空气所形 成的空间即为“负”空间;假如一件容器的外形是“正空间”,那么环绕其外部、充满其内部的空间,都可以被称为“负”空间——雕塑本质上就是一件容器,雕塑里的“体积”概念本质上就是容积。我们在看待雕塑时要从正负空间的角度去体会,也就是要从“张力”“压力”层面去体会雕塑家的意图,这恰恰是审美一件实体造型所能给人们带来的特殊体验,是区别于平面的、虚拟的、图像的审美体验。《雀》 李展 2023年 30x30x33cm 香樟木《兕》 李展 2024年 28x94x43cm 石膏、铁丝、石膏纱布从上述思路来看,我们观看一件雕塑时,仅仅欣赏其外部(正形)是不够的,同时要看到它内部(负形)的空间处理,我们要将雕塑的实体看作是二力作用下所形成的一层“壳”,这层“壳”是证明力的存在的证据,是雕塑家巧妙调动力的作用的最好体现——就像我们观看一件容器时,不仅要看外形怎么样,还要看看内部容积如何,能否最大限度的装东西——形体的正负空间变化不仅仅是“构图”上的经营和推敲,由于力的作用,正负空间直接牵扯到雕塑艺术的发生机制——优秀的雕塑家都是控制“力”的高手。参考书目1.《力的概念的哲学反思》张丽发表于《华中科技大学》2009 硕士论文2. 在《雕刻之美——教学笔记》一文中,钱绍武先生谈到“任何一个自然生长的形体,基本上是充实于三度空间的圆 形......原因很简单,因为各种物体是存在于压力平均的大气之中......有生命的物体总是有内部向外部扩展的,接着它就 受到大气的压力,它的每一步扩展是和外界大气压力作斗争的结果。事实是一个物体内部力量越大,受到的压力也 越大。”(《雕刻之美——教学笔记》钱绍武,载于《美术研究》1983 年第 3 期) 3.《郑可谈雕塑教学》,发表于《美术家通讯》,1985 年第 4 期4.“惟笔欲行,如有物拒之,竭力而与之争,期不涩而自涩矣”(《艺概·书概》刘熙载【清】,上海古籍出版社,1982年9月第一版)5. 摘自艺术哲学学者张未在 2016 年由中央美术学院雕塑系举办的“雕塑之道”研讨会的发言稿 展览团队 | 策展人 |李垚辰副研究员,中央美术学院美术馆典藏部主任。近年从事美术馆典藏理论研究、近现代美术史研究,组织策划展览项目多次获得文化和旅游部奖励。| 艺术家 |李展现任教于中央美术学院雕塑系第一工作室,副教授。“游空追形——李展的雕塑新作”展览时间:2024年3月3日—3月28日展览地点:中央美术学院美术馆2层C展厅
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邀您一起探讨:艺荟中西—海上丝绸之路视⻆下的19世纪澳⻔及⼴东地区图像展

2024-03-12

艺荟中西—海上丝绸之路视⻆下的19世纪澳⻔及⼴东地区图像展学术研讨会时间:2024年3月14日地点:中央美术学院美术馆报告厅国家艺术基金项目《艺荟中西—海上丝绸之路视角下的19世纪澳门及广东地区图像展》及其学术研讨会将于2024年3月14日在中央美术学院美术馆举办。展览以“19 世纪海上丝绸之路的重要节点澳门,广州及通商口岸的城市景观与历史变迁”为主线,采用全景式和沉浸式的方式,以其独特视角呈现了19世纪澳门及广东地区的多样面貌,传递着作品所承载的历史,为观者带来一场以全球化的视角和辩证的历史观来诠释视觉文化平等交流的内涵与意义视觉盛宴。展览开幕当天,12位来自国内外的知名学者将进行专业学术交流及研讨,希望可以多角度地展示19世纪中西艺术交融的视觉图像现象,呈现最新的艺术史研究动态和学术发展趋向,不仅有助于推动和加强澳门与内地的学术文化交流活动,对于当今全球化语境下,“一带一路”和“人类命运共同体”的国际发展思维理念下,文化艺术交流对于视觉图像的影响,也有着重要而深刻的启迪和借鉴意义。研讨会上半场主持王春辰(中央美术学院美术馆副馆长)研讨会上半场发言嘉宾汪蓝:澳门科技大学副教授、博士生导师、《艺荟中西》项目负责人发言题目:《视域图——大航海视角下的澳门城市景观》Frank Vigneron 弗兰克·韦一空:香港中文大学艺术系教授(线上)发言题目:《移动的知识型:18世纪艺术中的创造性误读与富有成效的对话》胡光华:华东师范大学美术学院教授、博士研究生导师、泰国宣素那他皇家大学教授、博士生导师发言题目:《林呱:“中国的托马斯•劳伦斯”》郭亮:上海大学伟长学者、教授、博士生导师、鲁迅美术学院客座教授、美国普林斯顿大学高级访问学者发言题目:《图观海域——中西交流下的明清海图与国家海权》研讨会下半场主持郭亮(上海大学伟长学者、教授、博士生导师、鲁迅美术学院客座教授、美国普林斯顿大学高级访问学者)研讨会下半场发言嘉宾刘希言:中央美术学院美术馆学术部主任发言题目:《不断推近的“中国”风景——18、19世纪中国风俗玻璃画中的风景研究》刘鹏:澳门科技大学人文艺术学院副教授、博士生导师发言题目:《跨文化的描绘:简析钱纳利绘画中的澳门本土人物》Andrea del Guercio(安德烈·德尔·古尔丘)(意大利) :艺术批评、策展人、S.Vacchi艺术基金会副主席、Castalia Art艺术研究协会学术主席发言题目:《Ai love China 弗朗索瓦·布歇到古斯塔夫·莫罗,从优雅到深邃》Francesco Morena 佛朗切斯科·莫瑞纳:佛罗伦萨各公众美术馆的远东部顾问、独立学者发言题目:《Ai love China 弗朗索瓦·布歇到古斯塔夫·莫罗,从优雅到深邃》杨迅凌:博士、澳门大学图书馆主任、古地图研究学者发言题目:《从澳门到北京:欧洲所绘粤道内河航线地图谱系整理与考释(1655-1815)》Maurizio Marinelli (毛里奇奥·马里内利):伦敦大学学院(UCL)教授 (线上)发言题目:《中意跨文化对话:从巴勒莫的“中国小房子”到天津的“意大利区”》龚之允:博士、独立学者、英国独角兽出版集团副社长(线上)发言题目:《中国玻璃背画的题材与分类问题》吕澎:艺术史家发言题目:《存在着十九世纪中国绘画的历史吗?》我们期待与您共同探讨这些议题,促进澳门与内地的学术文化交流,共同推动该学术领域的前沿研究!“艺荟中西——海上丝绸之路视角下的 19 世纪澳门及广东地区图像展”展览时间:3月14日—4月20日展览地点:中央美术学院美术馆2层B展厅开幕式暨学术研讨会:2024年3月14日主办单位:澳门科技大学合作单位:银川当代美术馆协办单位:中央美术学院美术馆支持单位:澳门特别行政区政府文化发展基金项目负责人/策展人:汪蓝学术委员会主任:吕澎项目团队:张志庆 赵洗尘
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CAFAM展览预告 | “艺荟中西——海上丝绸之路视角下的19世纪澳门及广东地区图像展”即将开展

2024-03-11

“艺荟中西——海上丝绸之路视角下的 19 世纪澳门及广东地区图像展”展览时间:3月14日—4月20日展览地点:中央美术学院美术馆2层B展厅开幕式暨学术研讨会:2024年3月14日主办单位:澳门科技大学合作单位:银川当代美术馆协办单位:中央美术学院美术馆支持单位:澳门特别行政区政府文化发展基金项目负责人/策展人:汪蓝学术委员会主任:吕 澎项目团队:张志庆 赵洗尘“艺荟中西——海上丝绸之路视角下的 19 世纪澳门及广东地区图像展”(以下简称为“艺荟中西”)及其学术研讨即将于2024年3月14日在中央美术学院美术馆举办。本次展览由澳门科技大学主办,澳门科技大学人文艺术学院承办。展出作品以银川当代美术馆收藏的洋风画,以及澳门科技大学图书馆收藏的澳门及广东地图为主。展览采用全景式和沉浸式的方式,向观众展示19世纪海上丝绸之路的重要节点澳门、广州及通商口岸的城市景观与历史变迁。“艺荟中西”图像展也是2023年国家艺术基金项目,并且为全国性巡回展览。本次在中央美术学院美术馆的展览,为巡回展览五站中的第一站。本次展览展出洋风画129幅,地图80件。自古以来,粤港澳地区文化一脉相承,而该区域文明的核心就是广州地区。早在1000 多年前的宋朝时期,广州就是海上丝绸之路的一个起点。而澳门则隶属广州府香山县,自东西航线开通以来,澳门作为广州的“外港”,成为中国“海上丝绸之路”的重要节点,是中国重要的对外枢纽和中西文化交流的重要窗口、纽带与桥梁。19世纪后,以旅居澳门的钱纳利为代表的西方画家与广州林呱为代表的中国画家,在此地区留下了一批反映清朝晚期的人物、风俗、风景以及其他题材的绘画作品,被称为“洋风画”。这些作品真实、生动地记录了澳门、广州、香港地区及中国的风土人情和城市景观。同时,随着海上贸易的发展,科学技术的进步,地图绘制技术日趋完善。东西方地图反映了澳门与广东珠江沿岸的变迁,以及对于世界的态度与观看海洋的不同视角。本次展览正是希望通过对这些洋风画和地图的展出,重新呈现19世纪中西艺术相互交融的视觉图像,并挖掘与找回广州地区、特别是澳门多元文化的历史地位和艺术价值。而本次展览的研讨会也将于开幕当天同时开启,研讨会邀请了12位来自中外的学术嘉宾,围绕“中西艺术交流”、“洋风画”、“澳门历史”等主题,进行专项发言。展览开幕之际,也正值中法建交 60 周年与澳门回归祖国25 周年。我们期望通过此次展览及学术研讨会,可以多角度地展示中西艺术交融的视觉图像现象,并呈现艺术史最新的研究动态和学术发展趋向。这不仅有助于加强澳门与内地的学术文化交流活动,也为展现中国“一带一路”和“人类命运共同体”的国际发展思维理念,将对未来文化艺术交流以及视觉图像发展的积极意义,提供了鲜明而有借鉴意义的历史例证!展览前言     汪蓝     “大航海时代”加速了以海上丝绸之路为纽带的中西方贸易往来与文化交流。1557 年,葡萄牙人借助臻于成熟的远洋航海技术,流寓澳门并与明朝通商往来,这也标志着早期“西画东渐”的开始。澳门作为西方绘画进入中国的第一站,因其地缘、历史成为中西方绘画艺术互相影响的重要通道。1580 年,随商船而来的意大利耶稣会教士罗明坚(Michele Ruggieri)带来了有记录以来最早的西方圣像画。此后,利玛窦(Matteo Ricci)于 1601 年抵达北京,携带了 3 件圣像画献给明神宗;由其门徒、澳门人游文辉绘制的《利玛窦像》也是迄今为止人们所知的第一幅由中国人绘制的油画作品。18—19 世纪是“西画东渐”的第二次高潮。19世纪以旅居澳门的乔治·钱纳利(George Chinnery)为代表的西方画家,以及以广州林呱为代表的中国画家留下了一批反映 19 世纪人物、风俗、风景等题材的绘画作品,学界通常称为“洋风画”。这些作品真实、生动地记录了澳门、广州、香港地区的风土人情和城市景观,既是一份历史的记录,也是一份早期西画在中国传播的宝贵遗产。同时,随着海上贸易的发展、科学技术的进步,地图绘制技术日趋完善。东西方的地图反映了澳门与广东珠江沿岸的变迁,以及对于世界的态度与观看海洋的不同视角。在此期间,东西方视觉文化互相影响、互相借鉴的基础上产生了视觉语言的调适,以此形成了全球化背景下发生在中国的新艺术。之前在欧洲流行的“中国风”也与中国“洋风画”共同构成了中西绘画的浩瀚交融,在传统绘画衰落的背景下,“洋风画”构成18-19 世纪中国艺术史的重要组成部分。在当今全球化语境下,对于这段文化艺术交流史的再审视,无疑有着重要而深刻的意义。展览内容共分两部分:第一部分,精选 80 幅澳门科技大学图书馆、银川当代美术馆馆藏的中西古地图,以此说明地理认知与视觉文化之间、艺术与科学之间的复杂关系。古代地图作为大航海时代认知世界和文化交流的重要工具,从中体现出对文明探究的多重维度,并且地图绘制语言的革新也深刻反映了中西之间视觉文化的调适。同时,古地图也是研究澳门乃至中国在中西方文化交流及早期全球化方面的重要资料。第二部分,精选129幅银川当代美术馆收藏的清代至民国初期澳门及广东地区的洋风画,题材主要涉及广州、香港、澳门地区的市井生活、港埠风景、商旅贸易、肖像画等,真实地展示从宫廷到民间的中西方艺术互相借鉴和发展的历史情形,生动地复原了一段消失的“西画东渐”史。为今天的研究者提供了丰富的历史图像,使我们能从不同的学科角度去研究和解读这段丰富的中国早期油画史、绘画史与文化史。将古地图及中国早期油画一起展示,不仅有利于探究文化的传播以及图像的意义,同时也有利于解读地缘文化与文化交流之间的关系。这不仅仅是一份历史的记录,也是一份宝贵的艺术遗产,生动地勾画出中国近代美术史的发展演进轨迹,体现出一种整体的中华民族精神,这是一笔巨大的文化财富。部分展览作品亚洲地图 Atlas Universel Illustre Asia维克多•莱维塞尔 Victor Levasseur1856年52.4×35.2cm  银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan《澳门港城图》Map of Macao City and Port弗朗索瓦·罗杰François Froger1699年26X35cm法国国家图书馆藏Collection of French National Library葡属澳门城及周边平面图Portuguese Plan of the City of Macao and Its Surroundings拉菲特Lafitte de Brassier, Louis François Grégoire1781年75X102cm法国国家图书馆藏Collection of French National Library珠江周边地区地图 Plan and Special Map of the Pearl River and Its Surroundings拉格朗日Louis de La Grange-Chancel1698年63X91cm法国国家图书馆藏Collection of French National Library广东省海岸线地图 Handwritten Map of the Coastline of the Province of Canton亚历克西斯-休伯特·贾约特Alexis Hubert Jaillot约1700年57X85cm法国国家图书馆藏Collection of French National Library乾隆皇帝半身冬装像Portrait of Emperor Qianlong in Winter Suit郎世宁 Giuseppe Castiglione1756-1757年 Circa 1756-1757高丽纸本油彩Oil on Paper62.6x51cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan乔治•托马斯•斯当东肖像 Portrait of George Thomas Staunton as a Boy  托马斯•基克尼 Thomas Hickey (1741-1824) 1790年代  1790s布本油画 Oil on Canvas167.7x114.2cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan自画像  Self-portrait乔治·钱纳利 George Chinnery1802-1825年  1802-1825布本油彩Oil on Canvas24.6x19.1 cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan中国少妇像 Portrait of a Chinese Lady(传)史贝霖 Spoilum (attribute to)1770-1805年    1770-1805玻璃油彩背画 Reversed Oil Painting on Mirror, With Original Gold Decorated Wood Frame47.7X34.7cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan十三行总商伍秉鉴的肖像 Portrait of the Hong Merchant Howqua 林呱 Lamqua1830年代1830s布本油画  Oil on Canvas64x48.9cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan牧羊女 Shepherdess史贝霖Spoilum1770-1790年1 770-1790油彩玻璃Oil on Glass71.9x63.4 cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan河南伍园 The Garden of Howqua佚名Anonymous  1860年1860 布本油彩Oil on Canvas With The Original Frame75x112.6 cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan花园春色 Chinese Garden顺呱Sunqua19世纪中期 Mid-19th Century布本油彩  Oil on Canvas With The Original Frame   45.6x59.4 cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan耍纸牌 Play Porkers佚名Anonymous1820-1830年1820-1830布本油彩Oil on Canvas50.9x63.9 cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan家中一景 Domestic Scene佚名Anonymous19世纪中期 Mid-19th Century布本油彩Oil on Canvas With The Original Frame50.7x63.5 cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan"南湾 Nam Van, Macao(传)乔治·钱纳利George Chinnery (attribute to)1825-1852年  1825-1852布本油彩 Oil on Canvas33.9x59.6 cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan浴火重生的广州十三行风光 The Hongs after the Fire(传)顺呱 Sunqua(attribute to)约1855年 Circa 1855布本油彩 Oil on Canvas With The Original Frame45.7X59.7cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan晨光中的帆船Chinese Junk永祥Yongxiang19世纪中期Mid-19th Century布面油彩Oil on Canvas29.5x38.3 cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan克莱德号帆船Clyde丽方Lai Fong1900年  布本油画胶合木质框架Oil on Canvas With Gum Wood Frame 25.8x40.5 cm银川当代美术馆藏Collection of Museum of Contemporary Art Yinchuan“艺荟中西——海上丝绸之路视角下的 19 世纪澳门及广东地区图像展”展览时间:3月14日—4月20日展览地点:中央美术学院美术馆2层B展厅主办单位:澳门科技大学合作单位:银川当代美术馆协办单位:中央美术学院美术馆支持单位:澳门特别行政区政府文化发展基金项目负责人/策展人:汪蓝学术委员会主任:吕 澎项目团队:张志庆 赵洗尘
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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.

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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