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.

: CAFAM Collections | Classic Reproduction, The Serene Beauty of Li Shutong's Half-Naked Woman

2024-09-03

Li Shutong was the earliest Chinese student who went to Japan to study art, and was the pioneer of modern Chinese art, creating a new chapter in the history of modern Chinese art. This work is a representative work of oil painting he created during his study in Japan, and is the only human body oil painting among the three surviving oil paintings of Li Shutong, which is of high artistic value and historical significance.>>>>Portrait of a Half-Naked Woman, Li Shutong, circa 1909, oil on canvas, 90.5x116cm, Collection of CAFA Art MuseumIn the painting, an oriental woman in her prime, half-naked, leaning on the back of a chair. Her eyes are slightly closed, her right hand is holding a fan, her left hand is hanging down on the side of the chair, and her long black hair is scattered on the soft cushion, as if she has already entered into a deep sleep. On the wooden platform on the right side of the picture stood a black vase, placing a blooming white flower. The whole painting is brightly colored, serene and beautiful. The oil painting technique used in the painting makes the skin texture clear and the characters vivid.The circulation experience of "Half-Naked Woman" also adds a unique story to the work. Half-naked Woman" has long been categorized as an anonymous Western oil painting in the library, until 2011, when our museum organized the collection, after a series of argumentation and research and scientific testing, restoration and other work, it was confirmed that this "Half-naked Woman" is the oil painting "Woman" by Li Shutong published in 1920 in the magazine "Aesthetic Education", and this masterpiece, which has been sealed up for a long time in the library, finally came back to the light of the day.>>>>Collection Of CAFA Art Museum——Modern Chinese ArtExhibition period: from July 23, 2024Exhibition Venue: Central Academy of Fine Arts Art Museum, 2nd Floor, Gallery BExhibition Specialty Lighting Sponsor:AKZUConsultant in architectural design of exhibition spaces:China Academy of Building ResearchChief Editor / He YishaEditor/ Du Yinzhu
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: Public Guided Tours at the Central Academy of Fine Arts (September 3 - September 8) | Volunteers Wanted

2024-09-02

In order to popularize and disseminate art more widely, the museum will provide the public with a volunteer public service of guided tours at regular intervals. Reservation is not required for this service. Visitors are requested to go on time and wait at the "public service guide sign" in front of the exhibition preface wall at the entrance of the corresponding exhibition hall.The Museum of Fine Arts continues to recruit volunteers for guided tours，Art enthusiasts and lecturers are welcome to join!Enrollment method(1) Click on "Read the original text" or visit the link: https://www.cafamuseum.org/gallery/volunteer, click on "Join Volunteer", fill out the "Central Academy of Fine Arts Please fill in the "Central Academy of Fine Arts Volunteer Enrollment Form" and indicate the position you would like to declare when you enroll;(2) Enrollment time: valid for a long time;Enrollment consultation time: Tuesday to Sunday 09:30-12:30 am 13:30-17:30 pm, enrollment consultation phone: 010-64771575;(3) those who wish to register through the network and other means, by the Central Academy of Fine Arts Art Museum audit qualified, unified to participate in interviews, interviews on merit, qualified persons to participate in pre-service training of volunteers. After training, assessment and qualified, will be able to officially become the Central Academy of Fine Arts Museum volunteers;(4) Volunteers have the right to apply for withdrawal from volunteer service. Applicants should inform the Ministry of Public Education one month in advance and return the volunteer documents in time.On displayCollection Of CAFA Art Museum——Modern Chinese ArtExhibition period: from July 23, 2024Exhibition Venue: Central Academy of Fine Arts Art Museum, 2nd Floor, Gallery B主编 / 何一沙责编 /杜隐珠
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: CAFAM Conversation Preview | Discussions from the Arts: Technology, Knowledge and Imagination

2024-08-30

“Blueprint Productive Force-- Future Sense In The Expression of Art”SeriesDiscussions from the Arts: Technology, Knowledge and ImaginationSponsor：CAFA Art MuseumsDialogue time: August 31 (Saturday) 14:00-16:00Venue: Conference Room, CAFA Art Museum This dialogue is one of the series activities of "Blueprint Productivity - The Expression of Future Sense in Art", which focuses on the anticipation and imagination of art on the construction of human civilization, and the feedback of artists' perception on the unknown boundaries and the future world. As one of the series of activities of this exhibition, the Dialogue will invite young and middle-aged scholars and artists with different academic backgrounds and research directions to discuss how artistic and literary creation can narrate and imagine social production, technological evolution and scientific knowledge from the perspectives of art history research, art theory, cultural research, media theory, science fiction creation, contemporary art, and so on.| Moderator |YiYueDeputy Director and curator of the Curatorial Research Department of the Art Museum of the Central Academy of Fine Arts. He has curated exhibitions in China and abroad, including "Blueprint Productivity: The Expression of Futuristic Sense in Art" (2024), "Holding the Pen for the Era--Wei Qimei's Centennial Birthday He has curated domestic and international contemporary art exhibitions including "Blueprint Productivity - Expression of Futurity in Art" (2024), "Holding the Pen for the Times - The Centennial of Wei Qimei's Birthday" (2023), "The Realm of the Void: Leandro Ehrlich" (2019), and other domestic and international contemporary art exhibitions.| Interlocutor |Che ZhixinD. in Chinese from Peking University, Boya Postdoctoral Fellow at the School of Journalism and Communication of Peking University, Visiting Scholar at the University of California, Berkeley, and Assistant Researcher at the Institute of Foreign Literature of Beijing Foreign Studies University. His research interests include media history, media theory and cultural studies.Ren DongmeiScience fiction researcher and critic. D. in Literature from Beijing Normal University. Now he is an associate researcher at the Taiwan Research Institute of the Chinese Academy of Social Sciences. He is a member of the Science Fiction Specialized Committee of the Chinese Science Writers Association and a member of the World Chinese Science Fiction Association. His monograph "Fantasy Culture and the Literary Image of Modern China", review "Comparison of the Image of Future China in Science Fiction of the Late Qing Dynasty and Republic of China", "Interpretation of The Beijing Folding from the Point of View of Science Fiction Realism", and "History of Twentieth-Century Chinese Science Fiction", which he co-authored with Wu Yan, etc., have won various prizes of the Nebula Award and the Nebula Prize. He has also won many awards for "Nebula Award" for "History of Chinese Science Fiction in the Twentieth Century".Xu ChongbaoHe is a researcher of Taikang Art Museum in Beijing, and a doctoral student at the School of Humanities, Central Academy of Fine Arts (Visual Culture Research). She has researched and curated nearly twenty exhibitions, including "In the Vault of Heaven: Jiang Zhaoho's Art Document Exhibition" (2024) and "Natural View: Art and Water Conservancy Project in the Seventeen Years" (2020). His research interests include cross-media practices, local paths and international exchanges of Chinese contemporary art since the 20th century.Zhang WenchaoArtist. He is currently a lecturer at the School of Design of the Central Academy of Fine Arts (CAFA) and a researcher at the Institute of Science and Technology Art of CAFA. His creations originate from human experience, behavior and imagination in the media environment. His works and projects involve images, interactive programs, datasets and algorithmic generative art, games and virtual worlds, and other art languages based on emerging technologies.Zhao YanAssociate Professor of the Central Academy of Fine Arts (CAFA), Master's Degree Tutor, and Editor of World Art Magazine. He is engaged in research on Western art history, art theory and contemporary art, and is also involved in contemporary art criticism practice and exhibition planning. He has published monographs, Surreal Art Criticism - André Breton and Surrealist Art (Hebei Fine Arts Publishing House, 2019), Plato's Vision - Imitation and Ancient Greek Art (Guangxi Fine Arts Press, 2018), and Lin Fengmian (Higher Education Press, 2017).Gan HaoyuHe graduated from the Central Academy of Fine Arts, the Sculpture Department of the Central Academy of Fine Arts, and the School of Design of the Central Academy of Fine Arts. The work "Sand Counting" is a solar-powered ceramic robot art installation using earthworms as bionic objects, utilizing natural materials, handmade craftsmanship, and combining the sun's concentrated light and robotics to explore a primitive and rough technological aesthetics.ParticipationNo need to register in advance for on-campus visitors, just show up and participate!For off-campus visitors, please scan the QR code below to make a reservation in advance.Ministry of Culture and Tourism 2024 National Art MuseumsYoung Curators Support Program Selected ProjectsBlueprint Productive Force-- Future Sense In The Expression of ArtOrganizer: Art Museum of the Central Academy of Fine ArtsExhibition Period: July 19 to September 1, 2024Venue: Gallery A, 3F, CAFA Art Museum 主编 / 何一沙责编 /杜隐珠
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: “Cultivating On The Earth -- CAFA Art Museum Collection Printmaking Exhibition" and "Meeting in Yangquan Playing in Tune--Printmaking Exhibition between Jin and Taiwan" Opened

2024-08-28

On August 22, “Cultivating On The Earth -- CAFA Art Museum Collection Printmaking Exhibition" and "Meeting in Yangquan Playing in Tune--Printmaking Exhibition between Jin and Taiwan" guided by the Liaison Department of the Central Committee of the Revolutionary Committee of the Chinese Kuomintang and sponsored by the Taiwan Affairs Office of Shanxi Province, the Shanxi Provincial Committee of the Revolutionary Committee of the Chinese Kuomintang and the Central Academy of Fine Arts was grandly opened at the Exhibition Hall (Art Museum) of Yangquan City, Shanxi Province.The opening ceremony was presided over by the vice mayor of Yangquan City, Mr. Juru Aiyun. Chen Jiguang, full-time vice-chairman of the Provincial Committee of the Democratic Revolution, member of the National Committee of the Chinese People's Political Consultative Conference (CPPCC), President of the Central Academy of Fine Arts, Lin Mao, the founding president of the Ten Youth Printmaking Association (Taiwan), Zhong Youhui, Yangquan Municipal Party Committee, Municipal Party Committee Secretary General, Minister of the United Front Work Department, Li Wenbing, respectively, delivered speeches; Yangquan Municipal Party Committee, deputy secretary of the Political and Legal Committee Secretary Shi Xuming announced the opening of the exhibition.Opening Ceremony SiteVice Mayor of Yangquan City, Mr. Jou Aiyun, presided over the opening ceremony.Speech by Chen Jiguang, Full-time Vice Chairman of the Provincial Committee of the Democratic Revolutionary PartyLin Mao, a member of the National Committee of the Chinese People's Political Consultative Conference and the president of the Central Academy of Fine Arts, delivered a speech.Speech by Mr. Chung You-hui, Founding President of Ten Green Printmaking Association (Taiwan)Speech by Li Wenbing, Member of the Standing Committee of Yangquan Municipal Committee, Secretary General of Municipal Committee and Minister of United Front Work DepartmentShi Xuming, Deputy Secretary of Yangquan Municipal Party Committee and Secretary of the Political and Legal Committee, announced the opening of the exhibitionGuests attending the opening ceremony included Hao Wenjie, Deputy Director of the Provincial Taiwan Affairs Office; Zhao Suqing, Deputy Chairman of the Shanxi Provincial Committee of the Democratic Revolution, Deputy Director of the Standing Committee of the Yangquan People's Congress and Chairman of the Yangquan Municipal Committee of the Democratic Revolution; Tan Guorong, Secretary General of the Shanxi Provincial Committee of the Democratic Revolution; Zhang Lijun, Vice Chairman of the CPPCC Yangquan Municipal Committee of Yangquan Municipal Committee of the Agricultural and Workers' Party of the People's Republic of China, Director of the Printmaking Committee of the Chinese Artists' Association, and Deputy Secretary of the CPC Committee of the Guangzhou Academy of Fine Arts Song Guangzhi, Deputy Director of the Printmaking Committee of the Chinese Artists Association and Deputy Party Secretary of the Tianjin Academy of Fine Arts Kou Jianghui, Vice President of Tianjin Academy of Fine Arts, Kong Liang, Director and Secretary of Printmaking Department of the Central Academy of Fine Arts, Wang Shu, Director of Development Planning Department of the Central Academy of Fine Arts, Han Wenchao, Secretary of the Immediate Party Branch of Art Museum of the Central Academy of Fine Arts, and Gao Gao, Deputy Director of the Central Academy of Fine Arts; in addition to the Museum of Fine Arts of the Central Academy of Fine Arts, the Department of Printmaking of the Central Academy of Fine Arts, and the Taiwan Federation of Youths, the Association of Cross-Strait Marriage and Family Exchanges of China, Taiwan, Shanxi University School of Fine Arts, Shanxi Democratic Revolution Zhongshan Painting and Calligraphy Academy of guests, as well as experts, scholars and artists in the printmaking industry from all over the country.Opening Ceremony Site"Cultivation on the earth" Central Academy of Fine Arts Museum Collection of printmaking special exhibition displayed a total of 90 pieces (sets) of 104 collection of fine prints. These works are from the four perspectives of "land, cultivation, construction and contemplation", which are the thoughts, feelings and creations of several generations of artists on the land. Inheriting the people's nature and epochal nature of emerging printmaking, and integrating lyricism and aesthetics into the narrative, they compose the ode to the motherland and people's life in the new era with romantic and poetic artistic language.Exhibition spaceCurator Li Yaochen gave an on-site guided tourDuring the same period of the exhibition, a symposium was held on "One Version, Different Performances", which is a cross-strait forum for the exchange of contemporary development trends of printmaking. The symposium was co-chaired by Li Yaochen, Director of the Collection Department of the Art Museum of the Central Academy of Fine Arts, and Zhang Tongyuan, Vice Dean of the School of Fine Arts of Shanxi University.Scene Of The SymposiumThe panelists were Kou Jianghui, Vice President of Tianjin Academy of Fine Arts, Song Guangzhi, Director of Printmaking Art Committee of China Artists Association, Kong Liang, Director and Secretary of Printmaking Department of Central Academy of Fine Arts, Gao Gao, Deputy Director of Art Museum of Central Academy of Fine Arts, Sha Yonghui, Director of Printmaking Institute of China National Academy of Painting, Luo Zhongwei, Member of Printmaking Art Committee of China Artists Association, and Wang Chao, Vice President and Deputy Secretary of Party Committee, School of Painting and Art of China Academy of Fine Arts, Wang Hua, Secretary of the International Printmaking Research Institute of the Central Academy of Fine Arts; Liu Caijun, Vice Chairman of the Shanxi Artists Association; Wang Yongsheng, Director of the Woodblock Studio of the Printmaking Department of the Academy of Fine Arts of Shanxi University; Qiao Bin, Director of the Printmaking Crafts Teaching and Research Department of the Datong Academy of Fine Arts of Shanxi Province; Wang Yusheng, a veteran artist of Yangquan Workers' Paintings in the seventies; Ma Jun, Deputy Director of the Cultural Center of Yangquan (Yangquan Academy of Fine Arts); Yue Xiaohong, Associate Professor of Fine Arts, Yangquan Teachers' Higher Colleges, Shanxi Province. Yue Xiaohong, Associate Professor of Fine Arts, and guests from Taiwan included Zhong Youhui, Founding President of Ten Green Printmaking Association (Taiwan), Liao Junli, Teacher of Printmaking Department, School of Plastic Arts, Sichuan Fine Arts Institute, Pan Jinrui, President of Ten Green Printmaking Association, Huang Yurwen, National Middle School Art Teacher, Huang Decheng, High School Art Teacher, and Zhong Yiyi, Doctoral Student of the Central Academy of Fine Arts, and so on.Zhang Tongyuan, Vice Dean of the School of Fine Arts, Shanxi University, and Li Yaochen, Director of the Collection Department of CAFA Art MuseumSymposium ParticipantsThe experts, scholars and exhibiting artists spoke and exchanged views on the history and current status of printmaking in Jin and Taiwan, as well as creative techniques, and discussed from their different perspectives, with a strong academic atmosphere. Academic exchanges are of far-reaching significance to the development of printmaking art, and at the same time, printmaking art has an important role to play in the promotion of social aesthetic cultivation and popularization of aesthetic education. As important organizers, Zhao Suqing, Vice Chairman of the Shanxi Provincial Committee of the Democratic Revolution, and Zhang Lijuan, Director of the Yangquan Taiwan, Hong Kong and Macao Affairs Office, also reviewed the exhibition and symposium from their respective perspectives, and looked forward to their significance. Finally, the moderator, Li Yaochen, made a concluding speech on the symposium and expressed his gratitude to the participating experts and audience.Scene Of The SymposiumGroup Photo of GuestsExhibition Working GroupExhibiton Director：Jin Jun, Han Wenchao, Kong LiangExhibiton Coordinator：Wang Chunchen, Gao Gao, Zhu JianlingCurator：Liu Xiyan, Li YaochenExhibiton Coordination：Wang Jing, Xu Xinchen, Wen JixiangExhibiton Assistant：Chen Guanshi, Sun XiaopingDesign Coordinator：Ji YujieExhibiton Design：Jia Da DesignExhibiton Management：Wu Peng, Guo Zhongwei, Guo ZichaoCollection Management：Xu Yan, Wang Chunling, Ma Liang, Cui Ranran, Dou Tianwei, Li WeiMedia Publicity：He YIsha, Wu Jing, Du YinzhuChief Editor / He YishaEditor / Du Yinzhu
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: Volunteer Guided Tour Arrangement of CAFA Art Museum (August 27th-September 1st)｜Volunteer Recruitment is Ongoing

2024-08-28

In order to popularize and disseminate art more widely, the museum will provide the public with a volunteer public service of guided tours at regular intervals. Reservation is not required for this service. Visitors are requested to go on time and wait at the "public service guide sign" in front of the exhibition preface wall at the entrance of the corresponding exhibition hall.美术馆导览志愿者持续招募中，欢迎广大艺术爱好者、讲解爱好者加入！报名方式（1）点击“阅读原文”或访问链接：https://www.cafamuseum.org/gallery/volunteer，点击“加入志愿者”，填写《中央美术学院美术馆志愿者报名表》，报名时请注明申报岗位；（2）报名时间：长期有效；报名咨询时间：每周二至周日上午09：30—12：30 下午13：30—17：30，报名咨询电话：010-64771575；（3）有意愿者通过网络报名等方式，经中央美术学院美术馆审核合格后，统一参加面试，面试择优录用，合格者参加志愿者岗前培训。经培训、考核合格后，将能正式成为中央美术学院美术馆志愿者；（4）志愿者有申请退出志愿服务的权利。申请者应提前一个月告知公共教育部并及时交还志愿者证件。正在展出那是光照进来的地方：斯特凡·杰罗夫斯基的艺术（1925-2022）展览时间：2024年7月10日至9月1日展览地点：中央美术学院美术馆四层展厅蓝图生产力——未来感在艺术中的表达展览时间：2024年7月19日至9月1日展览地点：中央美术学院美术馆三层A展厅中央美术学院美术馆藏陈列——现代中国美术展览时间：2024年7月23日起展览地点：中央美术学院美术馆二层B展厅主编 / 何一沙责编 /杜隐珠
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: CAFAM Upcoming Events | Exhibition as a Mode of Production: Dialogue between Young Curators of Art Museums

2024-08-27

“蓝图生产力——未来感在艺术中的表达”系列活动展览作为生产方式：美术馆青年策展人对谈活动主办：中央美术学院美术馆活动时间：8月30日（周五）14:00-17:00活动地点：中央美术学院美术馆会议室美术馆策展人是为美术馆学术建设而进行展览策划等工作。在梳理、整合、建构和呈现的循环中，展览不仅被视为阶段性的成果，更是作为生产方式推动一次又一次的学术积累，由此构成美术馆学术体系的年轮。在此过程中，美术馆策展人最为重要的任务之一是，将原有学术积累引向更为多样的研究方向，并再转化为不断出新且多面貌的展览。本次对谈是“蓝图生产力——未来感在艺术中的表达”系列活动之一，展览旨在以策展推进美术馆过往学术积累的转化和馆藏作品的研究。对谈将邀请多位美术馆的青年策展人，从其所在美术馆的机构定位、学术方向、藏品情况和展览序列等出发，以具体的案例、方法和策略回应“展览作为生产方式”这一主题，不仅是为发生在美术馆的策展工作提供可借鉴的有效实践，更为重要的是针对所面对的共同问题拓展可行的路径。| 学术召集人 |靳军教授、博士生导师，中央美术学院美术馆馆长| 评议人 |高敬中华世纪坛艺术馆策划总监，中国美术家协会策展委员会办公室主任| 主持人 |刘希言副研究员，中央美术学院美术馆策划研究部主任| 青年策展人 |张楠北京画院理论研究部副研究员，北京美术家协会策展委员会副秘书长易玥中央美术学院美术馆策划研究部副主任李颖天津美术馆副馆长谢蕊江苏省美术馆展览策划与研究部策展人张卓然安徽省美术馆展览部策展人刘自川江西省美术馆展览部策展人张士昊宁夏美术馆策展人参与方式校内观众无需报名或提前预约，到场参与即可校外观众请扫描以下二维码，提前预约入校文化和旅游部2024年全国美术馆青年策展人扶持计划入选项目蓝图生产力——未来感在艺术中的表达主办：中央美术学院美术馆展览时间：2024年7月19日至9月1日展览地点：中央美术学院美术馆3层A展厅主编 / 何一沙责编/ 杜隐珠
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: 公众招募 | CAFAM馆藏陈列之“Flowers of the Times--Blend of Artistic Languages Between China and the West” Work

2024-08-23

2024年7月23日，中央美术学院美术馆正式推出馆藏长期陈列，“现代中国美术”以200余件馆藏经典作品呈现20世纪中国美术史发展的重要时期。在社会巨变、思想碰撞激烈的时代背景下，艺术家以包容的心态兼收并蓄，找寻到属于自己的艺术旷野，或充满张力振奋人心、或新颖脱俗、或充满生活细节动人心弦。为深化公众对展览的理解与体验，我们将于8月24日举办一场别开生面的工作坊活动，参与者不仅能近距离观赏这些艺术珍品，更将有机会在专业导师的引导下，通过互动讨论、艺术创作实践等形式，深入挖掘作品背后的故事与情感，感受艺术家们如何在社会巨变的洪流中，坚守艺术初心的优秀品质。工作坊简介《半裸女像李叔同》约1909年布面油彩 116x90.5厘米中央美术学院美术馆藏《怒吼吧，中国》李桦 1935年黑白木刻 27.5×18.7cm 中央美术学院美术馆藏《立马》徐悲鸿 1947年纸本水墨 109x53.3cm 中央美术学院美术馆藏中西艺术语言的碰撞，会开出怎样的花，是“叛逆”的人体写生？是继往开来的中国画？是铿锵有力的版画？这条路他们走的很冒险，但是异彩纷呈。本次课程导师将带领大家走进展览作品的“细节”，体会中西绘画艺术语言的独特魅力，围绕“中西艺术语言的交融”，从跨媒介、跨题材、跨形式的角度创作兼具中西艺术语言特色的作品。工作坊报名工作坊时间：8月25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：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：1.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。工作坊导师丘梦凡中央美术学院人文学院艺术学理论专业在读研究生。研究方向为中国古代书画史与鉴定研究。曾参与嘉德藏书的风雅展览讲解、故宫乾隆花园修复活动。主编 / 何一沙责编 / 杜隐珠
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: CAFAM Recruitment | CAFAM's "Little Docent" Public Benefit Program will start soon!

2024-08-17

中央美术学院美术馆诚挚邀请热爱艺术的小朋友们报名参加“小导览员”公益课程。此次活动旨在培养青少年对艺术的兴趣和热情，提升他们的沟通表达能力和公众演讲技巧，同时让更多的孩子们了解并传播艺术。课程安排课程时间： 8月22日9：30-12：008月23日 9：30-12：00考核时间： 8月27日9：30-12：00特别提示：8月23日至8月27日开馆时间（周一闭馆），小导览员均可在美术馆学习、练习。课程设置本次课程共设三次课，每次3课时第一次课：展览内容讲授展览、展品相关知识，了解美术馆的展览背景和主要展品的艺术价值。第二次课：导览技巧讲授导览要领并进行实际练习，帮助小导览员们掌握有效的沟通和表达技巧。第三次课：考核对前两次课的学习内容进行考核，确保每位小导览员都能独立完成导览任务。报名信息报名对象：年龄在9-15岁之间的青少年儿童招募人数：20人报名截止日期：8月20日报名方式：请填写报名表发送至wangjun@cafa.edu.cn，报名成功会收到邮件回复。报名表百度网盘下载链接：https://pan.baidu.com/s/1VkE-DVAwikz9byBINz8Wvw?pwd=2AYq 提取码：2AYq考核与上岗：考核通过并实际导览2天的同学，将获得由中央美术学院美术馆颁发的“小导览员”证书。课程意义· 通过专业培训，提升孩子们的艺术素养，培养他们对美术的兴趣和热爱。· 锻炼孩子们的公众演讲能力和沟通技巧，增强自信心和语言表达能力。· 通过实际导览活动，让孩子们在实践中成长，积累宝贵的社会服务经验。我们期待看到更多热爱艺术的小朋友们积极参与到本次“小导览员”公益课程中来，一起在艺术的世界里成长、进步！主编 / 何一沙责编 / 杜隐珠
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: "Sailing: Invitational Exhibition of Graduates' Works of the Central Academy of Fine Arts Opens at Beijing City Library

2024-08-15

8月13日上午，“启航——中央美术学院毕业生作品邀请展”在北京市城市图书馆B1展厅开幕。本次展览由中央美术学院主办，首都图书馆承办。中央美术学院副院长吕品晶、首都图书馆馆长毛雅君、中央美术学院美术馆馆长靳军、中央美术学院美术馆直属党支部书记韩文超、中央美术学院美术馆副馆长高高等领导出席活动。首都图书馆副馆长刘朝主持活动开幕式。开幕式致辞中，中央美术学院副院长吕品晶表示，这次展览是中央美术学院与首都图书馆携手合作的成果，展现了双方对艺术与文化事业的共同热爱和追求，并对首都图书馆为央美学子提供的支持表达了感谢。首都图书馆馆长毛雅君表示，展览得以成功举办，得益于中央美术学院和首都图书馆的共同努力和精诚合作，并表达了双方携手，共同推动北京市公共图书馆文化艺术事业蓬勃发展的美好祝愿。中央美术学院副院长吕品晶首都图书馆馆长毛雅君首都图书馆副馆长刘朝随后，首都图书馆与中央美术学院签订了战略合作协议，以期结合双方资源优势，开展多方位的艺术交流合作，共同构建艺术交流合作展示的平台，推动首都文化服务的不断进步。签约仪式结束后，中央美术学院美术馆馆长靳军宣布展览开幕。首都图书馆与中央美术学院签订战略合作协议中央美术学院美术馆馆长靳军展览分为“交互·共感”“媒介·变奏”“影画·交织”和“绘声·绘色”四个板块，以集中展示中央美术学院2024届优秀毕业生创作成果，参展的近50件优秀作品形式多元、互动性强，呈现出中央美术学院毕业生在艺术创作上的多样性和独特视角，展现青年一代艺术创作者蓬勃的创造力。观众通过与作品的互动，可以深入理解艺术家的创作理念和情感表达，激发自身对艺术的兴趣和思考。“交互·共感”板块关注观众与艺术作品之间的互动关系。在该板块中，艺术家通过利用现代科技和互动设计，创造了能够与观众进行实时互动的艺术作品。通过传感器、触摸屏、AR/VR技术等手段，艺术作品能够实时响应观众的指令，在为观众提供沉浸式体验之余，也使观众的主动参与，成为艺术作品的一部分，从而打破了传统艺术中观众与艺术家的界限。“媒介·变奏”板块着重于艺术家对不同媒介和材料的创新使用。艺术家们使用非传统的材料（如回收物品、自然元素等），探讨这些材料在艺术创作中的表现力和意义。运用3D打印等技术扩展艺术创作的边界，创造出新的艺术语言和表现形式。“影画·交织”板块中，动画创作作为一个重要的展示领域，结合绘画与动态影像，探索静态绘画与动态影像之间的融合，展示如何通过动画这一艺术形式实现传统与现代的交融。毕业生们在动画创作中应用多种艺术风格，包括传统的手绘风格、数字化绘画风格、以及实验性的视觉效果。“绘声·绘色”板块则集中呈现中央美术学院毕业生绘本创作的优秀作品，绘本作为艺术创作形式之一，将图像和文字融合在一起，创造了一种独特的叙事形式。置入图书馆这样的文化空间之中，在视觉艺术和文学创作之间架起了一座桥梁。首都图书馆是城市记忆的保护与传承机构，中央美术学院具备广泛而活跃的艺术创造力，通过“阅读+艺术”的形式，必将为公众提供更丰富、可感知的艺术体验，推动首都文化事业的创新发展。主编 / 何一沙责编 /杜隐珠
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: CAFAM Exhibition ｜ Starting from "Imagination": How Do Artists Express A Sense of The Future?

2024-08-14

以下文章来源于中央美院艺讯网，作者CAFA ART INFO在日前开幕于中央美术学院美术馆的“蓝图生产力——未来感在艺术中的表达”中，展览以关键词提出的方式聚焦艺术对人类文明建设的预见与想象，不同代际艺术家对未来图景的艺术生产方式与成果，以及艺术自身对未知边界和未来世界的感知反馈等议题[1]，尝试将“科技”与“未来感”等当下热议的话题置入艺术史研究与艺术创作表达的脉络之中来观察。有别于以新兴技术手段与当代艺术间的对话为切入点的相关展览呈现，此次展览虽然着眼于艺术创作的未来叙事，但却以一种克制的方式首先进行了历史的引入，由此试图阐明，人类对太空与未来的想象，与自然、机器之间的对抗与博弈，从不只是发生于技术高度迭代的时代。▲ “蓝图生产力——未来感在艺术中的表达”展览现场过往的畅想：“创造地上的天堂”“随着轰然的响声吐出一阵烟云，蟒山上发射的星际火箭凌空直上，烟云散了之后慢慢吐出多年后的十三陵水库，她已具备另一付（按：副）新的面貌。”[2]1958年，耗时37天，田汉所著同名话剧《十三陵水库畅想曲》被改编为电影，原剧本仅一场的二十年后畅想场景在电影中被拉长至近三分之一的篇幅，承载了更为具象的想象空间。火星旅行、原子时代、警惕机器，“既不违反自然规律也不屈从它”……半个多世纪前，这些隐匿于台词及演绎片段间的未来畅想有的在今天已经实现，有的则仍然是当下热议的话题。▲ 电影《十三陵水库畅想曲》（1958）节选，静帧截图在“引序：从畅想开始”中，十三陵水库的修建与对其的文艺想象构成了某种历史的前因。由董希文、艾中信、周令钊等人绘制的十三陵水库规划图，王式阔的《十三陵水库工地3》油画以及金山执导的《十三陵水库畅想曲》的两组片段，共同回溯了这一具有时代烙印的“建设”工程从规划愿景、建设劳动现场以及建成之后对未来二十年的畅想的不同阶段。当规划图被作为某种对未来的蓝图与期许被置于水库建设工地的宣传栏中时，对于参与其中的劳动建设者而言，这种图景所勾勒的美好前景成为了一种莫大的鼓励与动力。对“建设”的热忱和对“新生活”的憧憬是20世纪50年代的中国不可回避的时代母题，其深植于每一个中国人的基因之中。“凭借人间的银河，来创造地上的天堂”[3]，在生存的需求与物质文明的追求过程中，诸多基础设施的建设成为了人们认识自然、征服自然与改造自然的重要途经。▲ 周令钊、李可染、艾中信、董希文、宗其香《十三陵水库远景规划示意图》，收录入《十三陵水库》，十三陵水库修建总指挥部政治部编，北京出版社，1958年▲ 王式廓，《十三陵水库工地 3》，1958年，60cm×120cm，布面油彩，中央美术学院美术馆藏引叙章节并未止步于这一大跃进时期代表性水利工程建设的艺术叙事，接续《十三陵水库畅想曲》中二十年后想象图景的，正是作为“现实”召开的1978年“全国科学大会”，此次会议之中提出的“科学技术是生产力”的著名论断让“科学的春天”就此到来。会议之前，艺术家许彦博接受了为大会设计一套邮票的任务，其初始方案的主体人物是一位跳跃于展开书本的健美少女，周身环绕着电子轨道，背景是广袤无垠的宇宙星河。在许彦博的回忆中，这份设计创作方案“在经过10年的文化禁锢之后的春天，它是第一棵破土而出的新芽”[4]。尽管出于种种考量，最终的邮票方案采用了更具图案性的另一版，但许彦博却将这颗“破土的新芽”从邮票设计稿进一步发展为了木刻版画，并最终在大会闭幕当日刊登于《光明日报》，引发群众热议。▲ 许彦博，《生命奏鸣曲》，1980年，77cm×80cm，木版单色，中央美术学院美术馆藏在展览现场出现的这幅《生命奏鸣曲》正是艺术家在两年以后，以《科学的春天》为蓝本进一步发展而成版画，画面主体依然是健美青春的少女，环绕的飘带之上以图示提示出人类文明的发展进程，而其身后的广袤宇宙之中，一艘飞行器漂浮于右上角，似乎在预示着人类技术与文明对地外世界的探索与征服。据策展人易玥与艺术家的对话称，自小热爱物理的许彦博对科技一直保持着热爱与关注，这艘飞行器的造型与构成也启发于其当时所读的科幻小说——那是一艘集人类生活空间，满足不同作物种植需求，吸收供给能量为一体，具有完整生态系统的飞行器。技术、认知与艺术的合声在此次展览构筑的叙事中，引叙章节一方面回溯了上个世纪以来艺术家借由创作畅想未来的丰富面貌，此种想象并不拘于彼时人们对科学的认知和技术发展的事实，也并不总是依赖于艺术家所处时代的既有图示；另一方面，借由“全国科学大会”与《生命奏鸣曲》的提示，展览正式步入“漫游深空”与“串联机器”两个章节。通过纳入中央美术学院美术馆的历年馆藏与邀请不同代际艺术家以艺术作品共同回应“未来感”的表达，展览进一步聚焦了在当代艺术的创作语境中，艺术家如何在二维平面与三维立体空间中想象未知的深空与不可及的视角，理解并利用机器进行共创，进而创造新的机器。“漫游深空”所呈现的艺术家以不同的媒介与视野关怀人类步入宇宙的探索技术成果，其作品展现出了艺术家的思想表达与科技发展手段之间的协商与嵌合。在《中国天眼——贵州平塘射电望眼》中，于“天眼”工程的主体之外，艺术家亦对工程所处的自然环境予以刻画。由于该工程几乎未对该地区的自然环境进行人为改造，在星空的映照下，贵州喀斯特地貌独特的洼地、山体与群峰与置入其中的“天眼”工程形成了经年累月的原始自然景观与人类科技文明间跨越时空的对话。▲ 周吉荣，《中国天眼——贵州平塘射电望眼》，2019年，80cm×100cm，丝网套色，中央美术学院美术馆藏与《中国天眼》形成展示空间与观看视角上对应的，是张文超的《90分钟的宇宙观》。人类借“天眼”工程仰望星河，探索目力之所不能及的深远，而宇宙航天器的飞行轨迹则让俯瞰反观地球之上的文明印迹和发展脉络成为可能。正是基于其对航天器绕地球飞行一周的时间和轨迹展开联想，借“徐冰艺术卫星创作驻留项目”的契机，《90分钟的宇宙观》“以‘SCA-1号’卫星绕转地球一周的航迹为依据，收集星下点轨迹途经地域的与太空想象相关的文学、神话、历史、地理等文本和图像数据，创建数据集，并结合人工智能算法生成技术，形成了一部由卫星轨迹驱动的数据电影”。[5]在艺术家所收集的这两套数据集中，星下点轨迹的数据采集自现实，构成了作品的基础，其跨越了不同文明与民族的剖面，实现了一条横向的空间轴；而历史的纵轴则由不同地域的人们亘古以来对外太空文明的想象图景所构成，在人类文明的演进过程中，这些想象被转译为神话、图腾、诗歌、谚语等多种形式，而在这两者的相互交织与嵌合过程中，数据集的思维与方法成为了关键路径，其正是艺术家所称的“从数据地层中挖掘艺术线索”[6]的工作方法。▲ 张文超，《90分钟的宇宙观》，2023年至今，90分钟循环，尺寸可变，展览现场▲ 徐娜，《逐梦寰宇问苍天》，2023年，175cm×150cm，木刻，艺术家提供▲ 托马斯·吴，《东方阿波罗7号》，2015年，192cm×110cm，UV打印、铝板、树脂玻璃、墨、拼贴、丝网印刷，中央美术学院美术馆藏在“串联机器”的章节中，孟禄丁的“元速”系列提示出了这一章节的关键讨论，即艺术之感与机器之手二者间的辩证关系。艺术家借助机器的极高运转速度让作画的过程脱离了艺术家的意志与控制，机器的速度与力量在高速旋转的过程中获得了占据画面的主动权，在此，依据自然性的力量，机器充当了将艺术从艺术创作从艺术家手中还给艺术自身的中介。同样是在与机器和技术的协作之中反思技术伦理，青年艺术家李宇辰在作品中借助当下日新月异的生成类人工智能技术，当新技术将一个人类想象中的世界的物质构成与文明体系“生成”出来，那个经由人类意志构造出的文明被另一种语言和系统所编码，创作者与技术手段的身份位置在此微妙地发生了翻转，创作主体开始不自觉地好奇并尝试“破译”新的语言与符号。▲ 孟禄丁，《元速》，2012年，145cm×145cm，布面丙烯，中央美术学院美术馆藏▲ 李宇辰，《EPOCH 2.0 》，2024年，6’00’’ 数字影像，艺术家提供来自未来的“遗迹”自金郑晓的《场、物质波、量子鸟》铜版组画起，展览借三组作品将有关艺术家与机器及技术合作共创的讨论延展至艺术家创造新机器的可能性。借由视觉语言与艺术想象，金郑晓解构并重组了晦涩的理论物理概念：德布罗意波与鸟类运动踪迹相遭遇，自由驰骋于天际的鸟类被赋予瞬间移动的能力，行动自由的限度被无限延展，但看似彼此自由的行动却因本是一个整体而缠绕叠加，其终究受制于人眼不可洞见的客观物质规律之下。▲ 金郑晓，《量子鸟-1》，2023年，40cm×60cm，铜版蚀刻，中央美术学院美术馆藏而苏永健的《虫舱》与甘浩宇的《数沙者》，则先后不约而同地关注到了微小虫类的生存空间与活动方式。《数沙者》中，蚯蚓消化运动的“数沙”过程被仿生机器所模拟，卑微蠕虫吞吐排泄与松动土壤的运动是微弱的，但其在时间的累加之下却有着撼动人类建筑的巨大能量。排泄的土壤成为了烧制仿生腔体的源材料，而借用太阳能聚光技术进行陶瓷烧制让科技时代的人造产物，以一种原始的美学与运动形式回到了自然本身。此次展览呈现的《虫舱》，因为机械设备部件的老化，已经不能再正常运行，但它却如来自未来的某种遗迹，昭示着一个生物之间彼此无序而必然的共存生态系统的停滞。在原始的设计中，巨大的虫舱腔体邀请观众步入，每个小舱中的昆虫生物的活跃度被物联网传感器所捕捉，从而连环触发形成无规律的“声音剧场”，人类精密的机器设计却无法控制与干预各种昆虫的运动与发声规律。▲ 唐晖，《时空一击·续》，1995年，220cm×500cm，布面油彩艺术家提供纵观展览全景，除了借由关键词和章节构建的展览叙事之外，在作品与作品的空间对话中，一条隐形的脉络得以窥见，人类力量、自然力量以及人类之外的其他生态环节的力量，在展览现场形成了某种张力。序章中，十三陵水库的建设与文艺表达作为一个时代的代表，揭示着人类以自身行为介入自然，试图对抗自然力量，改造自然环境，从而获得自我生存的保障与提高。而随着技术的发展与认知的改变，艺术创作作为时代的先声，已经敏锐地开始从有意识的保护并尊重自然环境，到主动关怀人类世界之外的生态与动植物的视角与生活轨迹。这种从人类中心视野出发，到超越人类自身的视野转换，既仰赖于技术的进步带给人类触及更多视角的可能性，也来源于生态系统中其他环节的多元物种带来的警示。1945年，当世界上第一颗原子弹爆炸于广岛上空，那是人类摧毁性力量的具像化展示，也动摇了曾被视作无限光明的现代性前景，我们如何跳出“进步”的故事所构筑的单一未来轨迹，在一个不再稳定的世界中去维系生存？如罗清安的研究所示，微小脆弱如蘑菇，却总是如生命的奇迹一般率先出现于人类文明的各种废墟之上，蘑菇的真菌前身在地表之下展开网状结构，与植物根部和土壤结合，那是无论大小与强弱的生命回归本原的协作与生存方式，它亦启示着叙述文明生态的一种新的视角与方式，即发现并正视那些繁杂纠结、相互调和的开放的生活方式[7]。参考资料：[1]参考展览资料与笔者现场对策展人易玥的采访。[2]田汉《十三陵水库畅想曲》剧本第十三场，1958年。[3]同上，第十场，1958年。[4]许彦博《从“全国科学大会”邮票到版画——科学之春》[J]，《中国集邮》，2000(10):4-5。[5][6]张文超《数据集作为艺术方法——<90分钟的宇宙观>创作札记》，《信睿周报》，2024年第124期。[7]参见罗清安著张晓佳译《末日松茸：资本主义废墟上的生活可能》，上海：华东师范大学出版社，2020年。文 | 周纬萌展览信息：“蓝图生产力——未来感在艺术中的表达”文旅部“2024年全国美术馆青年策展人扶持计划”入选项目展览时间：2024年7月19日至9月1日展览地点：中央美术学院美术馆3层A展厅主编 / 何一沙责编 /杜隐珠
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The applicable geographic scope is global.

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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.