Exhibitions and Events-News

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

讲座预告 | 奇点之下:从Crypto到Ai的艺术叠加

2023-03-14

奇点之下:从Crypto到Ai的艺术叠加讲者:孙博涵主持人:王春辰时间:3月15日15:00-17:00地点:中央美术学院美术馆报告厅讲者介绍孙博涵创业者/策展人/艺术家中央美术学院附中、本科、研究生BCA科技艺术联合创始人众甫联动投资合伙人工作/创作/生活于北京/上海/洛杉矶的web3.0实践者。曾于艺术、教育、金融、科技领域工作,作品被中央美术学院美术馆收藏;早期区块链研究员、投资人,具有全行业研究视⻆。2019年创始发起BCA科技艺术,2021年3月,作为策展人出品了UCCA Labs 全球大型加密艺术群展“Virtual Niche”,亚洲大型科技艺术公教活动“CRYPTOULTRA”加密论坛联合发起人,加密艺术藏家及科技艺术先驱,开拓加密艺术在亚洲的创作者生态。同年成立的BCA Gallery曾参与ArtBasel、CES、温哥华双年展、新加坡艺博会、上海西岸艺博会、ART021、JINGART等海内外知名展会。2020年起先后于中央美术学院、清华大学、北京电影学院、深圳大学、斯坦福大学、加州大学伯克利汉斯商学院、南加州大学马歇尔商学院、伦敦艺术大学圣马丁学院、佳士得教育学院发表公开演讲与分享。文章曾被报道、发表于《CGTN》、《CNBC》、《Financial Times》、《Bloomberg》、《中国新闻网》、《Artnet》、《Artsy》、《芭莎艺术》、《凤凰艺术》、《GQ》、《美術手帖》、《France24》、《Jing Daily》、《TechNode》、《Le Figaro》等杂志和媒体。目前个人持续致力于推动科技、算法、人工智能与艺术结合的发展,探索构建完整、高效、规范的科技艺术生态闭环。主持人介绍王春辰中央美术学院美术馆副馆长,教授,博士生导师、著名美术批评家及策展人,从事现代美术史及当代艺术理论与批评研究。2013年第55届威尼斯双年展中国馆策展人。展览信息加密艺术:一种新的可能性Crypto Art:A New Possibility展览地点:中央美术学院美术馆二层A展厅Exhibition Venue:2A Gallery, CAFA Art Museum展览时间:2023年3月14日-3月24日Exhibition Duration: March 14 – March 24, 2023开幕时间:2023年3月14日14:00Opening Time: 14:00, March 14, 2023主办:中央美术学院美术馆 意大利代米克艺术博物馆(米兰)Organizers: CAFA Art Museum & Dynamic Art Museum (Milan)艺术总监:邱志杰学术顾问:皮尔·吉利奥·兰萨  费俊  凯文·阿博什展览总监:张子康 韩文超 颜羚贻展览统筹:高高中方策展人:王春辰意方策展人:理查德·韦恩  张远
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纪念美院先生丨“大道丰碑”系列学术活动启动

2023-03-14

学校将于2023年3月14日-3月23日举办“大道丰碑——纪念周令钊、钟涵、邓澍、侯一民、詹建俊、李化吉先生系列学术活动”。
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中央美院实验艺术与科技艺术学院揭牌,“向量场”学生作品汇报展同期开幕

2023-03-12

2023年3月7日,实验艺术与科技艺术学院揭牌仪式暨“实验艺术与科技艺术学院学生作品汇报展”开幕式在中央美术学院美术馆报告厅举行。中央美术学院党委书记高洪,院长范迪安,党委副书记、纪委书记杨文海,党委副书记王晓琳,副院长吕品晶、邱志杰,党政职能部门负责人代表,以及实验艺术与科技艺术学院全体师生共同出席了揭牌仪式。开幕式由实验艺术与科技艺术学院副院长冯梦波主持。实验艺术与科技艺术学院揭牌仪式现场学校高度重视实验艺术与科技艺术学科建设与人才培养。2022年10月17日,实验艺术学院更名为“实验艺术与科技艺术学院”,标志着学院建设发展进入了新阶段。学院前期的教学实践,以及目前拥有的实验艺术与科技艺术两个二级学科,为建设顶尖教学科研单位奠定了坚实基础。院长范迪安在致辞中表示,中央美院科技艺术发展具有三个优势:第一,实验艺术与科技艺术植根于中央美术学院深厚的人文底蕴,具有多学科相互支撑的优渥土壤;第二,在把握科技新发展趋势的同时,能够向世界更好地讲述中国故事;第三,中国新时代社会发展为科技艺术学科建设提供了大好时机。从城市更新到乡村振兴,都需要新主题、新内容和新形式的艺术创作,要加快加大科技艺术这方面的教学研究,在未来的建设中打造一个充满学术活力的“向量场”。党委书记高洪在致辞中提出“探索”“前沿”“趋势”三个关键词。他表示,艺术家探索反映时代新的艺术表达方式,是当代艺术迅猛发展的重要原因之一。实验艺术与科技艺术学院要把眼光瞄准未来,在教学改革、科研创作和学习过程中,要积极关注科技艺术领域的最前沿问题。科技和艺术的融合是非常重要的时代发展趋势,我们顺应趋势产生了新的学科,对科技艺术的发展和优秀人才的培养充满了期待。副院长邱志杰在致辞中表示,希望实验艺术与科技艺术学院在引领中国当今艺术教育和当代艺术创作的发展中,把科技艺术做实,并在全球一流的科技艺术教育中占一席之地,将学科建设与中国式现代化发展愿景深度融合。实验艺术与科技艺术学院副院长冯梦波主持揭牌仪式“向量场——实验艺术与科技艺术学院学生作品汇报展”同期开展,展览展示了实验艺术与科技艺术学院近年来的学生创作78件,作品包含从传统艺术语言的当代转化,到学生对于社会问题的关注和思考,还可以看到科技与艺术创作的紧密结合,体现出学院多元的教学与创作面貌。丨展 览 作 品丨(部分)作品名称:《诗颂会》姓名:王梦茹、李湘宜、万礼、葛泰然、范仕芸、单子曦材料:日常物品尺寸:可变作品名称:《蒹葭》姓名:张佳妮材料:装置、影像尺寸:可变作品名称:《一群不停自转的仙人球》作者:鲁艺冉材料:仙人球,陀螺花瓶,影像数量:10个作品名称:《果》作者:程亚男材料:水果、热敏纸尺寸:600x10cm名称:《迷宫》姓名:李倬阳材料:综合材料立体书尺寸:54*39cm作品名称:《原初》作者:于涵材料:刻纸尺寸:85*85cm作品:《记承天寺夜游》作者:廖玉琢材料:剪纸尺寸:85cm*85cm名称:《形显》作者:宋佳益材质:剪纸尺寸:85x85cm作品名称:《石头》姓名:杨斐材料:铅笔素描尺寸:844x1162mm名称:《紫砂茶壶盖》姓名:李彦樵材料:铅笔素描尺寸:53×76cm名称:《窗外的细节》姓名:李彦樵材料:纸本素描尺寸:53×53cm名称:《水雾之下》作者:宋佳益材质:铅笔素描尺寸50x70cm作品名称:《玩具肖像照》姓名:曲鸣飞材料:快消品纸尺寸:12x12m名称:《灵》姓名:谢婕材料:亚克力、树脂颜料尺寸:230cmx80cmx100cm作品名称:《花汐》姓名:刘晶晶材料:综合材料尺寸:60cm×60cm实验艺术与科技艺术学院/文宣传部 宋曼青 美术馆 贺伊飞 实验艺术与科技艺术学院/图
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活动预告 | 元境无际——加密艺术国际学术研讨会

2023-03-12

元境无际——加密艺术国际学术研讨会Infinite MetaWorld:International Symposium on Crypto Art时间:2023年3月14日16:00-18:00Time: 16:00-18:00, March 14, 2023.地点:中央美术学院美术馆学术报告厅Venue: Auditorium, CAFA Art Museum中央美术学院美术馆将于2023年3月14日在展览“加密艺术:一种新的可能性”的开幕式之后举办“元境无际——加密艺术国际学术研讨会”,将汇聚来自国际以及中国的九位艺术史学者、批评家、策展人、艺术家以及加密艺术领域研究专家参加此次开放的讨论,在探讨加密艺术的各种创新和问题的同时,深入探讨当前围绕加密艺术形成的话语的复杂性所涉及的问题。研讨会嘉宾皮尔·吉利奥·兰萨 Pier Giulio Lanza (意大利)意大利代米克艺术博物馆(米兰)创始人、馆长。理查德·韦恩 Richard Wearn(纽西兰)当代雕塑艺术家,自2005年以来在加利福尼亚州立大学洛杉矶分校担任艺术系教授。他的作品受邀在世界各地国际级艺术机构展出,同时从事教学、学术写作和策展工作,活跃在北美的学术界和展览策划领域,并多次应邀参加当代中国艺术展览和学术研讨会。张远 Maya Zhang(加拿大)2020年获中央美术学院美术学博士,意大利代米克艺术博物馆(米兰)策展人;她研究了当代中国水墨艺术及其在国际的新发展。张远曾任大众传媒机构创作总监多年,拥有丰富的艺术实践与展览策划双重背景,作品在中国和北美艺术机构展出。她目前的工作重点在与中国的艺术机构、艺术家和学者建立多方位的交流合作,致力于促进东西方文化和艺术的交流,构建艺术多方位交互平台。凯文·阿博什 Kevin Abosch(爱尔兰)爱尔兰观念艺术家,作品曾在世界各地展出,经常展出于城市空间。他的作品涉及传统媒介以及生成方法,包括机器学习和区块链技术。阿博什的作品通过提出本体论问题和回应社会学困境来阐述身份和价值的本质。安德烈·博纳托Andrea Bonaceto (意大利)1989年出生于比萨,是一位意大利艺术家和企业家。他将视觉艺术与诗歌和音乐一起作为表达自我的进一步手段,最终旨在将这些学科结合在一起,形成一个综合的实践。自2017年以来,他一直专注于区块链领域,是Eterna Capital的创始合伙人之一,他的作品介于艺术与技术的交汇处,作品曾在许多国际场馆和机构展出。博纳托通过运用区块链、人工智能和可编程艺术,旨在为观众传达一种互动和内省的体验,并在整个过程中突出 Web3网络可以为社会带来的改善。吉塞佩·洛·斯齐亚沃 Giuseppe Lo Schiavo  (意大利)又名Glos,是一位屡获殊荣的视觉艺术家,常驻伦敦和米兰。他的研究旨在为艺术和科学之间架起一座桥梁。他的作品经常以后人类叙事呈现,并运用了人工智能、机器学习、虚拟现实、红外系统和微生物的实验室培养等技术科学。2019年成为第一位被邀请参加伦敦大学学院微生物实验室的艺术驻留项目的艺术家,2021年被宣布为由意大利的MUSE科学博物馆(Museum of Science MUSE)组织的欧洲项目BioArt Challenge的获胜者。他的作品曾在世界各地的博物馆和画廊的国际展览中展出。隋建国1989年毕业于中央美术学院雕塑系,获硕士学位,现居住和工作在北京,为中央美术学院资深教授。隋建国在自己四十多年的艺术实践中对创作观念、作品形式、媒介选择、时空经验等多个方面都有深度理解和认识,曾多次在国内外举办个人艺术展,并应邀参加国际艺术群展。费俊中央美术学院设计学院“艺术与科技”方向教授、博士生导师、某集体 ART+TECH 创始人、创意总监,曾任中央美术学院设计学院数码媒体工作室主任、北京媒体艺术双年展联合策展人。他以艺术家、设计师和教育者的多重身份从事艺术与科技研究、教育与实践,他的艺术实践主要关注由虚拟和实体场域共同构建的混合场域叙事。艺术及设计作品曾在58届威尼斯双年展中国馆等国际展览和艺术节中展出,并荣获了德国IF设计奖、红点设计奖、德国设计奖特别奖和亚洲最具影响力设计大奖等荣誉。王春辰中央美术学院美术馆副馆长、教授、博士生导师、著名美术批评家及策展人,从事现代美术史及当代艺术理论与批评研究,任2013年第55届威尼斯双年展中国馆策展人。展览信息加密艺术:一种新的可能性Crypto Art:A New Possibility主办:中央美术学院美术馆 意大利代米克艺术博物馆(米兰)Organizers: CAFA Art Museum & Dynamic Art Museum (Milan)艺术总监:邱志杰学术顾问:皮尔·吉利奥·兰萨  费俊  凯文·阿博什展览总监:张子康 韩文超 颜羚贻展览统筹:高高中方策展人:王春辰意方策展人:理查德·韦恩  张远展览地点:中央美术学院美术馆二层A展厅Exhibition Venue:2A Gallery, CAFA Art Museum展览时间:2023年3月14日-3月24日Exhibition Duration: March 14 – March 24, 2023开幕时间:2023年3月14日14:00Opening Time: 14:00, March 14, 2023
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锐角——策展培育计划 | 第一回方案联展 ×《策展实践》

2023-03-12

锐角——策展培育计划ACUTE+CURATE=ACURATE主办:中央美术学院美术馆地点:中央美术学院美术馆 一层公共空间总顾问:邱志杰总策划:张子康、韩文超统筹:王春辰、高高工作组:易玥、刘希言、纪玉洁、刘宇晗、吴鹏、荆鹏“锐角”是呈现中央美术学院策展教学与策展实验的自留地,意在汇集中央美术学院青年学人们具有探索性的展览方案,促成交流、互动与共进。策展已成为一项重要且有机的艺术活动,策展人不仅是艺术现象的观察者和研究者,更是艺术实践的参与者和建设者。与此同时,策展专业教育也正处在欣欣发展之中。中央美术学院的策展专业教学经多年的开拓与积累,多个院系逐步从自身学科出发,以多视角的思考与跨学科的方法展开教学和实践,回应多元且联结的当代社会。“锐角”计划与各院系策展相关的方向与课程联动,并邀请课程中的优秀策展方案,分期展示这些的策展教学成果。什么是策展?年轻人们以所立之地为端点,以敏锐之志为态度,以方案实践与理论思辨为射线,无限地指向策展的未来。在此角隅,空间得以延伸、时间实现跳跃、形式走向复合、理念达成对话……这是点簇星星之火,亦是蕴含无限可能的有生力量!“锐角——策展培育计划”第一回方案联展与《策展实践》合作,邀请该课程过往三年积累的17个优秀虚拟策展方案,自3月11日在中央美术学院美术馆一层公共空间展出。  策展实践所属院系:中央美术学院 艺术管理与教育学院授课教师:余丁、康俐授课对象:全校二、三年级本科生授课时长:48课时策展实践是策展人、艺术家、设计师、布展师等群体深入了解“艺术世界”不可或缺的重要内容。中央美术学院艺术管理与教育学院《策展实践》专业任意选修课,旨在使学生充分理解策展相关理论,掌握策展基本方法,引导学生在理论学习的同时进行实践,学以致用。《策展实践》不仅包含策展专业所涉理论学习,更是开创性的为每一位学生提供了模拟实务技能的机会。学习过程中,学生通过理论学习、方法学习、方案制定、模拟实操、小组讨论等环节,循序渐进完成从理论学习到实践运用的转化,在实验中发现问题、解决问题,不断提高理论理解与实践能力。《策展实践》有别于其他策展类课程的最大亮点是借助“虚拟策展实验系统”,通过课程内容引导学生用“策展”的思维自主性地推进方案策划,实现一次“可感可观”、“真正意义上”的展览策划,包括展览主题策划、作品选择、视觉设计及空间设计等内容,并对个人策划进行陈述。学生在独立完成虚拟策展的过程中,得以加深对策展的理解,将所学知识转化为有效的实践经验。在三年的教学中,《策展实践》帮助不同专业背景的学生掌握展览策划的基本理论与技能,并在策展实操环节中允许学生充分发挥自身专业特长,形成一个个独具创意的方案,积累了近百件优秀的虚拟展览作品。 展览现场部分展出方案“尘埃与未来——来自世界之外的艺术”,杨微,城市设计学院2017级“及时行乐——可口可乐海报设计展”,王晨皓,城市设计学院2017级“前数字时代的拟像——《银翼杀手》幕后回顾展”,陈奥运,城市设计学院2019级“疏香无已——中国明清女性艺术家花鸟画展”,李婧宜,中国画与书法学院2020级“无羁之码——由代码赋予艺术新的生命”,曾一洛,城市设计学院2019级“无尽的彩虹山 ——“文雀”乐队个展”,向田晟、刘叶萱,城市设计学院2019级“无用的永恒:布鲁诺·莫那利艺术个展”,杨明悦,城市设计学院2020级“重构乌托邦——20世纪60年代建筑乌托邦思潮展”,曹展榕,城市设计学院2019级
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展览导航 |漫步孙宗慰绘画主题展

2023-03-12

2022年是曾任中央美术学院绘画系副教授的画家孙宗慰诞辰110周年,为纪念和研究他在中国现代绘画实践上的贡献,中央美术学院党委宣传部将为之举办纪念展的计划列入“百年辉煌——中央美术学院艺术名家”中,于2022年1月在美术馆正式启动了展览筹备工作。此后,担任展览策展人的中央美术学院人文学院美术史系教授曹庆晖,在了解孙宗慰作品材料和已有研究与出版的基础上,与团队成员随时线上交流研讨,逐步明确了展览的主题、逻辑、结构和作品,形成名为“心影馨香——孙宗慰绘画主题展”的展览方案,2023年2月策展方案通过学院汇报,3月1日在中央美术学院美术馆落地开幕。这里,旨在通过对多次策展会议纪要的编辑,结合不断深入的策展构思稿、设计效果图和现场实景图的有序排列,向观众呈现展览从无到有、作品从选入到安放的大致过程,希望在为观众莅临现场参观展览提供导引服务的同时,也能了解策展与实施等展览背后的一些思考,实际上为大家提供一份漫步展览的学术导航。但必须声明,导航在这里的意义主要是交代和交流,是可以被批评也欢迎被批评的一家之言。祝大家阳春三月在中央美术学院美术馆观展愉快!考虑到过往展览和研究对孙宗慰绘画艺术的发现和梳理已有基本的呈现,因此如何开辟学术话题就成为展览策划首先要面对的问题,最终我倾向以画家的“绘画性”实践为主要关心,试图回到画家之眼,看他在所看中如何通过绘画的逻辑和方法表达他对社会和自己的理解。孙宗慰是徐悲鸿等人在1934—1938年的国立中央大学培养起来的画家。徐悲鸿重视写生造化,他在教学上的基本训练方法是中介法国学院素描要求产生的绘画“新七法”,其中的要旨是通过实像模写领会绘画的写实性要义,这也是孙宗慰接受绘画训练吃的开口奶。孙宗慰在1941—1942年曾协助张大千在敦煌、塔尔寺等地进行过壁画临摹和画稿整理,1953年又参加中央文化部社会事业管理局组织的麦积山勘察团壁画临摹。这些描绘在石窟里的壁画创造的是信仰世界,虽然世人谁也没真正经见过那样的世界,但它却可以通过工匠结合生活经验、教义教条和绘画想象获得,心象图绘,粉本绵延,亦真亦幻,在我看来即其逻辑、方法和效果。但这并不止于石窟壁画,唐宋以后文人画大行其道,心象图绘历元明清文人加持和演进,被建构成以笔墨为形式和精神表征的图绘性绘画语言体系,孙宗慰通过张大千的绘画并上溯石涛、老莲等人,所玩味的就是这一体系中的图绘性营养。孙宗慰的绘画性实践就交织在这种中介法国画学的写实性和源于中国画学的图绘性的融变和创生中,并且我认为他的绘画性实践是中国绘画现代性实践中足堪观察和研究的一例。“心影馨香——孙宗慰绘画主题展”的英文译题明确了展览意图集中的绘画性话题,Modernity in Sun Zongwei's Practice of Painting.《西北写生之头像(一)》,孙宗慰,纸本素描,48.5×35.5cm,1942年,家属提供《敦煌壁画之飞天》,孙宗慰,纸本彩墨,30×69cm,1945年,家属提供《蒙藏女子歌舞》,孙宗慰,布面油画,90×120cm,1943年,中央美术学院美术馆藏主题展分三章。第一章“天地霓裳——边地佛国的丽影姿色”,以孙宗慰在西北临摹和创作的作品为主。第二章“江水东流——长河行旅的移步换景”,主要是孙宗慰从四川到北京的重要作品的排列组合。最后一章“馨香无尽——梦寐以求的平川牡丹”,基本是孙宗慰的自画像、花卉、静物以及临摹。如此三章,论全不及全面展示孙宗慰一生成绩的面向周全,说详不如专题展览孙宗慰人生特定时期的作品周详,但均着重于画家之眼及其视觉逻辑,呈现孙宗慰绘画性实践的根源特质和逻辑发展。展厅墙面标注示意设计稿展览使用的是中央美术学院美术馆2层B展厅,该展厅常用于举办名家大师的展览。在这里举办孙宗慰的展览,对我而言,好处是熟悉,挑战是要在熟悉的空间里创造符合主题的视觉体验,形成展览独有的空间调性,不容易。最终的设想是选择三种视觉元素规划展厅。首先是“线描装饰”,既然是讨论“绘画性”的问题,那么展览的绘画气氛和气质就不能低,但怎么搞呢?从孙宗慰的临摹和写生线稿中选取图像作为装饰,通过丝网印刷描绘在动线“起承转合”处,是能够想到和实现的一个办法。其次是“垂缦区隔”,就是利用垂缦这种软性材料对展线上的作品进行强调或进行分组,垂缦的形式与颜色受孙宗慰笔下僧人和民族妇女服饰与色彩的视觉启发较多,软材料,强介入,容易形成有力的空间布控并在熟悉的展厅制造陌生感。动线上则采用“立柱模拟”的方式,在展厅中模拟搭建石窟立柱,除了虚拟石窟情境的意图外,主要目的是打破固有的动线和空间,避免参观时的一眼到底,一览无余。“心影馨香”策展手绘稿,此图呈现对视觉元素的设想展厅入口圆弧墙的策展手绘稿展厅入口圆弧墙的墙面设计稿展厅入口圆弧墙实景与弧面墙垂直的长墙是二层B展厅的主墙,是真正可以悬挂作品的墙面,由入口拾梯而上所见的是这面墙的正面,在这次展览中我们称之为3号墙,展览的第一章“天地霓裳——边地佛国的丽影姿色”由此开始。这个标题,纯然是从视觉上理解孙宗慰西北临摹与写生后的选择,因为在孙宗慰笔下无论是天上还是人间,是线描还是油彩,总体上都呈现出如题的视觉感受。墙面上主要集中呈现孙宗慰围绕少数民族服饰和蒙藏人物绘制的一系列作品。开篇是《哈萨克妇人》,画中人描绘偏于写实,向左而立,正是展览和动线的起点。之后两组共16张少数民族人物,进行了先正面再背面形象的分组组合,明确向观众展示孙宗慰处理民族人物采取的两面观视角,16张并排而立后由《哈萨克人歌舞图》压阵,预示在相对单纯的人物正背面描绘之后将逐渐进入孙宗慰对西北风物风俗的描绘。展墙下方另有两套册页放置展柜内,册页内的人物与墙面作品不仅呼应,而且存在对同一形象反复描绘的特点,这种特点在后面的展品中依旧持续不断。同一形象反复绘制并非机械复制,而是绘画性生长的反映,能够一画再画不断言说,说明孙宗慰力图在特殊中归集一般。所以3号墙上的大多数作品,在我们看来有些像孙宗慰绘画艺术的词根表一样。通过这些人物词根,我们可以看到一种民族或身份的人的存在,同时也能感到他不是在描绘具体哪一个人,而是在形象的加减乘除中形成具有符号意义的形象,一种图绘性较强的形象。形象成为一般性的符号编码才能被不断挪用组装和再生产,形象不能被编码就永远定格在写生的或构图的具体规定性中,既难以重复,也难以融入图式。在特殊性中归集普遍性,这种创作特色一直延续在孙宗慰的作品里。当然,他的自画像和委托肖像另当别论。3号墙的策展手绘稿3号墙的墙面设计稿3号墙实景3号墙和5号墙之间是一根立柱,展览策划标为4号立柱,立柱上是和3号墙题材相关的三张蒙藏人物油画和一组类似服饰调查笔记的速写。此组服饰速写包括帽、上衣、围裙与靴子,材质为简单的铅笔与水彩,其目的是掌握民族服饰的质地与做工,这种基于实用性的观察和描绘后来也演变为孙宗慰绘画的一种表现方式。负水的喇嘛真是一张好画,我们很希望观众在入口眺望时就能看到。这张画的人物和环境的把握,显然得益于孙宗慰随徐悲鸿的学习,但袈裟里的躯干和外露的双手明显不是按照解剖而来,而是根据袈裟裹身一褶一褶的扭麻花一样排叠的需要配合而来。所以,与其说他穿的是一身复杂的袈裟,不如说他穿的是一身堆叠的图案。《负水者》,孙宗慰,布面油画,47×29cm,1942年,家属提供《靴子颜色及装饰图案示意图》,孙宗慰,纸本铅笔水彩,20.4×31.7cm,1942年,泰康保险集团收藏5号墙是呈现夹角的墙面,从3号墙经过4号立柱走过来,我希望在民族人物的彩墨与油绘之后展现敦煌风光和壁画意象,于是选择了孙宗慰临摹的飞天图像进行拆分后刻印上墙,营造天女祥云飘飘落落的景象。在下界先有一张挂的很低以凸显仰望天边的民族姑娘的背影,让她承担视觉上承前启后的职能。此后接排若干风景,天女之下正是孙宗慰的油画代表作《月牙泉》。4、5号墙的策展手绘稿5号墙的墙面设计稿3、4和5号墙区域实景5号墙实景进入6号墙,靠近前厅一侧是两张很大的线描稿《敦煌壁画之普贤变》《敦煌壁画之文殊变》。立在4号立柱附近,观看5号和6号展墙,视觉上正是由边地到佛国,人间到天界的景观变化。孙宗慰眼里的敦煌,就在眼前!走到这里的每位观众,其实都早已听到安装在4号柱的歌曲和音乐,那是西北的花儿《上去高山望平川》。歌中唱到:“上去高山望平川,平川里有朵牡丹,看去容易摘去难,摘不到手里是枉然。”在展览立意上,我把平川牡丹比拟为绘画性。6号墙的后半段全是蒙藏生活题材的中国画,3号墙上那些已经呈现出来的符号化的人物形象,在6号墙的作品中可以看到他们被不断组织为新构图的再利用事实,这种连续不断的形象构图在我们看来是孙宗慰绘画性逻辑的自觉延伸和反应,它与机械复制以满足市场需要是两个完全不同层面的问题。《蒙藏生活图之牧羊》,孙宗慰,纸本彩墨,42×32cm,1940年代,中国美术馆藏《牧羊》,孙宗慰,纸本彩墨,106.5×61.5cm,1940年代,家属提供4、6号墙的策展手绘稿4、6号墙的空间方案设计稿3、4、6号墙区域实景7号墙是3号墙的背面,雄踞主展厅一侧,是B展厅最为隆重的展区。这面墙特别在中心位置突出了中央美术学院美术馆收藏的孙宗慰油画代表作《蒙藏女子歌舞》,两侧悬挂了两道垂幔,以示隆重。垂幔的使用在展览中有时是出于装饰强调需要,有时是出于内容区隔需要,往往根据具体情况具体分析,并无一定,但我们也非常注意垂幔的数量与位置,尽可能使其在整体布局上符合丰富与平衡的视觉尺度关系。挂两道垂幔的作品,在这个展览上不仅7号墙有,6号墙和8号墙中孙宗慰的临摹大作也有。与中心作品相配合的,南侧一组《驼队》《塔尔寺小金瓦寺》《哈萨克人跳弦子》,在视觉上继续衔接了6号墙蒙藏风俗的内容,北侧一组靠近入口弧面墙的是蒙藏舞女的彩墨和线描作品,弧面墙上的藏女舞蹈形象即从这组作品中提取。由7号墙可以一览孙宗慰利用油画和中国画的不同媒介,对西北民族风俗生活翻来覆去不断创作的热情和兴趣。7号墙的策展手绘稿7号墙的墙面设计稿7号墙实景靠近弧面墙的8号墙和9号立柱是一组内容关联的作品,陈列的都是孙宗慰在1953年参加文化部社会事业管理局组织的麦积山勘察团临摹和写生的作品。这次临摹和20世纪40年代孙宗慰随张大千在敦煌临摹在方法上很不一样,偏于照相写实。其中8号墙的摹品尺寸巨大,为中央美术学院美术馆藏。10、11和12号立柱,集中陈列的是孙宗慰20世纪40年代临摹的敦煌壁画以及以此为素材的创稿,同时也兼顾了他当时在西北对人物动物的素描写生。我在展厅现场对这些立柱的位置和角度进行过充分的考虑和调整。壁画临摹和素描习作集中在立柱上,一方面是让它们区别于墙面上的孙宗慰画作,一方面是形成类似于石窟中心柱的景观意象,这为作品悬挂提供了足够进行自由和高低组合的平面,更重要的作用是通过立柱打破主展厅一览无余的空间格局,在立柱和立柱之间制造出观览的空隙,形成不一样的体验和感受。9号立柱的策展手绘稿9号立柱实景10、11、12号立柱实景与7号墙形成对视关系的是13号墙,也是第二章“江水东流——长河行旅的移步换景”的开篇。13—17号墙均属于第二章的内容,动线延续一直到精品厅外。过往有关孙宗慰的展览较多从艺术社会学去观察画家的变化,强调旧社会与新中国的时代变革带来画家的题材和思想之变,此次展览移步换景的思路,重点观察孙宗慰在人生行旅中所经历的不同时代景观中持续稳定的绘画性实践。对13号墙面上的一组四川风景作品,我在现场进行了比较大的创作型重置,不同的风景画依照壁画底图上下高低的错落起来,让整面墙形成一幅更加弘大的四川风景图,其活泼与对视的7号墙的中正相对相生,一起构建了整个展厅既中正又活泼的调性。四川风景图之后是一组由人物画和风景画结构起来的北平风景图,与四川风景图相呼应,北平风景图的作品摆放也注意高低节奏,意图希望通过这种节奏变化应合江水东流、移步换景的策展逻辑。我很愿意在方方面面尝试打破循规蹈矩,尽量使得每一展段的空间叙事与作品组织以及内涵呈现发生有效的呼应关系。北平风景图中的两张水墨人物大画《灯红酒绿》《打粥》由上海龙美术馆提供,此次展览的顺利举办得到龙美术馆的积极响应和支持,悉数提供了展览需要的孙宗慰代表作。在此特别要向提供藏品的龙美术馆、中国美术馆、泰康保险集团、势象艺术中心以及多位私人藏家表示感谢。从《灯红酒绿》《打粥》到15号墙上的《运粮》《运煤》和《迎接和平解放》是孙宗慰的一组反应北平民生的水墨人物代表作。比较西北少数民族人物系列,孙宗慰绘画性实践的延伸和发展更多地反应为构图以及组成构图的人物及其道具的写实概括性在加强和丰富。因为写实性,观众可以从画面内容感受到画家朴素的悲天悯人的良心和态度,因为概括性,观众可以从入画物象看到画家对人物角色和道具细节的丰富表现,而这种丰富表现更多地反映为孙宗慰用线用墨用色把握物象的图绘性语言在丰富。13号墙的策展手绘稿14号墙的策展手绘稿15号墙的策展手绘稿13号墙的墙面设计稿13号墙实景从16号墙的《女车工》开始,到延展较长的17号弧面墙,展览进入孙宗慰对新中国图景创造的展示。实际上,展览在空间调度上为预示在新旧社会间移步换景的视觉逻辑,已经在远离16号墙的区域给出了提示。这就是在15号墙的位置抬头向前看过去,会看到一艘船,一艘具有工业化特点的船迎面而来。这艘船的图像出自孙宗慰的画稿,描绘的是塘沽新港的挖泥船。沿着这艘船的方向前行是17号墙。17号墙的策展处理和13号墙有一致的逻辑,即把墙面作画面,安放作品“画”起来。13号墙用孙宗慰数幅油画风景组装了四川风景图,17号墙则主要用孙宗慰塘沽新港线描稿中的挖泥船、造船工人为墙面底图设计的元素,以《石景山钢铁厂》《塘沽新港》两组作品为重点,沿动线组装成一幅建设图。其中,《塘沽新港》一组尤其值得关注。画家为了反映新中国建设成就,曾在1953年底1954年初的寒冬季节独自前往塘沽新港写生一个月,展出的以线描、彩墨和油画为媒介创作的塘沽新港码头和造船厂,即为这一个月写生后在北京整理所得画稿。线稿和彩墨长度都在两米以上。从中可见,孙宗慰以一种别具一格的方式创造了他经见的塘沽新港图景。这种别具一格——以写生为基础的以大观小的形象与图式处理——正是孙宗慰绘画性生长的反应。从主展厅看向17号墙的策展手绘稿从主展厅看向17号墙的实景17号墙的策展手绘稿17号墙的墙面设计稿17号墙实景18、19号墙的策展手绘稿18、19号墙的墙面设计稿18、19号墙实景精品厅,在这次策展中被编为20号,共展出孙宗慰13件自画像以及不同时期的若干小照片,也属于第三章的内容。目前所知孙宗慰在1949年后基本没有再画自画像。自画像是欧洲艺术史的传统,也为孙宗慰的老师徐悲鸿所提倡。孙宗慰在现实生活中沉默寡言,甚至给人以木讷的印象,但在自画像的世界里,他的面目并不单一,被公认的那件最具有代表性的自画像《塞上行》,充满自信,像个王,被以背衬垂幔的方式特别隆重地陈列起来。在它左侧的一系列自画像因大体有一个相近的画室逻辑而被排列一侧,在它右侧的自画像系列则基本以吸烟为肖像的取姿。因为自画像系列最充分地回应了展览所关注的绘画性中写实性那一面的知识和逻辑,因此其他重复回应该问题的作品均不再纳入览。《塞上行》,孙宗慰,布面油画,78×67cm,1947年,家属提供《画室里》,孙宗慰,布面油画,66×52cm,1945年,家属提《自画像》,孙宗慰,木板油画,直径45cm,1940年代,中央美术学院美术馆藏精品厅实景21号立柱和22、23、24号墙呈现的是孙宗慰的静物油画和花卉彩墨作品,也都是第三章的内容,这些作品的汇集,令我们对孙宗慰在花卉果蔬题材里,比较自如且极具水准和品质地在中西之间来回切换印象深刻,写实不匠气,图绘有朝气。21号立柱和22、23、24号墙区域实景25号墙有一篇展览说明,特别印制了展厅平面图和策展手绘稿的位置关系,不嫌烦的观众通过这张图能对展览的整体布局有一个大致把握。25号墙和26号墙在我们看来是一个整体,都是展览的尾声,为了在最后表示对孙宗慰先生的缅怀以及对展览主题心影馨香和绘画性的关心,我们专门挑选了一件孙宗慰没有画完但很有意境的白描荷花作为收笔和告别,墙面上依旧采用了敦煌飞天的图像元素作为装饰图案。21号立柱播放的是根据青海花儿《白莲花》改编的协奏曲,原本是想让观众走到26号墙附近再环绕起来,但因实在找不到合适的掩藏音源的位置,不得已将音源位置提前了二十多米,这个做法虽不是最理想,但也能接受,因为这首曲子和21号周围的作品环境并不违和。对于画家纪念性展览而言,要不要配乐,怎么配乐,说不好,具体情况具体分析具体感觉着来吧,凡事无一定,一定事必烦。这次我们用了配乐,主要是青海花儿《上去高山望平川》《白莲花》和我们的展览内容、逻辑和调性相关,既便于情境导入,也有利于启发怀想,何乐而不为呢?25号墙的策展手绘稿25号墙实景26号墙的策展手绘稿26号墙的墙面设计稿26号墙实景本次展览印制了小册子供观众领取,小册子收录了“前言”“说明”和展品目录,作为对此次展览内容的记录。策展手绘图由策展人曹庆晖教授提供策展团队成员包括易玥、孙丹妮设计稿由纪玉洁、闵志伊刘宇晗、李晋羽提供心影馨香——孙宗慰绘画主题展主  办:中央美术学院承  办:中央美术学院党委宣传部中央美术学院美术馆中央美术学院油画系展览时间:2023年2月28日—3月26日展览地点:中央美术学院美术馆二层B展厅总策划:高洪 范迪安学术主持:邱志杰项目策划:秦建平策展人:曹庆晖展览总监:张子康 韩文超展览统筹:王春辰 高高特别支持:孙景明 孙景年 许红策展助理:易玥 孙丹妮展览协调:赵晶 孙文 刘希言设计总监:纪玉洁
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展览预热 | 策展对谈:美术馆为什么要做加密艺术展?

2023-03-11

策展对谈:美术馆为什么要做加密艺术展?Curatorial Conversation: Why Do Art Museums Engage With Crypto Art?对谈嘉宾:王春辰、皮尔·吉利奥·兰萨、理查德·沃恩、张远Speakers: Chunchen Wang, Pier Giulio Lanza, Richard Wearn, Maya Zhang.时间:2023年3月12日15:00-17:00Time: 15:00 - 17:00, March 12, 2023.地点:中央美术学院美术馆学术报告厅Venue: Auditorium, CAFA Art Museum对谈嘉宾王春辰中央美术学院美术馆副馆长、教授、博士生导师、著名美术批评家及策展人。从事现代美术史及当代艺术理论与批评研究,任2013年第55届威尼斯双年展中国馆策展人。皮尔·吉利奥·兰萨(Pier Giulio Lanza)意大利代米克艺术博物馆创始人、馆长。理查德·韦恩 (Richard Wearn)雕塑艺术家,自2005年至今任美国加州州立大学洛杉矶分校艺术系教授。在美国和欧洲进行教学和艺术创作,作品在世界各地展出,同时活跃在艺术批评界。张远2020年获中央美院美术学博士,现为意大利代米克艺术博物馆策展人。凭借在各种媒体机构担任创意总监的经验,张远将艺术实践与传播策划联系起来。目前的工作是与国际艺术机构、艺术家和学者建立交流与合作,致力于为东西方文化的交流搭建多维度的艺术平台。2023年3月14日,中央美术学院美术馆推出的第一个国际展和科技艺术展“加密艺术:一种新的可能性”即将启幕。本次展览中方策展人王春辰和意方策展人理查德·沃恩(Richard Wearn)、张远,联合展览的共同主办方意大利代米克艺术博物馆馆长皮尔·吉利奥·兰萨(Pier Giulio Lanza),在展览开幕前夕进行展前预热,开展一场策展对谈,谈谈举办展览的初衷与目的、对问题的思考与展望。展览信息加密艺术:一种新的可能性Crypto Art:A New Possibility主办:中央美术学院美术馆 意大利代米克艺术博物馆(米兰)Organizers: CAFA Art Museum & Dynamic Art Museum (Milan)展览地点:中央美术学院美术馆二层A展厅Exhibition Venue:2A Gallery, CAFA Art Museum展览时间:2023年3月14日- 3月24日Exhibition Duration: March 14 – March 24, 2023开幕时间:2023年3月14日14:00Opening Time: 14:00, March 14, 2023艺术总监:邱志杰学术顾问:皮尔·吉利奥·兰萨  费俊  凯文·阿博什展览总监:张子康 韩文超 颜羚贻展览统筹:高高中方策展人:王春辰意方策展人:理查德•韦恩  张远
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加密艺术:一种新的可能性 | 展览预告与策展对谈

2023-03-09

加密艺术:一种新的可能性 主办:中央美术学院美术馆 意大利代米克艺术博物馆(米兰) 展览地点:中央美术学院美术馆二层A展厅 展览时间:2023年3月14日- 3月24日
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力学笃行 | 第二期"央美美术馆研培班"即将开班

2023-03-06

“央美美术馆研培——美术馆运营与展览策划短期研修班”第二期
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向雷锋同志致敬——国家重点美术馆馆藏作品选编

2023-03-05

今年是毛泽东等老一辈革命家为雷锋同志题词60周年。为贯彻落实习近平总书记关于深入开展学雷锋活动的重要指示精神,文化和旅游部艺术司组织13家国家重点美术馆遴选了部分馆藏主题性美术作品予以刊发,生动展现美术作品中的雷锋形象。这些作品以创作时间为序进行编排,涵盖中国画、油画、版画、雕塑、书法等类型,既展现了老一辈美术家以精湛技艺刻画的雷锋形象、讲述的雷锋故事,也彰显了当代美术家怀着崇高敬意抒写的雷锋精神。希望通过这种集中展示的方式,激励广大文艺工作者在新征程上创作更多精品力作,更好弘扬雷锋精神,让雷锋的名字家喻户晓,让雷锋的事迹更加深入人心,让雷锋精神在新时代绽放更加璀璨的光芒。《雷锋同志像》作者:黄永玉   创作年代:1962尺寸:25.2×29.4cm   类型:版画中央美术学院美术馆藏《为人民服务》作者:何香凝   创作年代:1962尺寸:121.5×47cm   类型:书法北京画院藏《雷 锋》作者:吴强年   创作年代:1963尺寸:64.5×56cm   类型:版画中国美术馆藏《雷 锋》作者:李桦   创作年代:1963尺寸:43.5×33.5cm   类型:版画中央美术学院美术馆藏《雷锋像》作者:杨可扬   创作年代:1963尺寸:11.5×6cm   类型:版画 浙江美术馆藏《雷锋与廖初江》作者:王文里   创作年代:1964尺寸:108×67 cm   类型:中国画中国美术馆藏《雷 锋》作者:陆允铨   创作年代:1965尺寸:120×140cm   类型:油画中央美术学院美术馆藏《雷锋月历之四》作者:张为之   创作年代:1960年代尺寸:30×38cm   类型:中国画中央美术学院美术馆藏《雷锋小组》作者:王玉珏   创作年代:1973尺寸:118cm×75cm    类型:中国画广东美术馆藏《雷 锋》作者:洪涛   创作年代:2009尺寸:175x155x135cm   类型:雕塑中国美术馆藏《雷 锋》作者:吴为山   创作年代:2012尺寸:190×90×88cm   类型:雕塑中国美术馆藏
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Child Public Education Reservation Form

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Adult Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
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Group Public Education Event Reservation Form

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

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Event Booking Form

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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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