2020 CAFA Graduate Students Graduation Works Exhibition | Graduate School


2020 CAFA Graduation Works Online Exhibition 

Graduate School


Please scan the QR code below to enter the exhibition.




Foreword

This year the number of PhD graduates who participate in this exhibition is 31. Seven of them studied Chinese painting and calligraphy, eight studied oil painting, four studied printmaking, five studied sculpture, five studied experimental art and contemporary art, and two studied mural painting.

The Graduate School is where CAFA cultivates PhD students. It began recruiting students in 2003, and already has a 13-year history till now. Under the academic structure of CAFA, the Graduate School continues to improve its doctoral teaching system. Theoretical courses and practical courses are of around the same ratio, aimed at training the students in humanistic quality, academic research and creative practice.


在艺术理论部分,一方面,开设了专业论文写作与学术规范、世界美术史专题研究、中国现当代美术研究、艺术理论研究这类强化基础素养的课程;另一方面,开设了艺术与文化系列课程讲座、博导大讲堂、国际高端精品课程等一系列经典品牌课程。理论课在构架上立足中国问题与国际视野,涵涉美学、哲学、历史学、社会学等专业领域,力求为学生深入专业研究奠定良好的学术基础,课程组织方式上强调跨专业的介入与交流,创造更开阔、更前沿的研究生学术视野。

在艺术实践部分,首先,研究生院教学部每年定期组织博士研究生系列教学观摩展(“双个展”),一方面,这是对博士研究生创作过程、创作思维、创作结果的立体全方位考察,是教学部培养成果的阶段性汇报,不是苛求作品完成度的成熟展览,而是对整个创作历程进行再创造的“裸展”;另一方面,这也是学校全面化、专业化人才培养的重要组成部分。其次,还开设了海外考察与调研课程,增进学生们对学术前沿动态及国内外高校教育现状的了解,促进在艺术教学与创作实践过程中的开放性思考及自省。

在理论与实践、继承与发展的教学原则指导下,在艺术成就、学术建树卓著的师资力量的培育下,研究生院教学部为各高校、美术馆、博物馆、研究院等单位,为中国美术界,源源不断地输送能够感受美、鉴赏美、追求美、创造美的高端艺术人才。他们不仅创作出具有美育价值、能够影响和引领社会审美的艺术作品,亦为学术研究、美术教学、艺术产业等领域注入强劲力量。此次的毕业展,是学子们数年来学习、创作成果的最终呈现,也是开启未来艺术路途的全新起点。

中央美术学院研究生院



研究生院



姓名:张远

学号:12170900021


《碎片》 水墨拼贴

《碎片》局部

《碎片》 水墨拼贴  260 x 650cm

研究方向:当代水墨人物画的形式语言与当代表现研究

指导教师:刘庆和


【作品介绍】


法国哲学家萨特在存在主义本体论中说过,各种各样支离破碎的生活片段综合拼图在一起构成了人的生活和存在的意义。我把近三年来散落的生活片段汇聚起来,拼合在一起,就形成了这次的作品《碎片》。作品素材都来源于手机照片,我试图用一种非逻辑性但力求真实的表现方式,反映我对自我存在意义的一种思考。


在形式上,我把水墨宣纸随意撕裂成碎片拼贴在展墙上,然后将画面散点式分两层安放, 形成一种有机构成的具有浮凸层次感的画面效果。这种形式还可以延伸到不同维度的空间,是我力求打破传统架上绘画惯用展示形式的一种尝试。


在信息传播迅猛发展的网络时代,现代人的生活也在不知不觉中被分割成碎片,碎片化的生活方式无时无刻不在影响着现代人的心态与世界观。当我们对生活和事物变得漠然的时候,艺术为我们提供了一个情感出口,原来自己在平凡中也可以生动地存在。



姓名:张心一

学号:11170900015


上下滑动查看更多图片



《Waiting for Giao》 影像  14.4x7.14cm

研究方向:当代艺术创作与研究

指导教师:徐冰


【作品介绍】


《Waiting for Giao》试图表达出当下互联网社交生活中的全新面貌。表情包在一定程度代替了人在社交网络中的位置,起到了替身作用。我们可否认为文字、语音、表情符号、表情包等多重媒介的同时运用使信息具有了某种共时性。以微信为例,在微信群中频繁使用图像传递信息,简称“斗图”,使用表情包代替文字进行承接上下文的工具,你来我往,用图片接“梗”。这种方式打破了文字的线性时间,并拓宽了视知觉体验,形成具有蒙太奇效果的视觉叙事。出自不同时空背景下的图像,依次显现又隐没,呈现出一种叙述的模糊性。在模糊的背景下,表意的虚空让这个“社交的剧场”产生别样的虚拟美感。


我认为表情包所代表的“表意的虚空”与贝克特的经典戏剧《等待戈多》如出一辙。两个流浪汉戈戈(G)和迪迪(D)在树下终日无聊的对话,只为了等待一个叫戈多的人。戈多是谁?有的人解释为死亡,有的解释为上帝,人生就是一场无尽无望的等待,也反映出战后资本主义世界普遍空虚绝望的精神状态。将戈多改为“Giao”(短视频网红“Giao哥”的口头禅)本质上是一句毫无意义的语气词。由此,图像滥用的背后也许就真的变成了语尽词穷的情感荒漠。



姓名:张显飞

学号:11170900018


《向丢勒致敬·订婚》 纸本绘画  38x46cm

《向丢勒致敬·乞讨》 纸本绘画  38x46cm

《斗牛》 纸本绘画  38x46cm

研究方向:版画本体与版画跨界的思维与实践研究

指导教师:王华祥


【作品介绍】


我的毕业创作围绕对丢勒铜版画造型语言的学习、研究进行的,包括习作、临摹、以及创作。丢勒的铜版画强调理性,简练概括,略有夸张的造型特征,体现出硬朗刚强的审美趣味,娴熟的铜雕版技术使画面对造型、线条都具有精准的把握,同时透露出生动活泼精彩魅力。铜雕版中的挺拔坚韧的线条与腐蚀技法出来的线条完全不同,富有个性和生命力。



姓名:杨茉

学号:11170900014



作品视频

《通路》  纸、火、树枝  300x200cm(摄影画幅)

《通路》系列

研究方向:传统语言转换

指导教师:吕胜中


【作品介绍】


“借问瘟君欲何往,纸船明烛照天烧。” 这句诗是为瘟疫而做,而我想借助一个类似于仪式的方法体现我对此次病疫后的感受。


焚烧,一种清洁和消毒的手段,西方宗教中通过火刑来净化灵魂,祛除异端邪恶。佛教中凤凰涅槃万物重生。火还是一种通往“彼岸”的手段。火,打破了黑夜与白昼的边界,中国道教中燃烧是一种升天的途径。升起的燃烧纸人就像打破了生死的边界,到了另一个空间,从有到无或从无到有,如同生死轮回循环往复。


火祭,一个传统,祭祀用来燃烧的作为陪葬的“替身”,一般不是对人体进行逼真的“模仿”,而更多是具有概括性的人形。无论是中国古老的丧葬习俗传统中的纸人纸马,还是近现代西班牙巴伦西亚为了驱除屋内的精灵法雅节(Las Fallas)、和以寻求自我释放和幻化生活诉求的美国火人节(Burning Man),都是人们期许未来并从获得燃烧中寻找新的契机。


燃烧后使“灵魂升天”,巫术中的偶与真人越接近而法力越强大。燃烧“自己的人形”是不是能将自己的灵魂送到另一个世界,即“彼岸”?逝者的肉身以及纸糊的“替身人偶”,身体与灵魂一起升天?



姓名:魏琦

学号:11170900016


《兔子洞》 油画  140x180cm

《无题》 油画  150x150cm 

研究方向:当代绘画研究

指导教师:苏新平


【作品介绍】


原作与复制品以及传播图像之间已经没有同质的关联,在网络传播之中消失了“原始副本”。即使图像或对象能够追溯到源对象,源对象物质也不能再被视为固有地大于其任何副本。任何人都可以自由使用大众媒体重塑权威的概念,并把所有的文化输出视为一种思想或正在进行的工作,副本的传播像一个病毒一样希望被传播、接受和继续,在这个过程中新的“宿主”不断与副本相结合,最终的副本也因为语境和传播而改变了原始的样貌。在博士阶段的绘画创作中,我利用一次性刮除和翻印的对待平时生活中浏览网页的图像,这些图像既熟悉又陌生,在翻印的描摹过程中利用破坏捕捉瞬间的虚构与冲突的可能。



姓名:王戈

学号:11170900011


《摆渡人》 陶瓷、石膏、有机玻璃、帆布、木板、贴膜、丙烯  尺寸不等

研究方向:当代雕塑研究

指导教师:隋建国


【作品介绍】


《摆渡人》是由雕塑和在空间中展开的平面画布共同构成的一个场域装置作品。


在雕塑形态上,受不同古代文明中的造型艺术启发,我关注它们造型语言中的抽象元素。比如古埃及雕塑用竖直的人物和水平的底座形成L型稳定结构,营造出永恒稳定感,而在纪念碑造型中用向上堆叠的I型结构营造崇高感等。在平面部分,我关注古代文明符号中的造型元素,而非深入解读它们的文化意义,并尝试自己“发明”一些类似符号的抽象画面。



姓名:韩玉虎

学号:11160900005


《庄子逍遥游》草书八条屏

《庄子逍遥游》(部分)

《庄子逍遥游》 书法  760cm x 300cm(八条总尺寸)

研究方向:书画比较研究

指导教师:邱振中


【作品介绍】


草书作品题材为庄子《逍遥游》。行笔力求跌宕畅达,展现笔墨变化,以恣肆放纵的狂草书写而成。在构成上追求晋唐书法作品中气势宏阔的格局。在庚子疫情的特殊时期,选取庄子题材进行创作,欲表现一种逍遥于天地对话、合乎尊重自然变化、道法自然的精神。作者摒弃内心的喧嚣,通过书写进入内心深处平淡冲和、逍遥自在的生命状态。



姓名:戴怡添

学号:11160900010


《探》 布面油画  160 x 100cm

《黑色湖水》 布面油画  100 x 125cm

《溶洞II》 布面油画  150 x 190cm

研究方向:绘画的可能性研究

指导教师:马璐


【作品介绍】


人对未知世界总是充满了好奇,这批探险主题作品是我用绘画表现“探索未知”的一种尝试。《探》表现了一个驻足在洞穴入口的人物,外部强烈的光亮照进古老的岩洞,历经千百年形成的内部结构得以显现,手举火把的他是否会进入这个空间,探索眼前的这片奇幻世界?


溶洞在黑暗中一直静静存在,有了人,船在行驶,光在移动,但一切都转瞬即逝。



姓名:嵇馨

学号:11160900003


《童叟无忌》 纸本  160 x 200cm

《情致俱物—2》 纸本 210x100cm

《路易·艾黎》 纸本 195x100cm

研究方向:中国人物画创作

指导教师:唐勇力


【作品介绍】


我喜欢宋画,因它具有恬静平和之美。在快速发展的当今社会,人们往往缺失了并且渴望重新获得宋人那份乐而不淫,哀而不伤的平和。为了继承宋画的精髓,我尝试古为今用的创作方法,让宋画以新面貌回归当代人视野,也让自己的当代绘画创作加入平淡中和的古典气息。


在我创作的《情致俱物》《童叟无忌》等作品中,利用宋画的一些元素配以当代人物。画中的当代人物是我根据画面内容及构图需要,不断进行对人物形象的采集、装扮、写生、创作,以达到适应整体画面的审美气质。 



姓名:游雯迪

学号:31170900020


《红龙-不管你的帝国》 绢本  150 x 240cm

《浪》 国画绢本  150 x 100cm

《红龙》系列 

研究方向:实验艺术

指导教师:吕胜中


【作品介绍】


《红龙》系列以中国传统的龙与众多卡通形象结合,包括米奇与大力水手等经典卡通,创作出《浪》、《别踩我的尾巴》等一系列作品,探索潮流中东方和西方文化冲突或者融合的有趣话题。



姓名:阮梅

学号:11170900008


《众志成城》 油画  400 x 200cm

《于无声处》油画  200 x 180cm

研究方向:表现主义的情绪表达

指导教师:朝戈


【作品介绍】


《于无声处》和《众志成城》都是表现中国人民解放军题材的作品,这基于我从军十几载的成长经历,也凝聚了我对解放军这一光辉职业的热爱和崇敬。《于无声处》表现了一个寒冷的冬日清晨,几名战士在野外专心训练研究战略方案的瞬间。《众志成城》展现了在汶川大地震期间,解放军部队救助受困于废墟中的人民群众的事件。


为了能够更好地契合主题,我对两件作品的构图和背景做了斟酌。就构图而言,为了突出《于无声处》中的“无声”——即平静之感,我对水平线做了强调:与观者的视点平行的地平线,人物大致齐平的位置和众人水平的影子,都增强了画面的稳定性,给人一种平和的力量。而在《众志成城》中,由人物组成的线条呈波浪形,既是对长城这一意象的呼应,也是为了突出紧急关头的动荡气氛。两件作品“一动一静”,分别表现了解放军在对内对外工作时的不同侧面。而就背景而言,《于无声处》相对单纯,平整的黄色地面和统一色调的天空将背景一分为二,占据了除人物以外的绝大部分空间;而《众志成城》则相对动荡,除了前景被震碎的不规则建筑废墟之外,远景中的天空也布满了不同颜色层次的乌云,从而突出一种不平行的感觉。



姓名:杨鹏程

学号:11170900017


《守恒 NO.4》 水印木刻、印版  45x30cm  2019

《守恒》系列  水印木刻、印版  45x30cm  2019

《10 X》 水印木刻  45x150cm  2019

《15 X》 水印木刻  45x150cm  2019

《守恒》系列  《X》系列

研究方向:当代水印版画研究

指导教师:陈琦


【作品介绍】


《守恒》系列是我创作的实验性作品,呈现的是我对于媒材的选择、水印版画的媒材特性与本体语言之间的联系、创作者同媒材的关系等问题进行的思考。构成艺术语言的各种物质材料,在未进入作品之前,它们并无任何艺术的特征,仅仅具有成为艺术语言的可能性。材料自身的特有属性及其可以被拓展的各种可能性,在实际创作中与创作主体息息相关。艺术家自身的内在感受和精神传达可借由对材料的不同处理方式予以展现。在对印版一遍遍的刻印中,我想将其姿貌特性加以留存,通过时间的沉淀,使我获得一种与媒材不可分割的联系与生命体验;在层层叠加的印痕中看出时间与生命的积淀,获得一种审美体验;在“物中乐趣”与“物外自由”之间,构建起微妙的平衡。


水印版画所特有的物质性特征和本体质感是我所关注的,它是由宣纸、木板、水性颜料与水共构的。交织重叠的印痕融合了媒材自身独特的质感。在《X》系列作品中,我考量的是把母版作为起点,从版的角度制作画稿,不是一般地以画入版,而是以版定画。使自己保持自由游走的状态,让自己在作品的创作上有一种“无所触及”的态度。我试图纯化画面形式,并从来自材料、技法的制约中寻求表现的可能性,来显现印痕自然美的宽广空间。在我的作品里所使用的材料并不消融在作品整体之中,我想让所使用材料得以彰显,以其固有的面貌示人,回归其真实的样子,保持真实的状态,不要过多的装饰,直指本源。



姓名:戴裕洲

学号:11170900004


《竹根印十二方》

宅家抗疫,有感而发,成此竹根印十二方。

《不畏浮云遮望眼》 62×62mm  

《有节》 31×49mm

《不容缓》 34×46mm

《不染》 18×30mm

简书  王羲之《兰亭序》四品 (之一)

白绢  37×36cm

简书  王羲之《兰亭序》四品 (之四)

白绢  37×36cm


参汉代简牍书迹之意,书王右军兰亭序四品。

篆书 《郑板桥咏竹诗》 四条屏 

竹纸  273 x 62cm(单条尺寸)


庚子春月,宅家抗疫,试取法殷商甲骨文、西周金文、战国楚简、秦汉金文,篆郑板桥咏竹诗四首,以遣怀。

研究方向:书画印创作研究

指导教师:王镛



姓名:张振江

学号:11170900005


《重器·海洋石油981》 布面油画  353 x 200 cm

《国之器·图像志》系列组画(部分)  

油彩、丙烯、泥土、金属、塑料、植物等  

60 x 60cm(每幅尺寸,共27幅)

研究方向:当代油画

指导教师:丁一林


【作品介绍】


“海洋石油981”是我国针对南海恶劣海况,自主设计、建造的世界首座的第六代深水半潜式钻井平台,标志着我国在海洋工程装备领域已具备自主研发能力和国际竞争力。作品以纪念碑式的构图表现“海洋石油981”钻井平台的威武雄姿;以锋利的直线加强画面透视感,强化画面空间感;以红、蓝、紫为主色,渲染了神圣庄严的气氛。将主体物置于前景,采用仰视视角,凸显其高大与庄严。远处拖轮游弋,空中直升飞机盘旋,与“海洋石油981”共同组成为国奋战的壮丽景观。


自我国实施863计划、火炬计划以来,科学技术的发展突飞猛进,涌现出大批举世瞩目的科技成果,成为这个时代的中国符号,给我留下了深刻的心理记忆,为创作提供了丰富的素材。我在创作中使用了抽象性、表现性与叙事性相结合的绘画语言,传统绘画媒介与非传统的物质材料,绘画与装置相结合的艺术形态。我尝试在创作中将艺术本体语言与叙事内容相结合,并探索理论与实践结合的更多可能性。



姓名:范久鹏

学号:11170900009


《后尼安德特人研究之一》布面油画  90 x 90cm

《后尼安德特人研究之二》布面油画  90 x 90cm

《后尼安德特人草图》 纸本炭笔  27 x 39cm

《后尼安德特人》系列

研究方向:绘画的表达方式研究

指导教师:刘小东、尹吉男


【作品介绍】


完成一幅作品的过程对我而言就像是发“牢骚”,但这一过程又在一定程度上消解了我的创作初衷。我满足于这种“借题发挥”的快感——尽管我事先对内容的选择有着严肃的考量。


可能目前对我来说,创作的难度和乐趣就是要在所谓初衷和消解之间的真空地带找到并维系一种平衡。


作品将家族成员置于人类谱系之中,既尴尬又多情,我禁不住凝视他们,但不得不回避他们的眼睛。



姓名:王宏州

学号:11170900002


《浸》 绢本水墨  65x200cm  2020年 

《隅》 绢本水墨  65x200cm  2020年 

《漫》 纸本水墨  91x280cm  2018年

研究方向:水墨人物形式语言研究

指导教师:殷双喜、刘庆和



姓名:贺海峰

学号:11170900001


《迷城》 水墨绢本  200 x 240cm

《湘中八景写生》(部分) 水墨绢本 画心尺寸100 x100cm

研究方向:中国山水画研究

指导教师:陈平



姓名:吴佳真

学号:31160900020


《黑夜之后》 综合媒材  91 x 72cm

《兴达港》  综合媒材  91 x 72cm

《被一棵树困住的思考者》 综合媒材  91 x 72cm

《平行时空》 综合媒材  91 x 72cm

研究方向:绘画的可能性研究

指导教师:马璐


【作品介绍】


我喜欢我的画面带点故事,构图上的考量除了内容的趣味性,更明显的是对于特定色彩的偏好。这组作品想传达的是一种心境,反映出现有的各种条件下的混合交织,基调是比較晦暗的渲染,以此为定调对创作媒材的挑选刚好呼应了丙烯的亲水性,一种蔓延感,在特定条件中的扩散、感染,之后沉淀并占有一席之地,在画布上留下的痕迹就如同一块不会消失的疤痕,在各自的安排之中各安其分。画面中许多荧光色系的置入更像是在黑暗中试图点燃的小火把,想要照亮某些不再绚烂的过往,而那些不曾消失之物即使光彩不再,也不曾散去,只是安静地躲在暗处,等待某个属于他的时刻再度闪耀。


绘画是属于时间与空间的,描绘的对象也是,我以此作为本次的创作軸心连贯于作品中,描绘留存的许多遗世的地带,指向感知所在,就像是存在于心中的一座隐密花园,即使死亡也无法触及其中盛开的花朵。这样的特性自然带有边界感,本质上拥有无法跨越的诅咒,恰似作品里大量使用的两种主要媒材,互不相融却又必须分工合作,在两者的收与发之间找到平衡,就如同人人都被迫去寻找而后妥协的一种平衡的共生状态。 



姓名:赖明贤

学号:31160900019


《识微》 油彩‧坦培拉 275 x 155cm

《识微系列》 油彩‧坦培拉 50 x 80cm(每幅)

《识微》系列  油彩‧坦培拉

研究方向:当代艺术中的油画表达方式研究

指导教师:谢东明


【作品介绍】


在「识微」作品中,基本色调为荧光色系,城市中的霓虹光色调,意味着城市独特的记号以及型态,代表这个世代的语汇,而以写实交杂幻觉,呈现现代社会的感官状态,与心灵交互作用后的关系,探索在具象与抽象艺术之间的似真似假中,提取出人造感的情调感受,而创造出一种在幻境之中的社会观察下的感受经验。


「识微」由三幅作品组合而成,这三张画也能各自独立呈现。作品中三张画分别是佛界、人界、地界,组合起来构筑成三界重天,所谓一沙世界,一叶菩提,我用科学的多重维度空间去解释佛教中的重天概念,即人的思维及意念可产生一种微电波,这微电波存储于某个维度空间中,形成某种能量空间,进而可推论出宗教中的虚拟神话世界,当然各个宗教的思维场存储于各自的维度空间当中,相互共存,区别在于人的大脑既复杂且可以是某些能量场域的接收器,每个人因信仰不同,所能接收的宗教维度也不同,就像收音机一样,每个人的调频也不同,就像许多人因机缘巧合所看见的神迹也因宗教不同而有不同差异。



姓名:李展

学号:11170900007


《串儿》 油画  270x200cm

《圈儿》 丙烯  90x120cm

研究方向:绘画的可能性研究

指导教师:马璐



姓名:李飒

学号:11160900008


《意图的模式》 油画

《意图的模式》 局部   

《意图的模式》 油画  360 x 200cm

研究方向:当代艺术中的油画表达方式研究

指导教师:谢东明


【作品介绍】


艺术作品应该是承载着过去同时也承载着未来的载体 ,风景不仅简单的只是风景,他也是在“真实”、“虚拟”、“象征”的相互转换中,画面上最终留下的是一个个远比某种观念,比现实本更为复杂生动的“综合意象”,它们应是超越了客观的存在和自然风景本身。



姓名:王启凡

学号:11160900015


《星图系列》 木板水印  72 x 105cm(单幅尺寸)

研究方向:绘画语言研究

指导教师:苏新平



姓名:丽金

学号:21160900022


《印度的回忆一 / Memories of India I》 青铜、砂石

高61 x 宽33 x 深30cm

《玩耍的日子 / Playing Days》 青铜  

高400 x 宽180 x深350cm

《印度的回忆/Memories of India》系列 《童年的回忆 / Childhood Memories》 系列

研究方向:当代雕塑材料与表现研究

指导教师:吕品昌


【作品介绍】


我的作品常常非常单纯地由我的记忆、梦想和欲望构成。印度丰富的古代艺术遗产一直激励着全世界的艺术家。印度的佛教、耆那教和印度教的艺术品遍布印度各地的寺庙、修道院、神社和宫殿,作品多采用雕塑、浮雕、壁画和马赛克的形式。艺术家使用了许多不同的材料来描绘他们的思想、感受或传播宗教信息。金属和许多不同种类的石头已被古代和现代艺术家所使用。由于颜色多样,经久耐用且易于获取,砂岩已被最广泛地用于艺术品。我的博士论文是关于印度的沙岩雕塑,在这些年的研究中,我自己的作品也受到印度艺术遗产及其材料的启发。我使用砂石和青铜来进行创作,这些作品的灵感来自印度的宗教氛围及其爱与和平的教育。“印度的回忆”,“童年的回忆”,“为世界和平祈祷 ”是我近期艺术作品的题目。



姓名:强勇

学号:11150900013



作品视频

作品草图

视觉效果(局部)

《不忘》 视频影像  分辨率720P  时长2分46秒

研究方向:当代雕塑研究

指导教师:隋建国


【作品介绍】


当全人类共同处在存亡关头,所有人或许该以无心理的隔阂、无意识形态的对立,去应对严峻的挑战。地域、国界、种族、阶层这些人为界限显得微不足道,此时抛却的应是割裂的态度、分离的想法,彼此催生出有志一同的合作与团结。人们举起饱含一腔热血的手,表达的是基于卸下疏离、分歧、责备,经过思考之后的认同与信任,更是因为相信自己的判断而相信这样的抉择,一切结果由内心自愿使然。马克思在《共产党宣言》的末尾写到:全世界无产者,联合起来!而在当下却是:全世界的人们,联合起来!此时的无心者既是无产者!


首次以虚拟方式替代实物展示,手稿、文字、图片、视频的重新整合,编辑与制作的再调整,都预示着根本性变革时代的来临。现实与虚拟的轮廓、边界,不但不再分明,而且重叠得如此自然、平和,彼此没有了本质的界限。两者间的穿梭、交集瞬间变为常态,同时也交织、架构起新的途径。



姓名:苏雅娜

学号:11170900013






《一直吃》 影像  80 x 50cm

研究方向:当代雕塑材料与表现研究

指导教师:吕品昌


【作品介绍】


作品更多的是对当下自我思考的一种物质化呈现,并且致力于摆脱惯常的艺术评判标准,尽可能打破固定的思维模式,探索自由的标尺。


影像已然成为当今观看的主要途径,而身体既是其中的主体也是客体,可以说影像是以身体为策源地的,这也就使得与身体息息相关的事物可以成为视点。饮食是生命体的必要条件,可是对食物的摄取往往是无度的暴力。由饮食也就是通常意义中的“吃”所可以串联起的事物远超出一个身体或一个固定的时间或空间。



姓名:杜英奇

学号:11170900012


《记忆2020》系列  泥、金箔

《一沓口罩》 20x14x25cm


《一盒一次性手套》 27x12x11cm

《一瓶酒精》 尺寸可变

《记忆2020》系列  泥、金箔  尺寸可变

研究方向:当代雕塑材料与表现研究

指导教师:吕品昌


【作品介绍】


2020年的春节,疫情爆发。当时我在山东老家,当意识到“出门带口罩”这件事情的时候,口罩,这种再平常不过的卫生用品,已经脱销了。回到北京后,“口罩、酒精无货”的字样几乎挂在所有社区药店的门前。后来,远在韩国的姐姐寄来一沓N94口罩,用丝带扎起来,我迟迟舍不得打开。口罩、医用手套、酒精,在这个特殊时期具有了“战略物资”的意义,在老百姓手中,它们成了2020年最珍贵的“年货”。我的作品就是以写生的方式,用普通的雕塑泥,塑造这些在2020年记忆中“价值非凡”的普通生活用品,以此提供一个疫情之下微观民生的视角。



姓名:孙华

学号:11160900014


左右滑动查看更多图片

《鼓励鼓励2020》 虚拟作品  无尺寸限定

《距离产生美2020》 虚拟作品  无尺寸限定

《鼓励鼓励2020》《距离产生美2020》 虚拟作品

研究方向:当代艺术创作与研究

指导教师:徐冰


【作品介绍】


《鼓励鼓励2020》

2020年大家太难了!太多焦虑!太多坏消息!新冠疫情使全球陷入困境。


我希望发布一种适合在朋友圈中相互传播的虚拟奖状。不为艺术,只为互相鼓励!


大家可任意下载这些旧貌换新颜的“空模版”,编写并发送给你希望去支持,去感谢或去鼓励的人。


《距离产生美2020》 

2020年的疫情改变了现实世界中人与人的距离感,也改变着虚拟信息世界中人与人的距离感。距离感微妙、复杂、多变。


我希望距离产生美!


为虚拟毕业展定制虚拟作品,手机上所见即原作且原大(且可以玩坏它)。



姓名:李丹

学号:11150900010


《妙音 · 花雨》组画(共六幅)

《妙音 · 花雨》 组画(部分)

《妙音 · 花雨》组画  

木板、亚麻布、矿物颜色、银箔  340X680cm(壁画原尺寸)

研究方向:中国传统壁画理论

指导教师:孙景波


【作品介绍】


在中国传统寺观壁画中,从敦煌的石窟壁画到寺观壁画始终有一个形象吸引着我,她便是被称为妙音鸟的迦陵频伽。画面描绘了《佛说阿弥陀经》中的:“彼佛国土,常作天乐,黄金为地,昼夜六时,天雨曼陀罗花……彼国常有种种奇妙杂色之鸟:白鹄、孔雀、鹦鹉、舍利、迦陵频伽、共命之鸟。是诸众鸟,昼夜六时,出和雅音。其音演畅五根、五力、七菩提分、八圣道分,如是等法,其土众生闻是音已,皆悉念佛念法念僧。舍利弗,汝勿谓此鸟实是罪报所生,所以者何?彼佛国土无三恶趣,舍利弗,其佛国土尚无三恶道之名,何况有实。是诸众鸟,皆是阿弥陀佛欲令法音宣流变化所作。舍利弗,彼佛国土,微风吹动诸宝行树及宝罗网,出微妙音。譬如百千种乐同时具作,闻是音者皆自然生念佛念法念僧之心。”画面使用中国传统壁画绘制的材料工具,结合一些岩彩画绘制方法。创作这张壁画时全世界新冠疫情严重,用”妙音 · 花雨”佛国的画面祈福,愿疫情早日过去,大家健康平安。



姓名:白晓刚

学号:11140900007


《老街之-》 布面油画  100x80cm

《老街之二》 布面油画  100x81cm

《初春》 布面油画  100x83cm

《渔港》 布面油画  100x84cm

研究方向:当代油画研究

指导教师:孙景波



姓名:李知遥

学号:11160900013


《旧帘》 旧木门、金属链条、有机玻璃

《旧帘》局部   

《旧帘》 旧木门、金属链条、有机玻璃

200x75x3cm  2020

研究方向:传统语言转换

指导教师:吕胜中


【作品介绍】


近几十年,社会的发展很大程度上表现为居住空间的变化。居民建筑随着现代化进程不断推倒重来,城市在这个过程中改头换面,很多旧式建筑构件被拆除淘汰,正如作品中的这扇木门,它是20世纪七、八十年代居住空间门扇的代表样式,也是我儿时记忆中家门的样子。我在作品中使用这一类型的木门,是对过往的缅怀。


作品的创作思路源于我对传统门帘的研究。门帘和门都是位于空间出入口用于开关的装置,门帘质地柔软,门质地坚硬,不同的质感使两者在分隔空间时产生了截然不同的效果,门帘使室内外之间保持隔而不绝的联系,门则起到了阻隔和保护空间的作用。我通过作品,把门和帘两者结合于一体。



姓名:张孙哲

学号:11170900003


《地平线之外》 绢本  80x120cm

《望着河水流淌》 绢本  90x160cm

研究方向:书画比较研究

指导教师:邱振中


【作品介绍】


世事无常,今年所遇的疫情是对人类这个物种的挑战。但从历史上看,人类一次又一次地渡过了难关。在当下,除了做好自身的本职工作外,在面对突如其来的病毒灾难时,我常感慨该以怎样的方式来书写内心。正如鲍勃·迪伦在诗歌《每一粒沙子》中写道:“我对人的本质仍摇摆不定/像是每一只坠落的麻雀/像是每一粒沙子。”人们在面对苦难时的勇气,以及每一位平民英雄做出的牺牲,都在活着的人内心树立起一座纪念碑。因此我创作了《地平线之外》与《望着河水流淌》。在作品中,我选用了鲍勃·迪伦的诗歌作为文字载体,通过绘画呈现出客观且真实的景致,在创作的效果上我一再削弱画面中的叙事性特征,以求达到文字形态、诗歌内容与绘画效果互不冲突的目的。作品在“可读”与“不可读”之间,贯穿着我的创作初心。



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CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Event Booking Form

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
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