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“广角°青年实验项目空间” 第四期项目启动暨首展“跑图·循迹”开幕

2025-11-24

11月20日下午,“广角°青年实验项目空间”中央美术学院青年教师种子计划支持项目第四期项目启动暨首展“跑图·循迹”开幕式在中央美术学院美术馆举行。本项目包含三个核心词:第一个是“青年”,美术馆始终是青年艺术家与策展人活跃发声的一个舞台;第二个是“实验”,支持教师在教学科研创作或者学术探索中,自由发挥、自由创作;第三个是“广角” “锐角”,在秉承学术态度的广的同时,也是通过广角、锐角两个空间的结合旨在向社会集中展示中央美院在策展、教育、实践方面的一些探索,为青年老师,也为青年学子提供平台。中央美术学院副院长吕品晶致辞中央美术学院副院长吕品晶表示,“广角°”由学校美术馆、党委教师工作部(人事处)与教师发展中心联合主办,并纳入中央美术学院青年教师种子计划支持项目,是学校支持青年教师成长、激发创新潜能的重要平台。回顾过往,“广角°”项目始终以“实验性”为核心,鼓励青年教师打破学科边界,直面时代议题。值得一提的是,“广角°”项目始终注重学术与实践的平衡。入选方案兼具研究的深度、视觉的锐度,以及在空间中的叙事转化。 “广角°”成为连接学院教育与社会美育的桥梁,既为青年教师提供“种子计划”式的孵化土壤,也为公众呈现学院艺术生态的最新脉动。美院始终高度重视青年人才的培养,未来将持续通过“广角°”等平台,支持大家在教育教学、艺术创作与服务社会中实现多维成长,共同为中华民族现代文明的建设贡献美院力量。中央美术学院教师工作部部长兼人事处处长杨杰致辞中央美术学院教师工作部部长兼人事处处长杨杰首先宣读第四期入选方案,并分享、介绍了教师工作部、教师发展中心未来的工作思路。他谈到本期方案的呈现,让大家看到央美青年教师们在个人创作和观念表达上的深化与拓展。《无字经变》是以当代社会心理为切入点,探究背后的文化症候;《异质共振》通过瓷、数字技术与传统纹样的碰撞,探索媒介的“非对称共生”;《声回路转》以声音拼贴重构旅行与记忆的关联;《轨迹研究》则以数据叙事展开身体与空间的对话。希望教师们从这个实验性空间出发,迈向更为广阔的创作与研究之路。与此同时,“广角°——青年实验项目空间”第五期暨中央美术学院青年教师种子计划支持项目也将开始方案征集,期待大家的踊跃参与。“广角°青年实验项目空间”第五期方案征集海报(点击图片查看第五期方案征集详情)中央美术学院美术馆直属党支部书记韩文超担任主持人中央美术学院副院长吕品晶、教师工作部部长兼人事处处长杨杰、美术馆直属党支部书记韩文超、美术馆馆长靳军以及“广角°”第四期所有入选的艺术家、策展人一起揭幕“广角°”第四期青年实验项目空间入选方案同期,“广角°”第四期首展 “跑图·循迹——张文超新作展”启幕。本次展览是中央美术学院设计学院教师张文超的个人新作展。展览由中央美术学院设计学院教授王子源,中央美术学院建筑学院教授傅祎担任学术顾问,中央美术学院建筑学院教师吴晓涵担任策展人。此次展览中,艺术家张文超与策展人吴晓涵共同呈现了以“跑图”作为创作核心的两组全新作品《箭扣指南》与《大堤城-X》。在此次展览的新作中,“跑图”与“循迹”被重新置入一个开放的感知体系:前者来自当代数字环境中的自主导航逻辑,强调在复杂地景中以即时决策穿越未知;后者则指向历史深处,以身体与记忆在地理轨迹中不断交互、对话。两组新作正是在这两种机制的交汇处生成——身体成为感知的仪器,数据系统成为路径的纵向延伸,而自然地理与人类工程互嵌的场域则被激活为一个不断生成、持续演化的动态界面。通过攀爬、奔跑与跨越所构成的行动网络,作品让个体经验嵌入山川河流的尺度之中,也让轨迹成为身体、感知与叙事的生成场。中央美术学院建筑学院直属党支部书记傅祎致辞中央美术学院建筑学院直属党支部书记傅祎高度肯定教师工作部与美术馆合作的“广角°青年种子计划”,她认为其为学院和老师提供了优质跨学科合作平台。她谈到建筑学院吴晓涵老师,在建筑下行、年轻人难获实践项目的背景下,以策展作为另一种建筑实践,实现理论与实践结合的专业输出。同时分享了观看张文超老师展览的观感,认为两位老师作品以自身为方法、肉身为工具与数据世界互动,且展厅内外数字作品与传统拓印展陈形成互文,极具思辨乐趣。本次展览策展人、中央美术学院建筑学院教师吴晓涵发言本次展览策展人、中央美术学院建筑学院教师吴晓涵认为,“跑图”它是一个面向现实的拓展性身体行为,而“循迹”是一个追溯过往前朝万代人类记忆的认知活动。讨论这样一个身-心-脑的互联在当下这样一个时代特别的重要。身体是我们感知世界的一个柔软的触角,也是链接人类集体意识的一个端口。张文超老师的作品通过徒步等身体行动,连接历史和自我,在广大的历史坐标当中去游走,解构叙事,又反过来建构内心的秩序,创造自我。无论作为策展人、建筑师、教师,还是现在的ESG从业者,她始终关注身体性叙事和行动对世界的积极影响。 并希望观众,在自己的节奏里面去创造跟世界的共振。本次展览艺术家、中央美术学院设计学院艺术与科技专业主任张文超发言本次展览艺术家、中央美术学院设计学院艺术与科技专业主任张文超分享了这次展览的成形过程及创作历程。首先,曾经在项目空间的创作经历让他在后来人工智能盛行的时期,依然有一个比较长的线索,用数据集去处理自己和世界的关系,使其创作历程有新的探索和突破;其次,在与策展人吴晓涵合作的过程中双方都注重实验性,探索在技术泛在的环境下如何重新面对真实世界;并在展览中不去用已经比较成熟的作品,希望借助这个展览去处理、探索一个新的可能性。最后,从开始参加当代艺术展览到现在多年里,其创作方法慢慢成型为一种框架结构,在这个节点上,他期望展示两个长期且动态更新的项目,如《大堤城》(长江题材),可以让作品以不断成熟、不断迭代的面貌去面对观众。艺术家张文超以身体为感知媒介,借助当代数据系统与智能工具,在自然地理与人类工程的动态界面上展开探索,将身体融入山川河流,让心脑链接历史轨迹中的集体记忆,并尝试在宏大的时空坐标中解构叙事。策展人吴晓涵精准把握作品内核,将艺术家对空间与自然的思考,通过精心的展陈设计和视觉节奏把控,巧妙转化为一场引人入胜的现场体验,使观者能深度沉浸于艺术家的“循迹”之旅。本次展览将持续至12月28日,期待您的到来。  作品介绍  箭扣指南张文超+吴晓涵 空间装置、身体数据与轨迹、综合材料 尺寸可变 2025作品是由“身体运动数据”和“地理轨迹”共同驱动的空间视觉装置。通过身体力行的方 式,作者在特定现场还原了攀爬一段“建筑废墟”的经验,空间中的序列图像可以视作 穿越这段险峻山脊的身体运用指南,呈现了自然-人工复合地貌上的身体行动过程,以 及过程本身启发的多种想象。《箭扣指南》 现场局部《大堤城》张文超行动轨迹、数据集、5屏同步影像 4K/30fps10:08 min2025作品是作者行走和勘察长江中游(宜昌南津关—九江湖口)不同点位防洪工程的身体行动记 录。5段视频同步播放,共享同时间线,但行动分别“跑图”不同的地理区域。用“戏仿”户外 视频播客的拍摄方式,作品挖掘长江中游水利事件的历史数据,“循迹”人与自然的对抗与想 象,呈现同一轨迹上跨越时空的多维叙事。这些轨迹所掩藏的变化,分别影响了特定地域的 生产生活方式和文化源流,也是自然变迁中的人类生存与实践印迹。《大堤城-X》数据集局部跑图·循迹——张文超新作展展览时间:2025年11月15日—12月28日展览地点:中央美术学院美术馆3层C展厅主办:中央美术学院美术馆中央美术学院教师工作部(人事处)中央美术学院教师发展中心协办:中央美术学院设计学院中央美术学院建筑学院支持:東京画廊+BTAP帝都绘学术顾问:王子源 傅祎艺术家:张文超策展人:吴晓涵视觉设计:仙人、戴嘉倩创作支持:冀征宇、王歆童、赵飞羽、丁玉儿、丁蔼雯、孙一仟特别鸣谢:文化和旅游系统青年科研人才扶持计划  中国长江三峡集团  武汉市洪山区水务局、岳阳市长江洞庭湖水利事务中心  岩时攀岩、UNHOL支点“广角°”项目筹备组:总顾问:林茂、徐杨总策划:靳军、韩文超、杨杰特聘专家:吴洪亮、彭锋、冀鹏程、于洋、张鹏统筹:高高、海军、郁飞、刘京、李彦君执行策划:刘希言、易玥、王静、周梓煦、胡晓岚、李捷、刘宇晗主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞 张书豪
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请进来的油画 | 中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展 隆重开幕

2025-11-23

11月21日,“请进来的油画——马克西莫夫油画训练班教学成绩回顾展”开幕式在中央美术学院美术馆隆重举办。本次展览由中央美术学院主办,中央美术学院美术馆、中央美术学院中俄艺术交流中心共同承办,中国美术馆、上海美术馆及中国美术学院作为支持单位。展览汇集了240余件“马训班”时期作品,丰富的文献和历史图片资料以及上百册出版物,全面展现了马训班的教学成绩。回望中国美术教育史和美院校史,70年前,马克西莫夫油画训练班的开班开启了20世纪中国油画发展历程的重要篇章,为中国油画艺术培养了大批杰出人才。70年后的今天,中央美院以展览回溯这段历程,既是对历史的致敬,更是对艺术传承的践行。展览有一个厚重而朴素的名字——“教学成绩汇报展”,但是这几个字眼超越了一个画展、超越了一个文献展,是对那段历史、对中国美术教育史、油画教育发展史最好的回顾。出席开幕式有:中央美院老先生靳尚谊、孙景波、戴士和、陈卫和、任世民、高天雄、丁一林、马路、刘波、金日龙;中央美术学院院长林茂,院长助理潘承辉,俄罗斯联邦驻华大使馆参赞、北京俄罗斯文化中心主任吴丹娜,北京俄罗斯文化中心总顾问韩雪梅,俄罗斯功勋艺术家库科萨·瓦西里,《美术》杂志原主编王仲,中国艺术研究院油画院名誉院长杨飞云,中国美术馆原党委书记安远远,中国嘉德国际拍卖有限公司董事总裁胡妍妍,人民美术出版社总编辑王远,李可染画院副院长林宏,中国人民大学艺术学院副院长刘明才,上海油画雕塑院美术馆馆长傅军,中国油画学会秘书长,中央民族大学大学教授张曙光,凤凰艺术总编辑,凤凰中心馆长肖戈,石景山重美术馆馆长欧阳星,本次展览的策展人、中央美术学院美术馆馆长靳军,中央美术学院人文学院教授曹庆晖,本次展览的策划总监、中央美术学院美术馆直属党支部书记韩文超;马克西莫夫油画训练班学员家属代表班长冯法祀家属冯世光,王德威家属王雪青,任梦璋家属任萍、任梦虎、任梦熊、谢颖、朱少芳、张颖雪、任梦强,汪诚一家属宋红,俞云阶家属俞力,高虹家属高天雄,谌北新家属谌河,武德祖家属武永凡;以及来自社会团体、收藏机构、收藏家的代表、媒体和中央美术学院各教学院系和科研行政部门的负责人等。中央美术学院科研处处长于洋担任开幕式主持人。中央美术学院院长林茂致辞中央美术学院院长林茂在致辞中表示,本次展览的隆重开幕,旨在纪念马克西莫夫油画训练班开班70周年这一中国现代美术教育史上的重要时刻。上世纪50年代,新中国百废待兴之际,文化部以“请进来”的举措邀请苏联专家康斯坦丁·马克西莫夫来华执教。1955年,他在中央美术学院开设油画训练班,系统引进了苏联现实主义油画的造型体系与教学方法,培养出靳尚谊、詹建俊、侯一民等一批成为中国美术中流砥柱的艺术家与教育家,奠定了中国现代美术教育体系的建立奠定了深厚而坚实基础。展出的每一件习作和作品不仅是艺术的痕迹,更是时代的烙印,记录了那一代艺术家将油画技法与中国现实、民族精神相融合的探索历程。马训班所倡导的“重视写生、面向生活、技艺与修养并重”的教学理念,已深深融入央美的学术传统,持续影响着中国油画的发展。新时代背景下,中央美术学院将牢记习近平总书记“坚持立德树人,扎根时代生活,弘扬中华美育精神”的嘱托,践行好以大爱之心育莘莘学子,以大美之艺绘传世之作,坚持守正创新、与时俱进,为新时代中国美术培养更多、更优秀的高端艺术人才。原中央美术学院院长、马克西莫夫油画训练班学员代表靳尚谊致辞原中央美术学院院长、马克西莫夫油画训练班学员代表靳尚谊先生以亲历者的视角,从历史回顾与现实关照两个方面展开讲述了“马训班”特殊的意义。他回顾了建国初期国家经济文化落后、油画力量薄弱的现实,重点描述了在当时“中苏友好”背景下,苏联专家援华建立“油画训练班”等教学体系,对中国文艺事业起步阶段的巨大帮助,并称20世纪50、60年代是中国艺术快速发展的“黄金时代”。在此基础上,他将思绪拉回当下,并指出七十年后世界已发生巨变,当下油画系学生的思维与创作环境与过去截然不同。并藉此展览提出一个核心议题:在回顾历史之后,我们必须思考中国油画在当代应如何发展这一现实而重要的问题。他启发大家对比历史与现状,共同探索未来之路。俄罗斯联邦驻华大使馆参赞、北京俄罗斯文化中心主任吴丹娜俄罗斯联邦驻华大使馆参赞、北京俄罗斯文化中心主任吴丹娜代表俄罗斯文化中心,祝贺马克西莫夫油画训练班70周年与中俄文化交流年活动的成功举办。她高度评价马克西莫夫教授的历史性贡献,指出其培养出的艺术大师不仅奠定了中国油画教育体系,更架起了中俄艺术交流的永恒桥梁。她提及此次展览的展品规模,强调这些作品是艺术教材,更是中俄友谊的见证。她指出,“马训班”象征着俄罗斯美术教育在中国的成功实践,体现了两国对美的共同追求。本次展览既是对历史的深情回望,更是对未来合作的崭新启航,俄罗斯文化中心将一如既往的支持两国艺术机构开展深度合作,让中俄文化交流的乐章在新时代奏出更动人的旋律。马克西莫夫油画训练班班长冯法祀之子冯世光致辞马克西莫夫油画训练班班长冯法祀之子冯世光回顾了70年前马克西莫夫教授将俄苏油画体系系统引入中国的历史,指出“马训班”是“走出去、请进来”的成功范例,其教学成果成为中国油画教育的主流体系和发展里程碑。作为后人,他动情地回忆了父辈们在此结下的深厚友谊,并希望后代能将这份情谊延续下去。最后,他强调马训班的教育经验至今仍是不可或缺的体系,并高度评价本次展览不仅是一次纪念,更是对历史客观、冷静的梳理与总结,具有与当年“马训班”开班同等重要的历史与学术意义。中央美术学院人文学院教授、本次展览策展人曹庆晖致辞中央美术学院人文学院教授、本次展览策展人曹庆晖从策展团队的视角出发,深入阐述了举办本次展览的动机、定位与具体构思。本次展览的内在动因有三:一是中央美院美术馆十余年来在藏品盘点中,对“马训班”相关藏品的积累;二是学界关于该班的研究已有不错的成果;三是策展团队怀有明确的传承义务。基于此,展览被明确界定为一次聚焦于1955-1957年教学过程本身的“教学成绩回顾展”,旨在回溯学员“如何学习、学习什么、如何提高与创作”。为此,策展团队特意大量征集并展出了学员的日常习作与写生小稿等,而不仅仅是为人所知的毕业创作,以期全面呈现其教学全貌。他指出,“马训班”的核心贡献在于“方法”,它解决了意识形态思想如何下沉为具体油画技术表达的问题,是一个“油画方法的提高班”。这种以创作为中心,强调艺术家责任感、技术方法并超越插图性的教学模式影响深远。《美术》杂志原主编王仲致辞《美术》杂志原主编王仲分享了与“马训班”相关的珍贵回忆。他自幼作为美院子弟,曾亲眼见证冯法祀先生等艺术家如何秉承马克西莫夫强调的“忠于生活、忠于写生”原则进行创作,并以《刘胡兰就义》一画为例,生动描述了画家如何严谨地搜集素材、绘制草图甚至用盐代替雪等细节,展现了那一代艺术家扎实的创作作风。他呼应靳尚谊先生的观点,认为本次展览的现实意义在于引发对中国油画当代问题的思考。他提出,油画艺术的核心问题归根结底是造型、色彩、构图等基本要素,希望本次展览能对现实创作产生积极的推动作用。中央美术学院科研处处长于洋担任开幕式主持人值得一提的是,在展览筹备过程中,俞云阶先生的家属给予了极大支持,捐赠了俞先生的代表性作品,这不仅丰富了美术馆的收藏序列,更对后续学术研究提供了珍贵的实物资料。这份慷慨之举与艺术初心,正是对本次展览所蕴含的传承精神最好的呼应,也希望能够以此凝聚更多艺术力量,推动中国油画的薪火相传。中央美术学院美术馆馆长靳军为作品捐赠者俞云阶之子俞力先生颁发捐赠证书嘉宾合影本次展览共分为三个部分,第一部分位于美术馆一层大厅。在特别营造的景观空间中,以历史图片、文献、档案文本等史料为主题,回溯了马训班的学习历程。第二部分位于美术馆3A展厅。作为展览的华章和重头,以“马克西莫夫在中国”和“马训班毕业创作及手稿”两个板块,深入走进“马训班”的学习时光。展览在各方协作努力之下,最终集结了包括部分马克西莫夫1957年个人创作展展出的作品以及“马训班”学员的毕业创作和手稿在内的120余幅“马训班”时期作品,时隔近70年之后,这些作品再度在此次回顾性展览中展出,仿佛一次历史的重现。第三部分位于美术馆4层展厅。该部分以“U字楼里的室内写生”“京郊的阳光写生”和“毕业旅行写生”三个板块,汇聚了120余幅马训班期间的基础教学作业和户外写生习作,反映了学员们通过马克西莫夫老师的指导,接受结构、外光、构图乃至绘画性等富有体系性的基础教学启蒙所获得的成长和取得的成绩。本次展览将持续至2026年1月3日。期待观众与我们共同走进70载历史文脉的时光隧道,走进中国现代油画教育的奠基岁月!马克西莫夫在中国(中央美术学院档案室存)1955年油画训练班在京郊农村作外光作业1955年,油画训练班学员下乡出发 (靳尚谊存)1957年,马老师在课上看汪诚一的毕业创作《信》(汪诚一存)康斯坦丁·马克西莫夫 穿紫毛衣的女孩 73×54cm 布面油画 1956年 蔡国强收藏侯一民 地下工作者  210×176cm 布面油彩 1957年 中央美术学院美术馆藏詹建俊 起家 140×348cm 布面油彩 1957年 中央美术学院美术馆藏靳尚谊 登上慕士塔格峰 180×270cm 布面油彩 1957年 机构收藏魏传义 油画速写(出海) 49×65cm 布面油彩 1955年 中央美术学院美术馆藏汪诚一 远方来信 144×228cm 布面油彩 1957年 中央美术学院美术馆藏袁浩 长江黎明 154×283cm 布面油彩 1957年 中央美术学院美术馆藏任梦璋 摘苹果(三联之一) 120×75cm 布面油彩 1957年 中央美术学院美术馆藏 任梦璋 摘苹果(三联之二) 120×75cm 布面油彩 1957年 中央美术学院美术馆藏任梦璋 摘苹果(三联之三) 120×115.5cm 布面油彩 1957年 中央美术学院美术馆藏靳尚谊 拄棍的老人王大爷  76.1×61.3cm 纸上铅笔 1955年 中央美术学院美术馆藏请进来的油画——中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展展览时间: 2025年11月15日—2026年1月3日展览地点: 中央美术学院美术馆 1层/3A/4层展厅主办单位:中央美术学院承办单位:中央美术学院美术馆总顾问:徐扬学术主持:林茂统筹指导:王晓琳 吕品晶 吴强 潘承辉 策展人:靳军 曹庆晖策划总监:韩文超策展主持:高高 海军策展执行:李垚辰 王静设计总监:纪玉洁 资料支持:丛涛展览协调:刘希言 易玥典藏管理:徐研 窦天炜 王春玲 马亮 崔然然 李伟 梅琦 姜楠设计协理:闵志伊 贺钰 陈卓展览管理:宿世存 荆鹏 吕智发媒体推广:何一沙 吴靖 贺伊飞 杜隐珠 丁怡公共教育:肖宝珍 耿菁华 王军 姚轶群 梁雯 西华伟发展推广:孙炜 伊义 金简如 寇蕾 刘星伶行政支持:蒋思妤 岳君瑶 张倩 郭旭 陈小华财经事务:杨柳 门婧展览助理:罗婉庭 黄瑶子 章可歌 宗文天 李泽 鸣谢:谌北新、靳尚谊、古安村、冯世光、高天雄、蔡国强、谌河、侯珊瑚、林琳、罗群毅、任绘、宋贤珍、田晓东、王雪青、魏星涛、武小川、武永凡、徐涤华、杨毅、张帆、詹滢、懋源泓斋文化、重庆华人当代美术馆、中央美术学院档案室、中央美术学院图书馆主编 / 何一沙责编 / 杜隐珠
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影响中国油画半个多世纪的“马训班” ,你了解多少?

2025-11-20

作为20世纪中国油画发展历程中的重要篇章,马克西莫夫油画训练班(1955-1957)为中国油画艺术培养了一大批杰出人才,有力推动了油画艺术在中国的传播与发展,其影响深远,绵延至今。2025年恰逢“马克西莫夫油画训练班”开班70周年,为系统梳理并全面呈现这一历史事件的教学成果与学术价值,中央美术学院美术馆于2025年11月15日至2026年1月3日举办“请进来的油画——马克西莫夫油画训练班(1955-1957)教学成绩回顾展”,并于11月21日上午10:00举行开幕式。这场展览将带领观众了解那个重塑油画语言的关键时期——在这里,270余幅作品、100余幅图片、文献与历史资料有机结合的展示,让你能够看到苏联油画技法与中国本土审美首次深度碰撞的珍贵手稿,触摸到艺术家们突破传统、探索现实主义新路径的创作温度,更能读懂为何这个仅有数十人的培训班,能成为此后数十年中国油画教育与创作的“源头活水”。
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“图示新探”系列学术讲座第二期第一讲 | “《血衣》内外——王式廓的革命历史画研究”及对谈活动

2025-11-19

“图示新探:延安文艺座谈会讲话与现实主义艺术”系列学术讲座,由中央美术学院美术馆直属党支部主办,计划从一系列与中央美术学院美术馆收藏与展示的具体作品出发,围绕1942年毛泽东同志《在延安文艺座谈会上的讲话》对艺术创作与艺术研究产生的影响展开,譬如:文艺创作方向的转变、创作主题的变化、创作中对于人民群众形象的表现、历史史实与艺术表达的关系等等。以此进一步探讨《在延安文艺座谈会上的讲话》对中国现代美术创作中新图示的创造以及中国文艺理论研究等方面所产生的深远影响。 系列讲座的总召集为美术馆直属党支部书记韩文超。2025年11月19日,“图示新探”系列学术讲座第二期第一讲:讲座“《血衣》内外——王式廓的革命历史画研究”及对谈活动将在中央美术学院美术馆学术报告厅展开,此次讲座由中央美术学院美术馆直属党支部与油画系党总支和中央美术学院研究生院党总支、王式廓艺术基金会和今日美术馆联合主办,是“温故王式廓‘生命刻痕’项目特别策划” 系列活动的一部分。|讲座介绍|王式廓《血衣》油画稿 布面油画 100×150cm 1972-1973年 中国美术馆藏2011年中央美术学院美术馆曾举办“从延安到北京——王式廓百年纪念展”。本次讲座以王式廓长达二十年创作《血衣》为线索,结合中央美术学院内部档案勾勒王式廓的革命历史画创作脉络。在新中国开启的革命历史画创作潮流中,如何用革命历史画书写和塑造新的国家意识、历史记忆和形象,是一代美术家面临的新艺术问题,同时也是检验艺术的一个现代性问题。以1957年为历史节点,王式廓的革命历史画创作观具有明显的转向,从探索艺术与生活和大众的关系转向对“社会主义现实主义”创作原则的深刻实践。它体现为一位人民艺术家对自身艺术创作和思想境界持续革命化的不懈追求,通过反复修改、不断推翻和重新构思的创作过程,王式廓将艺术实践与革命理想有机融合,实现了艺术创作与革命精神的审美升华。这种持续自我革新与深入探索,不仅推动了革命历史画在艺术形式与思想内涵上的双重突破,更使其升华为承载民族精神与历史记忆的宏大史诗,展现出艺术在时代洪流中的独特价值与深远意义。|讲座介绍|主编 / 何一沙责编 / 杜隐珠编辑 / 贺伊飞
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CAFAM展览预告 | 跑图·循迹——张文超新作展 即将开展

2025-11-16

跑图·循迹——张文超新作展展览时间:2025年11月15日-12月28日展览地点:中央美术学院美术馆3层C展厅■    ■    ■    ——————————————————————————————    ■    ■    ■“广角°青年实验项目空间”第四期第一个展览:“跑图·循迹——张文超新作展”将于2025年11月15日在中央美术学院美术馆3层C展厅开展。本次展览为中央美术学院设计学院教师张文超的个人新作展。展览由中央美术学院设计学院教授王子源,中央美术学院建筑学院教授傅祎担任学术顾问,中央美术学院建筑学院教师吴晓涵担任策展人。展览介绍迹,不仅是地理线索的痕迹,更是沉淀了集体意识与认知形态的时空结构。循迹,是对生存痕迹的身体性追溯,对在地记忆的概念性挖掘,更重要的,是对地理的生成性实践:循迹使“迹”成为身体、感知与叙事的生成场。从《涉江》(2008)到《90分钟的宇宙观》(2024),无论是徒步长江沿岸挖掘文明的剖面,还是沿卫星航迹收集人类对太空的遐想,张文超的创作始终以“循迹”为创作的核心。“跑图”式的自主导航是他惯用的叙事方法:基于在开放世界游戏中穿越地图的经验,他让作品成为引导思想漫游的导航界面。在此次展览的新作中,他再度以身体为感知媒介,借助今天的数据系统和智能工具,在自然地理与人类工程的动态界面上展开“跑图”式的探索。他以攀爬、奔跑、跨越的身体融入广袤的山川河流,以心与脑链接同一丛轨迹上前朝万代的人类记忆。他在历史宏大的坐标系中游走时空、解构叙事,又反过来建构内心秩序,创造自我。————策展人吴晓涵  作品介绍  展览现场《箭扣指南》 空间装置 2025进行中《箭扣指南》 现场局部《大堤城-X》影像,2025进行中《大堤城-X》数据集局部展览团队| 艺术家 |跑图·循迹——张文超新作展展览时间:2025年11月15日—12月28日展览地点:中央美术学院美术馆3层C展厅主办单位:中央美术学院美术馆中央美术学院教师工作部(人事处)中央美术学院教师发展中心协办单位:中央美术学院设计学院中央美术学院建筑学院支持单位:東京画廊+BTAP帝都绘学术顾问:王子源 傅祎艺术家:张文超策展人:吴晓涵视觉设计:仙人、戴嘉倩创作支持:冀征宇、王歆童、赵飞羽、丁玉儿、丁蔼雯、孙一仟特别鸣谢:文化和旅游系统青年科研人才扶持计划中国长江三峡集团武汉市洪山区水务局岳阳市长江洞庭湖水利事务中心岩时攀岩UNHOL支点主编 / 何一沙责编 / 杜隐珠编辑 / 晏宇希
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An Immersive Installation Experience by Spanish Artists | How Should We View and Reflect on Images?

2025-11-16

Exhibition SiteWith light and shadow as a bridge, transcending mountains and seas, the exhibition "Off-Camera·Moving Images" opened as scheduled at the CAFA Art Museum on November 14th. Co-organized by the Art Museum of CAFA, the Spanish Agency for International Development Cooperation, the Embassy of Spain in China, and Shenzhen Wenze Chuangzhan Culture & Tourism Development Co., Ltd., this exhibition is curated by contemporary art researcher Susana Sans. Bringing together twelve Spanish artists, it aims to offer a fresh perspective for interpreting Spanish cinema and contemporary art.The key guests attending the opening ceremony included: Lü Pinjing, Vice President of the Central Academy of Fine Arts; Marta Betanzos, Ambassador of Spain to China; Juan Mu, Cultural Counselor of the Embassy of Spain in China; Sandra, Cultural Officer of the Embassy of Spain in China; Susana Sans, Curator of this exhibition; Ampro Salde, Representative of Spanish Artists; and representatives from the embassies of various countries in China. Also present were experts and scholars specializing in the history of foreign fine arts and moving image art from the School of Arts of Renmin University of China, the School of Arts of Peking University, the Central Academy of Drama, the School of Photography of Beijing Film Academy, the China National Film Museum, and the School of Design and Art of Beijing Institute of Technology; renowned artists and theoretical researchers active in the field of moving image art; as well as representatives from various departments and administrative offices of the Central Academy of Fine Arts.Speech by Marta Betanzos, Ambassador of Spain to ChinaMarta Betanzos, Ambassador of Spain to China, stated that this exhibition continues the long-standing and sound cooperation between the Embassy of Spain in China, the Central Academy of Fine Arts (CAFA) and the Art Museum of CAFA. It also marks the first time that works by twelve internationally renowned Spanish artists are collectively exhibited in China. These artists jointly explore the boundaries of moving images and their technical carriers, and the spirit and narrative methods embodied in their creations are highly aligned with the ideological spirit and passion for creative exploration of China's younger generation. Against the backdrop of moving images becoming a shared language of the era, this exhibition is not only a tool for art to promote understanding, inspire inspiration and co-create the future, but also strengthens the bond of cultural exchange between China and Spain. The questions raised by the works regarding the present and the future will also trigger more thoughts and dialogues.Speech by Lü Pinjing, Vice President of the Central Academy of Fine ArtsLü Pinjing, Vice President of the Central Academy of Fine Arts, stated that this exhibition, with "Off-Site" as its central theme, brings together masterpieces by a group of Spanish artists. It reexamines the boundaries and possibilities of "moving images," not only demonstrating the innovative synergy of contemporary Spanish art but also serving as a vital bridge for cultural exchange between China and Spain. The Central Academy of Fine Arts has long been committed to exploring digital media and video art, and this exhibition is highly aligned with the Academy’s teaching and research priorities. It is not merely an art exhibition, but also an academic discourse on moving images. We believe that video art is no longer a subsidiary of technology; instead, it has become a crucial tool for perceiving the world and reflecting reality. May "Off-Site: Moving Images" be like a seed, taking root and sprouting in the cultural soil of China and Spain, and inspiring dialogues among countries regarding vision, geography, and culture.Jin Jun, Director of the CAFA Art Museum, hosted the opening ceremonyGroup Photo of GuestsThe exhibition is presented through a commemorative immersive installation experience, where moving images break free from traditional forms and reside in a broader spatial context. At the intersection of the visual and the material, as well as cinema and contemporary art, these works invite us to view and reflect on images in an alternative way—even perceiving them as habitable spaces. This bold, transformative, and constantly exploratory stance has always been woven into the spiritual pulse of Spanish art.The exhibition unfolds across four chapters:Chapter 1 It opens with a focus on several pioneers of video art—Luis Buñuel, Carlos Saura, Pedro Almodóvar, and Víctor Erice—who deconstruct cinema and its ritualistic nature, uncovering new forms of projection and experience.Chapter 2 This chapter explores the grammar and narrative of moving images, showcasing Albert Serra’s radical breakthroughs, Isaki Lacuesta’s experimental spirit, and Lois Patiño’s visual poetics.Chapter 3 It guides us toward images as builders of identity, presenting the critical and personally distinctive artistic explorations by Patricia Esquivias, Cabello/Carceller, and Itziar Barrio.Final Chapter This chapter looks toward the future: images and the screen itself have become core themes of creation, inviting audiences to experience the technological experiments and interdisciplinary research achievements of Daniel Canogar and Amparo Sardá.Notably, artist Daniel Canogar’s generative work Amalgama Prado is on display in the lobby of the museum’s first floor. It is recommended that visitors view it from the corridor on the fourth floor.The exhibition will run until December 28, 2025.The scene of the opening ceremony"  Some of the exhibited worksALBERT SERRA Bullfighting202514’ISAKI LACUESTAStrokes20074’LOIS PATIÑOMetallic  Shadow  in  the  Dream201822’ ITZIAR BARRIORobota  MML202317’16’’CABELLO/CARCELLER A  voice   for  Erauso .Epilogue   for  a  Trans  Time2021-2228’15’’PATRICIA ESQUIVIASCardinal  Cactus202038’AMPARO SARDHaptic  Self-Portrait2021DANIELCANOGAROrbital2025Off-Camera·Moving ImageExhibition Period: November 12 – December 28, 2025Exhibition Venue: 3B Gallery, CAFA Art MuseumOrganizersMinistry of Foreign Affairs, European Union and Cooperation of SpainSpanish Agency for International Development CooperationEmbassy of Spain in the People's Republic of ChinaCAFA Art MuseumShenzhen Wenze Chuangzhan Culture, Tourism and Development Co., Ltd.CuratorSusana SanzParticipating ArtistsPedro Almodóvar、Itziar Barrio、Luis Buñuel、Cabello/Carceller、Daniel Canogar、Víctor Erice、Patricia Esquivias、Isaki Lacuesta、Lois Patiño、Carlos Saura、Albert Serra、Amparo Sardáeditor-in-chief / He Yisharesponsible editor / Du Yinzhueditor / He Yifei
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请进来的油画——中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展 即将亮相!

2025-11-13

请进来的油画中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展展览时间: 2025年11月15日—2026年1月3日展览地点: 中央美术学院美术馆1层/3A/4层展厅主办单位:中央美术学院承办单位:中央美术学院美术馆作为20世纪中国油画发展历程中的重要篇章,马克西莫夫油画训练班(1955-1957)为中国油画艺术培养了一大批杰出人才,有力推动了油画艺术在中国的传播与发展,其影响深远,绵延至今。马克西莫夫在中国(中央美术学院档案室存)2025年恰逢“马克西莫夫油画训练班”开班70周年,为系统梳理并全面呈现这一历史事件的教学成果与学术价值,中央美术学院美术馆将于2025年11月15日至2026年1月3日举办“马克西莫夫油画训练班(1955-1957)教学成绩回顾展”。此次展览通过270余幅作品、100余幅文献与历史资料有机结合的展示,重现那段充满理想与探索精神的艺术岁月,彰显其历久弥新的文化意义。1955年油画训练班在京郊农村作外光作业1955年,油画训练班学员下乡出发 (靳尚谊存)1955年底,马克西莫夫在指导作品(中央美术学院档案室存)康斯坦丁·麦法琪叶维奇·马克西莫夫(K.M.Максимов,1913-1993)1955年至1957年期间作为当时文化部特邀顾问,在中央美术学院设立油画培训班(简称“马训班”或“油训班”),自1955年4月5日开班,至1957年7月结业,期间共有21名学员入学,19名学员正式结业。所教授课程由马克西莫夫根据彼时苏联美术教育经验进行组织,从结构、外光等油画基础启蒙到表现现实生活和情感的主题油画创作。两年多的努力之下,学员创作面貌焕然一新,诞生了冯法祀《刘胡兰就义》、侯一民《青年地下工作者》、詹建俊《起家》、靳尚谊《登上慕士塔格峰》等一批影响广泛的毕业创作,标记了以人为本的现实主义油画创作在新中国发生发展的成果,既是中央美术学院油画教学的动人篇章,也是中国现代油画发展的关键一环。1957年,马老师在课上看汪诚一的毕业创作《信》(汪诚一存)1957年,毕业旅行写生途中在船上观摩马克西莫夫写生(中央美术学院档案室存)此次展览将以务求完整的宗旨,全面回顾“马训班”为期2年半的过程中师生教与学的历程和创作的成果,以此关照现实主义油画如何在新中国高等美术教育和创作领域迈开第一步,在新时代百舸争流之际,追溯中国油画的现实主义表达的源流,希望能够对深入思考中国油画创作与教学的当下问题与未来可能有所助益。马克西莫夫 风景  69×49cm 布面油彩 1957年 中央美术学院美术馆藏侯一民 地下工作者  210×176cm 布面油彩 1957年 中央美术学院美术馆藏詹建俊 起家 140×348cm 布面油彩 1957年 中央美术学院美术馆藏靳尚谊 登上慕士塔格峰 180×270cm 布面油彩 1957年魏传义 油画速写(出海) 49×65cm 布面油彩 1955年 中央美术学院美术馆藏汪诚一 远方来信 144×228cm 布面油彩 1957年 中央美术学院美术馆藏袁浩 长江黎明 154×283cm 布面油彩 1957年 中央美术学院美术馆藏任梦璋 摘苹果(三联之一) 120×75cm 布面油彩 1957年 中央美术学院美术馆藏 任梦璋 摘苹果(三联之二) 120×75cm 布面油彩 1957年 中央美术学院美术馆藏任梦璋 摘苹果(三联之三) 120×115.5cm 布面油彩 1957年 中央美术学院美术馆藏靳尚谊 拄棍的老人王大爷  76.1×61.3cm 纸上铅笔 1955年 中央美术学院美术馆藏何孔德 人物侧面(局部)  17.7x12.4cm 1955年 何孔德  速写 17.7x12.4cm 1955年请进来的油画——中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展展览时间: 2025年11月15日—2026年1月3日展览地点: 中央美术学院美术馆 1层/3A/4层展厅主办单位:中央美术学院承办单位:中央美术学院美术馆总顾问:徐扬学术主持:林茂统筹指导:王晓琳 吕品晶 吴强 潘承辉策展人:靳军 曹庆晖策划总监:韩文超策展主持:高高 海军策展执行:李垚辰 王静设计总监:纪玉洁鸣谢:谌北新、靳尚谊、古安村、冯世光、高天雄、蔡国强、谌河、侯珊瑚、林琳、罗群毅、任绘、宋贤珍、田晓东、王雪青、魏星涛、武小川、武永凡、徐涤华、杨毅、张帆、詹滢、懋源泓斋文化、重庆华人当代美术馆主编 / 何一沙责编 / 杜隐珠现场图 / 张书豪
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“场外 · 移动影像”即将开展 | 12位西班牙艺术家构建的视觉对话

2025-11-13

场外 · 移动影像展览时间:2025年11月14日-12月28日展览地点:中央美术学院美术馆三层B展厅主办机构:西班牙外交、欧盟与合作部西班牙国际合作发展署西班牙驻华大使馆中央美术学院美术馆深圳文泽创展文旅发展有限公司2025年11月14日,《场外 · 移动影像》展览将于中央美术学院美术馆三层B展厅开展。本次展览由西班牙外交、欧盟与合作部,西班牙国际合作发展署,西班牙驻华大使馆、中央美术学院美术馆,以及深圳文泽创展文旅发展有限公司联合主办;由当代艺术研究员苏珊娜·桑斯策展,汇聚了十二位西班牙艺术家,旨在为西班牙电影与当代艺术提供全新的解读视角。"场外"这一标题指向电影创作中的一种手法:画面之外的元素,反而决定了视觉体验的走向。展览通过四大主题板块,引领观众穿越西班牙视听艺术的历史与当代实践。从奠定西班牙先锋传统的重要电影导演——路易斯·布努埃尔、卡洛斯·绍拉、佩德罗·阿尔莫多瓦和维克多·埃里斯,到当今西班牙艺术与电影领域最具国际影响力的代表人物——阿尔伯特·塞拉、伊萨基·拉库埃斯塔、洛伊斯·帕蒂尼奥、卡贝略/卡塞勒、伊茨亚尔·巴里奥和帕特里夏·埃斯基维亚斯,再到运用新技术与人工智能进行实验性创作的艺术家——丹尼尔·卡诺加尔和安普罗·萨尔德。   最终,展览在电影、影像艺术与装置之间构建了一场对话,邀请观众思考当代社会中影像的扩展属性:它不再仅仅属于屏幕,更已融入空间、记忆与观者自身。展览将持续至12月28日。展览活动预告本次展览邀请展览策展人、西班牙艺术家和中国的影像艺术家和学者们,围绕本次展出的精彩作品,展开关于中西影像艺术的对话。时间:11月14日(周五),下午2点地点:中央美术学院美术馆3层B展厅参与方式:请扫描下方二维码预约“  部分参展作品ALBERT SERRA / 阿尔伯特 · 塞拉Bullfighting《斗牛术》202514’ISAKI LACUESTA /  伊萨基 · 拉库埃斯塔Strokes《笔触》20074’LOIS PATIÑO /  洛伊斯 · 帕蒂尼奥Metallic  Shadow  in  the  Dream《梦中的金属阴影》201822’ITZIAR BARRIO /  伊茨亚尔 · 巴里奥Robota  MML《ROBOTA MML》202317’16’’CABELLO/CARCELLER /  卡贝略/卡塞勒A  voice   for  Erauso .Epilogue   for  a  Trans  Time《为埃劳索而发声 · 跨性别时代的尾声》2021-2228’15’’PATRICIA ESQUIVIAS /  帕特里夏 · 埃斯基维亚斯Cardinal  Cactus《卡尔东 · 卡迪纳尔》202038’AMPARO SARD / 安普罗 · 萨尔德Haptic  Self-Portrait《触觉自画像》2021DANIELCANOGAR / 丹尼尔·卡诺加尔Orbital《轨道》2025场外 · 移动影像展览时间:2025年11月14日-12月28日展览地点:中央美术学院美术馆三层B展厅主办机构:西班牙外交、欧盟与合作部西班牙国际合作发展署西班牙驻华大使馆中央美术学院美术馆深圳文泽创展文旅发展有限公司策展人:苏珊娜 · 桑斯参展艺术家:佩德罗 · 阿尔莫多瓦、伊茨亚尔·巴里奥、路易斯·布努埃尔、卡贝略/卡塞勒、丹尼尔·卡诺加尔、维克多 · 埃里斯、帕特里夏·埃斯基维亚斯、伊萨基·拉库埃斯塔、洛伊斯·帕蒂尼奥、卡洛斯·绍拉、阿尔伯特·塞拉、安普罗·萨尔德主编 / 何一沙责编 / 杜隐珠
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Child Public Education Reservation Form

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

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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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