Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

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

: 触摸1940年代北平的烟火气｜ CAFAM馆藏陈列

2025-11-06

>>>>当金黄的银杏叶开始悄然飘落，我们总会感叹：一入秋，北京就变成了北平。这不仅仅是一种诗意的错觉，更是一种深植于城市记忆中的集体回望。秋日的北京，展现了一种醇厚、温润、质朴的人间烟火气，而想要真切的触摸到这份烟火气，莫过于走进李宗津创作于1940年代的《平民食堂》。此幅作品正在“中央美术学院美术馆藏陈列——现代中国美术”第二期中展出，从国画、油画再到版画的作品集结，不仅是艺术家的个体表达，更凝聚着在历史激流中的求索与变革，以现代的形式与语言，回应时代。《平民食堂》 1947年李宗津布面油彩 63×80cm 中央美术学院美术馆藏在李宗津写实而深情的笔触下，《平民食堂》真实展现了20世纪40年代北平街头的平民生活的生动景象，观者可以从前、中、后三个层次对作品进行观看。《平民食堂》局部前景处一位头秃、微胖的中年厨师正在灶台前烹制食物；中景处，穿着不同民国男性服饰的食客动作各异，或是伫立等待，或已端起碗进食；远景处则是北平的普通民居与特色建筑。这幅作品不仅反映了现实生活，而且从画面的三角形构图和对人物形象的描绘，可看出艺术家所追求的“创作性”。作者对于光线和空气的表现极为到位，很好地描绘出北平的蒙蒙晨雾之景。《平民食堂》局部《平民食堂》完成于1947年，李宗津从国立北平艺专被调往清华大学营造系。此幅作品为中央美术学院油画家刘小东、喻红夫妇于2012年捐赠中央美术学院美术馆。>>>>中央美术学院美术馆藏陈列——现代中国美术（第二期）展览时间：2025年7月1日起展览地点：中央美术学院美术馆2层A展厅主编 / 何一沙责编 / 杜隐珠
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: Lecture Recap: "A Dialogue on the Collection" – Li Xiaonan On Roman Signer's Art

2025-11-06

On the afternoon of October 24, 2025, the second session of "Collection Insights" — a series of academic activities under the "Interflowing Artscape: CAFAM International Exchange Research Exhibition from the Collection" — was successfully held in the conference room of CAFA Art Museum. This lecture was delivered by Professor Li Xiaonan, Director of the Art Studies Department at the School of Arts, Renmin University of China, with the theme "The Process History of Matter: The Art of Roman Signer and Beyond". It was hosted by Gao Gao, Deputy Director of CAFA Art Museum, and planned and participated in by Dr. Hu Xiaolan, co-curator of the "Interflowing Artscapes" exhibition.Gao Gao, Deputy Director of CAFA Art Museum, hosted this lectureThe lecture began with Professor Li Xiaonan's memory of her first encounter with Signer's works—at Signer's solo exhibition held at CAFA Art Museum in 2014. She mentioned that the resonance sparked by pure interest allowed her to instantly perceive the unique humor, poetry, and profundity in Signer's art. In this lecture, she specifically started from the overall impression brought by Signer's works, hoping that the audience could also feel the most direct visual charm and creative interest in Signer's works.Exhibition Poster for "Roman Signer: Videos and Films 1975–1989 and Now" Held at CAFA Art Museum in 2014The speaker, Professor Li XiaonanStarting with an introduction to Roman Signer's works in the collection of CAFA Art Museum, Professor Li Xiaonan traced the origins from the perspective of art history research, reviewed Signer's creative process, and further discussed the unique value of Signer's art in the development of contemporary art.Unfolding, Roman Signer, 2014, 1 minute 42 seconds, VideoCollection of CAFA Art Museum西格纳的创作最突出的特点，在于他始终利用自然力与物质运动的规则来展开实践，这些看似关于“失败“的作品，实则构成了一种对作者或大师作品的反对。回到西格纳观念与方法论的形成初期，自20世纪70年代开始系统性创作以来，西格纳的作品始终围绕物质、力与时间的关系展开，虽尚未形成后期成熟风格，但已可见其基本取向。其中，对物质性的重视源自当时雕塑领域极少主义及后极少主义启发，而对物理原理与作用力的独特运用，则更多源于他个人的兴趣与经历。同时，他也受到瑞士本土的活动雕塑家丁格力的影响，将时间维度纳入到创作中。我的体重重力与下落高度的描绘 1972在这一阶段，“重力”成为他最早关注并持续探索的作用力。《我的体重》将与自己体重相等的铁块压在泡沫上，形态随时间的推移而缓慢变化；而《重力与下落高度的描绘》则直接记录了身体重量在软泥上留下的印记。从这些作品也能看出过程性与观念性思想对其创作的影响。《力》 1977 木板、橡皮筋《疲劳》橡皮筋铁 1978此外，西格纳对不同作用力的痴迷，同样体现在《力》与《疲劳》等以橡皮筋为媒介的作品中。这些作品通过材料自身的弹性疲乏，探讨了“弹力在时间中的缓慢消散”这一物理过程。沙梯 1973而在以沙、水等流体为材料的创作中，他进一步展示了同一重力原理下形态的无限可能。《沙柱》可被视为“力在时间中的显形”，记录了下落过程中重力的瞬时痕迹。《沙体》水桶、沙、橡皮筋 1979《沙体》则通过沙桶下落与橡皮筋收紧之间的力学联动，建构出作用力的悖论，令人联想到超现实主义画家玛格丽特绘画中反复出现的关于肯定形式与否定形式的悖论。1971 《水梯》《水与冰》1976《水梯》中，水流在重力牵引下仿佛具有了自主的“生命感”；《水与冰》则通过悬挂于树干的塑料袋，记录水体从液态到固态的转变。西格纳称自己的作品为“时间雕塑”，也是对这类早期作品颇为贴切的形容。进入20世纪80至90年代的创作高峰，西格纳逐渐摆脱了早期极少主义的形式束缚，转而将日常生活中的寻常物件纳入其艺术语言。“爆破”成为西格纳最广为人知的创作标签，也是他更为激进的组织时间与变化的方式。爆破本质上是一个持续施加力直至突破临界点、引发突变的过程。在《box1》和《高台、桌子》中，爆破穿越物体的不同形态，带来看似幽默实则暴力的结局。在《下沉》等作品中，他的探索从重力延伸至浮力，他让不可能浮起的桌子漂浮，又或是记录冰面逐步碎裂、人最终落水的瞬间，展现了自然力作用下的危险与幽默；《Briefcase》中一个被绳索系住的手提箱，被重物拽坠入河中，则捕捉了状态突然改变的戏剧性瞬间。Tics mit Raketen,1993西格纳还创作出一系列在火箭推动下而运动的物体，《Tics mit Raketen》在推进器作用下腾空而起的椅子，在极短时间内产生出预料之外的种种姿态，成为复杂的“瞬间雕塑”。Stool 1982/1983而在行为性更强的《Stool》中，西格纳亲自坐在一把装有火箭的椅子上，以身体的重量与点燃的推进器相抗衡，用肉身阻止了椅子的腾空。最终，火箭的动能只在地面留下四圈燃烧后的焦痕。这一行动不仅是对物理规则的直接对抗，更因艺术家身体的介入，强化了作品中的抵抗意味。李笑男教授进而指出，西格纳的作品之所以令人印象深刻，正在于其中承载着强烈的生命能量。若借用艺术史家阿比·瓦尔堡的观点，人类生命能量的传递总是在沉静与骚动这两极之间摆动，而西格纳正是通过象征性的方式，将这种极性的生命能量置换为视觉形式。西格纳作品中那些在升腾与坠落、静与动之间的物体姿态带给人们的感动，恰恰是情念形式的当代体现。李笑男教授也着重分析了西格纳创作中的时间性。她指出，这种张力与极性的游戏必须在时间中展开。西格纳并非简单地记录事件，他对控制、记录和剪辑的极度重视，使影像本身成为独立的、完整的作品。他的作品因此包含了三个时间层次：物质过程真实发生的“现场时间”、经剪辑重构的“影像时间”，以及观众携自身经验介入的“观看时间”。这三层时间在动态中碰撞，使图像意义具备多元决定的开放性。在论及作品的审美特质时，李笑男教授强调，幽默与诗意在西格纳的作品中是一体共生的。无论是《Burostuhl》中办公室椅子随火箭的原地旋转，还是《安全帽》的突然发射，都令人莞尔。她指出，这种幽默并非浅层戏谑，而是源于对日常物的重新激活，其艺术不在于对物体的迷恋，而在于激活它们的内在生命。他的许多作品，如椅子最终坠落、烟花必然熄灭，都被视为一种“关于失败的诗学”，在短暂的升腾后回归宿命，这种在失败中展现的优雅，构成了其诗意的重要部分。讲座活动现场最后，李笑男教授将西格纳置于更广阔的艺术图景中审视，他与80年代后西方主流艺术运动，如激进行为艺术、新表现主义绘画或关系美学等，始终保持一种疏离。他的作品不依赖社会性叙事，亦抗拒符号化的过度阐释，其力量来源于对物质世界最本真、最直接的互动与观察。讲座还以几位中国当代艺术家的实践为参照，在跨文化的对话中，进一步凸显了西格纳艺术创作的独特性与其普适的启发意义。本次讲座通过系统性地梳理其创作脉络，揭示了罗曼·西格纳如何以其独特的“物质的过程史”，在当代艺术中构建了一个既严谨又充满童趣、既深刻又愉悦的独立世界。宗文天/文讲座信息文化和旅游部“2025年全国美术馆馆藏精品展出季”项目流动的艺域——中央美术学院美术馆藏国际艺术交流研究展主办：中央美术学院美术馆讲座时间：2025年10月24日 14:00-15:30展览地点：中央美术学院美术馆会议室主编 / 何一沙责编 /杜隐珠编辑 / 晏宇希
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: 社会美育的在地实践 | “时空图层——中央美术学院美术馆藏毕业作品特展”在艺术旌阳启幕

2025-11-03

2025年10月25日，“时空图层——中央美术学院美术馆藏毕业作品特展”在四川省德阳市旌阳区文德湖中央公园西区启幕，艺术走出“白盒子”，融入公园的草木，与市民的日常。艺术旌阳以“美育经济”为路径，探索公共空间的美学焕新，让文化在融合中生长出产业活力，让消费在艺术浸润中释放潜能。这是一场生活与艺术的双向奔赴，更是一座城市以文化人、向美而生的生动实践。
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: Xu Xingzhi's Dramatic Art | This exhibition will Close On October 31st

2025-10-31

"A Majestic Ode to China--Xu Xingzhi's Artistic Achievement"Exhibition SitePromotional Video for “A Heroic Ode ToChina – Xu Xingzhi's Artistic Achievements”Xu Xingzhi is an important figure that cannot be overlooked in the development of modern Chinese drama. Having received professional training in fine arts, he made achievements in multiple fields such as drama, film, fine arts, and poetry, demonstrating his cross-media artistic talents. With a firm left-wing stance, he participated in the modern drama movement, was active in groups like the Shanghai Art Troupe, and personally witnessed and promoted the birth and development of modern Chinese drama.In terms of drama theory, he proposed that drama should possess both "inner" and "outer" dimensions, and emphasized a comprehensive theory of the integration of performance and viewing. The former emphasizes that drama integrates various art forms, while the latter highlights the interactive relationship among the audience, the theater, and the actors. He forward-lookingly emphasized the importance of theatricality and the interaction between the audience and the performers.In terms of creation, he had both screenwriting and directing talents. His representative works include Eternal Love adapted from a world classic, The Last Christmas Eve which depicts the lives of people after the fall of Hong Kong, and the six-act play The True Story of Ah Q, which was polished and revised over many years with his painstaking efforts. All these works reflect his concern for reality and his exploration of artistic forms.He integrated his literary accomplishment, fine arts skills and theatrical practice, endowing the stage with profound humanistic spirit and artistic appeal. He was truly a versatile dramatist. His thoughts and works still hold inspiring significance to this day.——Ding LuonanProfessor, Shanghai Theatre AcademyThis exhibition is by far the largest and most comprehensive retrospective of Xu Xingzhi's artistic achievements. Through more than 400 representative works as well as precious documents, it presents the artist's outstanding accomplishments in multiple fields—including painting, art history, literature, film, and drama—to the audience in an all-round, multi-dimensional, and in-depth manner. The exhibition will close on October 31st; audiences who are interested should not miss it!The First Page of Xu Xingzhi's Anti-Japanese Children's Drama Script The Bell of the Ancient Temple (1936)The First Page of Xu Xingzhi's Anti-Japanese Children's Drama Script The Last Lesson (1936)In February 1937, the anti-Japanese children's drama The Bell of the Ancient Temple (cover), written by Xu Xingzhi, was published by Shanghai Xinzhi Bookstore. According to Beyond the Great Wall by Mrs. Snow (Nym Wales), this children's drama was staged in Yan'an shortly afterwards.Stage Photo of Thunderstorm, a play by Cao Yu, Directed by Xu Xingzhi and Performed by the Blue Bird Drama Troupe, December 1937In 1937, Xu Xingzhi adapted Lu Xun's classic work into a six-act drama The True Story of Ah Q for the first time. The script of this drama was serialized in the 10th issue of the 2nd volume of the semi-monthly magazine Brightness. Soon after, the drama was staged by the "Chinese People's Anti-Japanese Drama Troupe" in Yan'an, and it was watched by the leaders of the Communist Party of China (CPC) as well as the military and civilians in Yan'an. The picture shows the cover of this issue.In 1939, an American female journalist published Beyond the Great Wall. In Chapter 3, "The Mobile Troupe", she recorded that Xu Xingzhi's plays The True Story of Ah Q and The Bell of the Ancient Temple were staged in Yan'an.Cover of the stage play script The True Story of Ah Q, adapted from Lu Xun's famous work by Xu Xingzhi, compiled and printed by the Shanghai Drama Art Research Association, August 1939In 1939, Xu Xingzhi adapted Lu Xun's work into the script of a six-act drama The True Story of Ah Q for the second time. The script was published by Guangming Bookstore in 1940 and went through its 10th printing in 1953.In July 1939, after Xu Xingzhi adapted the six-act drama The True Story of Ah Q for the second time, he personally directed the Sino-French Drama Troupe in a performance run that lasted for half a month. This caused a great sensation at that time. The picture shows the printed performance script compiled and published back then.At the end of July 1939, director Xu Xingzhi posed for a group photo with Wang Zhuyou, the actor who played Ah Q.After the fall of Shanghai in 1938, Xu Xingzhi actively participated in the progressive drama movement in the concession areas and directed a number of stage plays. This is a group photo of him with the actors after he directed Romain Rolland's The Struggle Between Love and Death.In February 1940, Xu Xingzhi directed Xia Yan's drama The Wedding Night, which was staged by the Dazhong Drama Troupe at the Shanghai Russian Art Theatre.In October 1956, to commemorate the 20th anniversary of Lu Xun's death, a number of theater troupes across the country re-staged the six-act drama The True Story of Ah Q adapted by Xu Xingzhi. The picture shows a stage photo from the performance by the Shenyang Drama Troupe.| Artist Profile |Xu Xingzhi (1904–1991) was a renowned Chinese artist, art historian and theorist, art educator, film and drama director and screenwriter, pioneer of the Left-wing Art Movement, literary and art warrior, member of the Council of the Chinese Artists Association, and professor at the Central Academy of Fine Arts. In his early years, he graduated from the Shanghai Academy of Fine Arts and the Tokyo School of Fine Arts in Japan. In 1930, he participated in initiating and organizing the "Shidai Art Society" (Times Art Society), a Left-wing art group, and was elected as the first chairman of the Chinese Left-wing Artists League.In the field of literature, Xu Xingzhi was an important poet of China’s 1930s Left-wing Literature Movement, creating representative poems such as Pastoral Song, The Blood Seller, Daban Well, and The Rose on the Spearhead.In the film industry, he directed films including Children of Troubled Times, Long Live China, and Storm at Sea, and wrote theoretical articles such as On Film Direction and A History of the Development of Film Art. In the drama field, Xu actively engaged in the Left-wing Drama Movement and was the first creator to adapt Lu Xun’s The True Story of Ah Q for the drama stage.In 1954, Xu was transferred to work at the Central Academy of Fine Arts, where he founded and served as the director of the Art Theory Research Office, laying the foundation for the establishment of China’s art history discipline. In 1959, he was transferred to the Third Studio of the Oil Painting Department, where he collaborated with Professor Dong Xiwen in guiding painting teaching.Xu Xingzhi was an all-round talent in the literary and art circle. He was not only a pioneering practitioner of artistic creation, but also a researcher, writer, and disseminator of literary and art theories. He made outstanding contributions to the cause of New China’s art history and theory, as well as the cultivation of painting art talents.A Century of Glory · Art Masters of the Central Academy of Fine Arts A Heroic Ode ToChina – Xu Xingzhi's Artistic AchievementsExhibition Period: September 18 – October 31, 2025Exhibition Venue: Hall B, 3rd Floor, Art Museum of the Central Academy of Fine ArtsOrganizers: Chinese Artists Association, Central Academy of Fine ArtsCo-organizers: Publicity Department of the Party Committee of the Central Academy of Fine Arts, School History Research Center of the Central Academy of Fine Arts, Art Museum of the Central Academy of Fine Arts, School of Humanities of the Central Academy of Fine Arts, Oil Painting Department of the Central Academy of Fine ArtsSupporting Units: National Memorial Museum of the Chinese People's War of Resistance Against Japanese Aggression, China Film Association, China National Film MuseumAcknowledgements: National Art Museum of China, Long Museum, Taikang Insurance Group Inc., Zhiyi Foundation, Wang Wei, Shi Junzhao, Huang Jun, Dong RuiChief Editor / He YishaAssociate Editor / Du Yinzhu
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: The Melody Persists -- CAFA’s Exhibition on the Inheritance of Teaching (2nd Edition)" Opens as Scheduled | "One Mentor, One Protégé" Gathers to Celebrate the Double Ninth Festival

2025-10-30

Savor the Warmth Between Teachers and StudentsEmbrace the Original Aspiration of Aesthetic EducationWish the Elder Artists Evergreen Artistic VitalityMay the Torch of Art Be Passed Down from Generation to GenerationMembers of the Academy of Fine Arts are accustomed to respectfully addressing their beloved teachers as "Xiansheng" . Among them, "Senior Xiansheng" are revered as idols by all members of the academy. Through their patient guidance and earnest teachings, these mentors continuously lead the younger generation into the profound mysteries of art. In turn, the younger generation’s diligent pursuit of art and adherence to their teachers’ instructions ensure that the mentors’ legacy never fades from the classrooms and campus. As time flows on, the younger generation gradually grows into the "Xiansheng," inheriting the glorious traditions and carrying forward the academy’s century-old academic heritage.Senior teachers, senior professors, senior cadres, and senior staff members of the Central Academy of Fine Arts , along with President Lin Mao, Deputy Party Secretary Wang Xiaolin, Vice President Lü Pinjing, Deputy Party Secretary and Secretary of the Disciplinary Inspection Commission Wu Qiang, as well as heads of relevant departments and colleges, attended the event.On the morning of October 28, 2025, the opening ceremony of "The Melody Persists - CAFA’s Exhibition on the Inheritance of Teaching (2nd Edition)" and the 2025 Double Ninth Festival Blessing & School Update Briefing were held at the Central Academy of Fine Arts. Senior teachers, senior professors, senior cadres, and senior staff members of CAFA gathered at the academy to jointly celebrate the Double Ninth Festival.Mr. Jin Shangyi, the former president of the Central Academy of Fine Arts, announced the opening of "The Melody Persists - CAFA’s Exhibition on the Inheritance of Teaching (2nd Edition)"President Lin Mao gave a briefing on the school's developments to the senior teachersDeputy Party Secretary Wang Xiaolin presided over the eventZhou Hongbing, the school-level Party building liaison officer, delivered a work report on the Elderly Committee for Caring for the Next Generation and the Department of Retirement Services.Professor Wang Wei from the Department of Sculpture spoke as the representative of young and middle-aged teachers at the exhibition, and affectionately recalled the precious memories of having "heart-to-heart conversations" with several senior Xiansheng since he joined the Central Academy of Fine Arts As a new chapter of the "Senior Artists · New Era" exhibition series, "The Melody Persists - CAFA’s Exhibition on the Inheritance of Teaching" is a vivid embodiment of our efforts to build on CAFA’s century-old academic heritage, reflect on the practice of aesthetic education, inherit the ideal of aesthetic education, and carry forward the spirit of aesthetic education. Adopting an intertextual "one mentor, one protégé" approach, the exhibition narrates the stories of teacher-student inheritance respectively from the School of Chinese Painting, School of Calligraphy, Department of Oil Painting, Department of Printmaking, Department of Sculpture, Department of Mural Painting, and the Fundamental Department of Plastic Arts. It strives to outline a clear academic vein and vivid mentor-protégé relationships, thereby comprehensively presenting the aesthetic education panorama co-created by "what the mentors impart" and "what the younger generation learns".Editor-in-Chief / He YishaAssociate Editor / Du YinzhuOn-Site Photographs / He Yifei
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: CAFAM Lecture Preview | Michael Armitage to Give a Lecture at CAFA!

2025-10-27

《Michael Armitage》Time: 15:00-17:00, October 28, 2025Venue: Academic Lecture Hall, CAFA Art MuseumSpeaker: Michael ArmitageHost: Yu HongOrganizer: Academic Committee of CAFA (Central Academy of Fine Arts)Co-organizers: CAFA Art Museum， Oil Painting Department of CAFA， International Cooperation and Exchange Office of CAFAScan the QR code to reserve your spot. Spots are limited and available on a first-come, first-served basis.On October 28, 2025, the internationally renowned artist Mr. Michael Armitage will deliver a lecture of the same name at the Academic Lecture Hall of CAFA Art Museum at the invitation of Central Academy of Fine Arts. Audience members from outside the academy may reserve a spot to attend via the QR code.HostYu HongYu Hong was born in Xi'an, China in 1966. She graduated from the 3rd Studio of the Oil Painting Department at the Central Academy of Fine Arts (CAFA) in 1988. Since 1988, she has been teaching at the Oil Painting Department of CAFA while engaging in artistic creation for a long time. Initially, Yu Hong received rigorous training in realistic painting, and later developed a unique artistic language. The core theme of Yu Hong's works has always been "human nature" and human beings' situation and experiences in the world. Through the characters she portrays and the grand, epic scenes in her works, she expresses her deep concern for reality and the living environment, as well as her in-depth analysis of human nature.SpeakerMichael ArmitageMichael Armitage is a Kenyan-British artist who has garnered significant attention in the international art world today. Born in Nairobi, Kenya, in 1984, he currently lives and works in London and Nairobi. He graduated from the Slade School of Fine Art in London in 2007 with a Bachelor of Fine Arts degree, and in 2010, he obtained a postgraduate diploma from the Royal College of Art in London. In 2022, the Royal College of Art, London, conferred upon him the title of Royal Academician in Painting. With his unique and compelling painting style, he has become a crucial bridge connecting Africa to the global dialogue on contemporary art. Armitage is the founder of the Nairobi Contemporary Art Institute (NCAI), a non-profit platform established in 2021. The NCAI organizes exhibitions, curatorial research residency programs, maintains a library and archive, and runs other educational initiatives, all aimed at enriching discussions on contemporary creative practices in the region.Armitage's works are deeply rooted in the cultural, social, and political context of East Africa. He skillfully weaves together African myths and legends, historical events, current news, and personal memories. One of the most distinctive features of his creations is his use of "Lubugo"—a type of Ugandan bark cloth—as the canvas. This traditional material, with its natural seams and mottled textures, not only endows the paintings with a unique materiality but also serves as a metaphor for themes of colonial history, cultural trauma, and healing.His painting language moves between figuration and abstraction, integrating the compositional techniques of European Old Masters with local East African artistic elements. This fusion creates a visual narrative that feels both familiar and unfamiliar, beautiful yet unsettling. His works aim to challenge simplistic historical narratives and shed light on the complex social realities and human contradictions of the post-colonial era.Armitage's works have been exhibited at world-renowned institutions such as the Royal Academy of Arts in London and the Museum of Modern Art (MoMA) in New York, and he participated in the Venice Biennale in 2019. His artistic practice provides an outstanding example for young artists on how to transform local cultural resources into a contemporary language with global influence."Tea Pickers" Oil on Lubugo Bark Cloth 100 x 150 cm 2023"Breast Milk" Oil on Lubugo Bark Cloth, 150 x 200 cm, 2022"Dandora (Xala, Musician)" Oil on Lubugo Bark Cloth, 220 x 440 cm, 2022"Among the Living" Oil on Lubugo Bark Cloth, 220 x 420 cm, 2022"Curfew (Likoni, 27 March 2020)"Oil on Lubugo Bark Cloth, 250 x 350 cm, 2022"Three Boys at Dawn" Oil on Lubugo Bark Cloth, 220 x 300 cm, 2022"Detention Room" Oil on Lubugo Bark Cloth, 221.3 x 170.5 cm, 2021"The Cave" Oil on Lubugo Bark Cloth, 200 x 150 cm, 2021"The Promised Land" Oil on Lubugo Bark Cloth, 220 x 420 cm, 2019"Twilight of Sorrow and Idleness" Oil on Lubugo Bark Cloth, 330 x 170 cm, 2019"Enasoit" Oil on Lubugo Bark Cloth, 170 x 300 cm, 2019"The Decree of Paradise" Oil on Lubugo Bark Cloth, 220 x 420 cm, 2019Chief Editor / He Yisha Editor / Du YinzhuImages & Text / Chi Ming
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: 艺术之光点亮泉城！中央美术学院青年艺术展亮相城投·湖光里

2025-10-27

10月22日，"逐光同行——中央美术学院青年艺术作品邀请展·济南站”在城投湖光里方寸·光艺术中心正式启幕。2025年中央美术学院毕业季以“逐光而行”为主题，探寻艺术与生命中的光芒与方向。而今我们携这一理念走出校园，走进济南，以“逐光同行——中央美术学院青年艺术作品邀请展”为名，与公众共享一场关于艺术生命力的对话。本次展览聚焦中央美术学院2025届毕业生作品及往届毕业的优秀青年艺术家的作品，以“微光”“逆光”“高光”三个板块构成展览的叙述要点。意在延续“逐光而行”的精神内核，展现青年艺术家在个人叙事、生态关怀、文化传承等维度的创造与探索。展览呈现了近50件/套青年艺术家的作品，通过他们多样的个人艺术语言，多层次、多维度地呈现“光”在艺术表达中的丰富内涵和独特意义——它既是物理的存在，也是精神的象征性指引；既属于个体感悟，也呼应时代脉动。01 微光—————————————————————微光不必等待黑暗，它自身就是答案。微光往往藏于日常的边缘、心绪的缝隙，却蕴含着初的力量与寂静的启示。参展作品以绘画、影像、装置等作为媒介，通过捕捉那些细腻而隐晦的光芒，呈现青年艺术家对细微事物的敏锐感知与诗意转化。它们或许不张扬，却足够真诚，如同黑暗中悄然点亮的星火，提醒我们：艺术常常始于一道微弱却坚定的光。02 逆光—————————————————————当你背对太阳，你只能看到自己的影子。逆光是一种视角，也是一种态度——它不回避阴影，而是在对比中重新定义清晰与模糊、可见与不可见。这一部分作品多以强烈对比的视觉语言、反思性的主题切入，探讨个体与社会、理想与现实之间的张力。展现青年艺术家在文化语境、社会现实与自我认同之间的思辨与张力，在挑战中寻找突破，在阻力中凝聚力量。03 高光—————————————————————高光不是光，而是物体上最亮的部分。高光是对闪耀时刻与能量凝聚的礼赞。高光既是舞台的焦点，也是生命中的辉煌片段；它既可以来自外界的认可，也源于内在的自省。作品在这一板块中多以鲜明色彩、强烈动势或浓烈情感为特征，传递青年艺术家对生命、理想与未来的坚定信念。它们不仅是技艺的展示，更是精神的彰显。展览现场导览现场“逐光同行”展览落地城投·湖光里，是济南城投集团依托优质艺术资源，对艺术赋能商业空间的全新探索。这一举措不仅为青年艺术作品提供了展示平台，给城市注入充满活力的艺术基因，也为市民提供了高品质的公共文化体验，同时为“艺术如何赋能商业街区”提供了全新范式。“逐光同行——中央美术学院青年艺术作品邀请展·济南站”闭展日期为2025年11月30日。即日起，欢迎广大市民走进城投·湖光里，与青年艺术家一同在光与艺术的交汇中，共赴一场“逐光同行”的美好旅程。张诗琪生生 150×170cm异形框⽊板油画综合材料 2025苑瑗映照 I&II 195×320 cm 布面油画 2023袁欣无畏2024-2 150×200cm 布面油画 2025刘海一无字碑 -1 96 x 250 cm 纸本综合 2025张艺潆不息之境尺寸可变木板丙烯，综合材料 2025苏昱铭园丁 64×124 cm 纸本丙烯 2024陈海军游春图 600×80×60cm 尺寸可变匣钵土 2025董雯霏实验 84×125cm 布⾯油画 2025逐光同行——中央美术学院艺术作品邀请展·济南站展览时间：2025年10月1日—11月30日展览地点：城投·湖光里“方寸·光”艺术中心主办：中央美术学院美术馆、济南城市投资集团有限公司学术指导：中央美术学院承办单位：山东泉逸新商业发展有限公司参展艺术家（按姓氏首字母排序）曹轶陈海军陈家昊陈子涵董雯霏杜英奇范一诺付斌管天淇郭浩郭双郭文静何健恺侯帅胡一葳黄振涵霍启鹏雷雨菲李百舸李木子李湘宜林子豪刘海一刘志琪吕慧瑶罗依涵苗菁菁能尖日农羽瞳秦观伟权玥月时砚亮苏昱铭万珈彤王子阳魏荟青武玥肖雨轩徐钰童闫烨于雨田袁欣苑瑗张捷张诗琪张诗陶张艺潆邹达闻主编 / 何一沙责编 / 杜隐珠编辑 / 晏宇希
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: CAFAM Academic Series｜Art Museum Youngs Forum “ Unearthing And Reinterpretation” is About to Begin

2025-10-24

Opening RemarksLü PinjingVice President of the Central Academy of Fine ArtsSession 1: Ancient Chinese Art HostessLi JieAssociate Senior Editor, Department of Curatorial Research, CAFA Art MuseumSpeakerLan MengPh.D. Candidate, Central Academy of Fine Arts"A Study on Shen Zhou’s Yunshui Xingwo Tu — With a Discussion on the Relationship Between 'Image Guide' and Poetry Scrolls on the Same Theme"Hu ZhengyuanMaster’s Student, Central Academy of Fine Arts"Jin Nong’s Paintings of Calamus"Tang YanzhiUndergraduate Student, Central Academy of Fine Arts"Imitating the Ancients and Reconstructing: A Preliminary Study on Zhan Gong’s Yaomin Jirang Tu (Album) "Chen HanPh.D. Candidate, Central Academy of Fine Arts"From Painting to Printing: A Re-exploration of the Interaction Between Qian Huian’s Style and Yangliuqing Paintings Centered on the Album of Figure Stories"Zhang PengPh.D. Candidate, Central Academy of Fine Arts"Inner Mist and Clouds Inherent in the Brush Tip: A Glimpse into the Accumulation of Knowledge and Spatial Construction in Qi Zhijia’s 'White Clouds and Red Trees' Paintings Through the Qi Zhijia Paintings Collected by the Central Academy of Fine Arts"Chen GuanshiPh.D. Candidate, Central Academy of Fine Arts"On Ren Bonian in the History of Exhibitions"Ma XingmengPh.D. Candidate, Tongji University"Narrative Structure and Cultural Coding of the Eastern Han Dynasty 'Grain-Husking' Pictorial Bricks from the Perspective of Visual Narrative"Wang YingMaster’s Student, Central Academy of Fine Arts"A Study of Two 'Hu People Holding Lamp Figurines' in the Collection of the Art Museum of the Central Academy of Fine Arts"Tang YiruiMaster’s Student, Central Academy of Fine Arts"A Study on the Tricolor Glazed Tomb Guardians in the Collection of CAFA Art Museum — With a Discussion on the 'Hu-Stylization' Phenomenon of Human-Faced Tomb Guardians in the Tang Dynasty"Session 2: Modern Chinese ArtHostessWang JingDeputy Director, Department of Curatorial Research, CAFA Art MuseumSpeakerYang QingxuanMaster’s Student, Central Academy of Fine Arts"The Gravity of Symbols and the Light of Ideals: Zhang Anzhi’s Group Strength and His Creative Philosophy During the War of Resistance Against Japanese Aggression"Wang ChenPh.D., Tsinghua University"A Study on Pang Xunqin’s Service at the Preparatory Office of the Central Museumand the Resolution of Doubts in Painting History"Lu DingyuanMaster’s Student, Guangzhou Academy of Fine Arts"The Other Shore and the Edge: The Alienation Between Collection and Research in Wang Shaoling’s Works and Cross-Cultural Experiments"Ji XuPh.D. Candidate, Central Academy of Fine Arts"A Detailed Exploration of the Development Vein of Populist Art — Taking the New Year Painting Zhao Guilan at the Gathering of Heroes in the Collection of CAFA Art Museum as an Example"Li ZeqingPh.D. Candidate, Academy of Arts & Design, Tsinghua University"From New Year Paintings to New Gongbi: Zhao Guilan at the Gathering of Heroes and the Linguistic Transformation of Gongbi Figure Painting"Sun WenPh.D. Candidate, Central Academy of Fine Arts"Diving Deep into a New Life: Li Hua’s Creation and Daily Life in the Early Years of the People’s Republic of China, Viewed Through Collected Diaries and Manuscripts"Zhou WeimengPh.D. Candidate, Central Academy of Fine Arts"Mural as a 'Mediator': Ye Qianyu’s The Liberation of Beiping and the Discourse on National Art Heritage in the 1950s"Li JiaweiMaster’s Student, Central Academy of Fine Arts"National Experience and Artistic Expression in 'Painting' and 'Dance': On Ye Qianyu’s Figure Painting Lotus Dance"Ma BenyuMaster’s Student, Central Academy of Fine Arts"Past Stories of Oil Fields and New Trends in Printmaking: Sorting and Reflections on Two Daqing Oil Field-Themed Prints in the Collection of CAFA Art Museum"Zhang XinyiMaster’s Student, Central Academy of Fine Arts"The Formation of Wei Qimei’s 'Concise and Poetic' Style Under the Influence of Edward Hopper"Hao RuichangPh.D. Candidate, Central Academy of Fine Arts"Printmaking Practice of 'Construction and Transformation': Xu Bing's 'Where There Are Mountains' as an Early Practice of 'Process as Concept'"Closing Speech Jin JunDirector of the CAFA Art MuseumThe Experts for the Youth Forum Call for PapersHe Xilin, Qiushi Distinguished Professor, Doctoral Supervisor, School of Art and Archaeology, Zhejiang UniversityAcademic Advisor for Collection and ExhibitionZhang Peng, Professor, Central Academy of Fine Arts; President of Art Research Magazine, Central Academy of Fine Arts; Director of the Editorial Department of the Journal of Central Academy of Fine Arts; Deputy Director of the Collaborative Innovation Center for Silk Road Art Research; Academic Advisor for Collection and Exhibition of CAFA Art MuseumYu Yang, Professor, Central Academy of Fine Arts; Director of the Scientific Research Office; Director of the Advanced Innovation Center for Visual Arts; Academic Advisor for Collection and Exhibition of CAFA Art MuseumHuang Xiaofeng, Professor, Dean of the School of Humanities,Central Academy of Fine Arts; Academic Advisor for Collection and Exhibition of CAFA Art MuseumCao Qinghui, Professor, Doctoral Supervisor, Department of Art History, School of Humanities, Central Academy of Fine Arts; Academic Advisor for Collection and Exhibition of CAFA Art MuseumZheng Yi, Professor, Doctoral Supervisor, Department of Art History, School of Humanities, Central Academy of Fine Arts; Academic Advisor for Collection and Exhibition of CAFA Art MuseumGuo Huaiyu, Associate Research Librarian, The Palace Museum; Former Collection Grading Expert (Calligraphy, Painting, Epigraphy and Rubbing Group), National Museum of China; Academic Advisor for Collection and Exhibition of CAFA Art MuseumGeng Shuo, Deputy Director of the Department of Cultural Heritage, School of Humanities, Central Academy of Fine ArtsDeputy Director of the Research Center for Art ArchaeologyAcademic Advisor for Collection and ExhibitionLi Yaochen, Director of the Collection Department, Art Museum of the Central Academy of Fine Arts; Associate Researcher; Executive Curator for Collection and ExhibitionLiu Xiyan, Director of the Planning and Research Department of CAFA Art Museum; Associate Researcher; Executive Curator for Collection and ExhibitionCAFAM Academic SeriesThe CAFAM Academic Series launches concurrently with the "Exhibition of Artworks from the CAFA Art Museum Collection." A series of activities focusing on industry development, art museum management, and collection research are planned to be held throughout 2025. With a global perspective and cross-cultural dialogue, the CAFA Art Museum aims to expand public awareness of its rich collection, explore the roles and missions of contemporary art museums in the context of globalization and digitalization, provide the public with a platform for in-depth participation in artistic dialogue, and realize the organic integration of academic research, public education, and social engagement. Specific activity arrangements include:in March, the "Cultural Engine – CAFA Art Museum Summit Forum" and the "National Alliance of University Art Museums Conference" ; in June, the Lecture Forum "Cultivation and Exploration – Research and Current Status of the CAFA Art Museum Collection" ; in September, the Industry Forum "Curation and Dissemination – Art Museum Collections and Exhibitions in a Public Context" ; in October, the Youth Forum "Rediscovery and New Interpretation – Case Studies on the CAFA Art Museum Collection Research" .Editor-in-Chief / He YishaEditor / Du Yinzhu
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: 许幸之与美术史论

2025-10-24

“雄歌一曲献中华——许幸之艺术成就回顾展”展览现场许幸之是中国现代美术史研究的重要奠基者。他早年即关注艺术与社会的关系，提出“新兴美术”的理论主张，强调艺术应服务民族解放与社会进步。20世纪30年代，他连续发表《新兴美术运动的任务》《中国美术运动的展望》等重要文章，并翻译多篇西方艺术理论文献，积极参与左翼美术思想的建构。1954年，许幸之主持并担任中央美术学院美术理论研究室主任，该研究室正是后来美术史系的前身，许幸之组织起了一支教师队伍，共同翻译资料、编写讲义，制定了一份经过文化部认可的教学大纲，并开设出《西洋美术史》《俄苏美术史》《艺术概论》等课程，为新中国第一个美术史系的诞生打下了坚实的基础。许幸之不仅是近代中国西方艺术史译介和教学领域中的重要学者，也是新中国建立之初研究外国美术史的领军人物，更因其为新中国美术史论事业的发展所做出的贡献，而成为新中国美术理论和外国美术史教学体系的开创者和奠基人，他所取得的成就和做出的贡献值得今天的美术史后学们铭记。——易英中央美术学院教授
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: Today is Frost's Descent.

2025-10-23

Today is Frost's Descent.
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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
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CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.