Tang Xin, Artistic Director of Taikang Art Museum「The Taikang Art Museum is committed to being a professional yet welcoming art institution,with a focus on art created in China following the country's entry into modern development.Their primary mission is to utilize art as a means to narrate the artistic story of contemporaryChina to the public, serving both artists and art enthusiasts alike. This vision showcases themuseum's profound understanding and appreciation of the value of art, as well as its emphasis onpublic art education, aiming to bridge the gap between art and the public. In her speech, TangXin, artistic director of the Taikang Art Museum, shares insights into the museum's mission andfuture vision.」1.Building A Knowledge Production FrameworkThe Taikang Art Museum, formerly known as Taikang Space, boasts a 20-year history ofacademic art and collections. The museum systematically explores this tradition and iscommitted to developing its knowledge production system as an evolution of contemporaryChinese art. TangXin emphasizes that a museum's mission essentially revolves around aestheticvalues and value systems and that these values are interconnected with people. Therefore, theprofessionalism and friendliness of the Taikang Art Museum are reflected in both theprofessional construction of its value system and its friendly interaction with the public. Thecurrent framework is based on the timeline "1905-1942-since 1977", focusing on the history ofart in China since its entry into modern development. Within its framework, the museumorganizes its system into three major research questions and working methodologies.1) Three Core QuestionsTaikang Art Museum structures its work around three core questions: medium, ecology, andinstitutionality. These three key issues were gradually distilled and summarized over the courseof twenty years of practice and project development at Taikang Space.In terms of medium, it has been a central focus since 2012. The museum has paid attention toboth traditional media, such as ink painting and printmaking, and new media, includingphotography, video, performance, and installation. Returning to the essence of art, it explores thelocalized development of diverse media within the Chinese localized context. Over the pasttwenty years, 52 projects have been conducted around the topic of the medium, withphotography treated as a special case for dedicated collection and research.In terms of ecology, the museum examines how societal power and factors shape artisticcreations and artist communities within the evolution of China's art ecosystem. The ecologicalquestion was raised in 2013, and 74 projects have been carried out in response to this theme.Lastly, regarding the issue of institutionality, the museum continuously focuses on how localisedlocalized traditionalism—such as local ideology formation, historical events, economicdevelopment, and advancements in science and education—shapes the norms of artisticdevelopment. Since this question was raised in 2015, it has become one of the museum's keyareas of research.2) Working MethodTaikang Art Museum adopts a method of integrating exhibition, collection, and research. Since2005, it has pursued professionalism and systematic collection practices, utilizing its collectionas historical evidence. The museum now holds a rich and substantial collection. This approachhas created a close connection between research, collection, and exhibition, providing aprofound, solid foundation for the acquisition of its knowledge production system.2.Time frame and historical periodsThe Taikang Art Museum created a time frame spanning from 1905 to 1942 and then to 1977,focusing on this structure for further research. In 1905, the elimination of the imperialexamination system marked a turning point in artistic creation, shifting from traditionalism to itscurrent form of modernism. Artists transformed from being traditional literati to modernprofessionals equipped with specialized knowledge systems. The year 1942 is significant as itmarks the time when Mao Zedong delivered his Talks at the Yan'an Forum on Literature and Art.In 1977, the resumption of the college entrance examination shifted focus toward academicspecialization, which later influenced a trend among artists to pay greater attention to theirchosen mediums of expression. These three historical moments are crucial for understanding thedevelopment of modern and contemporary Chinese art.3.Public engagement and FriendlinessTaikang Art Museum not only focuses on professionalism but is also committed to becoming afriendly institution engaged with its audiences. TangXin emphasizes that the institution aims toresonate with the spirit of the times, utilising a shared frequency to connect with the audience'severyday experiences and help the public gain a deeper understanding of contemporary art.To this end, the museum held a series of targeted events. For instance, they connected 15 schoolsand over 170 Beijing middle school students through an AI art competition experience, breakingdown the barriers between Art Museums and academic education. Furthermore, the museumpresented a dynamically balanced combination of Party history education and artistic contexts.Nearly seven events were held across five cities, with over 3,000 Party members participatingboth online and offline. These activities reflect the museum's active exploration and innovationin public engagement. They aim to bring art closer to our everyday lives and to strengthen thepublic's sense of identification with and participation in art.4.Current Exhibition and Future VisionsTangXin notes that the Taikang Art Museum is currently presenting an exhibition focused on artfrom the 1980s and 1990s. The goal is to assist the audience to approach and understand the artof that era through empathy and shared experience. This reflects the museum's emphasis onresonance with the public in its curatorial planning—seeking to awaken collective memory andemotional connection through artworks. For the future, Tang Xin hopes that the museum willbecome a platform that belongs to both creators and art audiences, continuing to seek a balancebetween professionalism and friendliness, advancing the development of modern andcontemporary Chinese art, and offering the public a richer and more diverse artistic experience.5.ConclusionDirector TangXing's speech thoroughly and in-depth explores the mission of the TaiKang ArtMuseum, the knowledge production system, three main research questions and work methods,time frames and historical periods, audience engagement and friendliness, as well as currentexhibitions and future visions. Through this information, we can clearly see the efforts towardsprofessionalism and friendliness that TaiKang Art Museum strives for. Art museums not onlyhold remarkable experience in academic research and collections but have also made activecontributions to public engagement and art education. The Taikang Art Museum's practice offersvaluable references and insights for the development of modern and contemporary Chinese artwhile also establishing a solid bridge for communication between the public and the art.In the future, the Taikang Art Museum will continue to be committed to fostering a connectionbetween art and the public.Introduction of Guest SpeakersTangXinHead of the Art Collection Department at Taikang Insurance Group, Artistic Director of TaikangArt Museum, and Curator. TangXin graduated from Tianjin University of Science andTechnology in 1990 and became an independent curator in 1997. In 2003, she joined TaikangInsurance Group and founded Taikang Space, which has since evolved into today's Taikang ArtMuseum—now one of the most dynamic nonprofit art institutions in China. As the head ofTaikang's Art Collection Department, Tang has led over two decades of research andaccumulation, establishing a leading, large-scale corporate collection that holds significant valuefor art history. Under his leadership, the Taikang Collection has become one of the most visibleand comprehensive collections in China, systematically documenting the history of artisticdevelopment since the country's modernization in the 20th century.主编 / 何一沙 责编 / 杜隐珠现场图 / 贺伊飞文字整理 / 许禧Chief Editor / He YishaExecutive Editor / Du YinzhuOn-site Photos / He YifeiText Compilation / Xu Xi

Isabelle Bertolotti, Director of the Museum of Contemporary Art, Lyon「The director of the Museum of Contemporary Art, Lyon, Isabelle Bertolotti, expresseshow artistic institutions make progress through multidimensional contributions. Usingthe Musée des Beaux-Arts de Lyon as an example, she conveys how open spacedesign breaks the barriers of traditionalism through creation and community partnership,stimulating local culture. For example, this is achieved by combining traditional sewingskills with computer science and programming into one interactive art project.Furthermore, she emphasised the importance of international partnerships, asexemplified by the relationship between CAFA artists, who incidentally give rise tocreative paradigms. Isabelle highlights that museums should become the laboratories ofcultural students, utilizing space, time, and relationships to connect the past and thefuture, both locally and internationally, in order to achieve cultural symbiosis in the era ofglobalization. Her speech offers valuable insights for the academy on innovativeprogress.」1. Open Space and Dynamic PracticeThe physical open space design is the core of The Museum of Contemporary Art inLyon's cultural strategy. Located on the outskirts of Lyon, the museum boasts an open,border-free layout that seamlessly blends into its natural surroundings. As DirectorIsabelle highlights, this "boundaryless" design not only provides a testing backgroundfor large-scale installations but also challenges the traditional enclosure of museumspaces. The collections include several monumental works, many spanning overkilometres, which can not be exhibited permanently due to spatial constraints. As aresult, the museum emphasizes temporal exhibitions and programs, adopting a dynamicapproach to support dynamic forms of artistic expression. Additionally, the museumemphasizes communal engagement through educational and public programs,reinforcing the openness that is at the heart of its mission.The museum's philosophy of "openness" extends beyond its physical design to itsfunctional identity. Through residency programs, artists receive creative support, forminga dynamic triangle of "space, art piece, and audience". As Isabelle points out, thismodel enables the museum to transition from a traditionally static space to a laboratoryfor cultural production, where ongoing artistic practices make the space fluid and alive.Collaborations with local artists and artisans further enrich this strategy, achieving abalanced combination of traditional craftsmanship with contemporary art to produceunique art and enhance the museum's cultural resonance.2. Community participation and the revitalization of traditionAs a key aspect of the Silk Road, Lyon's rich textile serves as a vital sourcefor the museum's efforts to reactivate local cultural memory. A representative example isthe fabric-based project by French Artist Mona Cara. Collaborating with localtechnicians and core members of the local community, the artist created interactivetapestries that merge traditional weaving techniques with digital programming. Theseworks incorporate 18th-century silk patterns alongside contemporary symbols, such ascafé scenery and science fiction motifs, creating a surreal dialogue between historicalmemory and modern everyday life. The project also included workshops and exhibitionactivities that directly included members of the community in the artistic process,deepening their understanding and appreciation of local cultural heritage.Through cross-generational partnership, the program achieved multiple goals: childrenengaging in logo designs, elders in traditional techniques, and core communitymembers in smoothing the progress. As a result, the artwork became a vessel ofcollective memory - preserving the intricate delicacy of traditional craftsmanship whileembedding narratives from contemporary life. Isabelle specifically noted that artistsintroduced computer programming in the factory setting, working alongside factoryworkers to produce digitally enhanced textile pieces while also strengthening communityidentity through the transformative power of artistic reconstruction.3. Residency creation and international collaborationIn the mural program at IKON Gallery in Birmingham, French artist Nieck van de Steegutilized narrative wall paintings to reinforce the public dimension of art education.Similarly, in 2017, we organized a residency for 10 French artists at CAFA. Anunexpected loss of artworks in transition sparked new modes of creation. For instance,French artist Maxime Lamarche adapted to the situation by repurposing a commercialdinosaur as the basis of his work, which CAFA ultimately collected. Isabelle noted thatsuch incidents give rise to new modes of creation, proving that artistic practices providemore spark and livelihood in uncertain circumstances. Through these internationalcollaborations, the museum not only enriches its collection but also offers artistsbroader platforms for visibility, fostering mutual understanding and respectinterculturally.In the mural project of IKON Gallery in Birmingham, French artist Nieck van de Steeg strengthens the public nature of art education through narrative murals. In 2017, we organized 10 French artists to reside at the Central Academy of Fine Arts in China. The accidental loss of artworks during transportation unexpectedly gave birth to new creative paradigms. For example, French artist Maxime Lamarche created a work inspired by commercial dinosaur installations using local materials, which was eventually collected by CAFA. Isabelle pointed out that such incidents have accidentally spawned new creative paradigms, proving that artistic practices may be more vital in the face of uncertainty. Through these international cooperation projects, museums have not only enriched their art collections but also provided broader display platforms for artists, promoting understanding and respect between different cultures.4.Narrative construction and future visionIsabelle articulates a narrative philosophy at the core of the museum's mission: theconstruction of a diverse network of meanings through artistic practice. This approachunfolds across three interconnected narrative dimensions:1. Spatial narrative - The museum's boundaryless architecture symbolises acommitment to cultural democratisation, dissolving both physical andpsychological barriers in the art.2. Temporal narrative - A continuous dialogue is needed to connect the historicalheritage with future imaginings mediated by contemporary art.3. Relational narrative - The museum operates as a symbiotic system comprisinglocal communities, international communities, and the institution itself.Through these narrative strategies, the museum does more than tell a story about artand culture; it builds a platform for dialogue across community, history, and the future. Incollaborations such as the one between French artists and CAFA, the museumhighlights the investment in emerging voices and offers young artists transnationalresidency opportunities while cultivating future audiences. Isabelle envisions deepeninga strategy of "local internationalism" as an artist's practice to explore modes of culturalcollaboration in the context of globalization. At its core, it is the transformation of localspecificity into an open system- one that continuously generates new networks ofmeaning through intercultural dialogue. The museum aspires to serve as a bridgebetween the past and the future, between the local and the global, fostering culturalexchange and integration through the transformative power of art.Introduction to the Guest Speakers-                                                                                           Isabelle BertolottiIsabelle Bertolotti received her academic training in art history at the 2nd University ofLyon and École du Louvre. Since 2018 she has served as director of macLYON (Muséed'Art contemporain de Lyon), and in 2019 she was appointed co-director of the LyonBiennale. Bernalotti is also the co-founder of "Rendez-vous", a platform launched in2002 to spotlight emerging French and International artists. "Rendez-vous" has sincebeen integrated into the Lyon Biennale, reflecting its growing institutional significance, inaddition to her curatorial leadership at MAC Lyon and the Biennale. She works as anindependent curator with a focus on the global emerging art scene. She also serves aspresident of the Le Grand Large Association, further supporting international culturalexchange and the mobility of artists.Chief Editor / He YishaEditor / Du YinzhuPhotography / He YifeiEditor / Feng Kaiziqi 

Artist Books, through the artists' fine thinking of "book space", transfer and mix freely the reading of the text, the appreciation of the visual and the touch of materials. THey have become a new art form and the next phase of the history of books. Artists design, illustrate, print all by themselves, and perform the elements like text, image, paper, material and ink to the height of an artwork.

On November 3, the second day of “International Art Education Conference Art Museum Forum: Opportunities and Challenges of Art Museums in the Digital Age” was transferred to the conference hall of the Ovation Seven-Cultivation Hotel in Langfang. The discussion on that day started with “The Role of Art Museums in Making the Contemporary Art History” and “The Differences Between Public and University Art Museums in Art Education”.Session II: The Role of Art Museums in Making the Contemporary Art HistoryTime: 10:30-12:30, Saturday, November 3, 2018Venue: The Conference Hall of Ovation Seven-Cultivation Hotel in LangfangHost: Gao Gao, Assistant to Director, CAFA Art MuseumChairs of Forum: Zhang Zikang, Director of CAFA Art Museum                              Geoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of CambridgeGuests: John W. Smith, Adele Tan, Jiyoon Lee, Ji Shaofeng, Hang Jian, Li Xiaoshan, Wang Chunchen (list in the order of speech)1John W. Smith, Director of Museum of Rhode Island School of DesignJohn W. Smith, Director of Museum of Rhode Island School of Design, made a speech on “A Museum for Artists-Its Past and Future”. He combined with the background of Rhode Island School of Design and shared the experience of how the museum develops around teaching. Rhode Island was once the textile center and important jewelry industry with a long history in design. The 140-year-old Rhode Island School of Design still uses the ancient technique of copying as one of the means of art education, and the Museum of Rhode Island School of Design is the main site for students to copy famous paintings. The museum is closely related to the study and practice of students, as they are deeply involved in public education, exhibition curating and collection management.2Adele Tan, Senior Curator of National Gallery SingaporeAdele Tan, Senior Curator of National Gallery Singapore, spoke on “Making Space: the Digital World and the Art Museum”. Curator Chen is in charge of the museum’s collection and exhibition since the 1970s, as well as entrusted projects of contemporary works. She first talked about the development and reform of the National Gallery Singapore, including the influence of the two performance arts “32 Years: The Interrogation of a Mirror” and “Let’s Walk Together” on the museum and contemporary art in Singapore. Another major part of Curator Chen’s speech was the museum’s attempts based on the characteristics of the digital age, such as developing online exhibitions on mobile apps, exhibitions based on twitter, design exhibitions of pure electronic version that exists on the web, and digital interactive “social desktop” where exhibits can be viewed online. The National Gallery Singapore has tried to make use of digital technology to create many virtual exhibitions on the digital platform and made them become a beneficial supplement to the physical displays.3Jiyoon Lee, Former Managing Director at National Museum of Modern and Contemporary Art (MMCA), Korea; Director of SUUM Contemporary Art ProjectJiyoon Lee, Former Managing Director at MMCA, Korea and Director of SUUM Contemporary Art Project, gave a speech on “The Role of Curatorship in the Age of New Technology Art”. Based on her own experience in the construction and curation of the museum, Director Lee primarily introduced how to use new technology to intervene in this process. The MMCA, Korea has been trying to develop art based on new technologies. It receives the technical support from high-tech enterprises such as Hyundai Motor and Hyundai Engine – they incorporate technology into artistic creation and art exhibition to create more possibilities for the museum. At the same time, Director Lee also stressed to help the curators to obtain opportunities for multi-dimensional learning and practice, because curators are not only researchers but also project managers, creators and producers.4JI Shaofeng, Director of Hubei Museum of ArtJI Shaofeng, Director of Hubei Museum of Art, talked about “Collecting is Thinking: the Role of Art Museums in Contemporary Art History”.  Director Ji believes that collecting should be a forward-looking study and collection of works in line with and beyond the times, so as to preserve the most valuable thoughts through collecting. When these thoughts are implemented in art museums, they will play an active role in the development, construction and research of contemporary art history. In the study of modern art history, we should avoid the interference of power and the bondage of capital, construct the collection series of contemporary art history from the perspective of art history and promote the construction of contemporary art history with the collection.5 HANG Jian, Director-General of CAA Museum, China Academy of ArtHANG Jian, Director-General of CAA Museum, China Academy of Art, delivered a speech on “The History of Design and the Design Museum in China – A Process of Designing Democratic Value Discovery”. Director Hang first introduced the three parts constituting the art museum group of China Academy of Art: the Museum of Contemporary Art, China Design Museum and China Academy of Arts' Folk Art Museum. Among them, he highlighted the planning concept and the eye-catching exhibition of the China Design Museum that just opened on April 8 this year. Director Hang pointed out that the mission of the China Design Museum is to consider how to respond to the changes in society and science & technology. In today’s rapidly changing science and technology, compared with art museums, China Design Museum pays more attention to the relationship between technology and human life in the future development, as well as the impact of technology on human future.6Li Xiaoshan, Director of Art Museum of Nanjing University of the ArtLi Xiaoshan, Director of Art Museum of Nanjing University of the Art, spoke on the topic of “From the Art Museum of Nanjing University of the Art to See the Present Situation and Future of Efficient Art Museums in China”. After a brief introduction of the art museum, he put forward three problems: the boundary of the art museum, the standards and features of the art museum, and opportunities and challenges of art museums in the digital age, which are three topics that currently faced by many art museums and deserves pondering. Director Li believes that the discussion of the forum should not focus on the explanation of each museum but to go deep into the consideration of practical problems such as theoretical problem, conceptual problem, and standard features of managing art museums, and so on.7WANG Chunchen, Deputy Director of CAFA Art MuseumWANG Chunchen, Deputy Director of CAFA Art Museum, made a speech on the topic of “Art Museum and the Making of Art History”. Director Wang stated that art museums appeared with the birth of art history research and played a critical role in the making of art history. Art Museums should undertake the recording and studying of art history, rather than just turning museum space into places for public activities, even sites for recreation and capital consumption. At the end of his speech, Director Wang hopes that peers of art museums can clarify the responsibilities of the art museum and make today’s art museums regain their mission of constructing art history. When the speeches of the second session were finished, two chairs of forum discussed with speakers and on-site media on issues such as art museum and contemporary art, art museum’s role of making art history, the specialty of design and architecture museums, etc. For art museums and contemporary art, Geoffrey Ward pointed out that there is a paradox between art museums and contemporary art as some art museums become boxes for hanging paintings and this kind of simple arrangement is a common problem of modern art museums. Regarding the art museum and art history, Director Smith thinks that the more important work of curators is not to write the history of art but to build a narrative belonging to the institution itself. Successful curators can tell a grand story in low-cost and express the whole trend through a certain aspect. As for the particularity of design museums, Director Hang states that the mission of art exhibition is different from that of contemporary design exhibition. The former helps to observe objects in different chains of design history, technological and social development, while the latter points to the possibility of future life. In response to the media’s questions about the acceptance of architectural exhibitions, Director Lee said that the MMCA Korea has already paid attention to the importance of collecting architectural models and started planning the exhibition of architects. Last year, the Seoul Biennale of Architecture was held in Seoul, and more architectural exhibitions will be held in the art museum in the future. Director Hang said that when the China Design Museum just opened, it took one third of the exhibition space to make the first Asian architecture exhibition for Siza, and it tried to think about the development of Chinese architecture itself by sorting out the development history of important international architects along with the different possibilities of their works around the world.Session III: The Differences Between Public and University Art Museums in Art EducationTime: 14:00-18:00, Saturday, November 3, 2018Venue: The Conference Hall of Ovation Seven-Cultivation Hotel in LangfangHost: Wang Chunchen, Deputy Director of CAFA Art MuseumGuests: Uladzimir Prakaptso, Geoffrey Ward, Ernst Vegelin van Claerbergen, Caitlin Doherty, Zhou Xujun, Patricia Rodewald, Guillermo Solana, Cao Hong, Meng Xianwei, Han Haiyan (list in the order of speech)1Uladzimir Prakaptso, Chairman of Belarusian Art Society, Director of National Art Museum of the Republic of BelarusUladzimir Prakaptso, Chairman of Belarusian Art Society, Director of National Art Museum of the Republic of Belarus, started the forum with the topic of “Cultural Cooperation is an Integral Component of the Belarusian-Chinese Relations”. He briefly introduced the “The Belt and Road” cooperation between Belarus and China. Prakaptso believes Chinese art is very attractive to the National Art Museum of the Republic of Belarus and hopes to bring more works of Chinese artists into Belarus. He also mentioned that 2019 is the 80th anniversary of the establishment of the art museum, which he hopes to witness with the participating guests together.2Geoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of CambridgeGeoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of Cambridge, spoke on “The Differences between Public and University Art Museums”. Director Ward first described the differences between Western and Chinese museums. He mentioned that, in the context of his work, in addition to a strong artistic background and successful management experience, museum directors are required to have the ability to raise funds, extensive contacts and business planning capability, as well as enough confidence to deal with the relationship between the 800-year-old university and the young art museum. He also stated in detail the difficulties faced in Britain, such as the increasing involvement of the government in the management but the reluctance to provide financial support, and the fact that charity is often an essential resource of funding for museums. Ward concluded that the function of a university museum is to stimulate students’ interest in art while serving as a link connecting different social groups.3Ernst Vegelin van Claerbergen, Director of the Courtauld GalleryErnst Vegelin van Claerbergen, Director of the Courtauld Gallery, made a speech on “The Public Value of the University Art Museum”. He believes that the university art museum should be a cutting-edge existence, and instead of letting people learn what they already know, it should expand the public’s knowledge in this field and promote the democratization of knowledge. University art museums and museums are supposed to be confident in dealing with factors from different aspects. At the same time, he also raised doubts about using the number of visitors as the standard to evaluate an art museum. He believes that organizing a well-received exhibition by such a criterion might deprive the audience of opportunities to learn about other art forms.4Caitlin Doherty, Executive Director of Museum of Contemporary Art Jacksonville, University of North FloridaCaitlin Doherty, Executive Director of Museum of Contemporary Art Jacksonville, University of North Florida, gave a speech on “MOCA Jacksonville: A Bridge Between Campus and Community”. Director Doherty believes that art and culture are a driving force, not a mere superstructure, that should undertake more responsibility for the community. By introducing different exhibition planning projects, she elaborated the museum’s attempt to change students’ lives through education projects and stressed that in this respect, the art museum plays an increasingly significant role and will help more community members to accept art education.5ZHOU Xujun, Director of Minsheng Art Museum BeijngZHOU Xujun, Director of Minsheng Art Museum Beijng, made a speech on “Public Art Museum and Art Education for the Public: the Case of Minsheng Art Museum”. Director Zhou believes that in the information age when visual images are easily accessible, art museums’ role of public education is changing and are endowed with the function of “knowledge production” and “social intercourse space”. As a model of private Chinese contemporary art museum, the three-year-old Minsheng Art Museum Beijing attaches great importance to public education, adhere to the idea of “equality and openness” and emphasize the connection with the urban public. From five keywords of “exhibition”, “children”, “cross-field”, “theory” and “public”, the museum designs and builds brand public education activities, making the art museum a cultural exchange platform for multiple services and constantly inject new cultural energy for the city.6Patricia Rodewald, Senior Advisor for Global Programs (China) of American Alliance of MuseumsPatricia Rodewald, Senior Advisor for Global Programs (China) of American Alliance of Museums, talked about “Artificial Intelligence and Interpretation: Engaging Audiences in New Ways”. Rodewald said that she and her team serve non-professionals and hope to encourage this kind of group to appreciate and explore artworks at close range. For that reason, they actively exploit different ways of interacting with the audience from traditional museums, such as developing some AI technologies to help the viewer conduct a direct dialogue with the collection, as it will be a very meaningful experience for the audience.7Guillermo Solana, Artistic Director of Museo Thyssen-BornemiszaGuillermo Solana, Artistic Director of Museo Thyssen-Bornemisza, gave a speech about “Artists’ Workshops as an Educational Tool: The Case of the Thyssen Museum, Madrid, Spain”. In his talk, he said that early European museums were important places for educating artists, but now, the relationship between art museums and contemporary artists becomes alienated. He has been considering the relationship between artists and art museums, and how to make the public re-recognize this relationship. Based on this thought, the art museum holds an in-depth exhibition of contemporary artists every year. Apart from guiding visitors to appreciate works, artists also invite them to participate in the exhibition so that visitors can understand the creation process of contemporary artists and the production process of works in the museum.8CAO Hong, Deputy Director of Arthur M. Sackler Museum of Art and Archeology at Peking UniversityCAO Hong, Deputy Director of Arthur M. Sackler Museum of Art and Archeology at Peking University, delivered a speech entitled “The Role of University Art Museum in the Higher Education of Arts: A Case of Arthur M. Sackler Museum at Peking University”. Director Cao introduced the museum’s three types of exhibitions: exhibitions showing the newest archaeological discoveries and scientific research results, art exhibitions emphasizing a dialogue between ancient and modern times, innovative exhibitions planned and made by students. These kinds of exhibitions aim to develop a relationship with the students using the collection and offer them maximum privileges to engage in the collection sorting and studying.9MENG Xianwei, Founder of "Qingdao Artists' Garden" Project, Director-general of Qingdao Museum of Contemporary ArtMENG Xianwei, Founder of "Qingdao Artists' Garden" Project, Director-general of Qingdao Museum of Contemporary Art, spoke on the topic of “Construction and Ecology Establishment of Qingdao Museum of Contemporary Art”. In his speech, Meng stated the design concept and plan of the art museum – an art museum that is closely related to art and life. As a cultural facility of the city, he expects the art museum can make contributions to nature and community, and thus integrate into the natural environment.10HAN Haiyan, Deputy Director of Langfang Gallery of CAFA Art MuseumHAN Haiyan, Deputy Director of Langfang Gallery of CAFA Art Museum, gave a speech on “Come-in Visitors, Go-out Art Museums - Unlimited Growing Public Education”. Director Han introduced the specific circumstance of the project of the “International Cultural Exchange Center of the Silk Road” in Langfang, followed by a series of art education projects launched to promote the connection between art and the public. She also analyzed the challenges the museum may face in its future operation.After the keynote speeches finished, two chairs of forum exchanged opinions with speakers and on-site guests on issues such as using the number of visitors as the standard to evaluate an art museum. James Bradburne said that with different aims and missions, art museums do need to have some conventional measuring factors as the standard of assessing an art museum but the number of visitors does not mean anything, and it probably makes more sense to give a more detailed analysis, like to analyze how many visitors are repeat visitors or first-time visitors and what is the proportion of young people or children. Director Doherty believes that exhibition space should be a place for experimentation so that the art museum should go back to explore more demands and possibilities of visitors beyond the statistical framework. Director Zhang Zikang stated that the quality and quantity of the audience should be taken into consideration to promote good exhibitions and valuable arts.At this point, the two-day “International Art Education Conference Art Museum Forum: Opportunities and Challenges for Art Museums in the Digital Age” ended completely. However, art museum practitioners will continue to question and think about issues of current value and future development of art museums as well as how should today’s art museums respond to the changes of the times. The answer is open and dynamic, which requires more diversified art museum practices to inspire new creativity and imagination space.

On the afternoon of November 2, 2018, the International Art Education Conference Art Museum Forum is held in the auditorium of CAFA Art Museum. As a sub-forum of this Education Conference, CAFA Art Museum takes “Opportunities and Challenges of Art museums in the Digital Age” …

On September 8, a special forum was held in the gallery of the research exhibition of “The Land of Country Remade – New Chinese Painting Movement in the 1950s-60s”. This forum focuses on academic exchange and discussion within the same industry and is open to only a few professional media. It is the first time for CAFA Art Museum to direct this kind of symposium, by which curator Wang Chunchen hopes to make academic discussion “more relaxed, free or more real”, and also to dig deeper and find the blind spots in previous studies.