Awakening in Colors -- 2026 CAFA Graduation Season

  • Dates:2026-04-29 - 2026-06-22
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April 30, Witness "Awakening In Colors" Together | 2026 CAFA Graduation Season Is Coming Soon!

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2026 CAFA Graduation SeasonSet to kick off on April 30The "Postgraduate Graduation Exhibition" will be held simultaneously570 master's and doctoral graduates participatingOver a thousand works gathered on campusLeap into vibrancyEmbark on a new journeyStay tunedChief Editor / He YishaEditor / Du Yinzhu
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The Reservation Channel for 2026 CAFA Graduation Season Opens Today

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The annual grand event of CAFA—the 2026 CAFA Graduation Season—will kick off on April 30, with the Postgraduate Graduation Exhibition opening concurrently. This exhibition features 570 master’s and doctoral graduates, presenting over a thousand artworks displayed across the CAFA Art Museum. We warmly welcome all visitors to experience this year’s graduates’ theme of "Vibrant Coexistence" in person.On April 23, the online reservation and ticket purchase channel for the 2026 CAFA Graduation Season officially opened, with reservations available up to 7 days in advance. Visitors may book tickets via the CAFA Art Museum mini-program, official WeChat account or official website (please refer to the official website for ticketing instructions). Daily visiting quotas are limited and will close once fully booked. During the Graduation Season, the museum will remain open as usual on Mondays.Real-name reservation with valid identification is required. Each person may only make one reservation per day. After successful booking, visitors shall arrive at the museum at their reserved time. Throughout the Graduation Season, admission is available by swiping valid documents such as ID cards at the dedicated ticketing entrance on the north gate of the Central Academy of Fine Arts.Editor-in-Chief / He YishaEditor / Du Yinzhu
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Sneak Peek of The CAFA Graduation Season! Come Take A Look?

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● ●●●●When art intertwines with CAFA, colors come to life. The 2026 CAFA Graduation Season is around the corner, and a visual feast themed “awakening in colors" is quietly taking shape. Every artwork by CAFA students speaks to the vitality of art. From monochrome to rich hues, from static to dynamic, and from observation to interaction, the evolving journey of artistic creation is fully presented.With fewer than 48 hours to go before the official opening of the CAFA Postgraduate Graduation Exhibition, follow our lens to the exhibition venue and catch an exclusive sneak peek of the final installation preparations.On April 30th, countless colors converge and coexist, and diverse youthful spirits unite to generate vibrant energy, blooming fully across the campus of the Central Academy of Fine Arts. More surprises await your personal discovery!The online ticket reservation channel for the 2026 CAFA Graduation Season is now open. Visitors can make reservations and purchase tickets via the Art Museum Mini Program, official WeChat account or official website of the Central Academy of Fine Arts (please refer to the official website for detailed ticket purchase instructions). Reservations can be made up to 7 days in advance. Daily visiting quotas are limited and will close once fully booked. The art museum will open as usual on Mondays during the graduation season.Real-name reservation with valid identification documents is required. Each person is limited to one reservation per day, and visitors shall arrive at the museum at the reserved time after successful reservation. During the graduation season, visitors can enter the museum by verifying their identity cards and other valid documents at the dedicated ticket checking passage at the north gate of the Central Academy of Fine Arts.主编 / 何一沙 责编 / 杜隐珠部分图片来源:小红书博主 脸脸
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Must-visit for May Day! Over 1,000 artworks at the CAFA Postgraduate Graduation Exhibition interpret the theme of "Awakening in Colors"

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The annual major art event — the 2026 CAFA Graduation Season — kicked off on April 30, with the highly anticipated first phase, the Graduate Graduation Exhibition, opening concurrently. Bringing together over 1,000 elaborate works by 570 master’s and doctoral graduates, the exhibition presents a comprehensive and multi-dimensional showcase across the museum’s galleries. It features graduate creations from the School of Chinese Painting, Department of Oil Painting, Department of Printmaking, Department of Mural Painting, Department of Sculpture, Foundation Department of Fine Arts, School of Calligraphy, School of Experimental and Technological Art, School of Design, School of Cultural Heritage Conservation, Institute of Aesthetic Education, and School of Humanities.This is not only a youthful ritual bidding farewell to campus life, but also a demonstration of contemporary young artistic vitality under the new theme of "Awakening in Colors". We welcome all visitors to immerse themselves in the exhibition and experience the pioneering voices of these emerging artists as they embrace transformation and new beginnings.
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CAFAM Public Recruitment | Awakening in Colors · Ageless Art: Public Education Series

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注:1. 工作坊全程免费参与。2. 请报名成功的公众于活动当天准时在美术馆4层公教空间集合并签到。3.活动最终解释权归中央美术学院美术馆所有。Editor-in-Chief / He YishaEditor / Du Yinzhu
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CAFAM Live Preview | Yao Qian Visits the 2026 CAFA Graduation Season — Inviting You to Listen to the Voice of Art

2026-05-11

As the 2026 CAFA Graduation Season is in full swing,CAFAM Art+ launches a brand-new series of live streams.Break the boundaries of space with us,and delve into the creative scene and ideological core of the CAFA Graduation Exhibition.May 12th (Tuesday), 15:00Our museum invites renowned musician and art collector Yao Qianas our guest speaker for the live broadcast,to listen closely to the voice of art together.Follow the official account @CAFA Art MuseumWe look forward to your presenceEditor-in-Chief / He YishaEditor / Du Yinzhu
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At CAFA: Witness how this year’s graduates express the resilience of life

2026-05-11

The very first creation of life comes from a mother. When art becomes a gentle reply to the origin of life, a group of young creators take breaking through limitations, thriving upward, and the flow of life energy as their core theme, unfolding an artistic narrative at a leisurely pace. Using painting, sculpture and video as their mediums, they construct a dialogue about the journey of life, condensing the grand themes of life — germination, transformation and resilience — into visual poetry. In this lush, flourishing season, they compose for the audience an emotional map rooted in love, one that invites us to explore the power of life.01\Gentle Armor1                                                    Work Title: SlowlyArtist: Peng YanDimensions: 150cm × 200cmMedium: Mixed MediaA mother holds her swaddled infant in her arms, her hands forming an unshakable cradle. The naive baby instinctively stretches out toward the mother, eager to touch her face. In accompanying a new life through growth, every mother inevitably makes sacrifices and loses a part of herself. For this work, the artist tore up and burned delicate, romantic floral and foliage motifs — some hand-painted by her own mother — before reconstructing them via collage. Layers of rice paper are stacked upon one another. The ink washes, pigment permeation and natural creases of each layer embody the accumulation of years, bearing witness to the passage of time with its joys and wounds alike. The figure is defined by bold outlines and angular solid forms. What rests upon the mother’s shoulders is both a set of shackles and a suit of armor. As time settles and shattered fragments reunite, a stronger, more resilient inner strength emerges — gentle as it has always been, yet utterly unbreakable.02\Spiritual Homeland2                                                                                         Title: Imprints of LifeArtist: Zhou JianpingMedium: Oil on CanvasCentered on the existential state of contemporary people as its emotional core, the work explores the fading of memory, the bond between humanity and land, and the symbiotic relationship between spirit and flesh. Instead of deliberately dramatizing grand narratives, the piece captures the overlooked poetry of everyday life within a hazy, gentle atmosphere — those certain, genuine fragments of human emotion hidden in ordinary scenes. The painting integrates regional features from diverse locales, interweaving traces of daily existence with the warmth of life. Amid subdued, settled emotions, it completes the narration and expression of the innate poetry of life itself.03\Echoes of Nature3                                                                                Work Title: Circulation of All ThingsArtist: Hu MinxuanMaterials: Black pottery, wood, iron, carbon, earthDriven by personal experience, firsthand observation and long-standing attention, the artist has long been deeply moved by scenes of mothers holding or carrying their children in swaddling slings. She marvels at the miracle of life and the extraordinary craftsmanship of nature. Moreover, human beings, as living creatures, are themselves children of nature, bound closely and inseparably to it. The philosophical idea that “I am integrated with all living things” has profoundly influenced her creative outlook. Her works therefore revolve around gestation, the origin of life, and the relationship between humanity and nature. She creates with the most primitive, ancient and natural materials, incorporating her long-term reflections on multi-layered space, passageways, the dialectics of life and death, and the connection to nature in contemplating the essence of all things. Titled Circulation of All Things, the work implies that all existence in nature moves in endless cycles, much like the rotation of the seasons and the rising and setting of the sun, forever shifting and flowing. In her creation, no clear boundaries divide humans, animals and plants. Instead, there is a pervasive sensory unity of “all things being one with myself”. The work conveys that every life follows the same path: from gestation and birth, through growth and prosperity, to decline and passing away. All return to their origin, lying dormant like nature resting in winter, before emerging anew from emptiness into being, repeating the eternal cycle. In this way, the artist expresses her understanding of, and reverence for, life itself.04\Warmth Outside the Window4                                                                                               Work Titles: Overlooking the Wilderness, Crossing Thorns, Forest TrailAuthor: Cheng ShuyanWork Size: 120cm×80cm (three pieces in total)Materials: Mineral pigments, silver foil, quartz sand, acrylic, watercolor, gesso创作开始的契机是窗。曾经提笔茫然、思绪放空时,我总爱望向窗外,观察窗户的结构,窗户本就是天然画框,作者以回忆、当下与幻想为线索,用自身成长的时间线,牵起老家与北京的羁绊。儿时在北京求学,爷爷奶奶的相伴,让异乡也成了故乡。长大后小狗Tiger闯入我的生活,平时总是用速写记录下它嬉戏、安睡的模样;现在画画时一群鹦鹉总是陪着我,为生活增添了许多温柔趣事。以窗为喻,思考束缚与枷锁,并幻想不在身边的他们此时此刻是否安然无恙。作者偏爱平面形式的画面,打破常规透视、弱化形体体积,只想还原生活本来的朴实与真诚。画画如同写作,先触动自己的内心,才能与观众产生共鸣。每个人心里都有最珍贵的人与物,而作者想做的,就是想用这份质朴温暖的力量来抚平生活中的刺。The window is where my creative journey began. In moments of creative blankness and wandering thoughts, I would always gaze outside. Observing the structure of a window, I came to see it is naturally an inborn picture frame. Taking memory, the present and fantasy as the thread, I trace my own growth timeline to weave the emotional bond between my hometown and Beijing. I studied in Beijing as a child. Accompanied by my grandparents, this foreign city felt like home. Later in life, my little dog Tiger came into my days. I often sketched him at play and at rest. Now as I paint, a flock of parrots keep me company, bringing countless gentle and lovely moments to life. Using the window as a metaphor, I reflect on confinement and inner shackles, wondering whether those who are far away are safe and well at this very moment. I am fond of the flat pictorial style, breaking traditional perspective and weakening volume and form, seeking only to restore the simplicity and sincerity of life as it truly is. Painting is like writing: it must first touch my own heart before it can resonate with the audience. Everyone holds precious people and things deep inside. What I hope to do is use this plain, warm power to soothe the thorns and hardships in life.05\Sweet Mask5                                                 Work Title: All Living Beings Are SweetArtist: Tan MeilinSize: 200cm × 200cm × 260cmMaterials: Sugar, iron frame, mirror surfaceThe artist cast ninety-six faces with syrup. Bright and alluring at first, they exude the sweetness of candy, drawing viewers near. Yet this is only the beginning. Over time, the sugar faces absorb moisture, gather dust, grow moldy, and eventually melt and break apart. This decay is not damage; it is the very essence of the work, laying bare the truth that all beautiful things drift toward demise. Neither youth nor human relationships can escape the passage of time. Beneath the surface lies a deeper metaphor of consumption. When we bite into and swallow the faces of others, we partake in a symbolic game of occupation and depletion, erasing the otherness of fellow beings. This provokes profound questions about existence and destiny: Do you truly affirm your own existence? Have you ever tasted the life of another? The work presents the entire process from wholeness to decay. It evokes no mere fear, but rather an affirmation of being. It is not about heroes, but about each of us — how we are seen, savored, and forgotten, until we finally taste the full flavor of this candy called life.Reservation Channel\2026中央美院毕业季线上预约购票通道开启,观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票(购票说明详见官网)。最早可提前7天预约。每日观展名额限量约满为止,毕业季期间美术馆周一正常开放。预约时需使用有效证件进行实名预约,每人当天只能预约一次,预约成功后,观众按预约时间到场。毕业季期间,在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。Chief Editor / He YishaResponsible Editor / Du YinzhuEditor / Zhang NiPhotographer / Sun Xiaomeng
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总有一件作品,可以震撼你 | “央美研究生毕业展”倒计时

2026-05-13

2026“中央美院研究生毕业展”即将接近尾声,美术馆再次成为目光与思想的激荡之地。这些毕业生作品不只是创意与技艺的展现,更是年轻灵魂深处的情感、追问与呐喊。它们之中,有表现农村空巢老人的生存困境,有用泥土封存支教记忆的深情雕塑,有将古画与AI图像“串线”重构的视觉迷宫;有揭示“规训之巢”温柔束缚的冷静装置,也有邀请观众共绘、如《瀑布》流动的轻松场域;更有对艺术生产机制本身提出犀利质疑的机器与砖块……这些作品面貌迥异,却共同指向了这个时代创作的核心命题:在技术迭代、信息混杂的当下,艺术何为?情感与真实居于何处?我们邀你进入这些年轻艺术家的世界,感受那份专属于央美学子的思考与温度。01为灰暗“赋”形《吊五人赋》徐圣伦  尺寸:300×150×270cm材料:树脂、角铁、方钢、砖雕塑系“吊”,既指作品悬垂的视觉状态,亦含“吊唁”之深沉悲悯。“五人”,是五位选择自我终结的山村老人。“赋”,是那种试图以巨细靡遗的笔触去铺陈、去穷尽的古老文体。这件作品的诞生,源于作者数次下乡考察时,目光对“光鲜世界”之外的持久凝视。一对老夫妇的故事成为关键的触点:家徒四壁的屋里,盛着儿子死亡、儿子伤残、儿媳重病、自身绝症的多重厄运,而他们对这些苦难“沉默无言”,使人感到一种无解的沉重。于是,作者决定用雕塑为他们,也为一种普遍的生存状态“赋”形。他并非单纯呈现悲惨,而是试图通过人物形态的塑造,凝聚成一种直抵人心的力量,让观者看见、记住并思考那些常被忽略的“灰暗”。作品被明确赋予了宣传与介入现实的功能——旁边的麦穗(周边产品)永久发售,所有收益将全部赠送给困苦中的人,使艺术从表达延伸为行动。用泥土封存时光02《支教记忆 我与我们》滕修毅450×50×200cm玻璃钢、丙烯、影像雕塑系“支教这一年,是我终生难忘的事。”这组以剑川学子与支教团员为原型的雕塑,并不追求夸张的形式,却因背后的故事而显得沉甸甸。作者是央美研究生支教团的一员,他用泥土,一寸一寸地捏出了那些孩子的面孔、同伴的笑容,也捏进了自己那一年的青春、感动与牵挂。“如何会火?如何有深度?”他曾犹豫。最终,导师的话点醒了他:“做你自己的真情实感。”于是,这组作品成为一段时光的纪念碑——献给远方那群长大中的少年,也献给曾经并肩的挚友。雕塑旁循环播放的纪录片《筑梦剑川,共赴山海》,让泥土中的情感,有了声音与温度。03图像“串线”叙事《串线Crosswired 》杜道通 绘画装置 524x427x160cm 实验艺术与科技艺术学院这件作品并不试图发展新的绘画技法,而更像一个图像互相借体的现场。古画、神话、动漫、CNC绘画、转印与AI图像被组织在同一结构中,不再保持各自稳定的身份,而是在彼此占用、误接、替换与串线的关系中继续存在。作品最上方两幅画源自一个以“某个人物一天”为起点的虚构叙事,这一原本可能按时间展开的结构被切分并转译为既连续又断裂的图像表面,构成观看的入口,但这种叙事很快在下方被打断。人物装置背后隐藏的AI替身通过缝隙向前观看,使观看从单向转为回看。观众在观看作品的同时,也被作品内部的“替身”所反向指认。由此,作品所关注的并非一个完整的图像叙述,而是图像在失去原有归属之后,如何通过借体、误接、替身与回看的方式继续生成,并在一种不干净但持续运作的关系中存在。“规训”中看见自己04《规训之巢》 陈鸣 2026年材料:大语言模型 Esp32 热敏打印机 热敏打印纸 铝型材 木材常规认知里,巢是栖息地、安全感、港湾;但反向思考,巢本身就是固定结构、封闭边界、不可随意突破的牢笼。社会的秩序、大众的期待、既定的人生模板、统一的审美标准,都是无形的规训力量。二者结合,就是想表达:我们赖以生存的安稳环境,同时也是困住自我、限制想象力和独特性的巢穴,温柔的外壳下,是无声的束缚。在《规训之巢》里,我们人人皆是双面的:内心永远住着渴望被理解、被包容的小孩,却又常常不自觉地化身规训者,用期待和控制束缚身边的人。太强的占有欲、过度的干涉,都会悄悄困住彼此。愿我们都学会收敛掌控欲,给身边人留一点呼吸的空间,温柔相处。《瀑布》刘书言材质:传送带、蜡笔尺寸:100cm*100cm*400cm研究方向:传统雕塑语言的当代运用研究《瀑布》以传送带为基底,蜡笔为媒介,邀请每一位观众留下随性的涂画痕迹,重现儿时在墙面、桌角偷偷涂抹的轻松与自在。画面如泉水般缓缓流动,在时间的叠合中循环往复,不断生成变幻的图景。作品由艺术家与观者共同完成,痕迹交叠、流转不息。当创作被“批量制造”06什么使我们的今天变得如此相同艾格格半自动艺术压制机: 170cmx70x90cm 布展尺寸: 750cmx300cm 机械设备、红砖、试卷、等综合材料如果有一台机器能自动生产“艺术品”,艺术家只需提出观念,然后坐享其成——这是解放,还是讽刺?作者真的做了这样一台机器,并让它运行了一段时间,批量产出“艺术”。在当下看,这似乎与⼆⼗世纪五⼗年代的波普艺术有着千丝万缕的联系。但很快,她感到了厌恶。于是,她把机器生产的“作品”与108个当代艺术常见符号,一起用砖块固化,带到展厅,借由砖块思考:什么使我们的今天变得如此相同?预约通道2026中央美院毕业季线上预约购票通道开启,观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票(购票说明详见官网)。最早可提前7天预约。每日观展名额限量约满为止,毕业季期间美术馆周一正常开放。预约时需使用有效证件进行实名预约,每人当天只能预约一次,预约成功后,观众按预约时间到场。毕业季期间,在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。主编 / 何一沙责编  / 杜隐珠编辑 / 张妮拍摄 / 孙霄萌
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Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Event Booking Form

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

Reminder:

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