Rediscovering Long March through Art in a New Era

  • Dates:2021-10-22 - 2021-10-29
  • Opening:
  • Organizer(s): Central Academy of Fine Arts
  • Undertaker: CAFA Oil Painting Department Foundation Program at the School of Fine Arts, CAFA CAFA Art Museum
  • Chief Planner: Fan Di'an
  • Curator: Zhang Lujiang Bai Xiaogang
  • Curatorial Executive: Zhang Han
  • Exhibition Director: Xu Zilong
  • Visual Designer: Zhang Zehong Li Feng

Details

In order to commemorate the 80th anniversary of the victory of the Long March of the Chinese Workers’ and Peasants’ Red Army, and to continue the "Long March Spirit", in September 2016, the Central Academy of Fine Arts organized various departments and majors to revisit the Long March based on their own professional characteristics. According to the different professional characteristics, participants from the various disciplines went deep into life and collected materials at different places along the Long March, completed art works in multiple forms, and had the works exhibited at the National Art Museum of China in October 2016. The Central Academy of Fine Arts, as a century-old education institution, enjoys many theme creations that represent the themes of the Red Army's Long March, including "Prosperous Years" by Lin Gang and Pang Tao, and "Red Army Crossing the Grassland" by Dong Xiwen. These works have become a historical mark that witnesses those prosperous years.You Qinhuang, Oil on canvas, 60x90cm, 2021.8In September 2016, Professor Zhang Lujiang, then Deputy Dean of the School of Plastic Arts of the Central Academy of Fine Arts and Director of the Foundation Program, led the team to use "Red Army Recipe" as the creative idea to complete one hundred oil paintings. "Red Army Recipe" is named as "recipe," but it depicts "a hundred inedible foods". The food eaten by the soldiers on the Long March has been transformed into a portrayal of the "Red Army Spirit" during the hard years. The drawing was completed by both teachers and students of CAFA, which formed a new way combining teaching and on-site creation. This was unprecedented in the teaching tradition of the Central Academy of Fine Arts.Su Hang, Oil on canvas, 60x90cm, 2021.8Understanding the development of the times and embracing the trend of the times are the tradition and theme of the teaching and creation of the Central Academy of Fine Arts. In 2021, when China has finished building a moderately prosperous society in all respects, and when it comes the centenary of the founding of  the Chinese Communist Party, the Central Academy of Fine Arts and CCTV jointly made a 5-episode documentary-“Themed Art Creation in a New Era: Red Army Recipe, Heritage of the Spirit" which consists hundreds of oil paintings, inspired by the creation of then “Recipe Army Recipe” and China’s entering of the New Era. In July 29th 2021, a team led by Professor Zhang Lujiang, Director of the Oil Painting Department, Professor Bai Xiaogang, Director of the Foundation Program at the School of Fine Arts, and Zhang Han and Zhang Di, teachers at the Foundation Program, as well as 15 selected students from various majors, went on the trip to Qiuji Village and Baxi Village of  Zoige County and Mao County of Ngawa Tibetan and Qiang Autonomous Prefecture in Sichuan Province to create oil paintings and shoot the documentary.Qiao Shuyan, Oil on canvas, 60x90cm, 2021.8“New Era Recipe” interprets the life style of people in the new era from four dimensions:1) The power of development. From the perspective of Internet of Things, it shows the convenience that the Internet era has brought to the lives of people in China. Inspired by the lifestyle in the era of Internet, of "making good and convenient use of non-local resources", it shows the achievements of the Internet in promoting a better-off life.2) The power of diligence. It is reflected in the rich material life brought about by mass modernized production. Especially the prosperity of the new era reflected in the food processing and food transportation methods is a portrayal of the people's continuous hard work towards a new life.3) The beauty of ordinary life. It shows a peaceful well-off life, with ordinary daily narratives reflecting the cornerstone of the vigorous development of the current era.4) The joy of harvest. It is reflected in the real happiness brought to the people by the harvest. The above four dimensions guide students to explore creative content from history and life, and guide this new era themed creative class through four creative methods of "re-expectation", "re-interpretation", "re-experience" and "re-expression".Li Tianyuan, Oil on canvas, 60x90cm, 2021.8This teaching is characterized by walking into the scene of history and the times, with the goal of cultivating a new generation of young people. The 15 students of the creation team came from oil painting, printmaking, mural painting, sculpture, modeling basics and other majors. From different perspectives such as narration, performance, and reconstruction, they completed the creation by combining artistic forms and themes. This teaching also aims to cultivate students’ understanding towards the society and life by cutting in from small details. Wan Jingyan, Oil on canvas, 60x90cm, 2021.8As a recount of teaching in CAFA, the exhibition has three major characteristics:Combined the students’ personal experience and personality with the contemporary context, also with the basic painting techniques gained in school exercises, and with different art forms, to guide students into the “school of society”.  In this process, young students started their re-thinking. For example, Qiao Shuyan said,“Each era has a unique way of artistic expression. The Central Academy of Fine Arts, a school with a century of history, has seen the development of the times in different historical periods. The elder generations understood the issues of the times deeply and formed a historical picture of the century-old development of Chinese art. This new era themed creation class organized by CAFA led me into the real life and to observe the great changes in social life along the path of Long March in the new era. Through this course, I found the methodology that applies to the art creation in the current era.” Shan Yuhan said, “When I create my works, I break away from the feelings of real life from time to time and enter an imaginary creative context. However, this course made me feel that “art comes from the real life'. Art should be honest and sincere, thus can touch the soul of audience. Also this time I spent days and nights with the teachers and classmates, our communication made me grow a lot, which is undoubtedly an unforgettable experience in my university life.”Xie Jiachen, Oil on canvas, 60x90cm, 2021.82. Broke the management boundaries between departments. Formed project creation team with outstanding students from different grades and departments to complete the art works. This reflects the complementarity and advantages of various disciplines and helps students to know more about each department. Xu Gaoyuan, Oil on canvas, 60x90cm, 2021.83. Showed the contemporary responsibility of the Central Academy of Fine Arts. Cultivating artists for people, is the target and responsibility of the CAFA. The "Great Love" is about loving the motherland and the people; the "Great Art" is about telling the story of the Party, the country and the people with art. The highlight of the century-old art education is to cultivate a new generation of artistic talents with independent thoughts, passion, cultural responsibility, and original artistic aspirations. This is also the main theme and fundamental goal of this creative tour.Ceng Hongji, Oil on canvas, 60x90cm, 2021.8This exhibition will consist of one hundred "Red Army Recipe" and one hundred "New Era Recipe" art works. This kind of exhibition creates a new context: It not only reflects an idea that all the achievements of the new era are the historical result from the sacrifice of generations of revolutionaries, but also shows a prosperous, harmonious, democratic, and thriving contemporary social spirit. You Qinhuang, Oil on canvas, 60x90cm, 2021.8

In order to commemorate the 80th anniversary of the victory of the Long March of the Chinese Workers’ and Peasants’ Red Army, and to continue the "Long March Spirit", in September 2016, the Central Academy of Fine Arts organized various departments and majors to revisit the Long March based on their own professional characteristics. According to the different professional characteristics, participants from the various disciplines went deep into life and collected materials at different places along the Long March, completed art works in multiple forms, and had the works exhibited at the National Art Museum of China in October 2016. The Central Academy of Fine Arts, as a century-old education institution, enjoys many theme creations that represent the themes of the Red Army's Long March, including "Prosperous Years" by Lin Gang and Pang Tao, and "Red Army Crossing the Grassland" by Dong Xiwen. These works have become a historical mark that witnesses those prosperous years.

https://static.cafamuseum.org/museum-image/image/202110/sy_1634883039511014.png

You Qinhuang, Oil on canvas, 60x90cm, 2021.8

In September 2016, Professor Zhang Lujiang, then Deputy Dean of the School of Plastic Arts of the Central Academy of Fine Arts and Director of the Foundation Program, led the team to use "Red Army Recipe" as the creative idea to complete one hundred oil paintings. "Red Army Recipe" is named as "recipe," but it depicts "a hundred inedible foods". The food eaten by the soldiers on the Long March has been transformed into a portrayal of the "Red Army Spirit" during the hard years. The drawing was completed by both teachers and students of CAFA, which formed a new way combining teaching and on-site creation. This was unprecedented in the teaching tradition of the Central Academy of Fine Arts.

https://static.cafamuseum.org/museum-image/image/202110/sy_1634883186473453.png

Su Hang, Oil on canvas, 60x90cm, 2021.8

Understanding the development of the times and embracing the trend of the times are the tradition and theme of the teaching and creation of the Central Academy of Fine Arts. In 2021, when China has finished building a moderately prosperous society in all respects, and when it comes the centenary of the founding of  the Chinese Communist Party, the Central Academy of Fine Arts and CCTV jointly made a 5-episode documentary-“Themed Art Creation in a New Era: Red Army Recipe, Heritage of the Spirit" which consists hundreds of oil paintings, inspired by the creation of then “Recipe Army Recipe” and China’s entering of the New Era. In July 29th 2021, a team led by Professor Zhang Lujiang, Director of the Oil Painting Department, Professor Bai Xiaogang, Director of the Foundation Program at the School of Fine Arts, and Zhang Han and Zhang Di, teachers at the Foundation Program, as well as 15 selected students from various majors, went on the trip to Qiuji Village and Baxi Village of  Zoige County and Mao County of Ngawa Tibetan and Qiang Autonomous Prefecture in Sichuan Province to create oil paintings and shoot the documentary.

https://static.cafamuseum.org/museum-image/image/202110/sy_1634883237593085.png

Qiao Shuyan, Oil on canvas, 60x90cm, 2021.8

“New Era Recipe” interprets the life style of people in the new era from four dimensions:

1) The power of development. From the perspective of Internet of Things, it shows the convenience that the Internet era has brought to the lives of people in China. Inspired by the lifestyle in the era of Internet, of "making good and convenient use of non-local resources", it shows the achievements of the Internet in promoting a better-off life.

2) The power of diligence. It is reflected in the rich material life brought about by mass modernized production. Especially the prosperity of the new era reflected in the food processing and food transportation methods is a portrayal of the people's continuous hard work towards a new life.

3) The beauty of ordinary life. It shows a peaceful well-off life, with ordinary daily narratives reflecting the cornerstone of the vigorous development of the current era.

4) The joy of harvest. It is reflected in the real happiness brought to the people by the harvest. 

The above four dimensions guide students to explore creative content from history and life, and guide this new era themed creative class through four creative methods of "re-expectation", "re-interpretation", "re-experience" and "re-expression".

https://static.cafamuseum.org/museum-image/image/202110/sy_1634883405127846.png

Li Tianyuan, Oil on canvas, 60x90cm, 2021.8

This teaching is characterized by walking into the scene of history and the times, with the goal of cultivating a new generation of young people. The 15 students of the creation team came from oil painting, printmaking, mural painting, sculpture, modeling basics and other majors. From different perspectives such as narration, performance, and reconstruction, they completed the creation by combining artistic forms and themes. This teaching also aims to cultivate students’ understanding towards the society and life by cutting in from small details. 

https://static.cafamuseum.org/museum-image/image/202110/sy_1634883472988684.png

Wan Jingyan, Oil on canvas, 60x90cm, 2021.8

As a recount of teaching in CAFA, the exhibition has three major characteristics:

Combined the students’ personal experience and personality with the contemporary context, also with the basic painting techniques gained in school exercises, and with different art forms, to guide students into the “school of society”.  In this process, young students started their re-thinking. For example, Qiao Shuyan said,“Each era has a unique way of artistic expression. The Central Academy of Fine Arts, a school with a century of history, has seen the development of the times in different historical periods. The elder generations understood the issues of the times deeply and formed a historical picture of the century-old development of Chinese art. This new era themed creation class organized by CAFA led me into the real life and to observe the great changes in social life along the path of Long March in the new era. Through this course, I found the methodology that applies to the art creation in the current era.” Shan Yuhan said, “When I create my works, I break away from the feelings of real life from time to time and enter an imaginary creative context. However, this course made me feel that “art comes from the real life'. Art should be honest and sincere, thus can touch the soul of audience. Also this time I spent days and nights with the teachers and classmates, our communication made me grow a lot, which is undoubtedly an unforgettable experience in my university life.”

https://static.cafamuseum.org/museum-image/image/202110/sy_1634883547509996.png

Xie Jiachen, Oil on canvas, 60x90cm, 2021.8

2. Broke the management boundaries between departments. Formed project creation team with outstanding students from different grades and departments to complete the art works. This reflects the complementarity and advantages of various disciplines and helps students to know more about each department. 

https://static.cafamuseum.org/museum-image/image/202110/sy_1634883631433339.png

Xu Gaoyuan, Oil on canvas, 60x90cm, 2021.8

3. Showed the contemporary responsibility of the Central Academy of Fine Arts. Cultivating artists for people, is the target and responsibility of the CAFA. The "Great Love" is about loving the motherland and the people; the "Great Art" is about telling the story of the Party, the country and the people with art. The highlight of the century-old art education is to cultivate a new generation of artistic talents with independent thoughts, passion, cultural responsibility, and original artistic aspirations. This is also the main theme and fundamental goal of this creative tour.

https://static.cafamuseum.org/museum-image/image/202110/sy_1634883701267710.png

Ceng Hongji, Oil on canvas, 60x90cm, 2021.8

This exhibition will consist of one hundred "Red Army Recipe" and one hundred "New Era Recipe" art works. This kind of exhibition creates a new context: It not only reflects an idea that all the achievements of the new era are the historical result from the sacrifice of generations of revolutionaries, but also shows a prosperous, harmonious, democratic, and thriving contemporary social spirit. 

https://static.cafamuseum.org/museum-image/image/202110/sy_1634883752902885.png

You Qinhuang, Oil on canvas, 60x90cm, 2021.8

https://static.cafamuseum.org/museum-image/image/202110/sy_1635124687602191.jpeg



Preface

In order to commemorate the 80th anniversary of the victory of the Long March of the Chinese Workers’ and Peasants’ Red Army, and to continue the "Long March Spirit", in September 2016, the Central Academy of Fine Arts organized various departments and majors to revisit the Long March based on their own professional characteristics.
In order to commemorate the 80th anniversary of the victory of the Long March of the Chinese Workers’ and Peasants’ Red Army, and to continue the "Long March Spirit", in September 2016, the Central Academy of Fine Arts organized various departments and majors to revisit the Long March based on their own professional characteristics.

Artworks

Artworks

Photographs

Photographs

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“艺术在长征:新时代主题创作教学汇报展” 观摩研讨会纪实

2021-10-22

时间:2021年10月21日主持:孙韬(中央美术学院教务处主任) 孙韬:各位教学院系、部门,宣传部、学工部、团队,各位领导,大家好!艺术在长征新时代主题创作教学汇报展观摩研讨会现在开始。受学院油画系基础部的委托,来主持今天的研讨会。也借此次展览会之际召开一次教学委员会的扩大会,主要是探讨在中国共产党建党100周年,中央美术学院进入到第二个新百年、新时代的过程中。中央美术学院专业课中如何引领学生立足时代,扎根人民,深入生活,树立正确的艺术观和创作观,同时培养学生继承中央美院的传统,掌握过硬的专业能力,形成课程思政的亮点课,培养出能代表新时代精神的年轻艺术家。我们进行第一项议程,请此次亮点课程的策划老师,油画系主任,也是我们基础部的主任张路江教授介绍《红军食谱》与《新时代食谱》的创作历程。张路江:各位老师好,各位同学好,新时代主题创作课源于5年我在基础部当主任的时候,带过20几个学生去长征路上写生创作的《红军食谱》的故事。那个时刻,我组织了全院基础部的研究生,在体验解读和表达,甚至于红军重走长征路的故事,绘制了100张《红军食谱》。今年假期我和晓刚教授又组织了油画、版画、壁画的造型学院15位同学和老师,重走了我当年带着学生走过的长征路,从中想表达新时代主题这样一个课程的理念。用一个崭新的100张油画,再次把长征路上的变化和当下呈现出的一种繁盛面貌做两个比对。一是新的100张和老的100张。这个展览上,整个展览方案经过我们这个团队反复思考,包括跟范院长汇报,形成左手和右手的一种展览模式。希望通过这样一个展览,清楚的看到,当年的岁月和今天美好生活之间的强烈艺术表现力。当年的《红军食谱》创作大概按照食物的分类,我称为100种难以下咽的食物,在这个语境中分了10个小组,对野菜、土豆等食物一一描绘,同时尽量压低色调,形成艰苦奋斗的语境。这次创作团队认真的研究了在新时代语境下的表达方式和方法,最后确定了四个主题,跟原来按照物品的食物种类区分就完全不一样了,这四个主题在展览上有四个小标签。第一个叫互联物通,网络时代是我们这个时代的特点;第二个叫现代化生产,毕竟我们在乡村振兴道路上呈现出一种繁盛的工业和科技结合的方面。我们最熟悉的叫小康生活,这是三个很清晰的板块思路。第四个,富强和和谐,在落地的时候,我们发现富强和和谐相对理解力和表现力不太够,我跟晓刚认真商量一下,把富强和谐板块主题就变成了丰收的喜悦。从四个板块,切入100张当下油画的创作。除了板块之外,还有一个特点,这次采用的是宽屏,60X90的尺寸,当年红军是50X60的方形。从观看的尺度表达新时代的语境,其次我们结合这15位同学在艺术上的特点,在成长生存经历里所生成的性格尽量拓宽新时代语境的表达,形成一种多元的方式。这15位同学虽然来自于版画、雕塑、壁画,但是这次表达的主要是油画。希望我们学院以后更加多元的,刚才有老师说能不能有木刻、雕塑,甚至能不能和乡村美绘结合在一起,更好的拓宽课程内涵,我把课程结构讲到这里,谢谢大家。 孙韬:谢谢张路江主任,优亲造型学科基础部白晓刚主任介绍《新时代食谱》创作方法。 白晓刚:张老师刚才把两组100幅作品和源起说了一下,我花一点时间,现在展出新的两组作品放在一起,是一个课程的结果,我们成型以后,这个课程考量的时候,也给范院长做过汇报,范院长也觉得当年是一个主题创作,老的《红军食谱》是长征胜利5年后集体创作完成的,是一个主题创作。由此引发,我们希望把造型学院社会实践课程是我们基础部一直保持的传统。范院长一开始策划和指导的时候,希望把这个课程、这次活动叫做新时代主题创作课。等于我和张老师这儿,油画系和基础部,作为一个课程,在未来教学当中是一个指导性的。因为这两组画的源起现在也呈现出一个结果,其实是想通过这个课程,请大家来一起对这个课程从开始策划到过程中进行,一直到呈现的教学成果,向大家汇报,听取大家的建议。我做了一个PPT,给大家看一下。这个PPT就是简单的课程到了现场以后,我们通过什么样的方式组织和完成这个过程。整个下面考察和写生的时间一共也就两周时间,其中还有一些在场地更换上面,比较紧凑,比较紧锣密鼓,15位同学和老师在一起,中间克服了很多生活和当地自然条件的原因。这些我在汇报里面就不提了。我只是把作为课程整个现在呈现比较清楚的逻辑向各位老师做个汇报。第一课,现场动员。在我上学的时候,中央美院一直有一个传统,每次下乡、社会实践考察不管主题是什么,还是任务是什么,有了这样一个课程前提的时候,都有一个老师跟学生做动员的前提,在我看来这是课程当中非常重要的一个环节,而且这次带着大的主题,又是重走长征路,我们叫艺术在长征,永远在路上。当这个主题明确的时候,课程在下面的时候,我和张老师就认为课程一开始的主题、方向、线索就应该很清楚,这个动员的过程就变成了带着15位同学到了现场以后,让他们考察真实的场景,再把主题要求跟大家有一个动员。这个动员当中包含了创作任务的要求,还有如何完成这样一些作品,还有我们最终对这个课程的成果的要求。在这个过程中,都跟同学们有一个很明确的,很清楚的交代。我就放一点图片,刚才是到了现场的第一天。第二课,分小组讨论主题,大家带着这样一个题目去,包括之前老的《红军食谱》已经呈现给我们,大家一直在创作之前跟很多同学交流。大家脑子里面可参照系是已经有的老的《红军食谱》100张,未来新的《红军食谱》,这次去的主题创作应该怎么来呈现,是同学和老师都很关心的。我们就采用了分小组,每个小组都领到了刚才张老师提到的四个板块的主题。在这个过程当中,其实是明确了下乡写生,写生的形式完成作品,更多的是想跟大家,跟同学们提出一个要求,就是写生完成一种创作。我们说需要在一种创作态的状态下指导我们的写生。这里面包含了这次课程,之所以叫创作课的一个关系。这是我们生活和住的诺尔盖小旅馆,5年前那些同学就是住在这儿。当时讨论很热烈,因为每个同学都有自己的想法,每个同学面对现场的时候都有自己的思考。通过这种讨论,让大家知道,一个有题目性的创作活动、写生活动,需要各个专业的同学通过交流讨论,指向最后完成的领到的创作任务。第三课,主题方向,我说到的主题方向的时候就是一开始大家进入这个状态以后,看上去好象明白了,实际画的头两天进行了会看,很多同学作品出现了他的视角和他跟这个主题的偏差,还有个体同学年级层面不一样,专业也不一样,面对这样一个主题的时候,尽量通过头两天的创作通过绘画内容和视角呈现出来了,我们通过了一次会看,过程中发现有主题跑偏的,画的过程中对理解不够深入,不够到位。在这个前提下,我们带着问题又跟同学做了一次交流和课程重新再提到主线。这个过程中又让同学在这么短时间里面,现场怎么感受,怎么捕捉,怎么表现,对后续作品的完成有一个台阶式的递增。这是我们已经画了两天以后,同学们的手很快,造型学院同学的能力很强,写生不陌生,已经画了很多画。那天我和张老师很不客气,张老师的情绪很激动,很多同学的画现场被否掉了。对同学很剧烈的动作,后来同学们都理解了,是因为他们跑题了,一个写生要带着一种创作态的时候,当他发现偏离主题的时候,出现了问题。虽然是个人表达,但是最后有一条主线,让100个同学能够在题材当中完成作品,但是很有意思,在交流过程中,有的同学情绪也爆发出来了,但是随着我们对这个课程进一步跟大家的交流和沟通,同学慢慢理解了,然后通过这个课程,这是过程当中很重要,也很有意思的一次转折。这个表情有不高兴的,张老师已经急了,但是这种状态是中央美院在户外写生时候一个特别难得的,而且是我觉得很多以前做学生的时候,都经历过这样的状态。看上去时间很短,每天在一起,每分钟都在思考这样的东西,现在回头看,成果呈现的时候,每个同学的转变,过程当中一会儿还有同学聊,有的画一开始被否掉,经过折腾,最后出现这样的面貌。每个同学在这里面的收获都很大。第四课,我们第四次作品会看,整个过程进行到中间了,压力也很大,我们给大家的要求是100张,在我和张老师看来,能够符合创作标准的不到20张,远远不够。那个时候同学的压力和我的压力,张老师的压力都非常大。中间我们租到当地一个顶层的空间,把所有空间都展示在上面,让所有学看到自己作品面貌,展开一次同学和老师、相互之间,就像画室里面老师给他们做作品点评一样,一个比较的过程,这个过程中大家畅所欲言,回到画面形式语言问题的时候。刚才我谈到主题的时候,这些都靠谱了,但是画面形式、表达的问题开始呈现出来了。这是讨论到很晚。第五课,还有一次是我们来到了诺尔盖,我们说草地,那天聊的不是画,是相对创作比较疲惫,但是大家有了默契,因为专业不同,年级也不同,大家真的变化就像当年红军一样的,已经有了一个团队的概念,已经有了一种连贯他们从情感上,从性格上,甚至已经有了很多默契配合的时候,这样一个小团队那天在当年红军过草地的时候,就是这个场景,非常冷,海拔3700左右,还有同学有高原反应,又非常寒冷。大家就在这个场景里面,我们把整个这次的创作活动,除了具体的画,大家聊到了生活,聊到这代年轻人对长征的感受。那天在这儿,我本人很感动,那天在这儿聊的话题,就是在座的同学不是很虚了,因为他们经历了这段时间里面,真的在这个场景面再说到这个感受中,随着他们在创作当中经历的困难,都变得很有趣,而且很实在。那天我们聊的很开心,后来冷到极点的时候,我们在那儿吃了一次烤全羊,炭火和篝火和羊,给大家带来精神上和身体上一次补充。第六课,基本在现场底下时间进入尾声,我们创作大体作品都成型了。这个过程中,我们做了一次关于创作体会和作品整体讲评的收尾。是租了一个会议室,当地条件很好的会议室,我们让同学利用一个晚上,把已经画到认为不错的作品,平时在美院平常喜欢大师的作品,对他有过影响的大师作品,做了一个PPT,对应着讲这次通过这几天创作,切实通过这样一个学习的办法,改变了以前小课堂到了大课堂以后,听上去好象是空间的变化。那天聊到很晚,每个同学都很兴奋,那种收获或者那种体验,尽管有的地方还不够成熟或者整理的不够充分,但是都点到了他们切切实实在这次教学活动中的一种体会。在小课堂里面是无法体验到的一种东西。张迪老师给我们做的PPT的播放。很有意思,同学之间互相说别人的作品,有的同学就是在表述过程当中,能看得出真的有了一种收获和体验,很自信的状态就出来了。那时候张老师开始有点笑容了,感觉到有些作品的质量已经开始靠谱了。第七课,这次有一个很有意思的总结,在最后一站,是在茂县的羌城,当年红军在这个地方受到这些少数民族的帮助,这个地方有一个羌城广场,我们把广场上面把大家挑出来好的作品做了现场展览,创作当下发生,那个地方有很多旅游的,还有很多当地老百姓进来了,很主动和我们年轻学生艺术家交流,我觉得听到很多意见比老师的点评还要有意思。这是在布置现场的展览。这是当地老乡老谢说他这个画画的非常具体,他得到这个认可比得到张老师的认可还有激动。这个画面抓的很好。简短的课程以PPT的情况给大家做简单的汇报,谢谢大家。 孙韬:感谢白老师,通过七课让我们了解了整个过程,红军当年走诺尔盖草地跟现在不一样,现在是青山绿水。这些作品在中央美术馆展览过的,这次拿到中央美院展出,同学们肯定都特别高兴。习主席说,每一代人都有自己的长征路,每个人都要走好这样的长征路。我们一块跟当时的红军比都是新一代的人,如果跟我们老师比,你们肯定是新一代的人。我们听听同学的心声。我们有请游钦煌同学谈谈《新时代食谱》感想。 游钦煌,布面油画,60x90cm,2021.8游钦煌:大家好,我叫游钦煌,来自第三工作室。我先讲我经历的两个故事。一个是阿巴奶奶,她家虽然是传统民居,但屋里是很现代化,院子有花园有菜地,还种了苹果树,花椒树,还有小磨坊用来加工青稞面,就是一个自给自足丰衣足食的小院,他们家仓库有一大堆刚收成新鲜的莴笋,老人家却告诉我这都留给给猪吃的,我大受震惊!我就突然想起之前参观老长征食谱里有一张红军当年吃的胡萝卜,张翰老师当时介绍说在当地这个胡萝卜是用来喂猪的,因为非常难吃,但红军当年如果如果能吃上这个胡萝卜已经是非常好了,而如今阿巴奶奶家竟然是是拿人吃的莴笋去喂猪,我就看到了这个新时代与旧时代的差距!新时代是如此富足,于是我就动手画了一张莴笋,老奶奶诉我这个蓝色的机器专门用来切莴笋的,是就不用人力切了,可以看出她用莴笋喂猪不是一天两天的事情,。故事是草原上的一家人,我看到有人骑摩托车放牛,放牧拍照,他邀请我去家里做客~他们,诉我政府给他们提供帐篷还新式划分,区域让他们家放牧,因为放牧区域太大,所以他们家需要摩托车和汽车来放牧,他们只有夏天来这里放牧,冬天太冷回城里,城里有他们在房子,牧场里有200多头牦牛300、多只羊,奶厂还收入非常多,会会收他们的牛奶,他们家给他们提供了更多的收入,他们靠牧业非常富足了一些他们的照片,他们的笑容就是富足最好的体现~一开。说回到我们的创作,新时代主题的创作我不知道画,什心里根本么,后来我的所见所闻让我将主题,从新时代大主题落到富足小主题上,不管是阿巴奶奶的富足小院还是草原人家,他们的富足小康的生活都打了我对新时代主题的创作的思路,我就想通过画物质极大丰富的当下生活,去诠释美好新时代我心中想要表达的。一开始画的那张莴笋后来我不太,满意,虽然他背后的故事是人富足到给猪吃,但在画面上的颜色内容上传达、构图不是特别理想又收集素材画了高原下莴笋丰收的场面这张画,高原之下整片丰收的绿油油的莴笋田,辛勤劳动人民还正在劳作,远处收割现割机出现,画面内容和使得色彩更能体现我对新符合的想表达的识,还。收的画了很多场面,繁忙的李子落地上都觉不可惜。以及菜地里一颗当地老农种的颗饱满的包菜,库房堆满刚采摘的新鲜花椒,,还没有晾晒的村民家中房梁下挂满的腊肉,以及满桌的菜肴,长满了葡萄结院子,都是我捕。寻找波捉现实生活中非常富足的对象,通过他们表达我心中新时代的新面貌。我的分享就到这儿,谢谢大家。 孙韬:感谢游钦煌同学,我们进来之后看到的这些作品,跟原来的《红军食谱》有特别强烈的对比,新的作品全部是浓烈的,朝气蓬勃的色彩,欣欣向荣的感觉。刚才听到游钦煌同学讲的,就知道他创作的动因是对生活的热爱,对整个国家发展的体会。下面有请油画系乔姝颜同学发表你的创作感言。 乔姝颜,布面油画,60x90cm,2021.8乔姝颜:各位老师同学,大家好,刚才听完游学长的分享,我也马上回到当时一起写生的生动的生活现场。我跟老师和同学们分享一下我这次课程的心得和体会。大家好,我是来自油画系第五工作室的乔姝颜。油画系第五工作室是研究西方现当代抽象艺术为主的工作室。我在工作室学习几年时间里,我们沿袭着二十世纪以来,西方现当代抽象美术史当中的案例,梳理我们自己的形式语言和学理,从立体主义到表现主义,都是我们会涉猎的学习范畴。在这样的学习体系当中,我也慢慢掌握了一部分形式上的,能为我所用的语言和范围。这是我在本科期间的素描课作业,当时非常荣幸获得了当年优秀作业奖项。这是我的本科毕业创作,也是获得了咱们学校本科毕业创作的优秀作品奖。在这样一个创作过程当中,其实我一直是有一个困惑在心里面,我掌握了这么多西方当时的,那个历史时期的优秀艺术典型里面的形式上的内容,但是我创作的时候,往往不知道我应该画什么,或者不知道这些东西应该怎么为我所用。所以我画画的时候,会听一个音乐,把这个音乐给我带来的感受转换成一个图象,或者回忆一些我小时候,我记忆当中的一种感觉,然后把它和我所学的抽象形式结合起来。这个过程当中,我就发现,我好象越画越空,怎么用一个图象承载一个精神,或者这个精神高度提炼的结果是什么样的一个形象。我是带着这样的困惑进入了这次课程。我们当时去到诺尔盖的现场,给我一个强烈的感觉,就是把我扔到一个如火如荼的生活现场。我们在诺尔盖小镇当中创作,它是四川阿坝州的一个小县城,我去到现场的时候,小镇里面的繁忙、热闹和我想象当中,概念里面对它的感受还是不太一样的。会有更多的庞大信息,充斥着我每天的写生感受里面。后期一开始我不太清楚怎么能把抽象的语言运用在现实写生创作里。我们之前更多的是在画室里面创作,针对某一个主题进行创作。在我面对现实生活里这么纷繁信息的时候,如何整合成一个课程的创作。我心里不是很有数。直到有一天,我们在县城画了一个水果摊,我一开始思路还是用我所学的语言建构画面,包括有一个色块的跳跃,画小镇给我带来精神上的感受。这个画创作的时候我加入了一个人物的形象。我们抽象的学习创作里面不可能的,因为加人就具像了。我当时想红色这个形状,如果把这个人画这么大,可能是一个很大的旗帜,如果把人画成这么大,就是一个红色的遮阳伞,我画的人物形象给我的画面提供了一个尺度。我之前学过智者学派有说人是万物的尺度,它本来是一个建筑里面的概念。当我把这个概念用在我的画面,提供了一个现实可参考的比例,让我原来抽象的色块,从有点不知所云,变得亦有所指,它可能是一个车,可能是一个红色的遮阳棚。我发现这个方式可以继续用在我的写生创作之中,就画了后续的作品。这个是我描绘村口人们一起聚集的场景,这些颜色的分布,这些图形,如果没有这些人物的参考,可能真的是一种抽象的图示。我想安排这些人物的动态、所在的环境,反倒通过半抽象语言和偏写实人物营造了一种场域,这是鲜活当下带来的场域的感觉。我画的这个画是五金店门市部。我看这个素材的时候,在想这个能不能画,五金商品颜色不入画,都是颜色纯的筒子和我这个微妙的色调大相径庭,我也去过县城的五金店,就是有这样一个体系,我意识到它符合小镇文化气质的系统,把我们认知里面北欧淡淡、灰灰的系统不太一样,但是它属于中国小镇当下给我感受到的一种面貌,很好区分,我意识到它是务实的色彩,老百姓用起来的色彩。这个摩托车和三轮车不是传统意义上的美观,但是很好用,穿梭在小镇里面拉东西很方便,这种务实体系已经让我意识到我已经捕捉到它的气质,我就铺一个底色,铺一个跳跃的色彩,他们铺货物的方式很方便,来了就往门口一挂,这是小镇给我带来了真实感受,我呈现出来作品当中。这次课程给我带来的感受,我还是之前的语言系统,半抽象,半写实的绘画方式。因为有了现实主义一部分加入,让我的画面有一种叙事性在里面,我能够说清楚,我要表达什么,之前我同学看我画说,我看不懂你的画。这个看不懂有两个可能,一是我们两个感受步态一样,我对一个问题的人事不太一样。二是我词不达意。现在我同学看我的画说,你画的很好玩,你画的小人真丑,但是他能看出这是小人和工厂,我已经很开心了。这次课程给我最大的感慨,其实是在于我想起来,我之前看万古江河徐卓依(音)说的一段话,他说我们现在处在文化江河入海的时候。我想这个河流的发展和文化发展很像,有很多支流,这些支流加入的时候还是他自己,但是又丰富了,我可能就是学习抽象绘画的一条小溪,这个过程中,我融入了现实主义创作方式,让我这个小溪还是我自己,但是又有所不同。艺术像一个小洞,看到自己的处境、出身等等关于自我的部分。如果通过这个小洞看外边,就是看外边的生活。我特别感谢这次写生课,让我看到外面的世界,看到当下社会,看到历史,看到今天长征路上新时代是什么样的变化,这是我此次最大的收获。谢谢大家。 孙韬:感谢乔姝颜同学,讲的真好,画的真好。能够真的体现出中央美术学院在我们一些课堂的教学,有时候受到西方文化艺术影响之后,如何跟中国当代社会通过观察,通过体验生活,表现出我们独特的作品,感谢。刚才张路江老师只是把两次创作的过程讲了一下,他先让白老师和两位同学抛砖引玉。张路江老师还有感言,还把麦克风交给张路江老师。 张路江:首先感谢油画系两位同学,一位是本科生,一位是研究生,非常精彩的演讲。此时此刻,我们优秀的同学实际上是非常多,如果时间允许的话,我还想请更多的同学上来把他们的感受和体会讲出来。作为中央美院的教学,最最成功的是你的学生有收获,你的学生能谈出那些收获是实实在在、沉甸甸的,不像我和晓刚催着马跑,而是马自己能跑起来。作为油画系主任,油画系教学当下呈现两种特别具体的形态,一是具像,一是抽象。在选择游钦煌同学的时候,作为具像的油画教学,如何从当下、现实、历史中抽取我们想要的那种语言和内心的世界,甚至于我们祖国、历史、当下的语境,把它放大。我跟晓刚在下面强调,具像绘画能否用抽象思维。我说的抽象不是模糊形象,而是抽取、拿来。这种方式能够放大。在游钦煌作品里面,我们能够看到他很直接,他体会到富足,体会到美好,放大再放大,让这种东西成为最后他作品的释放点。这点让我们觉得在具像油画教学道路上,他的成果都在我内心打开了一个窗口,我们摆脱了忧郁、自我向内的表达,而看到了一个大千世界。乔姝颜同学是在抽象思维,在西方语言系统里进行了具像化的表达,她把人当成万物尺度,能够形容艺术像一个小孔,向内看是个人的个性,向外看是时代的共性。这时候的艺术魅力散发出特别有魅力的光彩的地方。说来说去,我们喜欢那个大师,除了大师绘画的时代,还有大师属于个人、鲜活的方面。作为油画系主任,我这次体会最深刻的就是两句话,具像绘画、抽象思维,抽象绘画、具像思维。谢谢大家。 孙韬:感谢张老师,感谢白晓刚老师,给我们带来这样一个契机,通过这样一个展览,这样一个既是集体创作,同时又是一个课程的展示和研讨会,给我们这么一个机会,来探讨我们的创作教学。范院长,我们在旋转楼梯那边还做了一个课程思政的展览,各个院系都用了非常大的努力,呈现出自己独特的课程思政,现在我们把话筒交给各个院系的领导,不一定局限在这个展览上,我们共同探讨一下在今天这个新时代,我们如何进行创作教学,如何把一些思政课的观念融入教学当中去。刘院长先来。 刘庆和:我来看这个展览之前还是有期待的。8月份假期的时候,我知道晓刚老师带着一队人马画《红军食谱》,算是选题,其实是和教学相关的。为什么我看展览之前有期待呢?因为之前我了解到基础部又有一个举措,基础部经常让我们很惊讶,经常有举措,前一段的工夫展,还有一些推送,包括这次《红军食谱》。我说我的期待,有一个个人小角度。同学们到下面画画,每个人有每个人的感受。这个感受应该不是整齐划一的,可能也是这个展览真正收获的地方。前几天我看这个位置任伯年的展览,我看他的作品的时候,经常把经典作品上一笔一划当做最陶醉的地方,好象在这个画面前,看着任伯年画画。大家通过《红军食谱》下去,也是通过今天和过去的关联,中间做一个弥合。有一次我们重走长征路,我们在画一个老婆婆,她唱着当年迎接红军的歌,我没有把老婆婆的皱纹画的多么认可,他们当年那么小,一直走到现在,走到革命的胜利。为什么有这个期待呢?我想象的食谱是以食谱为主,而不是简单的写生,这是我期待的点。山山水水、植物、花花草草,从长征的时候,红军的时候,留下了多少记忆给我们今天。我们在当年红军吃的东西面前,看到这些东西,革命如何在这样一个艰苦卓绝面前取得今天的胜利,这点是我内心最感兴趣的地方。可能这点因为我的年龄关系,对历史来讲,我从小学一直受到长征革命传统的教育,所以对这块的历史,更多的不会太在意技法上表现多少充分,色彩关系、素描关系。更关心同学们面对这些东西带来今天的一些什么感受,这点也是我们课程意义所在。基础部每次做的活动都对中央美院有启发,很佩服他们有这样一个深度的思考,并且能把它转化到一种教学上面,带动学生们对于历史重新认定和思考。从这点来说,我觉得这也是最难得的,也是我这次看展览的感受。我就讲到这儿。 黄小峰:我很感兴趣,我十一期间在国家大剧院看到过老的《红军食谱》,今天这个我还没有看全。比较有意思的主题是再重走,我是研究历史的,每一刻研究的作品都在重走,重新体验。咱们在创作的角度,重走、重新体验有什么样的意义。一个非常重要的就是那种过去和今天两种生活和两种观察交织在一起,这是很有意思的。比如说我在《红军食谱》看到很多同学里面很有意思的,比如说梵高的鞋子,还有一些现成品,把食物直接粘贴在上面,这是很有意思的体验。这种重走或者再走,反复的走,每次都有新的体验,这是我们做思政和创新的灵感。每次体验都是不一样的。 卢征远:看这个画,感触特别深,因为第一次《红军食谱》是我跟长征路亲身经历,也是带着老师同学们画的,看着这些画感受特别深,当时下着雨,很泥泞,张老师带着我们烧火,完全是体验式的。原来我们都是在课堂上学习的,这是一个好的艺术项目真正有生命力的地方,一方面把你原来在课堂上所学的基础技法的东西,放到一个社会环境下,包括自然环境中感受体现,给你真正放到一个舞台上,检验你的所学,这是特别重要的。今天看到《新时代食谱》展现,这个项目有了深化,有了对比,本身这个项目得到充分和丰满。还有就是因为今天一个项目的好,因为它不止是一次,是有生长,不断充实的空间。在这个项目之后,每年基础部的春季写生,都慢慢好的项目又反哺到教学,教学的能量把学生带到户外做社会实践,好的社会实践又会促进教学在课堂上的增长和增进。今年整个教学的调整,也把写生课程关于创作态,关于主动发现生活,寻找构图,寻找主题,充分融合,这种融合又回到课堂上,这是充分好项目的补充,真正做到思政和教学、社会实践、课堂学习很好的结合。 孙韬:这个项目是基础部发起,现在已经扩大到张老师带领的油画系,还把很多老师同学拉进来。下面请马老师讲讲。 马浚诚:首先看这个课,其实给我带回到1987年我跟唐晖、马路老师当班主任的经历,这是一种好的体验。我们城设学院参加这样一个组织会呈现什么样的面貌,我们讲的是新时代,艺术和科技在这个时代扮演的是一种视觉共性,体现当代设计师、艺术家创作力的历史使命,城设学院参与,我相信会有独特的作品出来,不管是绘本也好,短视频也好,影响也好,视觉特效等等。这个时代确实走向一种多元、跨界融合的时代,生命演化视觉,文化一直在演化过程当中。当时在英国学习,如果这样一个课题放在英国,会呈现什么样的面貌。我更希望看到这种课题在当今扮演着我们应该有的东方审美趋向,如果要城设院参与这个主张,我们一直在追求现代语境下,我们的一些理想,包括公共艺术,包括体验设计等等。我希望有机会,这样的主题创作,我们也有城市亲历的课题里面可以带进去,以前我们没有带着主题创作,如果有了这样的主题,原来是下去发现,就不一样了,给它一个框框,让学生在这样一个选题里面创作,相信城设院能够呈现多元的设计面貌。 孙韬:我们这个课是把课程带到主题里面去,石老师是经常把主题带到课程里。 石煜:这个创作从写生到创作经历了非常重要的课程,老先生都是从写生课开始的,这又是一个传统的过程。这次展览出张路江老师和白晓刚老师呈现出来带有主体性的,和以往不太相同的写生课。这个是对于油画系教学是一个非常大的推动。我觉得它的主动主要因为学生从课堂练习色彩和造型,直接扎入到生活本身中,带有时代性和思考的课题,和他的基本功怎么样能够在这样一个题目下结合起来,这是所有教师应该思考的一个问题。尤其是我们油画系。现在面临当下这么多的媒体和转化,这样形式基础上,我们怎么能从老先生传统方式里,再有新的升发,这是我对这个东西非常有兴趣,我把课堂和主题同时结合在一起,让同学在写生当中琢磨创作,在创作当中重新回顾自己的基本功。这两种东西同时转换是我们整个油画系教师队伍今后要考虑的一个非常重要的方向。对于学生来讲,把他们带到现场,带到这样一个环境里,带有一种主题,给他们提了一个很重的任务,他从一个小格局向一个大格局转换,这是非常重要的一步。如果这是从二年级、三年级、四年级,一直到研究生一年级、二年级、三年级,甚至研究生三年级创作,如果经常这样做,油画系会出更好的作品,我还是抱有很大的希望。 孙韬:请李荣林老师发言。 李荣林:这个项目是油画系和基础部合作办的,今天我第一次看到新的《红军食谱》,我的感受还非常出乎意料。因为2016年旧的《红军食谱》经过几次梳理和展示,已经成了基础部课程中的一个经典。这次看到新的《红军食谱》有几个感觉。我感觉这两套作品之间,在不同的时间节点上,旧的《红军食谱》整体性比较强,通过百幅作品拼成一个大的作品,有整体性。新的《红军食谱》是独立性,每个作品、每个作者的独立性强一些,但是每个主题之间又有关联。就在这种独立又整体,旧的《红军食谱》整个感觉更苦涩一些,能把人带到那个时代,新的《红军食谱》比较祥和,表现今天的小康生活,有一种反差,这两套作品合在一起,又非常丰富,既有互补性,又有不同。基础部的这种创作方式、教育方式,张路江老师非常巧妙的把几方面融合在一起,包括学生教育、对主题的筛选,对学生写生过程能力的提高,观察生活表现,表现生活,我觉得非常有机的把这几部分结合在一起,成为基础部课程的一个范本。谢谢。 孙韬:感谢李荣林老师,在基础部20多年和张老师一起搭档。下面请秦老师说几句。 秦建平:我作为美院文化建设的主持、主责部门,我们一直听到传承红色基因。刚才刘老师说2016年重走长征路,我就在现场,去了赣南的起点,去了雪山。昨天是课程思政,我觉得这是最大的课程思政。我们从历史现场走到新时代,我特别喜欢这个课程的名称叫《新时代主题创作。刚才张路江老说的,习总书记说每一代人有每一代人的长征路,每个人也有自己的长征路。我们直接进入历史现场和80年以后的生活现场,让学生真正触摸历史,触摸时代,这种精神已经在学生中再传承红色基因。我是做宣传的,我们老是带着学生做,我们的责任就是真正传承红色基因的好课程,我们好的学脉和传统传播给这个时代。 邱志杰:今天来的很早,我把整个展览仔细看了一下,听了会议,看了之后很感动,很激动,很羡慕。感动什么呢?这个课程的工作量之大,教学之投入,教学组织之用心和缜密,是让人非常感动的。激动什么呢?激动同学们画出来的这些画水平之高,完成的作品之精彩,课程收获之丰硕,让人非常激动。羡慕什么呢?我走过两遍半长征路,从02年开始,回想起长征路上的幸福生活,一来到那些地方,吃到那样的食物,闻到那样的空气、土壤,青草的味道,就像巨人重新站在大地上,重新获得力量,走多少遍都是可以的,非常羡慕在那个地方做创作。我还想说前一阵子和张路江老师一起做美术学院“双一流”的方案,整理我们的想法,我们提了一个央美学派的提法,我们需要提出新艺术流派和新艺术名家。我们在这个展览中看到一种创作性写生,各个院系应该分头尝试,总归需要我们合力攻关、连续攻关、集体攻关,这次是非常好的案例,非常成功的案例。孙老师说我谈我们的问题,我很有压力,油画系把习作和创作合一的办法非常成功,一定也对我们以后日常教学中,如何提升我们习作的品质。实验艺术是长期面临着一个问题,比如说你做装置艺术家,特别晚熟,画画艺术家特别早熟,因为画画艺术家有习作,装置艺术家只有在展览中有习作,如何开发出创作中的习作,对我们很大的挑战。科技艺术和乡村振兴如何融合,也是我们面对的一个课题。国庆前我去天津参加中国自然科学博物馆年会,和他们达成了一个我们希望把中国乡村墙面变成科普,这个事情要和壁画系进行合作。中国自然科学博物馆把所有数字科技馆的项目资源都向我们开放,刚好在这里,我就把话筒交给唐晖老师。 唐晖:范院长,王书记,本来张路江说了,我就不说了。张路江是我们造型的召集人,也是我们一个阵营的。我也看到了在座的也有壁画系的学生,既然是一个阵营,他今天说的那么精彩,每一句话都能写成文章,我就少说两句。我理解长征,红军长征的时候走的都是中国最边远、最角落,最贫穷的地方,新的时代不一样,我们可以高铁过去,也可以开车过去。这些地方随着互联网和社交媒体的发达,都已经去中心化了。学生到那儿以后,能够感受到中国新时代的生活,他跟北京、上海也没什么泰达的区别。我们壁画系学生创作过程中,现在有一个现象。我们就是在望京,我们就是在中央美院,大家经常会说望京一角,美院一角是我们创作的灵感。通过这样一个展览,就让大家觉得应该走出去,应该到生活里面去,到中国乡村去,到大环境里面去。既然去了以后,我们该做什么,今天展览里面说大家要去画,去写生。我们画画的目的是什么,我们为什么要画,当代艺术领域已经给我们提出了,你可以视频,可以图象,也可以摄影,所有这些手段都是可以采用的。我们为什么去画?摆在我们造型学院是一个课题。我们既然去画了,画了以后,每个同学是不是应该画的不一样,不是像一个人画的。今天油画系第二个同学讲的时候,我也很受启发,她讲的整个思路清晰,第一个同学也是很不错,他涉足的点挺有意思,都给我很大的启发。我不太同意张路江老师说的抽象艺术和具像之间的关系,随着时间,我们可以接着再探讨。作为造型学院,在学术上,我们要为未来的发展做很多努力和尝试,这是特别好的。今天很有幸,感谢邀请。 孙韬:请孔亮老师代表版画系发言。 孔亮:我从版画学科角度聊聊我的感受,首先我带着一种期待看展览。我们搞版画以后,看油画、色彩方面的东西比较少,今天看了很多琳琅满目,各个同学各个色调的作品,还是挺兴奋的。我在想一个问题,因为版画学科写生课比较多,大部分时间都在工作室,但是写生确实能给学生带来鲜活的体验,尤其是主题性写生活动很好,很有指向性。我们那时候写生是为了写生而写生,为了练色彩而练色彩,主题强化了,有目的性。从学科角度来看作品,版画学科比较强调主观性的创作,也强调超越时空的创作力。所以在我们来看,写生并不等于模仿。就像刚才唐老师说的,可能有些作品看起来会有趋同、类同感。从我们的学科角度来讲,我们可能不太赞成客观的还原存在,而是更期待能画出个人对《红军食谱》的理解,他的态度和个人体验,对这个东西可能更敏感。看了这次展览,我也在思考一个问题,未来在我们的学科建设上,可能更要增加这类相关的主题性创作活动。它会给学生带来不一样的体验,因为我们大多数版画学科的学生,基本都在工作室或者版种实验室创作作品。那种创作时间久了也会有趋同性,也会陷入到个人的圈圈里。写生和创作之间的关系值得我们接下来思考。我就说这些。 孙韬:感谢孔亮提出宝贵的意见。听听张伟老师的意见。 张伟:先对教务处有意见,刚刚否决了我们这学期出去考察、外出的三个课,我们憋了三个学期了,张老师、白老师真让人羡慕、嫉妒。这个外出走到外面接地气,不管是博物馆,还是石窟,还是传统的考古方面,还是我们去实地写生,它带来的东西真的跟课堂上的东西区别很大,有它特别重要的地方,我再打一次报告,让我们几个课恢复一下。因为我们去的都不是高风险地区。现在思政课,公共艺术方向的思政课范例也是出去回来做的课,这个关系非常明确,在所有系和所有的专业发挥了重要的作用。这些画不是描出来的,虽然我做雕塑,它没有带着设计痕迹,没有带着敬业的痕迹,特别鲜活,是写出来的,不是描出来的。每张画的能量,不仅仅是面对的模特,它的能量包括再长征路的事件,多少天在当地接触的人,最后那几笔还是集中了所有的能量,很足,一看这个画就很足,不薄气,包括之前这些,都给我们感觉到这种足,他是写出来的。真的应该让学生、作者都写一点东西,包括每个创作的过程,写出一点东西来,作者名字,也是对每个学生的尊重。同样借这个机会,确实这个课的设计者很高明,几层方面,包括学生的收获,包括整个事件对于共产党历史的回望,全方位的,非常有高度,值得我们好好学习。 孙韬:接受张伟的批评,他们要申请出去,他看到油画系、基础部在暑假时间带着学生们出去,他们打了三个报告,三个小班要跨省出去实习,我们没敢批,接受批评,可能还改正不了,希望将来我们能够放开,整个国家都放开。请黄建成代表设计学院。 黄建成:看了这个展览,通过两个5年的比较,特别像一个设计展,尽管用绘画的方法,从主题的规划到过程的设计,对我们的设计也很有启发,这是特别好的一个把专业技能、专业性方法和思想教育、思想政治工作放在一起。从我们的设计学科来看,大家都知道我们工作都是立德树人。设计学科涉及的领域更多,感谢教务处。我跟别的学校谈起来,他们很少有类似于写生、考察这样的课程,为了安全,中央美院这点特别好。包括设计学科,哪怕短短两周时间进行艺术写生和考察。沉浸式是一个特别好,大家马上进入另外一个世界里,马上心态和观点不太一样。从文化的角度,按照习总书记的意见来看,我们现在文化也是多方面,除了传统文化、红色文化,也有新时代的文化。中国地大物博,各种元素都对学生有一个很好的启发,包括造型学科,他们选择这样一个点,对我们很有启发性。从设计学科来讲,把专业和未来社会服务连在一起,我们也有很多案例,包括晓琳老师带着我们去新疆,有点像我们带着课题在当地扶贫,在当地做项目服务。总体来讲,这个环境对学科的学生很有帮助,这点很感谢美院。 孙韬:请王书记代表党委说两句。 王晓琳:当时面临着全国艺术院校砍掉写生,我们坚持了美院的优良传统,教务处牵头,不仅加大了写生的人数和力量,而且对这个课程提出了特别明确的要求,包括时间,把公共课停掉,保证4到6周写生课。回来以后做一个全面的写生课教学的总结和评优。这些年过来,在座都是教学的一把手,我们回顾能看到,美院这些年在实践教学方面不断有创新,不断有新的探索。今天在美术馆展现的实际上更体现了美院在专业教学上的实践教学新的尝试,新的创新。从我分管的工作来讲,现在我不在教学口,分管学生工作,思想政治教学,刚才听大家讲很受教育。我想说两个关系,一是教学和育人的关系。这个过程中看到这样一个课充分体现了美院不光教书还育人,专业教学当中如何育人,常常说思想教育工作和学生工作是两张皮,这是辅导员的事儿,这是书记本的事儿,中央美院恰恰不是这样的。我们恰恰是在所有专业教学当中,在每一堂课,每个老师教学当中,包括外出,带着学生出去,同吃同住,同实践过程当中,都在育人。这个才是中央美院特色的思想政治教育。二是传承与创新的关系。中央美院有红色基因,我们有最早的专业教学传统,中央美院关注社会,关注人民,服务人民,为革命的现实主义创作,这都是美院好的传统。现在接力棒一代一代传下去,从过去的老学生,到已经退休的前辈,到即将退休的这波中坚力量,到现在中青年要接过这个接力棒,甚至在座的同学,是未来的中坚力量。这种代代相传,怎么把中央美院的优良传统传承下去,而不光是传的中央美院的传统,因为中央美院是代表着中国高等美术教育的高端阵地,我们怎么把中国最好的艺术教育精髓、优良传统传承下去,这是我们的担当和责任。另一方面,我们在走入新的时代,每个历史阶段都有不一样的,我们能够看到当年红军长征的时代,那一代是怎么做的,现在的生活又是什么样的,这个就是我们如何创新,如何表现当下新时代的繁荣富强,包括我们身上所承担着面向未来怎么做。我们美院的责任是新学科建设,美院的育人。刚才给我最大的启发就是怎么梳理这两对关系,在座老师都是实践者,中坚力量推动的。最后,这些所做的都是在践行着习总书记给老教授重要回信精神,更是在今年七一讲话当中,总书记最后说到那一段对青年人的讲话,说希望属于青年,未来寄语青年,我们现在要做的就是把总书记的精神落实到中央美院教书育人。我今天看到这个展览特别感到感动、欣慰,也看到了更大的希望。 孙韬:感谢王晓琳书记,感谢我的前任,老处长,我到教务处这些年一直在学习,跟王老师学习,跟她的手下学习。我们到今天还沿用的很多培养方案,就是王晓琳处长带领做的培养方案,今天我们要改变这种方案,像思政课程和劳动教育都要写到培养方案之中,我们过段时间要修订培养方案。我们跟各位院长、主任先通报一下。最后请范迪安院长对我们整个教学和创作的关系,通过这次张路江主任做的课程,给我们整个进行指导和总结。 范迪安:各位同事,同学们,今天我们在新时代主题创作课油画篇现场召开观摩座谈会,我认为非常重要,重要的是会对我们全院的教学研究能够起相互交流,共同探讨,朝向未来的重要意义。张路江和白晓刚两位老师很好的介绍了课程的源起、设计、组织和他们的体会,两位同学结合自己这次的参与,很好的谈到了思想上的收获和专业上的新的探讨。各位同事刚才的讲话虽然简短,但是我觉得都谈的很好,都聚焦于我们如何抓好今天的创作教学这个话题来展开我听下来每位谈的都有一个观点,在速记基础上,把大家的讲话发回大家,每个人在今天的讲话基础上扩展成一段比如说1500字左右的会议纪要,美术研究发表。这个很好,这是种智慧,美院就是要实事求是的讲话,发挥思想智慧,有火花的讲话,这是最有意义的工作。对今天的工作我有考虑,在张路江和白晓刚带队过程中,始终有联系,由于疫情,我不能探望老师和同学们,今天看到成果,中间也和老师同学做了座谈交流,的确让人感动。感动今天老师们能够这么用心来考虑如何培养人,感谢同学们能够在教学中不断的释放自我,敞开自我,达到一种新的精神境界,进而进入一种主观能动的创造境界,这都是很让人感动的。我谈三点:第一,在学科建设和教学改革中要加强创作教学。我们这些年一直在做学科建设,特别是围绕着“双一流”建设目标做了很多努力,做了很多规划,相当一部分已经在第一轮“双一流”建设中付出实践。教学改革更是整个学科建设的前提,也是学科建设的具体体现。在这些悠长的基础上,接下来我们怎么能够更好的梳理我们创作教学以往的优势、优长,能够更好的思考,使我们的创作教学能够朝向新的高度。这样使得整个教学改革和学科建设能够找到新的坐标。这个坐标无非是纵向的解决好传统与当下的关系,怎么继承,怎么弘扬,又怎么扩脱,怎么创新。横向是中央美术学院或者中国美术教育和全球美术教育发展新的特征关系,我们怎么样能够真正立足中国大地办美术教育,在加强中国特色、拓宽国际视野前提下,把我们教学改革提到一个新的高度。这些年我们教学改革总体上来说,在基础教学上有一个明显的进展。明显的进展就是传统的美术学科,包括人文学科,注重夯实基础,注重更多的把厚实、厚重基础意识贯穿到教学当中。我们设计学科建筑更是做了很多开拓,这里不再重复大家感受的。在改革的过程当中,当然课程建设是一个重要的抓手,教育部一直提出要开设金课,淘汰水课,要通过课程改革创新实现教材新的建设,进而形成培养人的方案和模式,我们基础课有优势,我们创作课可以拿得出来的案例、例子还不够多。每次教学检查,我特别注意到,我们在创作教学上是不是有新的做法。开春的检查也好,我们还是看到了一些,包括造型学科所看到的,更是在设计建筑学科所看到的,总体来说要像基础课程那样拿出拳头产品,在学理上有树,有建构,尤其是立足新时代的创作课程,总体上还不多,所以我们要把创作课程的研究和实践作为我们教学改革和学科建设的一个重点。刚才大家都谈到了,比如我们现在在教师的思想意识、教学意识上对创作课还缺乏总体的规划,在各个工作室教学安排上,可能把创作课比较多的放到一个自然而然的自发性的过程,或者说这个过程时间比较长。譬如说本科生到了三年级是不是有比较多的创作课。在中央美院有一种说法,在基础里面就有创作,我们一个石膏像,一个近物,一个人物,容易这样说法,基础里面当然要贯穿创作意识,但是能不能把创作课更加鲜明的体现出它与基础课程训练方式、训练内容不同的一整套做法,这个课题是不是值得研究。大家共同思考。不要一般的认为在基础课程中,就解决了创作问题。今天在这样一个社会变迁的形势下,在两个百年未有之大变局这样一个新的格局下,创作的问题摆在什么样的份量上,要引起我们全院的重视。今天各个专业院系负责同志都来了。第二,要加强从基础到创作能力提升培养的力度。我一点都不否定,在我们基础课中有创作的意识在贯穿,但是现在来看,怎么能够加快一定的速度,也就是说从教学的安排,从习作更多的导向创作,使同学们作为习作训练的一种状态能够更快的转变为进入创作的状态。这两个问题还是实实在在的存在的,大家刚才都谈到了。从教师角度,从教的角度,怎么来考虑,在习作通向创作的过程中加大创作的力量,天平向创作倾斜。这样引导同学们能够有新的感觉、新的思维、新的学习热情。在这方面,我们的创作教学还是有空间,尤其是在高年级怎么能够更多的加快对创作规律,对于古往今来的这些创作经验能够进行更多的学理、梳理和研究。现在课程设置不够鲜明,这是一个现状。因为我们都知道,从习作到创作就是培养艺术家、设计师的一个跨越阶段或者一个坎儿。学生的个人情况尽管不尽相同,但是关键我们在创作课上怎么讲规律,讲方法,还是有待于我们更好的解决。第三,要探索新时代主题创作课的育人之路。我们一般讲创作教学,这次特别强调主题创作教学,和以往课题不太相同。总体来说,我听各位的发言,大家都赞同把主题创作课作为我们整个创作教学,是不是完全覆盖,还是作为其中的一个重点特色,这个请大家各自来思考,但是作为新时代主题创作课,它强调两个关键词,一是新时代,一是主题。或者说是新时代的主题,这是我们值得思考的。中央美院的人才培养、教学成果真的要体现与我们的时代发展同频共振,与我们整个社会的主流文化、价值、观念能够同频共振,与我们建设性、建构性的艺术人才培养中国之路能够起着贡献。我们多少年谈卓越、引领,卓越要放在是不是能够体现新时代育人要求,文化追求,时代意识,我们谈引领的话,是要看央美这些课程的建设,是不是有助于推动全领域,也就是全国美术教育中的一些建立新的模式,培养人的模式。这方面主题创作课特别值得探讨。张路江和白晓刚老师在这个过程中,做了很多努力,尤其是在主题阐述上,应该说他们下了很大工夫。从确立主题到阐述主题,使这种主题能够从一个比较概念性的表达变成同学笔下生动的画面,这个过程是教的功夫,张路江和白晓刚在这个过程中,所谓其苦,所谓其累,包括焦虑、着急,有时候甚至愤怒,听说有时候你们对同学态度也不是太好,开口就是刮掉重来,都是怎么把这个主题变成长在同学们思想之中,由他们观察发现,去感受和表现,这是教的关节要点。这次主题创作课设计的非常有时代意义的,刚才晓琳老师也说了,我们是具有重走长征路、再走长征路,重走和再走不是一般的社会政治的含义,而是历史观察的角度,体验的角度,这些都很值得总结。总体来说,因为有主题的创作意识,所以就能够让同学们在观察中获得感受,在体验中形成发现,在现场进入创作。这几个应该说是比较清楚的看到。正像刚才唐晖老师说的,现在同学的毕业创作,特别是造型,仍然存在着比较多的关注小我,4年学习过程中只画望京一角、美院一角,毕业就来不及画更大的视角,跟中国社会的发展,包括这个发展中攻坚柯南,面对许多矛盾要解决很多挑战这样一种精神,显得很远离实际。这是值得我们特别注意的。这是我们培养人要特别考虑到的一个根本。我就看游钦煌同学,他当年有一幅作品画的是月夜下的骷髅和山羊,那个作品没有名称,你说是西方童话故事,还是东方典故传说,都不是,这只是一种情绪徘徊状态的表现。今天我看到你这些比我上次在工作室看到更完整,确实让人感动。中国的青年一代艺术家一定要非常积极的,站在时代的中间,甚至是前沿。在这里去感受,去表达。乔姝颜同学,刚才老师都肯定了,我们在具像和抽象之间怎么形成中国建树,抽象艺术,特别是抽象绘画,这是西方现代的产物,我们可以借鉴,可以学习研究其规律,但是一定要找到中国主题和中国表达。而她能够带着抽象的眼光到具像的世界里面提取,去抽取,又在具像的整体画面框架中运用好抽象语言,这个对一个孩子来说,对一个青年学者来说,这是一个非常可贵的重要起步。这些都值得我们把主题创作的主题价值更进一步确立起来。主题有没有价值,当然也可以讨论,我认为主题是有价值的,具有先导性、引导性,而且是在贯穿整个教学过程中能够产生,激励思想,启发感觉,包括撬动观察视点重要的作用,主题能动性、动能要充分看到。主题可以很多,各系各专业完全不同。这方面我们所要做的就是把原来在创作教学中比较放任自流,任其漫长的状态,有可能产生拔苗助长、强加于人的状态,更多的转化成一个由教师把同学们带到广阔的社会空间,让他们在丰厚的现实生活沃土上,像刚才哪位老师说的,形成丰硕厚实的成果。通过今天简短的会议,这也是落实习近平总书记给我们老教授回信中的重要精神,也包括对中国文艺,特别是文艺家队伍的培养的期待。总书记说过,要造就一大批德艺双馨的名家大师,培育一大批高水平的创作人才,创作人才就要从创作课开始,主题创作课,立足新时代的主题创作课是一条宽广的育人之路。我就讲这些,谢谢大家。 孙韬:范院长讲得太好了,真的把主题创作和创作教学新时代中央美院创作教学做了一个经典的评述。我们培养方案,关于主题创作这一段已经有内容了。今天研讨会到此结束。
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Group Visit Agreement
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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
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!