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核聚变与艺术碰撞的奇妙世界 | 2025“能源与文明”盛大开启

2025-09-15

展览现场在能源革命与文化创新交织的今天,科学展览面临着多重挑战,专业知识的晦涩性及学科边界的割裂性,这使得科学展览的使命早已超出了传统的成果陈列和知识传递,转而成为了科学与艺术对话的平台以及全民科普的枢纽。2025年9月14日,由中央美术学院、合肥综合性国家科学中心能源研究院与合肥市人民政府联合推出的大型科普展览“能源与文明——科学艺术·聚变未来”在中央美术学院美术馆隆重开幕。作为全国科普教育基地,这也是中央美术学院美术馆2025年全国科普月活动。作为国内首个以“可控核聚变”为主题的美术馆级科学艺术展览,展览汇聚了核聚变领域的顶级科学家与艺术界领军人物。通过跨学科的视角,展览将科学成果与当代艺术表达方式相结合,其展示方式不仅实现了科学与艺术的双向激发,还让观众通过沉浸式体验,直观地感受到能源的无限潜力,激发人们对未来能源时代的想象与思考。展览现场出席开幕式的嘉宾有:中央美术学院副院长吕品晶,党委副书记、纪委书记吴强,院长助理潘承辉;合肥综合性国家科学中心能源研究院常务副院长胡浩民,科学技术部中国国际核聚变能源计划执行中心副主任颜晓虹,中国科技新闻学会副理事长周建强,长三角科普场馆联盟荣誉主席、上海市政协学习和文史委员会常务副主任、上海科普教育发展基金常务副理事长王小明,北京市科协科普部副部长童志华,北京国际设计周有限公司董事长王昱东,北京科技教育促进会副理事长、原北京科技中心主任何丹, 北京理工大学设计与艺术学院党委书记何骁威,GRT嘉家资本创始人章凯,北京紫微宇通科技有限公司董事长兼总经理张晓敏 ,合肥综合性国家科学中心能源研究院 科学艺术联合实验室创始人、展览总策划吴征,本次展览首席策展人、中央美术学院雕塑系教师张兆宏;还有关心与支持本次展览的多家科技相关机构和企业代表,各主办、承办和协办单位的相关负责人,以及来自中央美术学院各院系和行政处室的负责人等。中央美术学院美术馆馆长靳军担任开幕式主持人。嘉宾合影012025.09.14-10.12开幕寄语:打破学科壁垒,搭建科学与公众的桥梁  中央美术学院副院长吕品晶致辞中央美术学院副院长吕品晶表示,能源,是人类文明存续与发展的基石,从薪火相传到核能聚变,每一次能源革命都深刻重塑着人类社会与自然世界的关系。而艺术,作为人类感知与表达的核心方式,始终与科学探索、技术革新相互激发、彼此照亮。本次展览以“能源与文明”为主题,直面这一时代命题,通过艺术与科技的深度融合,激发人们对未来能源形态、文明路径与生态责任的创造性思考。而中央美术学院近年以来持续在科技艺术领域开展学科布局与力量投入,以艺术赋能科技创新,以美学引领产业变革,让艺术成为驱动社会创新、塑造未来文明形态的重要力量。并始终坚信,艺术与科技的融合是当代文化创新与人文精神拓展的重要方向。本次展览正是这一理念的生动实践:让不可见的能量转化成为可感的视觉感知,让科学的理性思辨与艺术的感性创造在同频共振中达成统一。合肥综合性国家科学中心能源研究院常务副院长胡浩民致辞合肥综合性国家科学中心能源研究院常务副院长胡浩民谈到,能源研究院由安徽省政府与中科院共同发起,以 “三地一库” 为定位,致力于打造可控核聚变等未来能源技术领域的“国家队”,为能源技术革命作出应有贡献;提及二十大 “科创与科普两翼” 理念,科学家与艺术家共建科学艺术联合实验室,并成功组织承办两届科学艺术周。本次展览恰逢首个全国科普月,科学艺术联合实验室将原本抽象的科学概念变得可感可触,为可控核聚变装置这一“大国重器”注入了艺术化的文化表达,为传播中国科学故事提供了全新范式。希望通过科学与艺术深度融合的表达形式,给大家带来更多的思想启迪,进一步激发科研工作者的创新潜力,为未来聚变能源的第一盏灯在中国点亮积蓄更多更大力量。策展团队代表,中央美术学院雕塑系教师张兆宏致辞最后,策展团队代表,中央美术学院雕塑系教师张兆宏讲述了展览筹备背后的跨学科协作故事:“从筹备初期到最终落地,我们用了近一年时间。科学家团队带着托卡马克装置图纸与聚变原理模型,和艺术家一起反复沟通‘如何让公式变画面’。展览主题由两部分组成:一是“拥有制造太阳的能力”,以可控核聚变为科学底座,阐明其能彻底改变人类文明进程,赋予展览深度;二是“可控核聚变实现,电费降到一分钱,我们的生活将会变成什么样子?”,主题对应着科普、科幻,为展览提供了广度。此外,展览中唯一的数字化内容集中到100个科学幻想上,是结合AI技术,邀请许多孩子们共同参与的科学幻想作品。本次展览希望通过科艺融合的呈现方式,引发每一位观众对未来的无限想象。中央美术学院美术馆馆长靳军担任开幕式主持人参观现场2025.09.14-10.12三大维度结合科学装置:让科学可感可知02展览聚焦能源技术的迭代与文明的进步,特别是可控核聚变技术的突破性进展。通过历史、科学和艺术三个维度的知识图谱构建,全面展示了核聚变科学原理与艺术表达的结合。展览以多个装置作品为核心载体,打破科学与艺术的学科边界,让抽象的核聚变原理转化为可感知的感官体验,引导观众深度思考人类与能源的关系。装置《闪电》:对话终极能源的 “光影宣言”装置《闪电》延续了 19 世纪末尼古拉・特斯拉线圈的设计理念,既是对科学先驱伟大发明的致敬,也串联起能源探索的历史、现在与未来。作品通过剧烈的声响与明暗交织的光影碰撞,不仅直观呈现核聚变反应所需的超高温环境,更以视觉化、听觉化的语言隐喻自然界的深层动力 —— 如同核聚变在宇宙中的能量形态,让观众在震撼的感官体验中,与 “人类终极能源梦想” 展开哲学层面的对话。装置放电表演时间:每开馆日17:00-17:05 17:30-17:35每周五、周六19:00-19:05 19:30-19:35 *如遇雨天及特殊气候条件将暂停表演*装置表演期间将伴随强光和强音,请注意安全保护,请老人、儿童、孕妇及佩戴心脏起搏器者在工作人员指导下观看,请勿进入下沉广场。装置《海》:50 吨海水里的 “能源未来”装置《海》通过50吨人造海水,生动展示海水转化为能源的未来图景,突显了可控核聚变的巨大潜力,表现了其作为理想终极能源的价值。装置《人造太阳》:光纤里的 “能量复刻”《人造太阳》通过光纤设备将户外阳光引入美术馆,再通过聚光投射,创造出直径5米的“人造太阳”,不仅还原了阳光的能量形态,还与展馆中的海水场景相呼应,帮助观众直观理解核聚变能源的巨大潜力。这些互动性装置打破了传统科普的展览形式,构建起一个 “可看、可听、可感” 的科学艺术空间,让观众从 “被动接收” 转向 “主动探索”。2025.09.14-10.12科学文物:见证核聚变发展历程03展览还特别展示了多件核聚变科学文物,展现了物理世界的精密与奥秘。从我国最早的托卡马克装置KT-5到东方超环EAST全超导托卡玛卡装置,这些实物和模型记录了中国核聚变研究的关键历史节点。自1960年代起,中国便启动了磁约束聚变研究,托卡马克成为了主要研究路径。这些文物不仅展示了中国在核聚变领域的重要成就,也展现了核聚变研究如何推动全球能源科技的发展。展览通过这些珍贵文物,呈现了中国在可控核聚变研究领域的领导地位,凸显了核聚变研究的深远意义。2025.09.14-10.12互动探索:探索核聚变的奇妙世界04为了让观众更好地理解核聚变,展览还特别设计了多个互动环节。例如,观众可以通过“核聚变原理闯关游戏”亲自操作虚拟粒子碰撞,实时生成聚变反应数据;而“海水能量转换”装置则通过模拟海水流动,帮助观众理解从海水到核能的物理转化过程。这些互动环节不仅增加了科学的趣味性,也让观众在亲身体验中更好地理解核聚变的基本原理。其中,聚变水滴·解码文明(海水卡)是一次参与式科普:每位参与者都是文明能量的传递者,孩子们通过提取海水→激活文献内容→拼合能源文明密码墙的过程,亲身体验“从一滴海水到无限能源”的科技奇迹。2025.09.14-10.12主题论坛:能源与文明——科学艺术·聚变未来05展览开幕当天,同步举行 “能源与文明 —— 科学艺术・聚变未来” 主题论坛。论坛邀请能源、艺术、科普、科幻等多个领域的专家,围绕跨界议题展开深度对话。• 圆桌一:能源·电力·科幻:未来文明叙事主导权• 圆桌二:科学·公教·传播:中国科普教育新浪潮• 圆桌三:科学·艺术·共振:当人类拥有制造恒星的能力2025.09.14-10.12讲座预告:李建刚——托起明天的太阳,磁约束聚变发展现状及未来展望9月18日(周四)上午9:30-11:30,我们特别邀请中国核聚变领域的领军者、亲历并推动中国磁约束聚变事业从追赶到引领的核心科学家 ——李建刚院士,带来主题讲座 “托起明天的太阳——磁约束聚变发展现状及未来展望”。本场讲座从人类能源利用引入,指出以聚变能作为新能源的优势。结合亲身经历,讲述我国自主设计建造磁约束托卡马克装置的历史。介绍我国核聚变发展三步走战略,讲述可控核聚变除了发电之外的更多应用,以及在科学与艺术融合上的探索。中国科学家为世界的聚变发展打上中国贡献的烙印。扫码预约 名额有限观众可凭预约记录进校央美在校师生无需预约本次展览已纳入 2025 年全国科普月系列活动,并计划在北京、合肥、深圳等城市进行全国巡展,推动能源科学艺术理念跨地域传播。此外,展览将持续深化 “科学艺术工作坊进校园”“主题云课堂” 等科普形式,进一步扩大与青少年群体进行互动,让核聚变等前沿科技知识以更生动的方式触达公众。展览将持续至2025年10月12日。欢迎各界观众前来参观,一同见证科学与艺术碰撞出的耀眼火花!能源与文明——科学艺术·聚变未来展览地点:中央美术学院美术馆 一层展厅展览时间:2025年09月14日-10月12日展览工作团队:学术顾问:林茂 李建刚特邀指导:邱志杰 胡浩民总 协 调:潘承辉行政协调:吴娅娟 王姝总 策 划:吴征 孔德峰展览总监:靳军 韩文超展览统筹:高高 海军 策展团队:张兆宏 沈星逸 苏磊 沈聪 陈娱 渠承明 何秋言执行策展:蔡苗苗 刘祥琦 周游 胡一葳 吴颖淇 朱子修 吴振东 胡曼露展览协调:王静 刘希言视觉设计:巩毅 王耕雨影像设计:刘建 何晨暄装置设计:李鹏 丁浩斌 许光鑫 孟祥忠 陈章 魏子安 王超群 许红运 向念文 吕增威 李春华 陈志伟 王书来 刘仲宝 薛峰宣传设计:丁冠盟 张路明表演设计:侯百慧 李雪滢 孔祥禹 杨舒婷 叶香文献整理:王家鹄 贾贤晶 马嘉仪 马楚鑫 赵钰涵设计统筹:纪玉洁展览管理:宿世存 荆鹏 吕智发媒体宣传:何一沙 吴靖 贺伊飞 杜隐珠 丁怡公共教育:肖宝珍 耿菁华 王军 姚轶群 梁雯 西华伟发展推广:孙炜 伊义 金简如 寇蕾 刘星伶财经事务:杨柳 门婧行政支持:蒋思妤 岳君瑶 张倩 郭旭 陈小华主办单位:中央美术学院合肥综合性国家科学中心能源研究院合肥市人民政府承办单位:中央美术学院美术馆合肥综合性国家科学中心能源研究院科学艺术联合实验室大太阳(合肥)文化科技有限公司协办单位:中国科学院合肥物质科学研究院等离子体物理研究所中国科学技术大学核科学技术学院科普中国中央美术学院雕塑系中央美术学院实验艺术与科技艺术学院中央美术学院设计学院中央美术学院城市设计学院中央美术学院科研处中央美术学院科技艺术研究院北京理工大学设计与艺术学院北京师范大学未来设计学院中国科技新闻学会科普文化产业专委会工业制造艺术创新设计工业和信息化部重点实验室支持单位:北京国际设计周爱普生光影研究院深圳视爵光旭电子有限公司北京原力辰超导技术有限公司几沐实验室天与ARTECH安徽本轮科技有限公司北京和谷共创科技有限公司主编 / 何一沙责编  / 吴靖 丁冠盟现场图 / 贺伊飞 许芸
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少,但更好:“德国工业设计之父”迪特·拉姆斯中国首展亮相中央美术学院

2025-09-15

2025年9月14日,由北京当代艺术基金会联合中央美术学院设计学院、德国拉姆斯基金会、北京国际设计周共同主办的“少,但更好:迪特·拉姆斯中国首展”,将在位于北京的中央美术学院设计学院四层展厅正式开幕。这是今年北京国际设计周的重点项目之一,也是迪特·拉姆斯这位跨时代的德国工业设计大师在中国的首次大型展览(并为亚洲巡展的首站)。现年93岁的迪特·拉姆斯(Dieter Rams)被誉为“德国工业设计之父”,是20世纪下半叶最具影响力的设计大师之一。早在上世纪70年代,他便提出“设计十诫”,认为好的设计是创新的、有用的、美观的,易于理解的、不张扬的、诚实的、经久耐用的、关注细节的、环保的,并尽可能少却更好的。这些不仅奠定了优良设计的评价准则,更为后世树立了可持续设计的标杆。此次展览以其格言“少,但更好(Less, but better)”作为展览主题,既是设计信条的延续,也是当代社会在可持续发展和生活方式探索中的重要价值坐标。“少,但更好:迪特·拉姆斯中国首展”在迪特·拉姆斯的理念指引下,由德国拉姆斯基金会执行总监克劳斯·克莱姆普(Klaus Klemp)与北京当代艺术基金会理事长崔峤共同策展,系统呈现迪特·拉姆斯半个多世纪的设计思想与创作脉络。展览将汇集多件珍贵设计作品、手稿、照片与影像资料,并特别设置 “Ingeborg Rams摄影作品”“博朗钟表与计算器”两大策展单元,为中国观众展现大师独特的设计世界与生活理念。此次展览也得到歌德学院(中国)、德意志联邦共和国驻华大使馆、德国GESTALTEN出版社、北京科学技术出版社、广东人民出版社等机构支持。作为主要推动者之一,北京当代艺术基金会希望通过此次展览,将迪特·拉姆斯的理念与当下“可持续设计”“青年人才发展”“国际合作”的议题相连,令其不仅是一场设计回顾展,更是一次关乎未来生活方式的公共讨论。▲ 扫描二维码,免费预约观展▲ “少,但更好:迪特·拉姆斯中国首展”展览现场#01跨时代的设计理念:少,但更好▲ 迪特·拉姆斯,2019,图片来源:© rams foundation在上世纪末,面对消费主义浪潮,迪特·拉姆斯提出了一项在设计领域极为罕见的主张:“设计应该对世界负责”。他认为好的设计应聚焦最本质的构成,排除冗余,“回归纯粹,回归简洁”。为此,他确立了判断“好设计”的“设计十诫”,构建出功能(Function)、形式(Form)、责任(Responsibility)三维平衡的评估标准。如今,资源节约与环境保护已成为人类面临的核心挑战,迪特·拉姆斯的设计思想比以往任何时候都更加切中时代命题。他说:“我所向往的,是一个由清晰、简洁而朴素的物品构成的世界——它们是我们真正需要并使用的东西。”早在上世纪70年代,迪特·拉姆斯就主张应以最长久的使用周期为目标来设计物品。▲ 1956年设计的SK4收音机与1963/64年设计的T 1000收音机,图片来源:© rams foundation他为家用电器品牌博朗(Braun)、家具制造商Vitsœ设计的超350件产品,影响了全球数代设计师,也深刻塑造了Apple、MUJI等国际品牌的审美。此次展览也将结合其中的典型案例,如仍在生产的Vitsœ 621边桌、博朗的MPZ 2榨汁机等,展现迪特·拉姆斯“延长产品寿命、减少资源消耗与废弃物”的实践逻辑,探讨“可持续”与“可长期使用”之间的密切关系。几十年来,迪特·拉姆斯的设计被全球成千上万的人日复一日地使用并收藏,其设计理念成为一代又一代设计师的灵感源泉,并发展为更多人与之共鸣的生活方式。北京当代艺术基金会理事长崔峤作为本次展览的联合策展人,阐述了迪特·拉姆斯的设计力量:“迪特·拉姆斯是智慧与创造力兼具的传奇人物,他的‘设计十诫’,‘少,但更好’这些理念至今依然激励我们,以更简洁、更理性的方式面对复杂世界,创造真正有价值的事与物。”#02中国首展:从经典产品到珍稀档案▲ 迪特·拉姆斯在“设计十诫”展览现场,德国莱姆戈(Lemgo),2005,图片来源:© rams foundation对于中国观众而言,这是一次难得的机会:近距离触摸和理解世界级设计的思想脉络,以及它如何影响我们的日常生活和可持续思维。▲ regie 550高保真音响控制器,图片来源:© rams foundation当观众踏入中央美术学院设计学院四层展厅,映入眼帘的不是喧闹的装置或炫目的视觉冲击,而是一种静谧、理性而清晰的氛围。展厅内,观众可以近距离观察迪特·拉姆斯的30件经典产品,包括F1 mactron口袋打火机、regie 550高保真音响控制器等,每一件都像在低声诉说着半个世纪的设计哲学。旁边的50件图文展板上,是他从手绘草图到未实现设计的珍贵档案,记录着每一次灵感的闪现。影像区将播放两部重要纪录片《Rams》和《谁是Mr. Braun?》,让设计理念在光影之间被直观感知。对于大众而言,这不仅是对设计史经典的回顾,更是一次触摸生活智慧的体验。值得特别关注的是,北京站相比过往的世界巡展新增了两个策展单元:        ·Ingeborg Rams珍贵影像作品作为迪特·拉姆斯的伴侣与合作伙伴,她自上世纪50年代起为博朗和Vitsœ拍摄了大量产品与空间影像,其冷静而敏锐的镜头展现了功能与美学的融合。展览将呈现她的经典摄影作品及住宅影像。▲ Ingeborg Rams拍摄的Vitsœ展厅,图片来源:© rams foundation        ·博朗钟表与计算器首次系统性展出从折叠闹钟、数字台钟到模拟/数字腕表的设计演进,揭示迪特·拉姆斯与其长期合作伙伴、工业设计师Dietrich Lubs在“时间设计”上的创新探索。▲ Dietrich Lubs绘制的dw 20手表草图,图片来源:© Braun GmbH每一件展品都是迪特·拉姆斯理念的生动注解,也让观众在“观察、阅读、思考”中体验“少,但更好”的设计美感。#03从展厅到日常:当代生活如何实践“少,但更好”▲ 迪特·拉姆斯在德国克龙贝格(Kronberg)家中的工作室内,由Ingeborg Rams拍摄,图片来源:© rams foundation此次展览不仅展示了迪特·拉姆斯经典作品的历史脉络,也在向当下发问:我们如何与物品、环境和自己相处?如何将“少,但更好”运用于日常生活?在快速消费与环境危机并存的今天,迪特·拉姆斯的理念仍然振聋发聩。北京当代艺术基金会希望此次中国巡展对观众来说,不仅是一次与设计经典的近距离相遇,更是一种关于未来生活方式的思考与分享。崔峤表示:“迪特·拉姆斯提醒我们:真正长久的设计,来源于对人和地球的尊重。当下这个不确定和矛盾的世界,更是每个人追索内心、去除杂念、坚实个性的时刻。迪特·拉姆斯用理性、克制和聚焦的设计语言与行动,为我们展示了一个更可持续、更有希望的未来。”国际上,迪特·拉姆斯的影响还将延续。9月9日,他在伦敦世界设计大会上获颁“世界设计奖章(World Design Medal™)”,表彰其对工业设计的巨大贡献。11月开始,迪特·拉姆斯受邀参与东京21_21 DESIGN SIGHT主办的群展“Reflecting on the Work and Philosophy of Great Designers(回顾伟大设计师的工作与哲学思想)”。○展览信息•展览名称:少,但更好:迪特·拉姆斯中国首展•展览时间:2025年9月14日–10月8日(9:30~17:30,每周一闭馆)•展览地点:北京 | 中央美术学院设计学院四层展厅(请从学校北门进入,具体路线如下图↓)•策展人:克劳斯·克莱姆普、崔峤•联合主办:北京当代艺术基金会、德国拉姆斯基金会、北京国际设计周、中央美术学院设计学院•展览支持:歌德学院(中国)、德意志联邦共和国驻华大使馆、德国GESTALTEN出版社、北京科学技术出版社、广东人民出版社• 观展形式:免费观展(请扫描海报二维码,在中央美术学院美术馆小程序提前预约观展时间)▲ 扫描二维码,免费预约观展○延伸阅读《少,但更好:德国设计大师迪特·拉姆斯中国首展九月开幕 | BCAF发起》主编 / 何一沙责编 / 杜隐珠
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Crossover Dialogue Between Energy And Art |The “Energy And Civilization--Science & Art·Fusion Future” Forum Is About To Kick Off

2025-09-12

The interdisciplinary integration of energy technology, science popularization communication, and artistic expression"Energy And Civilization--Science & Art·Fusion Future"Roundtable ForumTime: 13:30-17:30, September 14, 2025Venue: Lecture Hall of CAFA Art MuseumOn September 14, 2025, the large-scale science popularization exhibition "Energy And Civilization--Science & Art·Fusion Future", co-sponsored by the Central Academy of Fine Arts, the Institute of Energy of Hefei Comprehensive National Science Center, and the People's Government of Hefei, will open at CAFAM. A thematic roundtable forum will be held in the Lecture Hall of CAFA Art Museum on September 14. The forum will invite experts from various fields such as energy scientists, artists, science fiction writers, science popularization experts, and investors to conduct three interdisciplinary roundtable dialogues focusing on the future of energy, technology, art, and civilization, thus staging a wonderful collision between "energy and art".This forum is open to the publicScan the QR code to make a reservationLimited spots available; first come, first served   01  Forum Introduction      The forum, themed "Focusing on Controlled Nuclear Fusion: Exploring the Interdisciplinary Integration of Energy Technology, Science Popularization Communication, and Artistic Expression", aims to break down disciplinary barriers and build a public platform for in-depth dialogue between science and art. Focusing on "controlled nuclear fusion" as the ultimate energy direction, it will bring together scientists, artists, and science fiction writers to pool their wisdom. Centering on the core topic of "energy and civilization", three roundtable dialogues will be held to explore how energy technology can lay the foundation for the future, how science popularization education can build a bridge for public understanding, and how technology and art can jointly shape new forms of civilization. This is an intellectual journey from reality to imagination, and we invite you to participate in co-creating the narrative of the future.   02  Three Roundtable Themes · Leading Interdisciplinary Contemplation      13:30-14:40, September 14Forum 1: Energy, Electricity, Future and Science FictionNarrative DominanceThe transformation of energy technology is an underlying variable in the development of human society. It determines the boundaries of productivity and profoundly shapes the economic society, political systems, and even cultural values. From the era of slash-and-burn cultivation to nuclear fusion, every energy revolution has overturned the old order and given birth to entirely new forms of civilization.HostKong DefengPh.D., doctoral supervisor, Huangshan Scholar, Chief Scientist of the National Key Research and Development ProgramGuestsLing ChenCouncil Member of China Science Writers Association, science popularization and science fiction writerChen XiDirector, Screenwriter, PlannerMao WenzheAssociate Professor, University of Science and Technology of ChinaZhang KaiFamous InvestorWang XuanzhengProfessor, Director of the Graduate Department, School of Design, Central Academy of Fine ArtsSeptember 14, 14:40-15:50 Forum 2: The New Wave of Science Popularization Education in China – Science, Public Education, CommunicationIn an era where knowledge acquisition is extremely convenient, the mission of science popularization education has evolved from mere "knowledge dissemination" to the "cultivation of scientific thinking and scientific spirit". It is no longer a one-way indoctrination, but a two-way, creative and interactive public education activity. How to break down the "dimension wall" between science and the public, and make profound scientific research achievements knowable, perceivable and participatory, is a new task facing science popularization workers.HostZhang Wenchao Artist, Director of the Art and Technology Program, School of Design, Central Academy of Fine ArtsGuestsZhou JianqiangDirector and Researcher of the Professional Committee for Science Popularization and Cultural Industries of the China Society for Science and Technology Journalism, and Director of the Institute of Science Popularization Industry at the University of Science and Technology of ChinaWang XiaomingDeputy Director of China's Guidance Committee for Training of High-Level Specialized Talents in Science Popularization, Honorary Chairman of the Yangtze River Delta Science Popularization Venues Alliance, and Executive Vice Chairman of the Shanghai Foundation for the Development of Science Popularization Education.He DanMember of the Science Popularization Education Committee of China Science Writers Association, and Guiding Expert of China Science Popularization Study Tour AllianceWu DanResearcher at the China Research Institute for Science PopularizationZhang JieDirector of the Brand Innovation, Development and Communication Center, China Agricultural Film and Television Center, Ministry of Agriculture and Rural AffairsSeptember 14, 16:10-17:30 Forum 3: The Poetry of Energy: When Science and Art ResonateThe "Energy and Civilization" exhibition resonates at the intersection of technological rationality and poetic intuition. This dialogue seeks to construct a polyphonic narrative of scientific and technological humanities – when the microscopic universe of particle collisions meets the materiality of sculptural materials, when the topological structure of photovoltaic matrices resonates with the spatiotemporal reconstruction of video installations, and when the entropy-increasing process of energy storage components interweaves with the frequency modulation of installation art.HostHu QuanchunDeputy Director of the Department of Sculpture, Central Academy of Fine ArtsGuestsLiu JianProfessor at Shandong University, Fusion ScienceQi ZhenHead of the Tech Art Studio, School of Experimental Art and Tech ArtSong DonghuanScreenwriter, CuratorFan HuiGrade-2 Screenwriter of China Film Group Corporation, Secretary-General of the Youth Film Professional Committee of China Xia Yan Film SocietyXing HeProfessional Writer of Beijing Writers AssociationJing SiyangDirector of the Crisis and Ecological Design Program, School of Design, Central Academy of Fine ArtsEnergy And Civilization--Science & Art·Fusion FutureExhibition Time: September 14 - October 12, 2025Exhibition Venue: 1st Floor Exhibition Hall, Art Museum of the Central Academy of Fine ArtsOpening Time: 10:00 a.m. on September 14, 2025Opening Venue: Academic Lecture Hall, Art Museum of the Central Academy of Fine ArtsEditor-in-Chief / He YishaEditor / Du Yinzhu
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Collection Talk | Lecture Preview for the Series "Flowing Artscapes: CAFAM International Exchange Research Exhibition from The Collection"

2025-09-11

"Flowing Artscapes: CAFAM International Exchange Research Exhibition from The Collection"Series of Academic Activities"Collection Talk"(First Session)《Steamed buns, pizza, newspapers, and α Generation》Lecture Time: 14:00-16:00 pm on September 11, 2025Venue: Meeting Room,CAFA Art MuseumSpeaker: Artist duo Chow and LinHost: Art Museum of the Central Academy of Fine ArtsScan the QR code to make a reservationLimited spots available; first come, first servedLecture Content——————Chow and Lin are participating artists in "Flowing Artscapes: CAFAM International Exchange Research Exhibition from The Collection". The "Poverty Line" series of photographs in the collection of CAFA Art Museum are their works. In this lecture, Chow and Lin will share with us their artistic journey starting from the "Poverty Line" project, and how they connect experiences and observations in daily life to social and global issues in their creations.The "Poverty Line" series of works at the exhibition site of "Flowing Artscapes: CAFAM International Exchange Research Exhibition from The Collection"One of The Poverty Line, by Chow and Lin, 2012, 39×58cm, collection-grade art giclée print, Collection of CAFA Art MuseumThe CAFA Art Museum collected a total of 56 works from The Poverty Line series in 2016The "Poverty Line" series of works explores the daily choices faced by people living on the edge of the poverty line through the universal perspective of food. Since 2010, the artists have visited 38 countries and regions across six continents, covering a total distance of over 200,000 kilometers, to complete a series of case studies.Based on the official definitions of poverty in different countries, the artists calculated the daily per capita poverty standard. In upper-middle-income economies, they referred to the average food expenditure of low-income households; in low-income economies, they directly used the entire daily income of poor people as the basis for calculation. According to this amount, the artists purchased food in local markets and arranged it on that day's local newspaper for photography.The size and lighting of the works are precisely designed to ensure aesthetic consistency across time and regions. The newspaper forms a monotonous background, filled with headlines vying for attention. This not only reflects humanity's obsession with information but also reveals that in the era of the rise of digital media, the relevance of newspapers is constantly being questioned. This significant shift in information dissemination methods profoundly affects how we access and understand information in a highly interconnected yet fragmented society.Introduction to the Speakers——————————————————Chow and Lin (of Singaporean descent), an artist duo consisting of Stefen Chow and Huiyi Lin, focus on the dynamic relationships between humans and various social systems. They excel at leveraging the power of visuals to explore global issues with backgrounds in economics, mathematics, and statistics. Their projects are driven by cross-disciplinary inputs from photography, media, economics, public policy, as well as insights from experts in different fields. The themes addressed in their works include poverty, consumerism, ecological sustainability, and more. Their works have been exhibited in 15 countries, with a solo exhibition held at the United Nations Conference Centre in Bangkok, and are included in the collection of MoMA in New York.Related Exhibitions————————————The Project "2025 National Art Museum Collection Exhibitions Season" By The Ministry Of Culture And TourismFlowing Artscapes: CAFAM International Exchange Research Exhibition from The CollectionHost: CAFA Art MuseumExhibition dates: July 18 - September 3, 2025Venue: Halls 3A and 3B, CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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Energy And Civilization- Science & Art · Fusion Future | The 2025 "Energy and Civilization" Exhibition Is About To Open Grandly

2025-09-10

At 10:00 a.m. on September 14, 2025, the large-scale popular science exhibition "Energy and Civilization: Science & Art · Fusion Future", jointly launched by the Central Academy of Fine Arts, the Institute of Energy of Hefei Comprehensive National Science Center, and the Hefei Municipal People's Government, will grandly open at CAFA Art Museum. As China's first museum-level science and art exhibition themed on "controllable nuclear fusion", it brings together top scientists in the field of nuclear fusion and leading figures in the art circle. From an interdisciplinary perspective, the exhibition combines scientific achievements with contemporary artistic expressions, establishing a complete knowledge chain from scientific issues to artistic representations, and then to public cognition.The exhibition focuses on the evolution of energy technologies and the progress of civilization, particularly the breakthroughs in controllable nuclear fusion technology. It comprehensively demonstrates the scientific principles of nuclear fusion by integrating artistic expressions with the construction of a knowledge map spanning three dimensions: history, science, and art. From the historical perspective, it reviews the evolution of energy technologies from fire-making by drilling wood to nuclear fusion, and presents the arduous journey of China's nuclear fusion research. From the scientific perspective, it provides a panoramic interpretation of the principles of controllable nuclear fusion and showcases the course of scientific exploration through precious scientific relics such as EAST and tokamaks. From the artistic perspective, through large-scale installation works like Lightning, Sea, and Building the Sun, it transforms abstract scientific principles into visual spectacles, stimulating viewers' sensory experiences and reflections.The innovative exhibition methods not only achieve the two-way stimulation of scientific expression and artistic cognition, but also allow the audience to intuitively feel the infinite potential of energy through an immersive experience, inspiring people's imagination and reflection on the future energy era.                                  The exhibition will skillfully integrate scientific expression with artistic perception through a number of installation works, inspiring visitors' in-depth thinking and sensory experience of nuclear fusion technology.Installation LightningThe installation Lightning carries forward the design concept of the Tesla coil. It is both a reproduction of Nikola Tesla's great invention at the end of the 19th century and a link connecting history, the present, and the future. This work not only presents the ultra-high temperature environment required for nuclear fusion but also, through intense sounds and collisions of light and shadow, metaphorically embodies the profound driving forces of nature. It engages in a dialogue with nuclear fusion—humanity's ultimate energy dream—both visually and philosophically.Installation SeaThe installation Sea vividly presents a future scenario where seawater is converted into energy through 50 tons of artificial seawater, highlighting the enormous potential of controllable nuclear fusion and demonstrating its value as an ideal ultimate energy source.Installation Building the Sun  Building the Sun channels outdoor sunlight into the art museum via optical fiber devices, then projects it through light concentration to create a 5-meter-diameter "artificial sun". This not only reproduces the energy form of sunlight but also echoes the scene of 50 tons of seawater in the exhibition hall, helping visitors intuitively understand the enormous potential of nuclear fusion energy. Through these works, the exhibition breaks away from the form of traditional popular science exhibitions and creates an interactive space for art and science experiences.                                                         The exhibition has carefully selected a series of nuclear fusion scientific devices, showcasing the precision and profundity of the physical world and forming a "chain of material evidence for the evolution of civilization". From China's first tokamak device to the EAST device, these precious scientific instruments spanning nearly two centuries link key historical nodes in China's nuclear fusion research, highlighting China's important position in global energy exploration.Since the 1970s, China has launched the magnetic confinement fusion research program, with tokamak becoming the main research path. In the 1980s, China successfully built its first small tokamak device, KT-5, marking a breakthrough in the country's nuclear fusion research. This device not only provided an important experimental platform for basic physical issues such as plasma-wave interactions but also promoted the development of various advanced plasma diagnostic technologies, serving as a core experimental platform for talent cultivation in the field of nuclear fusion. By exhibiting these precious relics, the exhibition enables visitors to deeply understand China's remarkable achievements in nuclear fusion research and its leading position in the global energy science and technology sector.                                                          The exhibition features a number of interactive experience installations, such as "Fusion Droplets · Decoding Civilization (Seawater Card)", which is a participatory science popularization activity: each participant is a transmitter of the energy of civilization. Children can personally experience the technological miracle of "from a drop of seawater to infinite energy" through the process of extracting seawater → activating the content of documents → piecing together the energy civilization code wall. At the same time, a series of derivatives related to nuclear fusion and energy will be launched at the exhibition site, allowing visitors to extend their exhibition experience through these products and think deeply about the integration of science and art.This exhibition is included in the series of events for the 2025 National Science Popularization Month, the 2025 Beijing International Design Week, and the 2025 3rd China (Hefei) International Science and Art Week. It will tour cities such as Hefei, Chongqing, Shenzhen, and Shanghai in the future. The exhibition will also cooperate with a number of science education institutions, and in the future, it will reach a wider group of teenagers through forms such as "science and art workshops entering campuses" and "themed cloud classes".Energy And Civilization-- Science & Art · Fusion FutureVenue: 1st Floor Exhibition Hall, CAFA Art MuseumTime: September 14 - October 12, 2025 (Opening Time: 10:00 a.m. on September 14; Opening Venue: Academic Lecture Hall, CAFA Art Museum)Exhibition Working Team:Academic Advisors: Lin Mao, Li JiangangInvited Advisors: Qiu Zhijie, Hu HaominChief Coordinator: Pan ChenghuiAdministrative Coordinators: Wu Yajuan, Wang ShuChief Curators: Wu Zheng, Kong DefengExhibition Directors: Jin Jun, Han WenchaoExhibition Coordinators: Gao Gao, Hai JunCuratorial Team: Zhang Zhaohong, Shen Xingyi, Su Lei, Shen Cong, Chen Yu, Qu Chengming, He QiuyanExecutive Curators: Cai Miaomiao, Liu Xiangqi, Zhou You, Hu Yiwei, Wu Yingqi, Zhu Zixiu, Wu Zhendong, Hu ManluExhibition Coordinators: Wang Jing, Liu XiyanHost Organizations:Central Academy of Fine ArtsInstitute of Energy, Hefei Comprehensive National Science CenterHefei Municipal People's GovernmentOrganizing Units:Art Museum of the Central Academy of Fine ArtsScience and Art Joint Laboratory, Institute of Energy, Hefei Comprehensive National Science CenterBig Sun (Hefei) Culture and Technology Co., Ltd.Co-organizers:Plasma Physics Institute, Hefei Institutes of Physical Science, Chinese Academy of SciencesSchool of Nuclear Science and Technology, University of Science and Technology of ChinaScience Popularization ChinaDepartment of Sculpture, Central Academy of Fine ArtsSchool of Experimental Art and Technology Art, Central Academy of Fine ArtsSchool of Design, Central Academy of Fine ArtsSchool of Urban Design, Central Academy of Fine ArtsOffice of Scientific Research, Central Academy of Fine ArtsInstitute of Science and Technology Art, Central Academy of Fine ArtsSchool of Design and Art, Beijing Institute of TechnologySchool of Future Design, Beijing Normal UniversityProfessional Committee of Popular Science Culture Industry, China Society for Science and Technology JournalismKey Laboratory of Industrial and Information Technology for Innovation Design in Industrial Manufacturing ArtSupporting Organizations:Beijing International Design WeekBeijing ByteDance Network Technology Co., Ltd.Epson Light & Shadow Research InstituteShenzhen Seetao Optoelectronics Co., Ltd.Beijing Yuanlichen Superconducting Technology Co., Ltd. Jimu LaboratoryTianyu ARTECHAnhui Benlun Technology Co., Ltd.Beijing Hegu Gongchuang Technology Co., Ltd.Chief Editor / He YishaEditor / Du Yinzhu
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White Dew Today

2025-09-07

White Dew today.
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One Mirror, One World: The Translucent Mirror Of The Ming Dynasty From "Han Tianxia" | Collection Exhibition Of CAFAM

2025-09-06

In the exhibition hall of "Collection of CAFA Art Museum – Ancient Chinese Art", a precious relic from the Han Dynasty that has spanned over a thousand years – the circular-knob sunlight and grass-leaf pattern bronze mirror – stands quietly, waiting to meet the gaze of contemporary viewers.> > > >639 Round Knob Sunlight Grass and Leaf Pattern Mirror, Reverse side of the mirror, Han Dynasty, Bronze, Diameter: 10.3 cm, Weight: 108 grams, Collection of CAFA Art Museum639 Round Knob Sunlight Grass and Leaf Pattern Mirror, Mirror surfaceThis bronze mirror is well-preserved, showing an overall black appearance with scattered patches of green rust.The mirror is circular in shape, featuring a circular knob and a deformed persimmon calyx pattern as the knob base. Outside the base lies a double-line square frame, inside which there is a checkerboard-like grid. The knob is at the center of the grid, with symmetrical diagonal patterns at the four corners. On each side of the square frame, there are two seal-script characters; when read clockwise in sequence, they form the inscription: "When seeing the light of the sun, the whole world is bright." Beyond this square frame, there is an additional circular concave frame. Four "ru ding" (breast-shaped studs, a common decorative element on ancient Chinese bronze mirrors) are placed outside the midpoints of the four sides of this concave frame. Outside each "ru ding" pattern, there is a peach-shaped flower bud, with a single-layer grass-leaf pattern arranged symmetrically on both sides. From each of the four corners of the square frame, a double-petal flower branch pattern extends, with the tips of the branches radiating outward—consistent with the direction of the leaf tips of the persimmon calyx pattern base. The mirror is bordered by an inward-facing sixteen-consecutive-arc pattern, with vertical edges.639 Round Knob Sunlight Grass and Leaf Pattern Mirror: Case and InscriptionThis bronze mirror is accompanied by a case, on which there are 283 characters written in ink by its original owner during the Republic of China period, along with three stamped seals. The inscriptions specify the mirror's name, its extraordinary features, the mystery of its light-transmitting property, the reason for its change of ownership, and the owner's expectations for the next holder. The historical sense of responsibility embodied in the inscriptions is admirable, while the reason for the transfer—"selling the mirror to repay debts"—is lamentable. However, as Zhi Wei once said, "Both the one who gains it and the one who loses it should remain joyful." Today, our museum's acquisition of this mirror is indeed a great delight.original inscription by Zhi:The Translucent Mirror of the Ming Dynasty from "Han Tianxia"The translucent mirror is an extraordinary innovation in China's metallurgical technology. Wu Qiuyan, a scholar of the Yuan Dynasty, claimed that it was made "with fine bronze for the frame and impure bronze for the patterns( though the two terms "fine" and "impure" should be swapped). When exposed to sunlight, the patterns are fully transmitted." This is merely a speculative claim with no scientific basis.Scholars such as Umehara Sueji and Naito Konan also conducted research and discrimination, but none of them reached a definite conclusion. In short, this is an undisclosed secret in the casting and smelting techniques of our ancient ancestors.Among thousands of mirrors, few can obtain even one. Now I have to exchange this mirror for money to repay debts, which has made me feel sorrowful for days. I hereby write a few words. May the one who obtains it treasure it, or hand it over to experts for research, so as to solve this mystery. It will also be a glory in the history of mirrors and a fortunate event for the collector. The artistic inventions of our ancient people can thus be praised, which is especially a great fortune in the new democratic era.Words from a Mirror EnthusiastAnd stamped with the seal of Yongle HallMay both the gainer and the loser find eternal happinessSeals: Mirror Enthusiast, Seal of Yongle HallThe scene of the bronze mirror exhibition area in "Collection of CAFA Art Museum – Ancient Chinese Art"In addition to the Round Knob Sunlight Grass and Leaf Pattern Mirror, the exhibition also features dozens of other rare bronze mirrors, such as the Bridge Knob Feather-wing Flower and Leaf Pattern Four-Mountain Mirror (Warring States Period) and the Round Knob Four-Bird Flower Branch Mirror (Tang Dynasty). Through these exhibits, visitors can intuitively perceive the changes in aesthetic tastes and innovations in craftsmanship across different eras.> > > >Collection of CAFA Art Museum -– Ancient Chinese Art(Phase II)Exhibition Time: Starting from July 1, 2024Exhibition Venue: Gallery A, 2nd Floor, CAFA Art MuseumChief Editor / He Yisha Editor / Du Yinzhu
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Revealing In One Minute | "Interflowing Artscapes -- CAFAM International Exchange Research Exhibition from the Collection" Is About To Conclude

2025-09-04

"Interflowing Artscapes -- CAFAM International Exchange Research Exhibition from the Collection" will successfully conclude today. A large number of important artworks in the exhibition are being displayed for the first time, involving 133 global artists and 244 wonderful works (groups). Many of these works once lay silent in the warehouse, but each one bears distinct characteristics of the times and artistic value. One after another, batch after batch, the enrichment and accumulation of international art collections not only reflect the development process of the art museum, the achievements of fine arts education and international exchanges of the Central Academy of Fine Arts, but also outline the cultural exchanges between China and foreign countries and the world's art ecology from a side perspective.       
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Shocking Anti-Japanese War Scene: Yan Han's Printmaking - "When the Enemy Searches the Mountain" | CAFAM Collection Exhibition

2025-09-04

> > > >September 3, 2025, marks the 80th anniversary of the victory of the Chinese People's War of Resistance Against Japanese Aggression and the World Anti-Fascist War. On this special commemoration day, let us jointly appreciate this black-and-white woodcut print with profound historical significance—Yan Han's When the Enemies Search the Mountain. This work is currently on display in the second phase of the "Collection of CAFA Art Museum: Modern Chinese Art". The exhibition, covering traditional Chinese painting, oil painting, and printmaking, is not only the individual expression of artists but also embodies the exploration and reform in the torrent of history, responding to the times with modern forms and languages."When the Enemies Were Searching the Mountain" 1943 Yan Han Black and White Woodcut 22×19cm Collection of CAFA Art MuseumDuring the War of Resistance against Japanese Aggression, a group of artists represented by Yan Han truly went to the battlefield and directly reflected the most intense and core scenes of the War of Resistance through their works. In 1938, Yan Han crossed the Yellow River with the Eighth Route Army to go to the front line of the War of Resistance. In 1942, the Japanese army carried out multiple "mopping-up operations" against the anti-Japanese base areas behind enemy lines in North China. With the help of local villagers, Yan Han and his comrades managed to break through the blockade."When the Enemies Were Searching the Mountain" was created by Yan Han in 1943 after he returned to Yan'an from the front line, in memory of his fallen comrades. The work not only shows the tenacity and resistance of the people under extreme oppression but also highlights the spiritual strength of military-civilian unity and solidarity as one. It demonstrates Yan Han's creative stance of closely combining art with the destiny of the nation.Excerpt from "When the Enemy Searches the Mountain"The work depicts a battle scene where soldiers and civilians collaborate and share a common hatred for the enemy amid the predicament of the enemy searching the mountains. The painting uses a triangular composition. At the visual center, an Eighth Route Army soldier, with the joint effort of the masses lifting him up, climbs out of the trench and is strafing the enemy with a light machine gun. On the left side of the painting are militia members eager to join the battle, while at the bottom of the painting, the people support the Eighth Route Army soldier with their own bodies. A crawling child holds a grenade high in his hand, ready to pass it to the soldier at any moment. The contrast between black and white colors and the variations in the thickness of the lines create a tense and intense atmosphere.Excerpt from "When the Enemy Searches the Mountain"This print truthfully and vividly reflects the arduous anti-Japanese struggle of the Chinese people, depicting the profound bond between the military and civilians who shared weal and woe like fish and water. It conveys a stirring spiritual power and has left a brilliant mark in the history of Chinese national art development.> > > >Collection Of CAFA Art Museum——Modern Chinese Art(Phase II)Exhibition Duration: Starting from July 1, 2025Exhibition Venue: Hall A, 2nd Floor, CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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Liu Xian: "Strengthen Unity and Persist in the War of Resistance" | Collection and Exhibition of CAFAM

2025-09-02

> > > >The second phase of "Collection of CAFA Art Museum - Modern Chinese Art" is on display at the CAFA Art Museum. Among them, the "Modern Chinese Art" section includes 22 new works, ranging from traditional Chinese paintings, oil paintings to prints. These works are not only the individual expressions of artists, but also embody the exploration and reform in the torrent of history, responding to the times with modern forms and languages. This push will take you to appreciate this highly representative work in the history of modern Chinese prints - Strengthen Unity and Persist in the War of Resistance to the End.Strengthen Unity and Persist in the War of Resistance by Liu Xian, 1938, 11×9cm, wood engraving, collected by the Art Museum of Central Academy of Fine ArtsThis piece, Strengthen Unity and Persist in the War of Resistance is one of the representative works by Liu Xian, a pioneer of China's emerging woodcut movement in the 20th century. In 1938, after the full-scale outbreak of the War of Resistance against Japanese Aggression, artists used knives as pens and prints as weapons to actively participate in propaganda and mobilization. Strengthen Unity and Persist in the War of Resistance was created during this period.Based on black - and - white woodcut, the work creates a solemn and powerful picture through rough knife techniques and strong light - dark contrast. At the center of the picture are the eight characters“Strengthen Unity and Persist in the War of Resistance”, which is an important slogan of the War of Resistance. Around them, planes are dropping bombs on the ground. Below these big characters, there are soldiers holding guns, ready to shoot. In the city at the bottom of the picture, there are people raising their arms and shouting, distributing leaflets; people who are blasting mountains and forging iron and manufacturing weapons to provide material support for the War of Resistance; soldiers who are charging forward or have been injured and carried away on stretchers. There are also warships, tanks, and the flag of the invaders that has been shot down in the lower right corner.A Partial View of "Strengthen Unity and Persist in the War of Resistance"Such a composition combining elements from different times and spaces, along with the meticulous wood engraving, was rare at that time. It is a classic masterpiece of wood engraving in Chinese prints in the first half of the 20th century, and also an excellent art work reflecting the spirit of the times in the history of anti-Japanese war art. From it, we can see Liu Xian's vision of calling on the people to unite as one and carry out an all-round resistance war through artistic creation.> > > >Collection Exhibition of CAFA Art Museum——Modern Chinese Art(Phase II)Exhibition Time: Starting from July 1, 2025Exhibition Venue: Gallery A, 2nd Floor, CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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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.

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