Exhibitions and Events-News

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

“图示新探”系列学术讲座第二期第一讲 | “《血衣》内外——王式廓的革命历史画研究”及对谈活动

2025-11-19

“图示新探:延安文艺座谈会讲话与现实主义艺术”系列学术讲座,由中央美术学院美术馆直属党支部主办,计划从一系列与中央美术学院美术馆收藏与展示的具体作品出发,围绕1942年毛泽东同志《在延安文艺座谈会上的讲话》对艺术创作与艺术研究产生的影响展开,譬如:文艺创作方向的转变、创作主题的变化、创作中对于人民群众形象的表现、历史史实与艺术表达的关系等等。以此进一步探讨《在延安文艺座谈会上的讲话》对中国现代美术创作中新图示的创造以及中国文艺理论研究等方面所产生的深远影响。 系列讲座的总召集为美术馆直属党支部书记韩文超。2025年11月19日,“图示新探”系列学术讲座第二期第一讲:讲座“《血衣》内外——王式廓的革命历史画研究”及对谈活动将在中央美术学院美术馆学术报告厅展开,此次讲座由中央美术学院美术馆直属党支部与油画系党总支和中央美术学院研究生院党总支、王式廓艺术基金会和今日美术馆联合主办,是“温故王式廓‘生命刻痕’项目特别策划” 系列活动的一部分。|讲座介绍|王式廓《血衣》油画稿 布面油画 100×150cm 1972-1973年 中国美术馆藏2011年中央美术学院美术馆曾举办“从延安到北京——王式廓百年纪念展”。本次讲座以王式廓长达二十年创作《血衣》为线索,结合中央美术学院内部档案勾勒王式廓的革命历史画创作脉络。在新中国开启的革命历史画创作潮流中,如何用革命历史画书写和塑造新的国家意识、历史记忆和形象,是一代美术家面临的新艺术问题,同时也是检验艺术的一个现代性问题。以1957年为历史节点,王式廓的革命历史画创作观具有明显的转向,从探索艺术与生活和大众的关系转向对“社会主义现实主义”创作原则的深刻实践。它体现为一位人民艺术家对自身艺术创作和思想境界持续革命化的不懈追求,通过反复修改、不断推翻和重新构思的创作过程,王式廓将艺术实践与革命理想有机融合,实现了艺术创作与革命精神的审美升华。这种持续自我革新与深入探索,不仅推动了革命历史画在艺术形式与思想内涵上的双重突破,更使其升华为承载民族精神与历史记忆的宏大史诗,展现出艺术在时代洪流中的独特价值与深远意义。|讲座介绍|主编 / 何一沙责编 / 杜隐珠编辑 / 贺伊飞
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CAFAM展览预告 | 跑图·循迹——张文超新作展 即将开展

2025-11-16

跑图·循迹——张文超新作展展览时间:2025年11月15日-12月28日展览地点:中央美术学院美术馆3层C展厅■    ■    ■    ——————————————————————————————    ■    ■    ■“广角°青年实验项目空间”第四期第一个展览:“跑图·循迹——张文超新作展”将于2025年11月15日在中央美术学院美术馆3层C展厅开展。本次展览为中央美术学院设计学院教师张文超的个人新作展。展览由中央美术学院设计学院教授王子源,中央美术学院建筑学院教授傅祎担任学术顾问,中央美术学院建筑学院教师吴晓涵担任策展人。展览介绍迹,不仅是地理线索的痕迹,更是沉淀了集体意识与认知形态的时空结构。循迹,是对生存痕迹的身体性追溯,对在地记忆的概念性挖掘,更重要的,是对地理的生成性实践:循迹使“迹”成为身体、感知与叙事的生成场。从《涉江》(2008)到《90分钟的宇宙观》(2024),无论是徒步长江沿岸挖掘文明的剖面,还是沿卫星航迹收集人类对太空的遐想,张文超的创作始终以“循迹”为创作的核心。“跑图”式的自主导航是他惯用的叙事方法:基于在开放世界游戏中穿越地图的经验,他让作品成为引导思想漫游的导航界面。在此次展览的新作中,他再度以身体为感知媒介,借助今天的数据系统和智能工具,在自然地理与人类工程的动态界面上展开“跑图”式的探索。他以攀爬、奔跑、跨越的身体融入广袤的山川河流,以心与脑链接同一丛轨迹上前朝万代的人类记忆。他在历史宏大的坐标系中游走时空、解构叙事,又反过来建构内心秩序,创造自我。————策展人吴晓涵  作品介绍  展览现场《箭扣指南》 空间装置 2025进行中《箭扣指南》 现场局部《大堤城-X》影像,2025进行中《大堤城-X》数据集局部展览团队| 艺术家 |跑图·循迹——张文超新作展展览时间:2025年11月15日—12月28日展览地点:中央美术学院美术馆3层C展厅主办单位:中央美术学院美术馆中央美术学院教师工作部(人事处)中央美术学院教师发展中心协办单位:中央美术学院设计学院中央美术学院建筑学院支持单位:東京画廊+BTAP帝都绘学术顾问:王子源 傅祎艺术家:张文超策展人:吴晓涵视觉设计:仙人、戴嘉倩创作支持:冀征宇、王歆童、赵飞羽、丁玉儿、丁蔼雯、孙一仟特别鸣谢:文化和旅游系统青年科研人才扶持计划中国长江三峡集团武汉市洪山区水务局岳阳市长江洞庭湖水利事务中心岩时攀岩UNHOL支点主编 / 何一沙责编 / 杜隐珠编辑 / 晏宇希
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An Immersive Installation Experience by Spanish Artists | How Should We View and Reflect on Images?

2025-11-16

Exhibition SiteWith light and shadow as a bridge, transcending mountains and seas, the exhibition "Off-Camera·Moving Images" opened as scheduled at the CAFA Art Museum on November 14th. Co-organized by the Art Museum of CAFA, the Spanish Agency for International Development Cooperation, the Embassy of Spain in China, and Shenzhen Wenze Chuangzhan Culture & Tourism Development Co., Ltd., this exhibition is curated by contemporary art researcher Susana Sans. Bringing together twelve Spanish artists, it aims to offer a fresh perspective for interpreting Spanish cinema and contemporary art.The key guests attending the opening ceremony included: Lü Pinjing, Vice President of the Central Academy of Fine Arts; Marta Betanzos, Ambassador of Spain to China; Juan Mu, Cultural Counselor of the Embassy of Spain in China; Sandra, Cultural Officer of the Embassy of Spain in China; Susana Sans, Curator of this exhibition; Ampro Salde, Representative of Spanish Artists; and representatives from the embassies of various countries in China. Also present were experts and scholars specializing in the history of foreign fine arts and moving image art from the School of Arts of Renmin University of China, the School of Arts of Peking University, the Central Academy of Drama, the School of Photography of Beijing Film Academy, the China National Film Museum, and the School of Design and Art of Beijing Institute of Technology; renowned artists and theoretical researchers active in the field of moving image art; as well as representatives from various departments and administrative offices of the Central Academy of Fine Arts.Speech by Marta Betanzos, Ambassador of Spain to ChinaMarta Betanzos, Ambassador of Spain to China, stated that this exhibition continues the long-standing and sound cooperation between the Embassy of Spain in China, the Central Academy of Fine Arts (CAFA) and the Art Museum of CAFA. It also marks the first time that works by twelve internationally renowned Spanish artists are collectively exhibited in China. These artists jointly explore the boundaries of moving images and their technical carriers, and the spirit and narrative methods embodied in their creations are highly aligned with the ideological spirit and passion for creative exploration of China's younger generation. Against the backdrop of moving images becoming a shared language of the era, this exhibition is not only a tool for art to promote understanding, inspire inspiration and co-create the future, but also strengthens the bond of cultural exchange between China and Spain. The questions raised by the works regarding the present and the future will also trigger more thoughts and dialogues.Speech by Lü Pinjing, Vice President of the Central Academy of Fine ArtsLü Pinjing, Vice President of the Central Academy of Fine Arts, stated that this exhibition, with "Off-Site" as its central theme, brings together masterpieces by a group of Spanish artists. It reexamines the boundaries and possibilities of "moving images," not only demonstrating the innovative synergy of contemporary Spanish art but also serving as a vital bridge for cultural exchange between China and Spain. The Central Academy of Fine Arts has long been committed to exploring digital media and video art, and this exhibition is highly aligned with the Academy’s teaching and research priorities. It is not merely an art exhibition, but also an academic discourse on moving images. We believe that video art is no longer a subsidiary of technology; instead, it has become a crucial tool for perceiving the world and reflecting reality. May "Off-Site: Moving Images" be like a seed, taking root and sprouting in the cultural soil of China and Spain, and inspiring dialogues among countries regarding vision, geography, and culture.Jin Jun, Director of the CAFA Art Museum, hosted the opening ceremonyGroup Photo of GuestsThe exhibition is presented through a commemorative immersive installation experience, where moving images break free from traditional forms and reside in a broader spatial context. At the intersection of the visual and the material, as well as cinema and contemporary art, these works invite us to view and reflect on images in an alternative way—even perceiving them as habitable spaces. This bold, transformative, and constantly exploratory stance has always been woven into the spiritual pulse of Spanish art.The exhibition unfolds across four chapters:Chapter 1 It opens with a focus on several pioneers of video art—Luis Buñuel, Carlos Saura, Pedro Almodóvar, and Víctor Erice—who deconstruct cinema and its ritualistic nature, uncovering new forms of projection and experience.Chapter 2 This chapter explores the grammar and narrative of moving images, showcasing Albert Serra’s radical breakthroughs, Isaki Lacuesta’s experimental spirit, and Lois Patiño’s visual poetics.Chapter 3 It guides us toward images as builders of identity, presenting the critical and personally distinctive artistic explorations by Patricia Esquivias, Cabello/Carceller, and Itziar Barrio.Final Chapter This chapter looks toward the future: images and the screen itself have become core themes of creation, inviting audiences to experience the technological experiments and interdisciplinary research achievements of Daniel Canogar and Amparo Sardá.Notably, artist Daniel Canogar’s generative work Amalgama Prado is on display in the lobby of the museum’s first floor. It is recommended that visitors view it from the corridor on the fourth floor.The exhibition will run until December 28, 2025.The scene of the opening ceremony"  Some of the exhibited worksALBERT SERRA Bullfighting202514’ISAKI LACUESTAStrokes20074’LOIS PATIÑOMetallic  Shadow  in  the  Dream201822’ ITZIAR BARRIORobota  MML202317’16’’CABELLO/CARCELLER A  voice   for  Erauso .Epilogue   for  a  Trans  Time2021-2228’15’’PATRICIA ESQUIVIASCardinal  Cactus202038’AMPARO SARDHaptic  Self-Portrait2021DANIELCANOGAROrbital2025Off-Camera·Moving ImageExhibition Period: November 12 – December 28, 2025Exhibition Venue: 3B Gallery, CAFA Art MuseumOrganizersMinistry of Foreign Affairs, European Union and Cooperation of SpainSpanish Agency for International Development CooperationEmbassy of Spain in the People's Republic of ChinaCAFA Art MuseumShenzhen Wenze Chuangzhan Culture, Tourism and Development Co., Ltd.CuratorSusana SanzParticipating ArtistsPedro Almodóvar、Itziar Barrio、Luis Buñuel、Cabello/Carceller、Daniel Canogar、Víctor Erice、Patricia Esquivias、Isaki Lacuesta、Lois Patiño、Carlos Saura、Albert Serra、Amparo Sardáeditor-in-chief / He Yisharesponsible editor / Du Yinzhueditor / He Yifei
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请进来的油画——中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展 即将亮相!

2025-11-13

请进来的油画中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展展览时间: 2025年11月15日—2026年1月3日展览地点: 中央美术学院美术馆1层/3A/4层展厅主办单位:中央美术学院承办单位:中央美术学院美术馆作为20世纪中国油画发展历程中的重要篇章,马克西莫夫油画训练班(1955-1957)为中国油画艺术培养了一大批杰出人才,有力推动了油画艺术在中国的传播与发展,其影响深远,绵延至今。马克西莫夫在中国(中央美术学院档案室存)2025年恰逢“马克西莫夫油画训练班”开班70周年,为系统梳理并全面呈现这一历史事件的教学成果与学术价值,中央美术学院美术馆将于2025年11月15日至2026年1月3日举办“马克西莫夫油画训练班(1955-1957)教学成绩回顾展”。此次展览通过270余幅作品、100余幅文献与历史资料有机结合的展示,重现那段充满理想与探索精神的艺术岁月,彰显其历久弥新的文化意义。1955年油画训练班在京郊农村作外光作业1955年,油画训练班学员下乡出发 (靳尚谊存)1955年底,马克西莫夫在指导作品(中央美术学院档案室存)康斯坦丁·麦法琪叶维奇·马克西莫夫(K.M.Максимов,1913-1993)1955年至1957年期间作为当时文化部特邀顾问,在中央美术学院设立油画培训班(简称“马训班”或“油训班”),自1955年4月5日开班,至1957年7月结业,期间共有21名学员入学,19名学员正式结业。所教授课程由马克西莫夫根据彼时苏联美术教育经验进行组织,从结构、外光等油画基础启蒙到表现现实生活和情感的主题油画创作。两年多的努力之下,学员创作面貌焕然一新,诞生了冯法祀《刘胡兰就义》、侯一民《青年地下工作者》、詹建俊《起家》、靳尚谊《登上慕士塔格峰》等一批影响广泛的毕业创作,标记了以人为本的现实主义油画创作在新中国发生发展的成果,既是中央美术学院油画教学的动人篇章,也是中国现代油画发展的关键一环。1957年,马老师在课上看汪诚一的毕业创作《信》(汪诚一存)1957年,毕业旅行写生途中在船上观摩马克西莫夫写生(中央美术学院档案室存)此次展览将以务求完整的宗旨,全面回顾“马训班”为期2年半的过程中师生教与学的历程和创作的成果,以此关照现实主义油画如何在新中国高等美术教育和创作领域迈开第一步,在新时代百舸争流之际,追溯中国油画的现实主义表达的源流,希望能够对深入思考中国油画创作与教学的当下问题与未来可能有所助益。马克西莫夫 风景  69×49cm 布面油彩 1957年 中央美术学院美术馆藏侯一民 地下工作者  210×176cm 布面油彩 1957年 中央美术学院美术馆藏詹建俊 起家 140×348cm 布面油彩 1957年 中央美术学院美术馆藏靳尚谊 登上慕士塔格峰 180×270cm 布面油彩 1957年魏传义 油画速写(出海) 49×65cm 布面油彩 1955年 中央美术学院美术馆藏汪诚一 远方来信 144×228cm 布面油彩 1957年 中央美术学院美术馆藏袁浩 长江黎明 154×283cm 布面油彩 1957年 中央美术学院美术馆藏任梦璋 摘苹果(三联之一) 120×75cm 布面油彩 1957年 中央美术学院美术馆藏 任梦璋 摘苹果(三联之二) 120×75cm 布面油彩 1957年 中央美术学院美术馆藏任梦璋 摘苹果(三联之三) 120×115.5cm 布面油彩 1957年 中央美术学院美术馆藏靳尚谊 拄棍的老人王大爷  76.1×61.3cm 纸上铅笔 1955年 中央美术学院美术馆藏何孔德 人物侧面(局部)  17.7x12.4cm 1955年 何孔德  速写 17.7x12.4cm 1955年请进来的油画——中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展展览时间: 2025年11月15日—2026年1月3日展览地点: 中央美术学院美术馆 1层/3A/4层展厅主办单位:中央美术学院承办单位:中央美术学院美术馆总顾问:徐扬学术主持:林茂统筹指导:王晓琳 吕品晶 吴强 潘承辉策展人:靳军 曹庆晖策划总监:韩文超策展主持:高高 海军策展执行:李垚辰 王静设计总监:纪玉洁鸣谢:谌北新、靳尚谊、古安村、冯世光、高天雄、蔡国强、谌河、侯珊瑚、林琳、罗群毅、任绘、宋贤珍、田晓东、王雪青、魏星涛、武小川、武永凡、徐涤华、杨毅、张帆、詹滢、懋源泓斋文化、重庆华人当代美术馆主编 / 何一沙责编 / 杜隐珠现场图 / 张书豪
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“场外 · 移动影像”即将开展 | 12位西班牙艺术家构建的视觉对话

2025-11-13

场外 · 移动影像展览时间:2025年11月14日-12月28日展览地点:中央美术学院美术馆三层B展厅主办机构:西班牙外交、欧盟与合作部西班牙国际合作发展署西班牙驻华大使馆中央美术学院美术馆深圳文泽创展文旅发展有限公司2025年11月14日,《场外 · 移动影像》展览将于中央美术学院美术馆三层B展厅开展。本次展览由西班牙外交、欧盟与合作部,西班牙国际合作发展署,西班牙驻华大使馆、中央美术学院美术馆,以及深圳文泽创展文旅发展有限公司联合主办;由当代艺术研究员苏珊娜·桑斯策展,汇聚了十二位西班牙艺术家,旨在为西班牙电影与当代艺术提供全新的解读视角。"场外"这一标题指向电影创作中的一种手法:画面之外的元素,反而决定了视觉体验的走向。展览通过四大主题板块,引领观众穿越西班牙视听艺术的历史与当代实践。从奠定西班牙先锋传统的重要电影导演——路易斯·布努埃尔、卡洛斯·绍拉、佩德罗·阿尔莫多瓦和维克多·埃里斯,到当今西班牙艺术与电影领域最具国际影响力的代表人物——阿尔伯特·塞拉、伊萨基·拉库埃斯塔、洛伊斯·帕蒂尼奥、卡贝略/卡塞勒、伊茨亚尔·巴里奥和帕特里夏·埃斯基维亚斯,再到运用新技术与人工智能进行实验性创作的艺术家——丹尼尔·卡诺加尔和安普罗·萨尔德。   最终,展览在电影、影像艺术与装置之间构建了一场对话,邀请观众思考当代社会中影像的扩展属性:它不再仅仅属于屏幕,更已融入空间、记忆与观者自身。展览将持续至12月28日。展览活动预告本次展览邀请展览策展人、西班牙艺术家和中国的影像艺术家和学者们,围绕本次展出的精彩作品,展开关于中西影像艺术的对话。时间:11月14日(周五),下午2点地点:中央美术学院美术馆3层B展厅参与方式:请扫描下方二维码预约“  部分参展作品ALBERT SERRA / 阿尔伯特 · 塞拉Bullfighting《斗牛术》202514’ISAKI LACUESTA /  伊萨基 · 拉库埃斯塔Strokes《笔触》20074’LOIS PATIÑO /  洛伊斯 · 帕蒂尼奥Metallic  Shadow  in  the  Dream《梦中的金属阴影》201822’ITZIAR BARRIO /  伊茨亚尔 · 巴里奥Robota  MML《ROBOTA MML》202317’16’’CABELLO/CARCELLER /  卡贝略/卡塞勒A  voice   for  Erauso .Epilogue   for  a  Trans  Time《为埃劳索而发声 · 跨性别时代的尾声》2021-2228’15’’PATRICIA ESQUIVIAS /  帕特里夏 · 埃斯基维亚斯Cardinal  Cactus《卡尔东 · 卡迪纳尔》202038’AMPARO SARD / 安普罗 · 萨尔德Haptic  Self-Portrait《触觉自画像》2021DANIELCANOGAR / 丹尼尔·卡诺加尔Orbital《轨道》2025场外 · 移动影像展览时间:2025年11月14日-12月28日展览地点:中央美术学院美术馆三层B展厅主办机构:西班牙外交、欧盟与合作部西班牙国际合作发展署西班牙驻华大使馆中央美术学院美术馆深圳文泽创展文旅发展有限公司策展人:苏珊娜 · 桑斯参展艺术家:佩德罗 · 阿尔莫多瓦、伊茨亚尔·巴里奥、路易斯·布努埃尔、卡贝略/卡塞勒、丹尼尔·卡诺加尔、维克多 · 埃里斯、帕特里夏·埃斯基维亚斯、伊萨基·拉库埃斯塔、洛伊斯·帕蒂尼奥、卡洛斯·绍拉、阿尔伯特·塞拉、安普罗·萨尔德主编 / 何一沙责编 / 杜隐珠
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“馆藏大家谈”讲座回顾|邵亦杨:“记忆的片段——马克·吕布的中国视觉”

2025-11-11

2025年10月30日下午,在中央美术学院美术馆举办了“流动的艺域——中央美术学院美术馆藏国际艺术交流研究展”系列学术活动“馆藏大家谈”的第三期:由中央美术学院人文学院副院长邵亦杨教授带来《记忆的片段:马克·吕布的中国视觉》(The Visions of China)。讲座由中央美术学院美术馆副馆长高高主持,同时出席的有中央美术学院美术馆策划研究部主任刘希言。“流动的艺域”展览联合策展人胡晓岚博士策划并参与了此次活动。此次讲座活动得到了中央美术学院研究生院的大力支持,也是中央美术学院研究生院“艺术与文化”系列讲座的一部分。中央美术学院美术馆副馆长高高主持了此次活动在这次讲座中,邵亦杨教授以马克·吕布(Marc Riboud,1923-2016)在中国拍摄的代表作为核心,探讨他如何在作品中构建自己眼中的中国视觉,并运用罗兰·巴特(Roland Barthes)的理论分析了其摄影作品中的“刺点”(punctum)。中央美术学院人文学院副院长邵亦杨教授在讲座现场法国著名摄影师马克·吕布的作品以人文关怀、敏锐的观察力和富有诗意的镜头语言著称,其摄影风格兼具纪实与抒情,善于捕捉日常瞬间中的情感与张力。马克·吕布于1953年加入玛格南图片社,他不仅是20世纪50年代首位获准进入中国拍摄的西方摄影师,还由此为20世纪中叶的中国留下了一组极具美学价值与历史意义的照片。讲座伊始,邵亦杨教授先是为听众简要介绍了摄影师马克·吕布,表明其在来到中国之前就享有国际声誉,作品不仅具有极高的艺术性,更以呈现充满政治色彩的时刻而闻名,比如越南战争和20世纪60年代美国的抗议活动等。图1,埃菲尔铁塔上的油漆工,法国,巴黎,马克·吕布,1953年,60×50cm,明胶银盐照片,中央美术学院美术馆藏图2,战神广场:红色铁塔,罗伯特·德劳内,1911年,160.7×128.6cm,布面油画,芝加哥艺术博物馆藏接着,邵亦杨教授从《埃菲尔铁塔上的油漆工》(Zazou Painting the Tower,1953,图1)这件摄影名作出发,阐释这件作品捕捉了一名油漆工在埃菲尔铁塔上进行高空作业的瞬间——他姿态轻盈、动作舒展,仿佛并非在工作,而是在歌唱或舞蹈。在这一被马克·吕布所定格的自然瞬间,油漆工呈现出近乎女性化的柔美舞姿。在埃菲尔铁塔这一现代地标建筑的映衬下,他展现了个人如何在高度规范化的工业结构中表达自身。这件摄影作品非常受欢迎,不仅被刊登在《生活》(Life)杂志上,还成为轩尼诗干邑(Hennessy cognac)的广告。邵亦杨教授结合巴特的摄影理论指出,摄影不仅是对现实的记录,更是一种艺术性的表达,或者说一种既定语言结构之外的自我言说。摄影作品中的埃菲尔铁塔作为一种“零度”(zero)建筑,以其裸露的铁架结构和穿透历史的视觉力量重塑了巴黎的天际线,也重构了人与城市之间的关系。与此同时,油漆工正是在埃菲尔铁塔这一既定框架之内实现了身体与情感的双重释放,就像巴特所说,“从埃菲尔铁塔上看到的全景,是一个既具有智识又令人狂喜的行动:它解放了身体”。而马克·吕布作品中油漆工的姿态所呈现的正是一个获得身心解放的人在不经意的瞬间所获得的自由喜悦的感受。邵亦杨教授在此还比较了法国抽象艺术家罗伯特·德劳内(Robert Delaunay)的《战神广场:红色铁塔》(Champs de Mars: The Red Tower,1911,图2),并表明这幅绘画与马克·吕布的摄影作品都象征着现代力量的崛起。图3,枪炮与鲜花,美国,华盛顿特区,马克·吕布,1967年,50×60cm,明胶银盐照片,中央美术学院美术馆藏另外,邵亦杨教授还关注到了《枪炮与鲜花》(Young Girl Holding a Flower,1967,图3)这件摄影作品,马克·吕布捕捉到了一位反越战游行中的一个重要的历史瞬间。照片中,一位手持鲜花的女孩挡住了一排手持刺刀的士兵。在这一刻,权力关系似乎发生了颠倒——女孩并不惧怕刺刀,而手持刺刀的士兵却似乎在女孩坚定的信念前感到了恐惧。这个女孩名叫简·罗丝(Jan Rose),尽管只有16岁,她却相信自己可以改变世界。在这件作品中,鲜花与刺刀形成了强烈的对比,情感张力达到极致。图4,广州1956,马克·吕布,1956年,60×50cm,明胶银盐照片,中央美术学院美术馆藏图5,延安1965,马克·吕布,1965年,40×50cm,明胶银盐照片,中央美术学院美术馆藏在讲述20世纪50年代马克·吕布的中国之行时,邵亦杨教授先是表明这位摄影师的动机早已超越了单纯对异国他乡的猎奇心理,而是像让-保罗·萨特(Jean-Paul Sartre)那一代左翼知识分子一样,看到“从一个中国到另一个中国”(D’Une Chine a L’Autre)的变化,他们认为,“我们都是相同的,都处于人类共有的状态之中”。在《广州1956》(图4)中,摄影师说他看到了一位来自中国乡村的女人所流露出的文化底蕴,而在《延安1965》(图5),摄影师则通过用近乎抽象的极简形式表现了毛泽东主席在延安的床,为观者呈现了这位政治人物所推崇的意识形态给世界所带来的乌托邦想象。图6,北京1957,马克·吕布,1957年,40×50cm,明胶银盐照片,中央美术学院美术馆藏图7,上海1957,马克·吕布,1957年,50×40cm,明胶银盐照片,中央美术学院美术馆藏随后,邵亦杨教授讲解了多件出自“北京1957”和“上海1957”两个系列的摄影作品,并表明这一时期马克·吕布的镜头主要聚焦于新中国空间政治和社会形态的转型,具体涉及到了故宫、央美雕塑课、文明标语和日常生活等题题材。在“北京1957”系列的一件作品(图6)中,马克·吕布拍摄了故宫雪景中伫立的解放军——故宫从只属于帝王将相的场所变为了普通人可以进入的公共场所。与之相对应,“上海1957”系列的一件作品(图7)中所呈现人头涌动的拥挤场景,和“人人养成不随地吐痰的好习惯”标语则既表明了劳动阶层在社会空间中崛起,又记录了新中国试图通过文明规训试图消灭阶级差异这一重大实践。图8,北京 1957,马克·吕布,1957年,50×40cm,明胶银盐照片,中央美术学院美术馆藏在接下来的讲授中,邵亦杨教授再次借用了巴特在《明室:关于摄影的沉思》(Camera Lucida: Reflections on Photography, 1980)所提出的“认知点”(studium)和“刺点”(punctum)两个概念,前者指的是摄影作品所表现和传达的信息,后者则强调个人的情感体验。就巴特自身而言,他在母亲儿时的照片《冬季花园》(Winter Garden)中所感受到的是一种只属于自己的、无法消除的个人情感,因此每当看到这张照片时,他都会反复感到情感的刺痛,仿佛受了内伤。邵亦杨教授通过“北京1957”系列中的一件摄影作品(图8)讲述有关个人的“刺点”,因为照片中所呈现出的三个孩子的童年状态勾连起了她自身关于匮乏年代的私人记忆和情感。图9,各种证件,马克·吕布,1955-1966年,出自《中国的旅程》(四川美术出版社,2024年6月第1版)第21页。图10,梅尔兹,库尔特·施维特斯,1920年,18.4×14.9cm,纸张拼贴,耶鲁大学艺术画廊藏。图11,南京1965,马克·吕布,1965年。图12,资产阶级的巨大垃圾,阿尔芒,1958年,65.5×40×8cm,玻璃箱内的生活垃圾,收藏地不详。在分析马克·吕布1965年重访中国的摄影实践时,邵亦杨教授指出,摄影师的镜头在高度统一的公共政治表象下,捕捉了个体存在与制度性框架之间的微妙张力。邵亦杨教授将马克·吕布对于自己证件照的拍摄(图9)和达达主义(Dadaism)艺术家库尔特·施维特斯(Kurt Schwitters)的《梅尔兹》(Merz,1920,图10)的作品进行了对比,摄影师通过相似的方式将大量的行政证件转化为具有诗意的图像,隐喻现实中行政权力对个体的规训,以及个人在艺术中诗意逃逸。与此同时,马克·吕布也并未放弃对社会现实的深入观察,他在“南京1965”系列中的一件作品(图11)用镜头拍摄了南京宿舍中体现“忆苦思甜”政策的简陋物品。邵亦杨教授将这件作品与欧洲的贫穷艺术(Arte Povera)家阿尔芒(Arman)的《资产阶级的巨大垃圾》(Grands Déchets Bourgeois,1958,图12)进行了比较,分析了它们在时空呼应。图13,上海 1971,马克·吕布,1971年,50×40cm,明胶银盐照片,中央美术学院美术馆藏。图14,黄山1980,马克·吕布,1980年。图15,故乡,赵无极,1957年,60×92.5cm,布面油画,收藏地不详。在邵亦杨教授看来,马克·吕布自20世纪70年代至21世纪初的中国摄影则始终以其敏锐的视角感知中国人的内心情感和社会现实:他在20世纪70年代通过“上海1971”系列的一件作品(图13)捕捉到了集体主义叙事下女性个体情感和梦想的流露;20世纪80年代拍摄的《黄山1980》(图14)与赵无极的《故乡》(Mon Pays,1957,图15)相呼应,映射出社会开放背景下中西文化的交融;20世纪90年代后则通过“深圳1992”(图16)和“上海2002”(图17)等系列作品聚焦于经济大潮下,社会历史的变迁。图16,深圳1992,马克·吕布,1992年。图17,上海2002,马克·吕布,2002年。讲座的最后,邵亦杨教授通过援引瓦尔特·本雅明(Walter BenJamin)的“星丛”理论和吉尔·德勒兹(Gilles Deleuze)的“情动”理论总结马克·吕布的摄影创作的历史意义。在她看来,马克·吕布的摄影作品以片段式方式呈现了历史。真实的历史并非存在于线性发展宏大叙述之中,而是闪现于记忆的星丛之中。马克·吕布的镜头所传达的不仅是视觉信息,更是可以被感受的情感经验,这种经验使我们能够与历史产生一种真实的对话。讲授环节告一段落之后,活动进入了互动交流环节。来自美院的同学和校外的听众纷纷提出了具有艺术思辨性的问题,并由邵亦杨教授一一作答解惑。此次讲座活动是展览“流动的艺域——中央美术学院美术馆藏国际艺术交流研究展”系列学术活动“馆藏大家谈”的第三期,欢迎观众朋友继续参加后续的延展学术活动……文/张瀚相关展览文化和旅游部“2025年全国美术馆馆藏精品展出季”项目流动的艺域——中央美术学院美术馆藏国际艺术交流研究展主办:中央美术学院美术馆展览时间:2025年10月30日14:00-16:00展览地点:中央美术学院美术馆 3A和3B展厅主编 / 何一沙责编  / 杜隐珠编辑 / 晏宇希
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2025-11-07

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触摸1940年代北平的烟火气| CAFAM馆藏陈列

2025-11-06

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

2025-11-06

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

2025-11-03

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