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回家:“矶崎新:一个世界公民眼中的中国”

2025-08-09

2025年7月15日下午,“矶崎新:一个世界公民眼中的中国”展览在中央美术学院美术馆一层大厅开幕,这是继成都展之后,回到了矶崎新设计的中央美术学院美术馆,展览精选了建筑大师矶崎新于过去近三十年间,在中国的众多作品中所做的十个建筑和城市设计项目。每个作品都饱含深刻的历史意识、丰富的当下意义、积极的中外对话和有力的空间语言。回家:“矶崎新:一个世界公民眼中的中国”(展览开幕合影)本展览精选了建筑大师矶崎新于过去近三十年间,在中国的众多作品中,所做的十个建筑和城市设计项目。每个作品都饱含深刻的历史意识、丰富的当下意义、积极的中外对话和有力的空间语言。展览标题包含两个关键词:一是“中国”——展览回顾矶崎新的中国实践,如何与中国的历史与当代社会、文化语境产生各种关联。矶崎新一生热爱中国传统文化,也持续关注中国现当代社会的转变。他于1994年开始在中国实践,彼时中国正开启疾驰的城市化进程。在之后的近三十年间,矶崎新针对每个项目,不管是位于古城的心脏地带,还是空旷的新城区,都努力尝试用创新的空间语言,回应中国的传统与当下的巨变,并探索未来的可能性。二是“世界公民”——展览探讨矶崎新如何以全球视野考察中国议题。矶崎新是一个超越国族界限的“世界公民建筑师”。他在中国实践中,时时将中国议题纳入全球语境中探讨,也将多种世界文化资源汇入中国项目中。 “世界公民”还有另一层含义:在很多中国项目中,矶崎新都贯穿他一生持续思考、有普世意义的几个空间主题。本展览特别凸显其中两个:主题一:“技术与废墟”矶崎新一方面持续、热切地探索:各种新技术,如大跨度空间网架、巨构城市基础设施、控制论、机器人、互联网等等,如何赋予人类空间解放?同时,在另一方面,他时时流露出对技术和城市未来的悲观判断。如果说,以发展主义的眼光,古老的废墟总可以“孵化”出新城市;那么反过来,无论多么先进宏伟的新城,在未来也终将无一例外地坍塌,沦为废墟。主题二:“去中心的群岛”在经典定义中,建筑学的角色总是与维护权力、等级、中心和秩序联系在一起。而矶崎新,于二十世纪六十年代“后现代”思潮兴起的时代开始执业,频繁尝试用各种空间手段,抵抗唯一、绝对的“中心”。他有时通过将经典颠倒反转、使之废墟片段化的反讽手法,直接颠覆“中心”;有时则尝试通过打造离散化、网络化的“群岛”,间接地肢解中心。针对单个设计作品的展示,除了采用较常规的表达媒介,如模型、建筑图、构思草图和照片外,我们还特别为每个项目,绘制了一套“空间剖面”和一套“思维岛图”。“空间剖面”凸显前景,旨在概括各项目的建筑学的价值。矶崎新的空间构思,在我看来,集中体现在他个性鲜明,又深具古典修养的“三段论”空间配置上——基座、墙身、屋顶。因此,将他的建筑垂直剖开,以 “剖面图”展示,似乎是很恰切的手段。“思维岛图”铺垫背景,尝试梳理各项目的时代背景和思想渊源。我们结合考古片段展示和古航海图的画法,试图展示出,矶崎新在每一个项目中,如何在时代语境、技术创新、传统传承和建筑学自身演变等等“片段”或“群岛”中,穿梭航行,编织思想,锤炼语言,最终为浩瀚的人类文明之海,增添自己的片段、岛屿。经过近三十年的不懈努力,矶崎新在中国的作品已经构成一组精彩绝伦的群岛。我们有幸通过本次展览,邀请大家一一参访,欣赏各岛屿的精彩之处,并在它们之间穿梭航行,体味群岛间的遥相呼应。群岛间遥相呼应,共同彰显的是一个世界公民眼中的中国,一个多元、开放、珍爱传统、放眼未来,与世界积极互动的中国。——策展人:朱涛深圳文化中心的立面草图和平面概念图,1997,矶崎新+胡倩工作室 提供上海世博演艺中心的鸟瞰效果图和立面图,2006,矶崎新+胡倩工作室 提供回家:“矶崎新:一个世界公民眼中的中国”展览开幕式上,联合策展人中央美术学院建筑学院崔冬晖教授介绍了本次展览的机缘及核心内容,同时又回忆了矶崎新先生从21年前至现在“回家”的点滴。后由中央美术学院林茂院长进行致辞,致敬了矶崎新先生在这片土地上留下的国际视野与本土关怀的印记,并鼓励年轻人学习其“如何让建筑扎根文化、连接未来”的持续探索精神。最后策展人朱涛教授与胡倩女士共同为大家导览了展览作品,并与大家进行了交流。开幕式结束后,嘉宾移步美术馆学术报告厅,进入学术研讨会环节。“矶崎新:一个世界公民眼中的中国”圆桌论坛,由中央美术学院建筑学院史洋副教授主持,围绕“矶崎新与央美”“建筑与艺术”“矶崎新与当下”等议题,策展人、香港大学朱涛教授指出,矶崎新以“世界公民之眼”审视中国建筑,融合传统与未来,回应快速城市化中的文化张力。中央美术学院原院长潘公凯先生则深情回顾了中央美术学院美术馆建设过程,强调正是基于对矶崎新的高度信任,才促成这场跨越制度与文化的深度合作与成就。再次强调中央美术学院建筑教育“培养具有艺术家素养的建筑师”的办学理念,强调建筑应具有文化自觉与美学判断,强调坚持区别于传统工科路径的独特方向。时任中央美术学院美术馆工程负责人、中国国家画院原副院长谢小凡教授分享了“由信任支撑起的责任”,并强调尊重原作不容忽视。中央美术学院程启明教授则从“格物”到“格空间”的思辨出发,解读矶崎新设计背后的哲学内核。北京服装学院艺术设计学院院长车飞教授与矶崎新+胡倩工作室联合创始人胡倩教授分别从交往经历出发,强调矶崎新在“矛盾中构建生命力”与“技术中融合情感”的人文姿态。展览现场.展览资讯.总召集人:潘公凯学术顾问:吕品晶策展人:朱涛、崔冬晖学术主持:胡倩展览统筹:史洋展陈设计:朱涛建筑工作室展览执行:霍盼旺、孟庆锋主办:中央美术学院承办:中央美术学院美术馆协办:矶崎新+胡倩工作室、红印艺术中心展期:2025年7月15日-8月24日地点:中央美术学院美术馆一层大厅主编 / 何一沙责编  / 杜隐珠编辑 / 朱静一
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Announcement on the Temporary Adjustment of the Visitor Entrance

2025-08-08

Dear audience friends:Due to the road construction at the North Gate of the Central Academy of Fine Arts from August 11th to August 24th, the visitor entrance is temporarily adjusted as follows: starting from August 11th, the entrance to the Art Museum will be moved to the East Gate of the Central Academy of Fine Arts (opposite Huajiadi Experimental Primary School). We apologize for any inconvenience caused. Floor Plan of the Visitor EntranceCAFA Art MuseumAugust 8, 2025Reservation Channel╱  CAFAM @ 2025Visitors can make reservations and purchase tickets through the Mini Program, WeChat Official Account, or official website of the Art Museum of the Central Academy of Fine Arts (see the official website for details on ticket purchase). The daily opening hours are 9:30-17:30, and the museum is closed every Monday.Visitors aged 60 and above, as well as children under 6 years old, are required to purchase "0-yuan tickets for the elderly and children". Individual members of the Chinese Museums Association, active-duty military personnel, national comprehensive fire and rescue personnel, and persons with disabilities can purchase "0-yuan tickets for special groups" with relevant certificates.╱  CAFAM @ 2025Chief Editor / He YishaEditor / Du Yinzhu
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陈俊宇:美术馆专业建设的关山月研究模式探索 |2025CAFAM学术季

2025-08-06

深圳关山月美术馆  陈俊宇「深圳市的关山月美术馆自1997年成立至今,已历经二十八个发展年头,即将迎来建馆三十周年。在建馆的三十年来,关山月美术馆进行了多方面的策展实践,亦受到了全国美术馆界的广泛支持。」1.关山月美术馆的发展历程与馆藏特色关山月美术馆始建于1997年,作为一座在特殊历史时期创建的文化机构,其诞生与深圳这座城市的时代脉搏紧密相连——彼时正值香港回归之际,关山月先生将创作的813件作品及大量文献资料无偿赠予美术馆。这批珍贵艺术遗产的入藏,为关山月美术馆乃至深圳这座城市奠定了重要的艺术与文化根基,提升了城市的历史文化积淀。1997年6月25日关山月美术馆落成在这一基础上,关山月美术馆始终以关山月先生的艺术研究为核心学术脉络,致力于通过系统性实践强化这一文化定位,并在此过程中逐步构建起鲜明的学术品牌特色。2.关山月艺术研究和展览的挑战与成就建馆以来,关山月美术馆的学术工作得到了来自全国美术馆界专业机构的有力支持,尤其是在二十世纪美术研究领域,学术界的众多权威学者如陈履生、李伟铭等教授持续给予了关山月美术馆学术指导,不仅为研究体系提供了深厚的理论支撑,更培养了一批年轻的学者在此领域不断成长。在这类学术研究的基础上,关山月美术馆将关山月先生的艺术置于二十世纪美术发展的语境中进行分析研究,相继策划推出“异域行旅”“石破天惊”等一系列具有学术深度的专题展览,逐步形成了可观的研究成果。至2011年,关山月美术馆成功入选"全国重点美术馆"。关山月美术馆举办的一系列具有学术深度的专题展览成为重点美术馆后,关山月美术馆同样面临着新的挑战与机遇。观众前往关山月美术馆,往往主要为了欣赏关山月先生的艺术作品,公众对关山月艺术展示的高度期待是关山月美术馆所面对的常态,这也促使该馆不断探索如何以创新方式激活传统资源。为此,美术馆持续深化关山月专题展览策划,如以“山月丹青”展览为代表的馆藏精品展,该展览也入选文化和旅游部“全国美术馆馆藏精品展出季”项目。“山月丹青”展览同样的案例还包括关山月美术馆早期进行过的数字化策展尝试,其策划的写生主题展“别有人间行路难”将关山月、庞薰琹、吴作人等艺术家于西南西北写生时的作品进行了联展。近年来,关山月艺术巡展也得到了进一步发展,内容不断丰富,涵盖其长卷创作、梅花题材、江峡图绘及敦煌写生等专题,巡展足迹遍及敦煌、新疆等地。最新推出的“画道革新”展览更与成都美术馆合作,在中央美术学院学术支持下,进一步深化对关山月艺术及其革新思想的研究。3.关山月美术馆与深圳市文化发展在进行学术建设的同时,关山月美术馆亦深度参与到深圳的城市文化建构当中。作为深圳市规模较大的专业美术场馆之一,关山月美术馆主动承担起推动深圳市设计艺术发展的使命。关山月美术馆主动承担起推动深圳市设计艺术发展的使命1999年,深圳市承办“第九届全国美术作品展览设计展区”,引起城市对艺术的重视,使市政府将设计文化纳入到城市发展战略中。2008年,深圳获联合国教科文组织授予“设计之都”称号,关山月美术馆在其中发挥了关键作用,该馆通过持续策划深圳平面设计展等专业展览,以及承办“第十一届全国美展设计展区”、文化部“中国设计大展”等国家级项目,系统构建了城市设计文化的展示与研究平台,形成与关山月艺术研究并重的学术双轨。4.关山月美术馆的数字化建设面对城市发展新需求,特别是艺术与科技的融合趋势,关山月美术馆积极响应政府的文化发展战略。2022年推出的“重塑与再造”数字艺术展,展出了国内前沿数字艺术家的诸多重要作品,并创新地运用虚拟数字人概念进行展览叙事。运用虚拟数字人概念进行展览叙事近年来,数字艺术的迭代不断加速,许多数字艺术概念不断产生又被淘汰,关山月美术馆通过专家论证确立了“数字人”这一主题,最终呈现效果与深圳城市气质高度契合,获得了公众的广泛认可。此后,该馆进一步延伸策划了“植物智能”主题展等数字艺术展览,继续探索数字艺术的表达可能。植物智能计划本年度,关山月美术馆计划推出“新未来”人工智能主题展,聚焦人工智能技术语境下的艺术创作实践。中央美术学院艺术家群体同样深度参与了上述数字艺术项目,其学术支持对关山月美术馆的数字艺术展览探索具有重要价值。纵观二十八年发展历程,关山月美术馆始终以学术研究为根基,在传承关山月艺术精神与推动城市设计文化发展的双重使命中,逐步构建起传统与当代并重的学术生态。近期在数字艺术领域的实践,标志着关山月美术馆正积极回应科技变革对美术馆职能提出的新要求,持续探索文化机构在新时代的创新发展路径。演讲嘉宾介绍                                        -陈俊宇陈俊宇,1972年5月生于广东阳江1996年毕业于广州美术学院中国画系,1996年在深圳市关山月美术馆工作至今,现任深圳市关山月美术馆馆长,国家一级美术师。兼任深圳市青年美术家协会会长、广东省美术家协会理论艺委会委员、深圳市美术家协会理事。中国美协会员。主编 / 何一沙责编 / 杜隐珠编辑 / 王一帆文字整理 / 李泽
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王法:数智技术赋能下的美术馆创新实践 |2025CAFAM学术季

2025-08-03

江苏省美术馆  王法「在数字技术迅猛发展的时代背景下,作为一座具有深厚历史积淀的美术馆,江苏省美术馆在时代浪潮下积极拥抱新技术,致力于探索创新路径,推动美术馆发展模式与管理方式的深刻变革。展览策划与公共教育是美术馆面向社会提供公共服务、文化服务、普及社会美育的主要窗口,近年来,江苏省美术馆在展览项目与公共教育项目中,通过数字技术与新媒体赋能,实践“科技+艺术”双轮驱动的新型文化服务模式,这一模式帮助美术馆突破了物理与时间的局限,重构了艺术的参与方式,从而更有效地履行其服务社会的公益职能。」1.数字赋能下的创新实践未来实验室:科技美学与新媒体装置艺术展数字技术的赋能正在为美术馆的展览策划与公共教育等领域拓展出前所未有的可能性。在展览策划领域,数字技术的应用显著提升了展览的可交互性。2023年10月,江苏省美术馆策划推出了展览“未来实验室:科技美学与新媒体装置艺术展”,该展览借助影像与新媒体装置,通过视听互动形式,呈现了一批具备实验性、探索性与交互性的艺术作品,深入探讨人、社会、机器与信息之间的创新关系。作为献礼改革开放45周年的主题性展览,其策划并未囿于常规的主旋律叙事框架,而是聚焦于科技对人们日常生活的直观影响和改变。展览借助多媒体影像、数字交互装置等前沿技术手段,精心构建了一个沉浸式、参与性的技术体验空间。同时,考虑到国庆期间观众流量大、体验需求高的特点,展览中的展品也摒弃了单线的传播模式,普遍采用多维触控与可对话的互动装置。观众通过体感交互、语音指令等方式触发作品变化,或借助虚拟现实技术穿梭于数字景观之中,与机械装置产生艺术的共振,在科技与艺术的交融中充分感受“人人皆是创作者”的乐趣。尽管该展览的展期仅为两周,却吸引了超过三万人次参观,获得了社会的广泛赞誉与好评。未来实验室展览期间同步举办了配套的新媒体艺术工作坊,邀请参展艺术家亲授,不仅集中呈现了艺术家在人工智能艺术、数据可视化等领域的创新成果,更搭建起了科技与艺术间的人文桥梁。观众在互动体验中,既能直观感受数字美学的独特表现力,更能深入思考技术进步对社会伦理与人际关系的深层影响,这体现了新时代背景下数字艺术赋予公众的多元审美维度。2.数字技术下的美术馆公共教育实践在公共教育方面,数字技术的核心价值在于其突破时空限制的强大能力。这种能力首先体现在“云观展”模式的广泛应用上,这使得美术馆的高清优质艺术资源得以在互联网平台上广泛共享,为受时间和距离限制的观众提供了便捷的文化服务,此举也已成为美术馆日常工作的重要组成部分。另一方面的突破则在于依托数字平台,高效、稳定地实现异地同步授课、直播教学与课程录播,将美术馆的优质艺术美育资源精准输送至常规美术课堂。这不仅有力促进了偏远地区及乡村美育教学质量的整体提升,同时对基层美术教师的专业素养提升提供了关键支持。江苏、陕西、江西三个点的共同连线长期以来,江苏省美术馆的公教活动主要针对传统线下工作坊、讲座及导览活动,存在覆盖面窄、资源多集中于发达地区的局限,于是江苏省美术馆自2021年起,启动了“艺启启迪心灵”青少年美育计划。该计划以远程互动为核心特色,构建线上与线下美育课程融合的课程体系,开展乡村公共教育活动,并联合经验丰富的市、区级中小学教师组建专业授课团队,迄今,团队已发展至四十余人,在江苏、陕西、江西、西藏等地的19个县区、四十余所中小学及十个社区,累计开展线上线下美育课程百余场,覆盖学生群体逾万人。课程不仅注重知识输出,同样注重实践体验,例如,江苏是水印版画的故乡,为深化美育课程实践体验,项目特别设计并为每位学生配送了“水印版画体验包”,将配套工具材料寄送至合作乡村学校,让学生得以亲手体验水印版画创作的乐趣。此举有效弥补了乡村美育实践资源的不足。南京市浦口陡岗小学的同学们正在上课在数字技术层面,项目依托“互联网+美育”双师课堂模式,综合运用音视频互动、远程教学及直播授课等场景。线上教学平台以江苏省美术馆的藏品与展览资源为课程核心内容,极大地扩展了美术馆公共教育的辐射范围与社会效益,让公众获得更多维的体验。综上所述,江苏省美术馆通过科技赋能的创新实践,正有力推动文化艺术资源覆盖更广泛群体、创造更丰富的体验。这些由数字技术深度驱动的项目与活动,不仅丰富了展览内容与形式,更使美术馆日益成为连接社会生活的重要纽带,更深地扎根于公众的日常生活。木刻版画课程研发与试听江苏省美术馆正以更加开放、包容的姿态,切实履行其作为重要公共文化服务机构的使命,致力于让丰硕的艺术成果真正服务于人民日益增长的精神文化需求。演讲嘉宾介绍王法王法,江苏南通市人,毕业于南京师范大学,现为江苏省美术馆馆长、书记、一级美术师。中国美术家协会理事、享受政府特殊津贴、中国美术家协会民族美术艺术委员会委员、中国国家画院中国画专业委员会特聘研究员、中国艺术研究院工笔画院特聘研究员、中国工笔画学会花鸟画艺委会主任、南京大学艺术学院兼职教授。作品曾入选第三届全国青年美展,入选第八届、第十三届、第十四届全国美术作品展,获第十届全国美术作品展(铜奖),获第十一届全国美术作品展(获奖提名),获2015年“傅抱石奖”,获第二届、第三届、第四届“江苏文华美术奖”,2020 年被评为江苏省“紫金文化艺术英才”。主编 / 何一沙 责编 / 杜隐珠编辑 / 王一帆文字整理 / 李泽
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定格常书鸿《静物》中的细腻世界 | CAFAM馆藏陈列

2025-08-03

>>>>“中央美术学院美术馆藏陈列——现代中国美术”第二期正在央美美术馆展出,其中“现代中国美术”部分有22幅新增作品,从国画、油画再到版画,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。此篇推送将聚焦常书鸿的 《静物(花、书)》,一起体会艺术的细腻世界。常书鸿  《静物(花、书)》 1942年  布面油彩  79×64cm  中央美术学院美术馆藏    常书鸿是一位兼具绘画、考古等多方面成就的杰出人物。作为旅法先驱,他于1927至1936年间在法留学,后学成归国。这幅《静物》创作于1942年6月端节(夏至)左右,正式在抗战期间的重庆,以温暖的橙红色调描绘了窗前之景,花瓶之中插满盛放的野花,他们沐浴在阳光之下,极富生命力。带着印花的布铺在窗前,桌上还放着做工精致的蓝色小瓷碟,花瓶后放着一摞书,画面最前面是一封信,作者对于信封进行了极为细致的描绘,从信封上可以看到这应该是一个公函,或许对于作者有着重要的意义,要在画面上描绘、纪念。《静物》 局部图作品的色彩浓郁且和谐。黄色花卉明亮鲜艳,成为画面活泼亮色,与陶罐的棕红、深绿形成沉稳基调,背景窗景的柔和色调则起烘托作用,冷暖色调交织,既展现生机又传递静谧氛围。作者通过简单的场景描绘展现了生活的温馨与美好。《静物》 局部图这件作品同时也体现了常书鸿对于“中国油画体式”的探索,将描绘对象从“法国的”置换为“中国的”。在此画创作后的1943年他筹建了国立敦煌艺术研究所,迎来其职业身份和家庭生活的巨大转变,此后在敦煌生活、工作长达五十年,并被誉为“敦煌守护神”。>>>>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:2024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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International Collection Focus | "Opening" The Video Experience of Roman Signer

2025-07-31

From 19th-century European oil paintings to contemporary art, spanning three centuries; from the Americas to Oceania, connecting five continents. More than 200 international art collections gather here and now, meeting us in the present. This exhibition marks the first overall appearance of the international artworks in the collection of the CAFA Art Museum, presented in two parallel sections: "International Art Treasures" and "Chinese Mirrors". The "International Art Treasures" section sorts out the collections from the perspective of cultural diversity, demonstrating the international vision and diverse pattern in the construction of the museum's collection system. The "Chinese Mirrors" section, taking the works created in China by four foreign artists with China as the theme as samples, presents the images of China from a foreign perspective.Many of these works once lay silent in storage, yet each bears distinct imprints of its era and inherent artistic value. Piece by piece, batch after batch, the enrichment and accumulation of international art collections not only reflect the development course of the art museum, the achievements of art education and international exchanges at the Central Academy of Fine Arts, but also outline, from a side angle, the cultural exchanges between China and foreign countries as well as the global art ecosystem.The international collection of CAFA Art Museum dates back to the 1930s. The European oil paintings from the former collection of the Beiping Research Institute and the individual collection of Yasaki Chiyo formed the initial foundation. Starting from the 1950s, the Academy systematically purchased and collected European and Soviet works during the construction of its exhibition hall. Supplemented by donations from teachers and gifts from international artists, the scale of the collection gradually took shape. Works by renowned artists such as the Soviet Union's Kravchenko and Japan's Kazuyama Matazo, donated by embassies in China and international friends, are all precious relics of their era.The art museum designed by Arata Isozaki was completed in 2008, marking a new stage in the development of the international collection. Significant contemporary artworks have entered the collection through donations from collectors, institutions, and embassies: including the conceptual art of Joseph Beuys from Germany and Yoko Ono, a Japanese-American; paintings by Sean Scully from Ireland and Ha Dong-joo from South Korea; sculptures by Bjørn Nørgaard from Denmark; video works by Roman Signer from Switzerland; photographs by Agnès Varda and Marc Riboud from France; as well as works by other international art masters such as A.R. Penck from Germany and Roberto Matta from Chile. Together, they weave a network of international art.Open, Roman Signer, 2014, 1 minute and 42 seconds, video, Collection of CAFAM, Start, Roman SignerRoman Signer was born in Switzerland in 1938. Since 1972, he has participated in major exhibitions including the Venice Biennale in 1976 and 1999, as well as Documenta Kassel in 1987. Aktion vor der Orangerie (Action in Front of the Orangerie) at the closing ceremony of Documenta Kassel has become a classic project. Roman Signer has established himself as one of the most significant artists in the fields of explosive actions, activism, time-based sculpture, and video art.Roman Signer has a long-standing connection with China. He first visited China in 1981, returned in 2011, and from October 23 to November 23, 2014, an exhibition entitled "Roman Signer: Videos and Films 1975-1989 and Now" was held at the Art Museum of the Central Academy of Fine Arts. Roman Signer spoke of his works in this way: "Most of my creations are personal. All my initial attempts were for my own experience. Later, through video dissemination, others invited me to carry out small-scale, public on-site actions. But these are not creations like performance art; they are without audience awareness."相关展览.点击“阅读原文”查看展览详情正在展出.,时长00:10文化和旅游部“2025年全国美术馆馆藏精品展出季”项目2025 National Exhibition Season of Art Museums' Brilliant Collections Organized by the Ministry of Culture and Tourism流动的艺域——中央美术学院美术馆藏国际艺术交流研究展Interflowing Artscapes: CAFAM International Exchange Research Exhibition from the Collection主办:中央美术学院美术馆Organizer: CAFA Art Museum展览时间:2025年7月18日-8月24日Duration: July 18 - August 24, 2025展览地点:中央美术学院美术馆 3A和3B展厅Venue: 3A & 3B Gallery, CAFA Art Museum主编 / 何一沙责编  / 杜隐珠
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CAFAM馆藏陈列 | “现代中国美术” 首次换新

2025-07-31

“中央美术学院美术馆藏陈列——现代中国美术”,22幅新增作品涵盖国画 、油画再到版画,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。此次馆藏陈列展陈更新,是一次融合古今的深度艺术邀约,在古老纹饰与现代构图的对话中,在传统气韵与当代精神的碰撞里,希望观众能体会到中华艺术文明的生命力。
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"New China Artists: Hu Yichuan" Edited By Professor Cao Qinghui Of The Central Academy Of Fine Arts Has Been Published

2025-07-28

New China Artists: Hu Yichuan胡一川的代表作品有哪些?曹庆晖教授还编著过哪些关于艺术家的书籍?给我推荐一些介绍中国现代美术家的书籍编著:曹庆晖出版发行:中国青年出版社出版日期:2025年5月第1版 第1次“十四五”国家重点出版物出版规划项目、CAFAM学术丛书《新中国美术家·胡一川》,由曹庆晖教授在2020年策划的“站在人生的前线——胡一川艺术与文献展”(点击文末“阅读原文”了解展览)的基础上于2021年编著成稿。2022年,有专家在阅读书稿后认为:“阅读《胡一川》书稿,让我走进一个真实的胡一川世界,为他的传奇人生、革命精神所振奋,为他的创作激情和执着追求所感染,为他的家国情怀、爱情故事所感动。胡一川用他的一生诠释了革命艺术家的坚毅执着、使命担当、真诚质朴、大爱无私的人格魅力与伟大情怀。期待这部书早日与读者见面。”2025年,《新中国美术家·胡一川》通过国家新闻出版署图书重大选题备案后由中国青年出版社印刷出版。这也是编著者曹庆晖在2024年领衔编著出版《新中国美术家·滑田友》之后,再次依托展览策划成果与中国青年出版社合作,在“十四五”国家重点出版物出版规划项目、CAFAM学术丛书系列出版中取得的又一展览图录编辑与研究成果。中国美术家协会主席范迪安在序言中阐述道:“从观赏作品到阅读文献,这对于我们理解胡一川先生及这一代艺术家的精神品质,对于我们认识20世纪中国美术的文化属性,特别是许多属于思想性的探索与建树,无疑具有重要的学术意义。”CAFAM学术丛书“新中国美术家”系列以中央美术学院美术馆的学术研究和馆藏作品为依托,呈现新中国成立后,几代美术名家的艺术人生之路。通过个案研究,梳理这段发生在近现代传统美术转型后的风云激荡的美术史。中央美术学院美术馆自上世纪五十年代起便以展览的形式参与到新中国美术史的书写之中。随着迈入新时期后迎来的美术馆学术建设的系统化发展,中央美术学院美术馆持续地推动丛书的编写和出版,使其立足于中央美术学院美术馆扎实的学术研究工作,这些工作既包括对馆内藏品、展览的基础性梳理,也包括对艺术史、艺术理论和美术馆学的深入思考。————————————————————          □          ————————————————————胡一川简介作者简介曹庆晖,中央美术学院人文学院美术史系教授,致力于中国近现代美术史、美术教育史、艺术物料学及美术馆典藏研究与展览策划,参与策划以校史、学科、人物为中心的作品文献展20多个,著有《美育一叶》《走进学院的中国画》等,发表论文被《新华文摘》、人大复印报刊资料《造型艺术》转载。《新中国美术家·胡一川》《新中国美术家·胡一川》目录 不同于“站在人生的前线——胡一川艺术与文献展”的物料空间编辑工作,针对资料平面编辑工作的特定性,编著者曹庆晖从封面到体例、从作品到文献、从梳理到研究,均结合展览的主题与策划对《新中国美术家·胡一川》进行了有经有权的处理。对于编辑体例,考虑到图录分章不宜过多以及文字编辑工作本身所要求的严谨规范,编著者一方面剪裁了不适于平面转化利用的第一展览板块“胡一川这个同志——大家所了解的胡一川”的视频采访内容,另一方面将展览其他4个呈现胡一川艺术人生内容的板块——“木刻与文献”“油画与文献”“美育与文献”“苦难与幸福”——并为一章,同时融入第一展览板块和展柜等其他辅助空间的照片和文献内容,总题为“艺术·人生”,从而形成以“主旨·策划”“艺术·人生”“专题·研究”和“后记”为基本章节的《新中国美术家·胡一川》编辑体例。《新中国美术家·胡一川》内页 对于专题研究,其实并不止于“专题·研究”一章发表的从创作、展陈展开深入讨论的两篇文章,开篇呈现的展览主旨与策划写作无疑也是专题研究的一种。在《新中国美术家·胡一川》中,编著者很注意在章节大专题下对小专题的材料编辑和聚焦。因之,也就有了围绕木刻、油画创作和美育工作编辑、组织胡一川手稿材料的诸多列目和呈现,有了通过胡一川日记书信编辑而成的《到武汉去》《苦海深处》《千里之外》等文献汇编。将各类物料有机整合到某专题之下加以编辑,并在此基础上择题展开深入的专门讨论,是《新中国美术家·胡一川》在编著中自觉实施的编研方法。《新中国美术家·胡一川》内页 对于书籍装帧,编著者希望既考虑胡一川绘画艺术辨识度但又不落常规,既突出“站在人生的前线”的主题但又不抽象,最终选定胡一川的一件水粉小画稿《出击之前》(25.7cm×21.3cm,1942年)为封面,并以胡一川1937年1月23日日记中的一句话——“你应该勇敢地跑到时代的前头当旗手,而不应该只握着时代的尾巴”——为封底,从书籍装帧而不是海报设计的需求呈现“站在人生前线”的主题。《新中国美术家·胡一川》封面封底展开图 编后记曹庆晖:为了人生进步和美好——写在《胡一川》编后阅读胡一川的作品和文稿,走进胡一川的世界,深深地为一位在救亡图存的时代里成长起来的有理想有责任的文艺战士,积极投身于民族解放和国家建设的前线, 振臂呼号、放声歌唱的奋勇作为所振奋;深深地为一位讲团结紧张严肃活泼、有觉悟也有苦恼的党员干部严以 律己、克己奉公的奉献精神所感慨;深深地为一位有血有肉、有情有义的男子汉和他忠孝、慈悲、恋爱、生死的故事与人生长情所感动。站在人生的前线——是时代沧桑巨变的急切召唤和需求,是胡一川的切实响应和行动步履。在献身正义和争取自由的血火革命中,在追求光明和幸福的人生道路上,胡一川所代表的中国现代艺术先锋之一面——以画笔为刀枪,冲锋陷阵;以画笔为琴瑟,讴歌信仰——收获的艺术和精神财富,远比我们从教科书上看到的描述要精彩、浓郁、艰辛、坚定。同时从中也清楚地看到, 胡一川作为时代的一分子,从20世纪三四十年代的革命年代,到五六十年代的建设年代,到八九十年代的开放年代,在思想认识上也深深地钤印着时代的印痕。胡一川之所以是胡一川,就是他坚持自己的理解、认识和选择。特别感谢广州美术学院胡一川研究所在展览策划和图书编著时在物料方面给予的大力支持。对于入展入编的会议记录稿、讲话发言稿、工作笔记、日记、书信、 回忆等原稿文字以及其他的发表文字,本书在研究所提供文字基础上,在尊重原稿原刊、不影响阅读和理解的原则下予以梳理和编校,尽可能顺其自然,力求让文字呈现较充分地反映胡一川所处时代的特点和风采。编辑此书,与其说是和“站在人生的前线——胡一川艺术与文献展”相联系,对胡一川艺术人生的再记录,不如说是对蕴含其中的精神价值和经验智慧的深入挖掘与研究的再期待。与其说是为了学术研究,不如说是为了人生进步和美好。是为记。内 页
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CAFAM公教活动回顾 | 从观展到讲解!”小导览员”的华丽蜕变

2025-07-24

2025年7月15日,中央美术学院美术馆第二届“小导览员”公益课程圆满完成。本次公益课程是中央美术学院美术馆在探索和实践中国青少年美育的重要环节,对加强我国基础教育美育建设、弘扬中华美育、丰富儿童艺术文化体验具有重要的作用。本次课程设置三大模块:艺术知识学习、导览技巧培训和实战考核,由中央美术学院美术馆公共教育部王军老师主讲。王军老师示范导览王老师通过生动幽默的教学方式,为孩子们带来系统化的导览培训。循序渐进地引导孩子们掌握导览要点,并结合每位学员的实际情况和个体差异,开展差别化教学,真正做到“因材施教”。”每个孩子都是独特的,我们要做的就是发现他们的闪光点。"王老师如是说。王振振老师讲解《横云山民行乞图》来自中央美术学院油画系的王振振老师为学员们讲解了中央美术学院馆藏古代艺术展中的书画部分,并以海派大师任伯年的镇馆之宝《横云山民行乞图》为例,深入浅出地解析了绘画作品的欣赏要点,并引导学员们思考如何理解和讲述艺术作品的内涵与价值。中华女子学院播音与主持专业祝佳月讲授讲解技巧来自中华女子学院播音主持系的祝佳月老师为小朋友们带来了一堂生动实用的导览语言技巧课。课程中,祝老师从语音发声的基础入手,细致讲解了正确的呼吸方法、发声技巧以及语言表达训练方式,帮助孩子们掌握清晰、流畅的导览表达。祝佳月老师结合专业播音主持经验,通过趣味互动和示范练习,不仅提升了孩子们的导览能力,更增强了他们的语言表达自信,为未来的公共讲解打下坚实基础。7月13日的考核现场,小学员们自信大方的表现让老师们惊喜不已。从最初的紧张到现在的从容,短短几天时间,孩子们已经能够独立完成专业讲解。讲解现场“看到孩子从不敢开口到侃侃而谈,这种成长太让人感动了。"家长动情地说。值得一提的是,本届课程吸引了来自广东、内蒙古、广西、辽宁等全国多地的小朋友参与,展现了美术馆美育工作的广泛影响力。美术馆直属党支部书记韩文超在结课仪式上总结发言7月15日,在“中央美术学院美术馆小导览员公益课程”结课暨颁奖仪式上,中央美术学院美术馆党支部书记韩文超发表讲话。本届课程不仅让孩子们深入领略中华传统艺术精髓,更培养了表达能力和责任感。相比往届,今年课程在参与广度和互动深度上均有显著提升,成功助力孩子们从”艺术参观者"蜕变为"文化传播者"。他表示,美术馆将持续推出优质公共教育项目,让艺术滋养更多家庭,并寄语小导览员们继续传承文化,传播艺术之美。家长代表发言来自广东的林稀宝同学的家长作为代表分享了参与感受。林先生专程从广东带孩子来京学习,她表示,短短课程期间就明显看到孩子从腼腆不敢开口到能够自信流畅表达的蜕变,对老师们专业负责的教学态度和课程”干货满满"的内容设置给予高度评价。学员代表分享感受来自北京第一实验小学的小导览员徐艺珊同学分享了自己的学习心得。她表示,通过本次学习,不仅能够近距离观赏馆藏大师作品,更透过铜镜、汉代画像石、唐三彩、陶俑、瓷器、书画等珍贵文物,深入了解了不同历史时期的社会文化生活。”想要讲好一件作品,需要具备多方面的综合能力。"徐艺珊在分享中提到,课程让她意识到艺术导览需要持续的学习积累。从梳理讲解内容到现场表达,她感到自己在艺术理解和表达能力上都有明显提升。这场"视觉盛宴"让她仿佛穿越时空与古人对话,并期待未来能继续参与美术馆的学习活动。仪式最后,中央美术学院美术馆副馆长海军、副馆长高高为小导览员们颁发证书。美术馆副馆长海军为小导览员们颁发证书美术馆副馆长高高为小导览员们颁发证书
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丹青里的凝视:袁镜蓉仕女图中的时代印记 | CAFAM馆藏陈列

2025-07-24

>>>>《女仙图》,袁镜蓉,轴,纸本设色,清,纵102cm 横48cm,中央美术学院美术馆藏题跋:袁镜蓉,字月渠,随园老人女孙,吴侍郎梅梁淑配也。能诗,善花鸟,画仕女尤长。艳而不冶,秀雅有唐人笔韵,洵为嘉道间闺秀之杰出者。与先祖母钟太夫人结姊妹行,此帧系其手赠,余幼时即见之。迄今几四十年矣,无题款印记,久恐失传,志其姓字原委如此。后之鉴者,庶得信有征焉。时光绪二年岁在丙子二月花朝,叔宪张度题。钤印:张度(朱文方印)、叔宪(白文方印)、辟非(朱文长方印)鉴藏印:叔宪所保(白文方印)、传壁经堂确定真品记(白文方印)《女仙图》 局部图袁镜蓉,字月渠,江南奉贤(今上海)人,生于清代诗画簪缨之家。其家学渊源深厚,祖父袁秉直曾任江西巡抚,父亲袁厚堂官至广宗知县,后适工部侍郎吴杰为室。虽张度于画跋中附会其为袁枚孙女,然其才情本自卓然——工诗词,擅丹青,尤以花鸟人物见长。笔下仕女,非但得其形貌,更摄其神韵,一颦一笑间尽显闺阁雅致。诗画相生,笔墨间自有一段清淑之气,既承家学之粹,又见女子之慧,堪称清代闺秀艺文之典范。《女仙图》 局部图这幅无款钤印的仕女图卷,在绢素上悄然诉说着一个关于时代审美的秘密。画中三位佳人风姿绰约,其构图意趣与乾隆年间苏州坊间盛行的木版"三美图"竟有惊人的血脉相通——那些在民间雕版上反复出现的丽人形象,此刻在闺秀画家的笔下获得了更为精致的重生。细观画面,仕女们手持药锄、提篮采芝的细节,为这幅世俗美人图平添几分道教仙韵。这种雅俗交融的表现手法,在女性画家的创作中实属凤毛麟角。袁镜蓉或许未曾意识到,她笔下的柳眉杏眼、弱质纤纤,恰是那个时代男性凝视下的完美投射。当木版年画的市井趣味与闺阁丹青相遇,我们看到的是不同艺术媒介在视觉语言上的奇妙共鸣,更是性别权力在艺术创作中留下的深刻印记。>>>>中央美术学院美术馆藏陈列——古代中国美术(第二期)展览时间:2024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 / 杜隐珠编辑 / 王一帆
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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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