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“颅海见山:楔子”对谈预告|地脉与潮声:田野、考古与媒介转译

2025-04-08

地脉与潮声:田野、考古与媒介转译时间:2025年4月8日15:00地点:中央美术学院美术馆会议室(即美术馆咖啡厅斜坡尽头左侧会议室)|对谈嘉宾| 葛康岚古务运动发展小组成员 盛文强作家、海洋文化研究者 邬建安艺术家,中央美术学院教授、博士生导师 |主持人| 刘则芊“颅海见山:楔子”策展团队成员|参与方式| 校内观众无需预约校外观众请扫码预约入校|内容介绍|“颅海见山”从民间出发,将那些游离的精神世界显化至山川之间。本次对谈嘉宾的作品汇聚成了内心风景的多个面向,他们走入在野音声响彻的地下,走入流动着海洋秘史的潮间带,也走入古老智慧与生命力闪烁的原野,在地脉与潮声中考古人迹。对谈以声音、文本和视觉等不同的创作媒介为切入点,探讨来自田野现场的知识、经验和技艺如何转译。|嘉宾介绍|古务运动发展小组古务运动发展小组自成立以来,一直筹备开展针对中国传统民间音声的采集、制作计划。其视野中,包含宝卷讲唱、文人清曲、小曲小调等等。这些音声,如今有的只存在于某些小圈子,有的已经深埋地下。它们记录了古人们最直接的乐与哀,生命的苦痛,以及朴素的期盼。小组的采集和制作计划得到郊眠寺Cable Temple 的支持,同时,作为一个民间音声的发表平台,古务运动发展小组希望此计划有更大的扩展性,容纳各种各样的音声成果。盛文强1984年生于青岛,作家、海洋文化研究者。近年来奔走于中国东南沿海,致力于海洋民间故事、渔夫口述史的搜集整理,兼及海洋题材的跨文体写作实践。作品见于《人民文学》《十月》《花城》《天涯》《大家》等,著有《渔具列传》《海盗奇谭》《海神的肖像》《海怪简史》《岛屿之书》《半岛手记》等。邬建安1980年生于北京,毕业于中央美术学院,获硕士学位并留校任教,现为中央美术学院教授、博士生导师,工作、生活于北京。邬建安的艺术思辨和视觉创造,核心在于借助那些看似远离今日生活的情境,表达人类文明历史中永恒的部分,唤醒人内心感受中隐秘幽微却宏大磅礴的潜意识,进而引发对时代和人的反思与观照。邬建安的作品曾代表中国参加第57届威尼斯双年展,近年来还曾在中国上海余德耀美术馆(2023)、美国伯克利美术馆及太平洋影像艺术中心(2022)、俄罗斯国立艾尔米塔什博物馆(2021)、法国里尔伯爵夫人博物馆(2021)、中国银川当代美术馆(2020)、意大利那不勒斯国家考古博物馆(2019)、日本森美术馆(2018)、新加坡艺术科学博物(2017)、美国波士顿美术馆博物馆(2015)等机构参加重要展事,并在北京、上海、香港、西安、新加坡、巴塞尔、卡拉马祖、芝加哥、纽约等地举办个展。多家世界级美术馆和艺术基金会等机构皆收藏有邬建安的艺术作品,如美国大都会艺术博物馆、洛杉矶郡立艺术博物馆、康奈尔大学赫伯特 F.约翰逊艺术博物馆、中国中央美术学院美术馆、北京民生现代美术馆、星美术馆、巴西奥斯卡 ·尼迈耶博物馆、日本福冈亚洲艺术博物馆、澳大利亚白兔艺术基金会等。|主持人|刘则芊策展人、美人鱼潜水教练。本硕毕业于中央美术学院艺术管理与教育学院艺术史论专业及艺术展览与策划研究方向。当下关注后人类语境中的艺术与博物馆实践、海洋及生态可持续性和环境伦理,在跨文化、跨物种交流间探索策展的边界。曾策划展览“颅海见山:楔子”(中央美术学院美术馆,2025)、“《历史、契机与方法——艺术博物馆策展介入海洋可持续发展目标》研究生学位论文毕业展”(中央美术学院,2024)、“直立的人 返航时我们不必起身”(入围新绎美术馆“青年策展人计划”,2024)、“FIRST AID+ ART CLINIC”(布达佩斯春季艺术节,2022)、“庞茂琨×缪晓春双人展:未来从何而来?”(首届全国大学生虚拟策展大赛二等奖,2022);撰写展评《邬建安“视神经变图”:从细胞到宇宙》发表于中央美院艺讯网。重峦叠嶂处,山重水复;柳暗花明时,声声唤归。“颅海见山”关注个体及群体的际遇,聚焦“现实”在脑海中投射、演化和改造后的模样。展览从民间出发,将那些游离的颅海世界显化至山川之间。峰峦与潮汐交叠,不同的视野交汇于此。“楔子”既引出于展览期间展开的对谈、共读与分享会,又暗示未来将发生于展览空间外的在地实践。一系列事件将远抛片石,共落颅海,我们期待这激起的圈圈“涟漪”能够从波动中漫延开来,连接起相隔的山,也呼唤回离散的人。颅海见山:楔子主办单位:中央美术学院美术馆展览时间:2025年3月18日—4月20日展览地点:中央美术学院美术馆2层C展厅主编 / 何一沙责编 / 杜隐珠
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跨越太平洋的独特艺术创造 | 早期粤籍留美艺术家研究展(巡展)开幕

2025-04-04

春风掠过湖岸新绿攀上苑墙一场横跨大洋的艺术对话在中央美术学院美术馆展开2025年3月31日,文化和旅游部2022年全国美术馆馆藏精品展出季项目“跨越太平洋——早期粤籍留美艺术家研究展(巡展)”在中央美术学院美术馆举办开幕式。该研究专题由王璜生教授领衔广州美术学院美术馆学术团队共同策划实施,并得到众多海内外院校、研究及收藏机构的重要支持。展览通过系统的文献梳理和视觉呈现,聚焦19世纪末至20世纪中叶粤籍艺术家群体的跨文化流动的历史轨迹。北美路径与学界长期关注的留日、留欧或留苏路径形成鲜明比照,该群体与北美华人移民史深度交织。展览不仅呈现该群体的艺术实践,更为全球化的艺术流动研究提供了重要案例,填补了中西艺术史书写盲区中“双重缺席者”的研究空白。出席开幕式的嘉宾有中央美术学院美术馆馆长靳军、美术馆直属党支部书记韩文超、副馆长高高和副馆长海军,广州美术学院新美术馆学研究中心主任王璜生、广州美术学院美术馆常务副馆长陈晓阳、本次巡展的两位策展人广州美术学院副教授杨慧丹和助理研究员李铁军,以及北京大学赛克勒考古与艺术博物馆、北京服装学院民族服饰博物馆、北京理工大学延河艺术博物馆、广西艺术学院美术馆、河北美术学院美术馆、湖北美术学院美术馆、吉林艺术学院美术馆、景德镇陶瓷大学博物馆、鲁迅美术学院美术馆、南京艺术学院美术馆、清华大学艺术博物馆、山东工艺美术学院美术馆、上海大学上海美术学院美术馆、上海交通大学程及美术馆、深圳大学美术馆、四川美术学院美术馆、四川音乐学院美术馆、天津美术学院美术馆、武汉大学万林艺术博物馆、西安美术学院美术博物馆、延边大学美术馆、云南艺术学院民族艺术博物馆、中国美术学院美术馆群等当天到中央美术学院美术馆参加“2025全国高校艺术博物馆联盟会议”的各大高校美术馆、博物馆的馆长和业务骨干等。中央美术学院美术馆馆长 靳军在展览开幕式上,中央美术学院美术馆馆长靳军指出,本次巡展开创了南北美术学院美术馆馆际合作的新模式。作为国内首次系统研究中国早期留美艺术家群体的专题展览,其学术价值体现在多个方面,一是突破传统留学艺术史中以日本、欧洲、苏联为主的研究范式,填补了被历史遮蔽的北美方向的学术空白;二是,通过以广东籍艺术家作为研究样本,揭示了20世纪上半叶中国艺术教育跨国实践的复杂途径,特别是梳理了该群体与中央美术学院早期师资体系的渊源关系,以及南北美术教育的互动脉络;最后,展览通过王少陵、余本等个案研究,呈现了留美术艺术家在创作实践与艺术教育领域的双重贡献,为重新审视中国现代美术教育史提供了新的研究视角。靳军强调,这种基于地域群体研究的策展方法,拓展了艺术史研究中人际网络、区域互动、全球视野等多维研究框架。这次通过南北美术馆的学术合作,建立了艺术机构间资源共享与学术对话的新机制。巡展的成功举办,回应了此次美术馆界各位同仁参与的互动论坛,也为未来美术院校之间的协同研究提供了示范性案例。广州美术学院新美术馆学中心主任 王璜生广州美术学院新美术馆学研究中心主任王璜生在致辞中表示,本次巡展标志着广州美术学院美术馆与中央美术学院美术馆首次建立深度学术合作关系,展览的选品还包括一些地方美术馆的收藏,这些作品的发掘实属不易,感谢中央美术学院美术馆提供这样一个展示被遮蔽历史的机会。该展览研究始于2021年,在获得文旅部2022年全国美术馆馆藏精品展出季项目的支持后得以系统展开。展览以重构早期广东籍留美艺术家群体历史为目标,不仅突破传统艺术留学史中以欧洲、日本和苏联为主导的叙事范式,更延续了2013年与曹庆晖教授在中央美术学院美术馆合作的“留法艺术家与他们的老师”的研究脉络以及与李垚辰等同仁进行的李叔同油画专题、展览,形成了中国近现代艺术留学研究的完整谱系。王璜生特别强调,基于广州美术学院美术馆在李铁夫作品收藏方面的独特优势,广美研究团队在深化李铁夫个案研究的同时,还挖掘出更早的赴美以艺谋生的黎镛以及留美女性雕塑家等个案,串联起华侨劳工史与艺术教育史的交叉研究框架。策展团队的研究显示,这些北美华侨艺术家大多自幼随家族移民,在务工与求学的双重境遇中完成艺术启蒙,这种生存状态与官派留欧艺术家形成鲜明对比,展现出中国现代艺术史中未被充分关注的民间跨国艺术实践路径。这些艺术家个体与家族史、移民史的复杂关联,犹如学术研究的“洋葱结构”,一层又一层,每一次史料的挖掘与阐释的深入,都揭示出新的研究维度。他认为这一领域仍存在广阔的学术探索空间,特别是在跨国艺术网络与地方艺术生态互动方面,亟待学界进一步开掘。广州美术学院美术馆常务副馆长 陈晓阳广州美术学院美术馆常务副馆长陈晓阳表示,本次巡展对这次全国高校艺术博物馆联盟会议有着实证性的意义。巡展整合了中央美术学院和广州美术学院的特色馆藏资源,串联了校际间的学术史、教育史和展览史,构建起校际交流研究的新模式,印证了高校艺术博物馆联盟成立的必要性。她指出,策展团队创造性地将华侨史维度引入艺术史研究,溯源至1868年《蒲安臣条约》签订后的华工移民潮,建构起民间艺术教育跨国实践与官派留学制度的比较研究框架;同时反思主流叙事逻辑,如在旧金山设立领事馆等华侨权益保护机制形成的背景下,这些艺术家以半工半读的生存模式在异域展开艺术探索,其创作既体现了太平洋两岸文明碰撞的微观图景,又拓展了中国近现代艺术史的研究维度。尤为重要的是,新发现的早期赴美艺术家案例,促使学界将离散群体的艺术活动置于全球移民史框架中重新审视。展览通过构建实物证据链,不仅突破了早期留美艺术家“双重失语”的学术困境,更实现了地方性知识与主流艺术史叙事的对话与互动。这种研究路径为艺术史研究提供了新的方法论启示。在展览合作方面,她认为通过校际藏品的资源共享、学术团队跨馆协作等方式丰富了高校艺术博物馆联盟的落地性;最后,她对中央美术学院早期中国画教学展“莫忘初业第一程——早期北平艺专的国画课堂”2025年中在广州美术学院的展出表示期待。中央美术学院美术馆副馆长高高担任主持人嘉宾合影本次巡展的策展人杨慧丹、李铁军围绕展览结构、展厅设计和展览内容等方面进行现场导览。展览的陈列设计以“船”这一跨洋交通工具作为意象构建历史情境,通过艺术家画作、照片、手稿、画具等文献实物,影视记录和浪花、鸣笛音等,构建多维度的展示场景。部分展出作品李铁夫 《男侧面像(大学生)》 布面油彩 60×48cm  1900—1930  广州美术学院美术馆藏伍泽枢 《静物》 板上油彩 40.5×51cm 1940樂藝居藏 关墨园 《古巴国家公园》 纸板油彩 28×43cm 1920s关墨园家属藏关金鳌 《牧羊》 布面油彩 68.5×87.5cm 1961开平市赤坎关族图书馆藏司徒乔 《女歌手》 布面油彩 75×66.5cm 1930—1940 中央美术学院美术馆藏余本 《横躺的裸女》 布面油彩 71×91.5cm 年代不详樂藝居藏朱沅芷 《自画像Self-portrait》 纸板油彩 23.5×18.5cm  1927樂藝居藏王少陵 《长岛夕照》  纸本水彩 57×75cm 1952 中央美术学院美术馆藏曾景文 《港口》 纸本水彩 68×50cm 年代不详樂藝居藏黄玉雪 《盘 Plate》 铜胎珐琅 14.1×14cm  1971 太石斋藏部分参展艺术家介绍文化和旅游部2022年全国美术馆馆藏精品展出季项目 跨越太平洋早期粤籍留美艺术家研究展(巡展)Across the PacificEarly Cantonese Artists Abroad in North America  主办单位:中央美术学院美术馆 广州美术学院美术馆展览时间:2025.03.18—04.20展览地点:中央美术学院美术馆四层展厅 学术顾问:王璜生 胡斌展览总监:靳军 陈晓阳展览统筹:高高 洪荣满策展人:杨慧丹 李铁军展览协调:李垚辰 李捷设计统筹:纪玉洁展览设计:谭达徽展览管理:荆鹏 宿世存 于雨鑫  王新言展览助理:芦丁元 赖晓婷 夏蔚茏典藏管理:李垚辰 徐研 王春玲 马亮 崔然然 窦天炜  李伟 梁小延 梁欣 林朝阳 郑萃茵 李秀棠修复工作:许炀 王丹媒体宣传:何一沙 吴靖 贺伊飞 杜隐珠 丁怡 王秀媛    余爽 刘子瑗公共教育:肖宝珍 耿菁华 王军 姚轶群 梁雯 西华伟财经事务:杨柳 门婧 寇蕾 杜倩盈发展推广:孙炜 伊义 刘星伶 金简如行政支持:蒋思妤 岳君瑶 张倩 郭旭 蔡灿后勤安保:陈小华 吕智发支持机构:广东美术馆 开平市美术馆 开平市赤坎关族图书馆    香港艺术馆 旧金山亚洲艺术博物馆    斯坦福大学坎特艺术中心 美国华人历史学会    伊利诺伊大学香槟分校克兰纳特艺术博物馆    洛杉矶郡立艺术博物馆 美国华人博物馆    罗伯特 · 亨利美术馆鸣  谢:梁慈恩女士(冯钢百家属)      琥珂先生(陈锡君家族友人)      关夏敏先生(关墨园家属)      余锦森先生(余本家属)      朱礼银女士(朱沅芷家属)      胡始康先生(胡意秋家属)      张光铎先生      关询维先生主编 / 何一沙责编  / 杜隐珠
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尊敬的观众朋友:为满足广大观众的观展需求,我馆将于清明节放假期间(4月4日至4月6日)正常开馆。同时,为丰富观展体验,4月6日(周日)将举办“花之道——花的语言转换与思维构成”课程工作坊,期待您的参与。中央美术学院美术馆2025年4月3日本次活动为内部课程会设置一定数量的座椅欢迎安静旁听| 主讲导师 |
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25家机构联盟突破资源壁垒 共谋创新蓝图 | 2025“全国高校艺术博物馆联盟会议”重磅启幕

2025-04-02

伴随着中央美术学院美术馆学术季系列主题活动拉开帷幕,3月31日,令人瞩目的“2025全国高校艺术博物馆联盟会议”重磅启幕。自2018年成立以来,全国高校艺术博物馆联盟始终秉持“开放、包容、务实”的核心理念,推动高校艺术博物馆协同发展。联盟先后于2018年11月召开筹备会议,同年12月举办首届年会暨成立大会,并于2020年11月召开第二届联盟会议。为深化行业交流与合作,中央美术学院美术馆再次承办“2025年全国高校艺术博物馆联盟会议”。其中,北京大学赛克勒考古与艺术博物馆、北京服装学院民族服饰博物馆、北京理工大学延河艺术博物馆、广西艺术学院美术馆、广州美术学院美术馆、河北美术学院美术馆、湖北美术学院美术馆、吉林艺术学院美术馆、景德镇陶瓷大学博物馆、鲁迅美术学院美术馆、南京艺术学院美术馆、清华大学艺术博物馆、山东工艺美术学院美术馆、上海大学上海美术学院美术馆、上海交通大学程及美术馆、深圳大学美术馆、四川美术学院美术馆、四川音乐学院美术馆、天津美术学院美术馆、武汉大学万林艺术博物馆、西安美术学院美术博物馆、延边大学美术馆、云南艺术学院民族艺术博物馆、中国美术学院美术馆群、中央美术学院美术馆共22所高校艺术博物馆共同参与。联盟的宗旨是全面贯彻科学发展观,团结全国高校艺术博物馆界同行,搭建高校艺术博物馆之间、高校艺术博物馆与社会之间沟通与交流的平台,加强高校艺术博物馆的学术研究,提升艺术博物馆对高校教学科研工作的辅助推动作用,更好地发挥高校艺术博物馆在高等艺术教育和大众美育教育中的作用,为社会主义和谐文化做出贡献。本次会议汇聚了全国25所高校艺术博物馆的50余位代表,与会者立足学术研究的深厚积淀,以专业视角探讨高校艺术博物馆的建设理念、实践路径与发展策略,通过经验共享与跨区域对话,共谋新时代高校艺术博物馆事业的创新蓝图。北京大学赛克勒考古与艺术博物馆北京服装学院民族服饰博物馆北京理工大学延河艺术博物馆广西艺术学院美术馆广州美术学院美术馆河北美术学院美术馆湖北美术学院美术馆吉林艺术学院美术馆景德镇陶瓷大学博物馆鲁迅美术学院美术馆南京艺术学院美术馆清华大学艺术博物馆山东工艺美术学院美术馆上海大学上海美术学院美术馆上海交通大学程及美术馆深圳大学美术馆四川美术学院美术馆四川音乐学院美术馆天津美术学院美术馆武汉大学万林艺术博物馆西安美术学院美术博物馆延边大学美术馆云南艺术学院民族艺术博物馆中国美术学院美术馆群中央美术学院美术馆本届会议的两场论坛围绕“高校美术馆与学科建设”“高校美术馆与社会美育”两个议题展开。首场论坛聚焦美术馆与高校学科的协同机制,深入探讨艺术博物馆如何深度嵌入艺术创作、美术史论、策展研究等学科体系,构建“学术资源库—实践平台—成果转化器”的闭环模式。第二场论坛以社会美育为核心议题,重点研讨高校美术馆如何突破大学物理边界,以公众需求为导向,构建公共性与专业性兼具的美育体系,同时建立高校、政府与社会机构的资源联动机制,最终实现艺术资源的社会化共建共享。3月31日9:30-10:50论坛一:高校美术馆与学科建设9:30-9:40 欢迎致辞9:40-9:50 论坛一议题介绍主持人:韩文超,中央美术学院美术馆直属党支部书记9:50-10:50 议题发言北京服装学院民族服饰博物馆学科建设及人才培养田辉,北京服装学院民族服饰博物馆馆长多元与共建——基于学术土壤的美术馆美育新生态何桂彦,四川美术学院美术馆馆长高校美术馆与学科建设冯朝辉,鲁迅美术学院美术馆馆长守正创新——新时代天津美术学院美术馆与学科建设李旭飞,天津美术学院美术馆副馆长西安美术学院美术馆——作为学科建设的多为赋能体刘沛,西安美术学院美术博物馆馆长3月31日10:50-12:00论坛二:高校美术馆与社会美育10:50-11:00 论坛二议题介绍主持人:靳军,中央美术学院美术馆馆长11:00-12:00 议题发言AI 开启艺术博物馆新维度张杰,湖北美术学院美术馆馆长作为特殊场域的高校艺术博物馆在信息化社会中的美育策略林书传,南京艺术学院美术馆副馆长艺术赋能未来——景德镇国际陶瓷艺术双年展与社会美育的双向赋能之路詹伟,景德镇陶瓷大学博物馆馆长多维共振——四川音乐学院美术馆的学术建构与发展路径方琦,四川音乐学院美术馆展览部主任传统文化赋能社会美育——以“中国高校生肖设计大展”为例王任,山东工艺美术学院美术馆副馆长同日,联盟工作会和项目推介会有序展开,共同商定了联盟组织架构和未来合作模式,推动成员单位间的联结与协作。2025全国高校艺术博物馆联盟会议总顾问:徐扬 林茂总策划:靳军项目总监:韩文超项目统筹:高高 海军项目主管:易玥 岳君瑶设计总监:纪玉洁执行团队:刘希言 王静 王若冰 李捷 胡晓岚 蒋思妤 李垚辰 孙炜 何一沙 肖宝珍 杨柳 王军 张倩 贺伊飞 丁怡 吴靖 杜隐珠 陈小华 郭旭 窦天伟 崔然然 王春玲 马亮 李伟 梅琦 宿世存 荆鹏 伊义 金简如 寇蕾 门婧  耿菁华 姚轶群 梁雯 常雨晴 郎粲 孟庆龄 谢涛 王新言 设计团队:闵志伊 刘宇晗 陈家怡 赵鑫鑫 朱重麟 刘欣杭志愿者团队:丰凯梓奇 徐一琳 李书宇 许禧 杨烨晨 王年祎 陈天艺 侯昕彤 姜紫涵 朴彦精 任子伊 吴悠夏 陈欣然 谢涛 郭泽一 倪吴越 张乐山 曾小羽 徐字涵 林光翰 盛雨萱 张宸恺 杨蕙翎 何晟景 赵乙糖 房锦涵 曹雨晨 汪若溪 张晓杰 彭玺匀 郑芷希 杨清雁 何乐为 李泽 于雨鑫 李强 致谢:卢英英 张瀚予 陈籽涵主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞
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More Than 500 Museum-Collected Masterpieces Demonstrating The "Characteristics Of The Academy of Fine Arts" Are Making A Large-scale Appearance! | The Academic Storm Of CAFAM Is Coming!

2025-03-31

Guests visit the exhibitionSince March 30th, three major themed activities, namely the opening ceremony of the "Collection of CAFA Art Museum", the Cultural Engine —— CAFA International Art Museum Summit, and the Conference of the Alliance of Art Museums in National Colleges and Universities, have been successively launched. This marks the official start of CAFAM academic series.On the morning, the "Collection of CAFA Art Museum" took the lead in opening. After more than a year of preparation and implementation, the exhibition has carefully selected more than 500 outstanding works from the more than 20,000 pieces of artworks collected in CAFA Art Museum. It has meticulously presented two distinctive thematic sections, namely "Ancient Chinese Art" and "Modern Chinese Fine Arts". This exhibition is not only a vivid portrayal of the long and magnificent art history but also an important resource for the teaching practice of the academy. It carries the academic accumulation of the century-old Academy of Fine Arts, where art serves the people, and witnesses the arduous development process of Chinese art education.The opening ceremony siteWhen more than 500 pieces of collections with the "characteristics of the Academy of Fine Arts" are gathered on a large scale in the way of "time folding", the artistic soul of the Academy of Fine Arts has never been so vivid. There are "artifacts" and "calligraphy and paintings" spanning a time span of two thousand years; and the century-long development context of plastic arts such as oil paintings, Chinese paintings, woodblock prints, and sculptures from 1900 to 2000. Each piece of work is a dynamic "atlas of artistic methodology".The exhibition of collections of CAFA Art Museum -- the sections of "Ancient Chinese Art" and "Modern Chinese Fine Arts" will be on long-term display. Viewers who are interested can go to the exhibition site to visit.Honorary Chairman of the China Artists Association and Former President of the Central Academy of Fine ArtsMr. Jin ShangyiIn most large art museums around the world, there are fixed exhibitions open to the public. These fixed exhibitions have outstanding value and significance for cultural undertakings and cultural activities, and they represent the basic function of an art museum. After the founding of the People's Republic of China, art museums mainly focused on temporary exhibitions, and their functions were more similar to those of exhibition halls. Now, the Central Academy of Fine Arts has started to display its high-quality collected works as fixed exhibitions. This is an important measure for the transformation towards a modern art museum, and it is also an important cultural activity for the people. It is hoped that the Central Academy of Fine Arts will continue to adhere to this practice.A member of the Party Leadership Group, Vice Chairman, and Secretary of the Secretariat of the China Federation of Literary and Art CirclesZhu Dicombining his work experience at the Central Academy of Fine Arts and the China Federation of Literary and Art Circles, stated that the preparation and exhibition of the collections of the Art Museum of the Central Academy of Fine Arts are important measures for the work of art museums in the new era. He also extended his congratulations on the opening of the exhibition.Deputy Director General of the Department of Art of the Ministry of Culture and TourismHe YawenThe collection exhibition is not only a systematic and concentrated display of the art collections of the Central Academy of Fine Arts. Moreover, with the unique positioning of a university art museum, it provides a typical case for new approaches to cultural inheritance, the popularization of aesthetic education, and international art dialogue. It continuously builds a bridge for the public to understand the development context of art, and also offers a long-term research platform for artists and scholars. The Ministry of Culture and Tourism has also included "strengthening the protection and utilization of art collections" in its key tasks. It is hoped that through support policies and organizational mobilization, it can assist art museums in improving their professional capabilities in the protection, restoration, and research of collections, and provide a solid guarantee for the sustainable development of art museums.
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2025 Conference Of The University Art Museums Alliance In China

2025-03-31

Since its establishment in 2018, The University Art Museums Alliance In China has always adhered to the core concepts of "openness, inclusiveness, and pragmatism" and promoted the coordinated development of art museums in universities. The alliance first held a preparatory meeting in November 2018, then held the first annual meeting and founding conference in December of the same year, and convened the second alliance meeting in November 2020. In order to deepen industry exchanges and cooperation, the Art Museum of the Central Academy of Fine Arts has once again hosted the "2025 National Alliance Conference of Art Museums in Universities." This conference has brought together more than 40 representatives from the art museums of 22 universities across the country. The participants will base themselves on the profound accumulation of academic research, discuss the construction concepts, practical approaches, and development strategies of art museums in universities from a professional perspective. Through the sharing of experiences and cross-regional dialogues, they will jointly plan an innovative blueprint for the undertakings of art museums in universities in the new era.
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CAFAM Academic Series

2025-03-31

中央美术学院美术馆学术季一系列重磅活动于2025年3月30日拉开帷幕。作为学术季第一阶段的启幕,经过美术馆的深度策划和广泛召集,包括“中央美术学院美术馆藏陈列”开幕、文化引擎——中央美术学院国际美术馆高峰论坛和全国高校艺术博物馆联盟会议在内的一系列学术活动,将汇聚来自全球顶尖艺术机构的专家学者、策展人和艺术博物馆管理者的前瞻性思考,带来高浓度的信息量和权威的美术馆行业研讨及洞察。
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The number of slots has increased! | This Art Event At CAFA Art Museum Brings A High Concentration Of Information!

2025-03-30

  ∨A series of significant events of the Academic Season of CAFA Art Museum are about to kick off on March 30, 2025. As the opening of the first stage of the Academic Season, through in-depth planning and extensive solicitation by the art museum, a series of academic activities, including the opening of the "Collection of CAFA Art Museum", the Cultural Engine - CAFA International Art Museum Summit, and the Conference of the Alliance of Art Museums in National Universities, will bring together the forward-looking thinking of experts, scholars, curators, and art museum administrators from top art institutions around the world. These activities will offer a high concentration of information and authoritative discussions and insights into the art museum industry.01\「       As an important part of the 2025 CAFAM Academic Season, the "Cultural Engine - CAFA International Art Museum Summit " will be held      at the Art Museum of the Central Academy of Fine Arts in the afternoon of March 30, 2025. As a gathering place and display window for              culture, art museums not only undertake the functions of displaying and collecting artworks, but also actively participate in shaping the       vitality of the social economy. As an important carrier of culture, by hosting high-level art exhibitions and activities, art museums                          continuously inject impetus into the inheritance and development of culture. Art museums are the drivers of cultural innovation, the       hubs of cultural dialogue, and the experimental fields for future innovation. This summit hopes to take "Cultural Engine" as the theme      and focus on three major topics: "Diversified Curating and Knowledge Renewal", "Regional Dialogue and Global Collaboration", and                      "Technology Empowerment and Innovation Strategies", so as to discuss the development opportunities and challenges faced by art        museums in the new era.」Cultural Engine -- CAFA International Art Museum SummitMarch 30, 2025 (Sunday) 1:30 p.m. - 6:30 p.m.Academic Lecture Hall, CAFA Art MuseumTo meet the needs of the audience,We specially increase the number of participation quotas for the summit forum.Scan the QR code to make an appointment for registration.The number of quotas is limited. First come, first served.Keynote Speeches: Art Museums as Cultural Engines   Pan Yikui, National Art Museum of China | Cultural Collaboration in International Exhibitions of the National Art Museum of ChinaFrancesco Stocchi, MAXXI - National Museum of 21st Century Arts, Italy | MAXXI, A Dynamic MuseumWang Shaoqiang, Guangdong Museum of Art | Building on the Past and Embracing the Future: The Construction of Art Museums and Urban Development in the New EraMa Lin, China Art Museum & Art Museum of Shanghai Academy of Fine Arts, Shanghai University | Cross-border Integration and Academic Innovation of Art Museums in the New EraShim Sangryong, Museum of Seoul National University | Muein —— The Concave Lens in My HeartJin Jun, Art Museum of the Central Academy of Fine Arts | In the Post-digital Era, the Integration and Symbiotic Development of the Virtual and Real in Art MuseumsHost of This Session | Gao Gao (Art Museum of the Central Academy of Fine Arts)Topic 1: Diversified Curating and Knowledge Renewal   Du Pengfei, Art Museum of Tsinghua University | Sprouting with the Passage of Time, Thriving Continuously: The Concept and Practice of Diversified Curating at the Art Museum of Tsinghua UniversitySim You Ren, National Gallery Singapore | Comparison as a Method: Decolonizing Art History in the Global South, Critical Recovery and the Issue of RepresentationWu Hongliang, Art Museum of Beijing Painting Academy | Empathy Field and Secondary Communication —— New Thoughts in Curatorial PracticeTang Xin, Taikang Art Museum | Becoming a "Professional and Friendly" Art MuseumChen Yongjin, Wuhan Art Museum | Original Creation Power and Innovative Power —— The Updating Code of Wuhan Art MuseumLu Yinghua, Inside-Out Art Museum | Slow Laboratory —— Talking from the Practice of Inside-Out Art MuseumLi Feng, Beijing Minsheng Art Museum | Planning to Bridge the Ancient and the Modern —— Taking the "The Ringing of Camel Bells: The Grand Exhibition of Silk Road Art" as an Example to Discuss Exhibition Planning and Museum InnovationHost of This Session | Wang Huangsheng (Research Center for Museology of the Art Museum of Guangzhou Academy of Fine Arts)Topic 2: Regional Dialogue and Global Collaboration   Isabelle Bertolotti, Museum of Contemporary Art of Lyon | Launching Local and International Cross-cultural Collaborations at MacLYONTian Shaodeng, Hunan Art Museum | Regional Leadership and Multiple Practices: The Innovative Development Path of Hunan Art MuseumSun Li, Chengdu A4 Art Museum | Art Museums as Practitioners of Dynamic ConnectionsYukie Kamiya, The National Art Center, Tokyo | Artistic Exploration as a Catalyst Connecting Local History and the World: Case Studies of Hiroshima and New YorkChen Xiaoyang, Art Museum of Guangzhou Academy of Fine Arts | The Oceanic Turn in Curatorial Research: South China and Contemporary Art in Southeast Asia as NeighborsXiao Feige, Chengdu Art Museum | From Exhibition Venue to Magnetic Field: The Construction of Urban Cultural Attraction by International Art ProjectsHost of This Session | Ji Shaofeng (Hubei Art Museum)Topic 3: Technology Empowerment and Innovation StrategiesChen Junyu, Guan Shanyue Art Museum in Shenzhen | Systematic Innovation: Exploration of the Guan Shanyue Research Model for the Professional Construction of Art MuseumsCrystal Bauer, Ars Electronica Festival Linz | From Bystander to Co-creator —— The Participatory and Media Practices of the Ars Electronica CenterYing Jinfei, Zhejiang Art Museum | Aesthetics Is the Primary Productivity in the Digital AgeWang Fa, Jiangsu Art Museum | Innovative Practices of Art Museums Empowered by Digital and Intelligent TechnologiesYan Weixin, Shenzhen Museum of Contemporary Art and Urban Planning | Practices of Reconstructing the Publicness of Art Museums Driven by Data: Taking the Shenzhen Museum of Contemporary Art and Urban Planning as an ExampleWang Xiao, Shaanxi Art Museum | Reconstructing Tradition with Innovation and Empowering the Future with Technology —— Practical Strategies of Shaanxi Art MuseumZhang Chunyan, China Academy of Art, China International Design Museum | Curating and Knowledge Production in Art Museums in the Era of Artificial IntelligenceHost of This Session | Hai Jun (CAFA Art Museum)                                      ∨Chief Editor / He Yisha  Editor / Du Yinzhu
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Limited Time Of 8 Hours! The Genuine Paintings Of The Song Dynasty Are Being Exhibited For The First Time At CAFA Art Museum. Come And Check It Out!

2025-03-29

"Collection of CAFA Art Museum" will be grandly launched at CAFA Art Museum on March 30. This exhibition of the museum's collection includes the sections of "Ancient Chinese Art" and "Modern Chinese Fine Arts", both of which will make their debuts. More than 500 pieces of the museum's collection will be presented together.Most notably, there will be a special event on the opening day. The original painting Magpie and Loquat from the Song Dynasty in the museum's collection will be exhibited for a limited time (the original is in poor condition and is currently under restoration, and a reproduction is usually on display). This painting will also make its first public appearance since the establishment of the new building of the Art Museum of the Central Academy of Fine Arts. Paintings from the Song Dynasty, with their exquisite techniques, profound artistic conceptions, and rich themes, have become a peak in the history of Chinese fine arts. It is hoped that through this work, the audience can experience the vividness and expressiveness of flower-and-bird paintings from the Song Dynasty.Some beauty can only be appreciated when seen with one's own eyesWhen the brushstrokes and ink that have endured for a thousand years seem to breathe right before your eyesYou will understand that true art never goes out of styleThe original painting of “Magpie and Loquat” will only be exhibited for one day.Friends who are fond of paintings from the Song Dynasty,On March 30,Don't miss it for anything!请在小程序预约购票佚名 山鹊枇杷图 绢本设色 宋 纵30厘米 横31厘米 中央美术学院美术馆藏《山鹊枇杷图》被收入在《中国古代书画目录》第一册、《中国古代书画图目》第一卷、《宋画全集》第五卷第一册、《意趣与机杼——明清绘画透析国际研讨会图录》、《中央美术学院中国画精品收藏》、《中央美术学院美术馆藏精品大系·中国古代书画卷》中 。《山鹊枇杷图》局部此幅作品描绘了枇杷初熟、鸟雀栖止的情景。邱才桢谈到:“画面自左至右画折枝枇杷,果实累累;两山鹊于枝头相对而立,而姿态各异,与左右数枚枇杷形成一种视觉上的平衡。山鹊腹、背的颜色与绿叶黄果笼罩在一种古雅、静谧的氛围中。风格上与常见的宋人花鸟画接近 ”。《山鹊枇杷图》局部其中,主枝枇杷描绘最为细致,果实有的尚带绿意,有的带有啄食的痕迹,叶片结构准确,勾线富于笔趣,整体果实累累,翠叶繁茂,写出了“大叶耸长耳,一梢堪满盘”的气势。除了真迹展示,开幕当天还有一系列学术活动诚邀您参与。3月30日下午,将在美术馆报告厅召开“文化引擎——2025中央美术学院国际美术馆高峰论坛”,此次论坛希望围绕“美术馆的文化引擎作用”展开深入探讨,研讨在时代和科技遽变的背景下,美术馆的发展机遇和挑战。预约直播间观看“文化引擎”高峰论坛抖音平台@中央美术学院美术馆小红书平台@中央美术学院美术馆哔哩哔哩平台@中央美术学院美术馆▏中央美术学院美术馆藏陈列——古代中国艺术展览时间:长期陈列展览地点: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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Child Public Education Reservation Form

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Adult Public Education Event Reservation Form

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Group Public Education Event Reservation Form

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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.

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

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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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