Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

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

: 看到2025央美毕业季的这颗“苹果”，谁的艺术DNA又动了？（内含福利）

2025-04-29

当中央美术学院2025年毕业季主视觉形象释出——一颗布满光晕的暖色苹果悬浮于虚空，这个充满张力的视觉符号瞬间激活了观者的艺术记忆。今年央美毕业季主题为“逐光而行”，这个既古典又现代的意象，恰恰表达了一场对艺术本质的追问与重构。此次毕业季主形象以每一个艺术学子最早开始接触的物象为载体，通过白色平面上受光面的流转与晕染暗示出光是我们进行一切观察与塑造的基础和前提，整体视觉风格细腻淡雅，强调在毕业季这样的一个时刻，用来时的路照亮未来的路，对艺术的不断追求永远匿于附着在物体上的那一束光中。这不仅撕开了视觉艺术的表层叙事，更暗喻着当代艺术教育的精神内核。在这个每秒产生1.7万亿张数字图像的时代，中央美院2025毕业季主视觉以返璞归真的姿态，将最基础的造型元素重构为充满未来感的视觉宣言。当观者凝视这个悬浮在虚空中的发光体时——那些关于光影、形式与观念的永恒命题，正在柔和中孕育新的力量。与此同时，许多观众也在各大自媒体平台发表了自己的观点和对艺术的独特见解。这种参与互动性也重构了此次毕业季形象的社会化解读空间。那么，在看到这颗闪烁着光芒的苹果后，谁的艺术DNA又动了呢？在评论区留下你的观点，点赞前10名的观众留言将获得五一期间毕业季门票一张让我们靠近光，追随光，成为光。2025中央美术学院毕业季，等待你的到来！主编 / 何一沙责编 / 杜隐珠
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: 异地合鸣 | “央美美术馆10年馆藏毕业作品特展”五一在郑州启幕

2025-04-28

时空图层——中央美术学院美术馆藏毕业作品特展展览时间：2025年5月1日—8月25日展览地点：郑州市管城回族区商都阜民里文化街区艺术中心特邀中央美术学院教师：陈明强、杜英奇、柳青、刘巍、卢征远、王川、邹达闻参展毕业生（馆藏作品）：鲍妮娜、蔡雅玲、陈戈霖、陈光耀、陈嘉豪、陈洁、陈欣悦、陈洋、但文杰、杜雪、傅旭航、高嵩、高赵、郭双、郭玉龙、韩知松、何佩璇、黄翠、黄珍、江芷盈、金月、李大伟、李丰任、李九思、李罗、李思哲、刘春琳、刘高翔、刘宏超、刘家豪、刘金涛、刘启光、卢轶、卢昱、马程程、孟凡飞、孟佳宝、苗菁菁、倪政鹏、祈庆龄、冉华明、孙玛侬、孙逸文、孙宇、谭森垚、王碧云、王晨旭、王海迪、王俊婷、王启凡、王瑞涛、王珊、王婷婷、王相洁、王小满、王志浩、夏理佳、许高源、徐圣伦、许泽邦、薛文静、杨澜、叶娉婷、尹伊阳、于安琪、原晓轩、邹达闻、詹佶昂、张家祺、张曼琳、张瑄、张岩、张依、赵泽润、郑丰林、周宏博、朱玄玄、朱雁娴“时空图层——中央美术学院美术馆藏毕业作品特展”与2025年中央美院毕业季相呼应，由中央美术学院组织，郑州市管城回族区人民政府、中央美术学院宣传部、中央美术学院美术馆联合主办，郑州建中商城文化旅游开发管理有限公司承办，以央美十年毕业作品收藏为主体内容，于五一期间在阜民里新文化街区与商代旧都遗址的交汇处拉开帷幕，呈现一场跨越时空的文化盛宴。商代城墙的斑驳肌理与当代青年艺术的前沿表达在此对话，北京的新锐艺术力量与中原的深厚历史文脉交织共鸣，优秀学子的作品与青年教师的作品同台展出，演绎了一场在地文化焕活与青年艺术新风的生动结合。展览从古城墙的夯土版筑技术中汲取灵感，用层层堆叠的视觉形式回溯十年毕业创作的成果，分为展厅内外两个空间。展厅内展出了近八十套美术馆收藏的毕业创作精品，涵盖中国画、油画、版画、影像、装置和综合材料等多样化的艺术表现形式，以“华章”“共生”“成长”“纳新”四个板块，展示了青年艺术家在文化传承、生态关怀、个人叙事和跨界创新等维度的卓越探索。展厅外展示了一组学院青年教师的作品，从学子到教师的成长轨迹书写了艺术教育的代际传承，为展览增添了“教学相长”的层面。这些展出作品，既是过去的印迹，又是当下的呈现，更是未来的种子，它们勾勒了由美育传播、在地更新与青年创造力共同构筑的未来。此次央美馆藏毕业作品展览参与到阜民里的文旅融合项目中，为商都阜民里文化街区、为管城回族区、为郑州市、为艺术的创造者和爱好者们，绘制了充满生机的文化图景。这不仅是对美术馆藏品活化理念与地区城市更新政策的生动诠释，更是艺术教育与社会发展深度融合的一次实践。充满创造力的青年艺术为阜民里街区注入了当代活力，传统与创新的碰撞激发出蓬勃的文化能量。从某种程度来说，展览既拓展了学院教学成果的社会传播维度，也以美育赋能新质生产力，构建起高校艺术教育与城市文化建设的新型互动模式，为当代艺术院校与城市建设项目的有机合作提供了富有启示性的时代样本。展览将持续到8月25日。
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: Official spoiler! More than 3,000 postgraduate works are gathered in the graduation season of CAFA

2025-04-28

In late April at the Central Academy of Fine Arts, the fragments of flower catkins float in the spring breeze. In the exhibition hall of the CAFA Art Museum, a group of young graduates are carefully infusing their passion, confusion, and expectations into their paintings bit by bit, shaping them into sculptures, and integrating them into the code. This graduation season of CAFA, titled "Marching Towards the Light", is quietly brewing like a silent storm at the end of spring.The artistic context, created by more than 500 master's and doctoral students, takes emotions, philosophy, and humanistic care as its foundation, deconstructing "Marching Towards the Light" into an artistic language that transcends time and space. Today, on the second day of the works' move-in, let's go deep into the front line of exhibition arrangement and unveil some spoilers of this mysterious event...Light serves as both a medium and a carrier of memory. When 532 graduates choose light as their vessel, this exhibition ceases to be an endpoint; instead, it becomes the first draft of countless possibilities. In 2025, we look forward to you "Marching Towards the Light" with us.Visitors can make reservations and purchase tickets through the WeChat mini-program, WeChat official account, or official website of the CAFA Art Museum (for detailed ticketing instructions, please refer to the official website). The daily number of visiting spots is limited and will be closed once fully booked. During the graduation season, the museum is open as usual on Mondays.When making a reservation, valid identification documents must be used for real - name registration. Each person can only make one reservation per day. After a successful reservation, visitors should arrive at the venue at the reserved time. During the graduation season, visitors can enter the museum through the special ticket access at the north gate of CAFA by swiping valid identification documents such as ID cards for ticket verification.Chief Editor / He Yisha Editor / Du YinzhuSome pictures are provided by students
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: Jin Jun: The Integration Of The Virtual And The Real And Symbiotic Development Of Art Museums In The Post-digital Era | 2025 CAFAM Academic Series

2025-04-27

Jin Jun, Director of CAFA Art Museum「In today's era, the rapid development of technology is profoundly transforming every aspect of our lives, and the field of art is no exception. Recently, at the "Cultural Engine —— International Art Museum Summit Forum of the Central Academy of Fine Arts", Jin Jun, the director of CAFA Art Museum, delivered a keynote speech. With the theme of "The Integration and Symbiotic Development of the Virtual and the Real in Art Museums in the Post-digital Era", he deeply explored how art museums can achieve the integration of tradition and modernity, as well as the integration of the physical and the virtual under the impetus of the wave of technology. He also discussed the far-reaching impact of such integration on the development of art and the public's art experience.」01.Empowered by TechnologyTraditional and Classic ArtJin Jun first pointed out that traditional art museums, as spaces for the collection and display of art treasures, provide the public with an important venue to be influenced by art and understand different cultures. However, in the development of the art field, there are differences in the development speed among different regions and fields. The advancement of technology, especially the emergence of new media technology, has brought new possibilities for the display of traditional artworks, enabling them to break through the limitations of time and space and present themselves to the public in a brand-new look.The presentation of traditional art in an immersive digital virtual way is a typical practice of technology empowering traditional art. Through immersive digital means, audiences can experience artworks in the environment of a specific art museum in different places and feel the overall scale and details of the artworks in space. This new way of presentation not only gives the audience a more intuitive understanding of the artworks but also endows traditional art with new vitality. For example, with regard to the painting Listening to the Qin by the Song Dynasty in China, through the digital virtual method, the audience can interactively feel the humanistic thoughts and the humanistic spirit based on nature at that time, thus obtaining a deeper new experience. In addition, the re-creation of Chinese traditional artworks in a digital way has also been an important direction of exploration in recent years. This kind of re-creation incorporates modern cognitive understanding. Taking some traditional Chinese landscape paintings as examples, the presentation in a digital dynamic way makes these ancient paintings radiate new vitality and brings the audience a brand-new visual enjoyment.02.Digital Art under the Support of TechnologyNew FormsWith the continuous development of technology, new art forms are constantly emerging. Jin Jun mentioned that digitalization, the transformation of pixelated forms, colors, and new interpretations of tradition are all directions for the exploration of new art forms. For example, the digital dynamic sculptures created by Turkish artists, through digital means, enable the sculptures to show their unique charm in motion and bring new changes to the daily space. This digital dynamic art form not only presents a new look in the space of art museums but also plays an important role in public spaces.The advancement of technology has also brought new ways to interpret art forms. For example, by combining traditional machinery with digital sensing technology, novel art forms such as human-machine dance have been created. In the Beijing Media Art Biennale once held at CAFA Art Museum, European artists transformed human nerve commands through programming, enabling machinery to drive the human body into a dancing state. This unique artistic experience has given the audience a deeper understanding of the integration of art and technology.In addition, the integration of technology and art is also reflected in the combination of biological themes and dynamic art. In the Media Art Biennale in 2023, works related to ecological integration demonstrated the combination of technology and art through dynamic techniques, triggering people's ethical reflections on technological progress. At the same time, artists are also exploring participatory interactions between technology and traditional art, real-time rendering, and the construction of online exhibitions of traditional ancient art, etc., enabling the audience to appreciate the charm of traditional art through online platforms.03.From the Physical Space to the Digital Ecological EntityJin Jun further elaborated on the transformation trend of art museums from physical spaces to digital ecological entities. The development of digital technology has made it possible for a global art network to take shape. For example, the National Portrait Gallery in Washington presents the appearance of its museum through digital means, and Google Arts & Culture has created digital exhibition halls, allowing audiences to appreciate artworks from all over the world via the Internet. The construction of this digital ecological entity not only breaks the limitations of the physical space of traditional art museums but also provides a broader platform for the dissemination and exchange of art.Jin Jun further elaborated on the transformation trend of art museums from physical spaces to digital ecological entities. The development of digital technology has made it possible for a global art network to take shape. For example, the National Portrait Gallery in Washington presents the appearance of its museum through digital means, and Google Arts & Culture has created digital exhibition halls, allowing audiences to appreciate artworks from all over the world via the Internet. The construction of this digital ecological entity not only breaks the limitations of the physical space of traditional art museums but also provides a broader platform for the dissemination and exchange of art.In addition, digital technology is also used to enhance the audience's experience. For example, the application of VR technology enables the audience to experience artworks in a brand-new way. Director Jin Jun is leading the disciplinary team to cooperate with multiple institutions to explore how to use new spatial methods to construct a digital twin art museum space. This digital twin art museum space will take the physical art museum as the carrier and create a virtual space corresponding to the physical art museum through digital means, bringing the audience an art experience of the integration and symbiosis of online and offline.04. The Integration of the Virtual and the RealThe Present and the Future Finally, Jin Jun emphasized the importance of the integration of the virtual and the real. He mentioned that the integrated development of the original artworks and dynamic video works in the exhibition space of "Dreams in the Mortal World" is a typical case of the integration of the virtual and the real. In addition, in the VR display in the 798 Art Zone, visitors can walk around the zone while wearing VR glasses and experience the appearance of the digital space. This way of integrating the virtual and the real not only provides the audience with more options when appreciating artworks but also offers new ideas for the future development of art museums.In the post-digital era, the integration of technology and art has become an irreversible trend. Technology not only provides new means for the display and dissemination of traditional art but also gives birth to new art forms and artistic experiences. The transformation from the physical space to the digital ecological entity, as well as the direction of the integration of the virtual and the real, all paint a beautiful blueprint for the future development of art museums. We have every reason to believe that with the help of technology, art museums will be able to better fulfill their functions of cultural dissemination and art education, enabling more members of the public to appreciate the charm of art and feel the profound cultural heritage.Introduction of the Guest Speaker●●●●●●●●●●●●Jin JunDirector of CAFA Art Museum, Professor, Doctoral Supervisor; Dean of the School of Design and Arts, Beijing Institute of Technology. He has presided over a number of major design projects, including the design of the dynamic sports icons for the 2022 Beijing Winter Olympics. He has organized and planned more than 40 series of special art exhibitions under the theme of "Looking Back and Reflecting · Rereading the Classics", including the "Invitation Exhibition of Famous Chinese Painters in the 20th Century", etc. Recently, he has completed the creation and planning of digital immersive artworks, such as the "Equal Views in the Digital Realm: Exhibition on Traditional Art and Technological Research", as well as the planning of the "Immersive Art Design Exhibition of the National Centre for the Performing Arts: Art in Life" and the "Beijing Media Art Biennale", etc.∨Chief Editor / He Yisha Editor / Du YinzhuText Arrangement / Xu XiOn-site Photos / He Yifei
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: Year-round Exploration of Liberal Arts | The CAFAM Annual Pass is Here!

2025-04-25

Special Kind Reminder1. Please bring a valid identification document when entering for a visit to facilitate the verification of your membership status.2. When activating the annual pass for an individual card, please bind the information of your accompanying person, and this information cannot be changed. When activating a family card, you need to bind the information of your family members, and this information cannot be changed. (If there is only one minor, you can fill in this information repeatedly.)3. The accompanying person whose information has been bound needs to swipe their ID card to enter the venue. Minors must be accompanied by at least one guardian to enter the venue.4. During the graduation season, annual pass members do not need to make a reservation.5. Visitors are restricted to entering the art museum only once on the designated visiting day.The cover of the Student Card features the famous work "David" by Teacher Yu Hong. This classic sketch, which was created in 1984, is likely the most renowned portrait of David in China and may also be the most widely circulated one. Countless people got to know what a sketch is and what the basic standards of the Central Academy of Fine Arts are starting from this work. Countless students with artistic dreams have gazed at it and painstakingly copied it stroke by stroke...The cover of the Personal Card features the work "Han · Nine Consciousnesses" by Teacher Chen Wenji. Since 2006, Chen Wenji has stopped his realistic paintings that he had been creating for more than twenty years and embarked on a new creative journey of his own. There are no longer any recognizable objects in the paintings, but only some conceptual graphics: circles, cones, ellipses, triangles, or inclined planes with rounded corners... However, these are by no means the forms in minimalist or optical illusion paintings. Instead, the artist uses them to create a "vision that is exclusively self-enclosed yet infinitely extended."The cover of the Family Card features the work "Early Morning" by the renowned late artist Mr. Zhou Sicong. Mr. Zhou was one of the most outstanding artists in China in the 20th century, excelling in figure painting. His masterpiece "The People and the Premier" participated in the exhibition celebrating the 30th anniversary of the founding of the People's Republic of China and won the first prize in the National Art Exhibition. The work on the cover is his graduation creation at the Central Academy of Fine Arts in 1963, depicting the scene of Tiananmen Square under the red morning sun in the early morning. The peaceful and tranquil atmosphere emanating from the work endows the entire painting with an exceptionally simple and pure quality. ● ○Let's meet in May, during the graduation season.Chief Editor / He Yisha Editor / Du Yinzhu
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: Compulsory Course for Entering the Industry | Countdown to the Recruitment of the "Art Museum Operation and Exhibition Planning" Training Course

2025-04-23

Enter the Behind-the-Scenes World of the Art MuseumUncover the Secrets of Its OperationExplore the Art MuseumExperience the Unique Perspective of the CuratorDraw Back the Curatorial CurtainDiscover the Stories Behind the Art MuseumIn contemporary society, exhibitions have become an indispensable and important part of people's cultural lives. The curation of art galleries is not only a reflection on classical art but also an exploration and response to contemporary creativity. Countless people who are passionate about art gather here, jointly witnessing how art transcends time and space, conveys beauty, inspires thinking, and demonstrates the resonance of culture and the depth of spirit.This spring, the "Social Aesthetic Education Program of Chinese Aesthetic Education Campaign" of the School of Continuing Education of CAFA, in collaboration with the CAFA Art Museum, has grandly launched the "Short-term Training Courses on Art Museum Operation and Exhibition Planning (the 4th/5th Sessions)". This course has especially invited a group of experts and scholars who have delved deeply into the fields of art museum operation and curation. They will conduct an in-depth analysis of industry trends and share how to, while adhering to the aesthetic education mission of art museums, expand the boundaries of art dissemination with innovative thinking, enabling the power of beauty to reach a broader social group and promoting the continuous development and diverse expression of art. Hai Jun Deputy Director of the CAFA Art MuseumProfessor and Doctoral Supervisor of CAFACourses: "Operation and Sustainability of Art Museums""At present, the driving force of technology and the profound changes in social structure are reshaping the operational logic of cultural institutions. As an institutional form that undertakes public cultural functions, art museums inevitably face the pressure of transformation. Against the backdrop of the increasing limitations of the traditional model that relies on government funding and ticket revenues, how to achieve the sustainable development of art museums has become a fundamental issue that cannot be avoided... At its core is the establishment of a mechanism that can maintain self-regulation and continuously produce public value in a complex environment. This mechanism not only depends on a diversified economic support structure, but also requires that the institutional design reflects a balanced consideration of academic autonomy, public nature, and social effectiveness.The sustainable development of art museums must go beyond the technical discussions at the management level and enter into a re-cognition of their institutional essence and cultural responsibilities. This includes: how to deal with the tension between academic research and communication, how to respond to the growing demands for social participation, how to expand a reasonable relationship with the market while maintaining the independence of art, and how to enhance its long-term vitality as a cultural infrastructure through structural organizational reforms." Gao Gao Deputy Director of CAFA Art MuseumCourses: "Operation and Management of Art Museums"If, in the past... visitors were led into a state of passivity by the paintings, then our current design aims to make people take the initiative and become more active. This should be the purpose of my design for this exhibition room.Modern museums are institutions with educational functions. In addition to providing the public with an aesthetic experience, art museums also need to convey knowledge to people. For a modern art museum, since the art categories it involves are very extensive and the art forms displayed are significantly different from traditional art forms, many artworks make the audience feel confused and unable to understand. Therefore, art education becomes even more necessary and important.——Selected from "Alfred H. Barr and the Early Establishment of the Museum of Modern Art in New York" Li Yaochen Director of the Collection Department of CAFA Art MuseumAssociate Researcher of the CAFA Art MuseumCourses: "Overview of the Collection Management Work in Art Museums""The characteristics of an art museum lie in its non-profit nature, public accessibility, and the establishment of a systematic academic framework based on the research of its collections. Systematic collection is an important feature that distinguishes an art museum from other art institutions such as art galleries. The research, exhibitions, and dissemination carried out based on these collections have formed the unique characteristics and cultures of art museums or art galleries.......At the current stage of China's development, the development of permanent exhibitions in art museums is definitely an important trend for the future. The academic depth and the quality of the collections required for permanent exhibitions are higher than those for temporary exhibitions. Planning permanent exhibitions will inevitably mobilize research forces on a wider scale. During the process of studying the collections, identifying their advantages, and sorting out the context, all the deficiencies in one's own work will be exposed, which is a test of one's own research ability and the architecture of all aspects of the art museum. This is a function that temporary exhibitions do not possess. This is also a great promotion for the construction of art museums in China.——Selected from: "Li Yaochen: A Tentative Discussion on the Systematic Collection and Permanent Exhibition in Art Museums” Liu Xiyan Director of the Planning and Research Department of CAFA Art MuseumAssociate Researcher of CAFA Art MuseumCourses: "Modern Curatorial Practice of Classic Exhibitions""The collection displays in China's early art museums demonstrate a process of learning from overseas while constantly adapting overseas experiences to China's actual situation. Overseas experiences played the role of a skeletal structure, assisting the art museums at that time in grasping several major directions that needed attention in planning the display of collections. However, when the early practitioners were adding flesh and blood to this skeleton, they did not completely copy the "Western methods." Instead, after taking into account China's art forms, the special relationship between collection and exhibition, the current situation of aesthetic education, and other factors, they depicted a local appearance for it, demonstrating an outstanding exploration of handling the relationship between Chinese art and Western art through the display of collections and using this as a representation of ideology. Although, as mentioned earlier, these early explorations were stifled in their potential for further development by the flames of war, these practices still had a significant impact on the subsequent thoughts regarding the display of collections in Chinese art museums."——Selected from: "Liu Xiyan: Applying Western Methods in China — A Review of the Collection Exhibitions in China's Early Art Museums in the Early 20th Century"There are also more wonderful courses…Intensive Class(Enrollment in Progress)Weekend Class(Enrollment has been closed)*The art museum has the right to make adjustments to the courses under the same conditions.We sincerely invite you to embark on a journey of artistic enhancement together, delving deep into the operation of art galleries and the planning and execution behind exhibitions. This training workshop places great emphasis on "face-to-face interaction with mentors" and "personalized guidance." Under the guidance of experienced mentors, all you need is a bit of curiosity about art and a touch of interest in art galleries. Let conversations unfold under the mentors' guidance, and together, we can appreciate the beauty of all-encompassing art and culture.| Friendly Reminder |The registration for the "Short-term Training Course on Art Museum Operation and Exhibition Planning (Weekend Class)" has been closed as of April 5th. The registration for the "Short-term Training Course on Art Museum Operation and Exhibition Planning (Intensive Class)" will close on May 15th. For more information, you can call Teacher Jin at 15957702868 for consultation, or click "Read More" to jump to view the course prospectus.The Social Aesthetic Education Action Plan of "Chinese Aesthetic Education Campaign"The Continuing Education College of the Central Academy of Fine Arts actively practices the spirit of serving the public through aesthetic education. Guided by the core spirit of General Secretary Xi Jinping's speech at the Symposium on Cultural Inheritance and Development, it gives full play to the professional and talent advantages of affiliated institutions to provide a sustainable high - quality development plan for the implementation of the "Chinese Aesthetic Education Campaign" of the Central Academy of Fine Arts. The "Chinese Aesthetic Education Campaign" Social Aesthetic Education Action Plan of the Continuing Education College of the Central Academy of Fine Arts is jointly participated by the experts and scholars of the Central Academy of Fine Arts, contributing wisdom and strength to the dissemination and promotion of the aesthetic education spirit of the Central Academy of Fine Arts.CAFA Art MuseumThe CAFA Art Museum is a professional and international modern art museum integrating functions such as academic research, exhibition display, collection, restoration, and public education. Its history can be traced back to the early 1950s. It is the first professional art exhibition hall built after the founding of the People's Republic of China and is also one of the first batch of key art museums in the country. Adhering to the academic concept of "inclusiveness, inheriting the past and creating the future", CAFA Art Museum serves society with "knowledge", is committed to the construction of contemporary public cultural spaces, presents the artistic civilization of mankind to the general public from a new perspective, and shares the culture of the times with all sectors of society.Chief Editor / He Yisha Editor / Du Yinzhu
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: The reservation channel for the 2025 graduation season of the Central Academy of Fine Arts is about to open & Announcement of temporary museum closure

2025-04-21

Dear audience friends:Due to the need for exhibition setup and removal, our museum will be temporarily closed from April 22nd to April 29th, 2025. It will officially reopen on April 30th. The "Graduate Graduation Works Exhibition" will be held during the same period. A total of 532 master's and doctoral students will participate in the exhibition. At that time, more than 3,000 works by graduates will be gathered at the Central Academy of Fine Arts. We sincerely look forward to your visit.CAFA Art Museum2025年4月21日At 00:00 on April 23rd, the online reservation and ticketing channel for the 2025 graduation season of the Central Academy of Fine Arts will be opened. Audiences can make reservations and purchase tickets through the WeChat mini-program of CAFA Art Museum, its official WeChat account, or the official website (for detailed ticketing instructions, please refer to the official website). The number of daily visiting slots is limited and will be available until fully booked. During the graduation season, the Art Museum will be open as usual on Mondays.When making a reservation, you need to use a valid ID document for real-name registration. Each person can only make one reservation per day. After a successful reservation, the audience should arrive at the museum according to the reserved time. During the graduation season, you can enter the museum through the special ticket inspection channel at the north gate of the Central Academy of Fine Arts by swiping a valid ID document such as an ID card for ticket inspection.Chief Editor / He Yisha Editor / Du Yinzhu
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: Walking In The Light | The 2025 Graduation Season Of The Central Academy of Fine Arts Shines Brightly!

2025-04-21

主编 / 何一沙责编 / 杜隐珠
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: Today Is Grain Rain

2025-04-20

Today is Grain Rain.
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: Sixty Masterpieces From CAFAM Collection Interpret The Vitality Of Beijing City | The Premiere Exhibition Of "Rising At Dawn" Kicks Off At The Capital Library

2025-04-19

On April 18th, just as the Grain Rain was approaching, the exhibition "Rising At Dawn — Exhibition of Artworks with the Theme of Beijing Collected by CAFA Art Museum " opened as scheduled at the Capital Library. Titled "Rising At Dawn", this exhibition aims to showcase the vigorous vitality of Beijing's urban culture and also sketches out the cultural landscape of the ancient capital with a history of thousands of years breaking through the dawn in the long river of time. The symbiosis between the Central Academy of Fine Arts and the development of Beijing city is a brief history of practice of art intervening in urban civilization. The exhibition brings together 60 masterpieces created by artists of different generations from the 1940s to the present. It presents their continuous exploration of the urban theme and also reflects the spirit of their times and their cultural ideals.This exhibition is hosted by the Central Academy of Fine Arts, jointly undertaken by CAFA Art Museum and the Capital Library. It has received strong support from the Scientific Research Office of CAFA and is also a project funded by the Beijing Cultural and Art Foundation in 2024.Group photo of the guestsThe guests attending the opening ceremony included: Jin Jun, Director of CAFA Art Museum; Han Wenchao, Secretary of the Direct Party Branch; Yu Yang, Director of the Scientific Research Office of CAFA; Sun Tao, Director of the National Thematic Art Creation and Research Center of CAFA; Li Nianzu, Deputy Director of the Capital Library, and others. Gao Gao, Deputy Director of CAFA Art Museum, served as the host.Jin Jun, Director of CAFA Art Museum，delivered a speechJin Jun, Director of CAFA Art Museum, stated that this exhibition has gathered some of the excellent works related to the theme of Beijing from the collection of CAFA Art Museum. It covers themes such as urban landscapes and humanistic spirits, and explores the interactive relationship between artistic creation and the social context in different historical periods. The exhibition takes the four sections of "Dawn", "Vitality", "Renewal" and "Centering" as the narrative threads, reflecting the urban mirror images from multiple dimensions. The successful holding of this exhibition is inseparable from the full support of the Capital Library in terms of venue, technology and other aspects, as well as the strong assistance of the Beijing Cultural and Art Foundation. It is hoped that the audience can feel the vigorous urban vitality of Beijing in the exhibition "Rising At Dawn"!Li Nianzu, Deputy Director of the Capital Library, delivered a speechLi Nianzu, Deputy Director of the Capital Library, pointed out that Beijing, which has a history of more than 3,000 years of urban construction and over 870 years of being the capital city, has the code of stratified growth engraved in its urban genes. Just as shown by the theme of this exhibition, "Rising At Dawn", "rising" not only represents the awakening of the city bathed in the first rays of the morning sun, but also symbolizes the cumulative growth of the accumulation of civilization. "dawn" not only refers to the 3,000-year memory of urban construction along the banks of the Yongding River, but also metaphorically implies the shining edge of the capital city in the new era at the break of dawn. The holding of this exhibition will further promote the exchanges and cooperation between the Capital Library and the Central Academy of Fine Arts. Together, they will explore new paths and models for the protection and inheritance of Beijing's culture, enhance the cultural soft power of the capital city, and write a new chapter in the prosperous development of Beijing's culture!Yu Yang, Director of the Scientific Research Office of CAFA, delivered a speechYu Yang, Director of the Scientific Research Office of CAFA, said that although this exhibition is limited in scale, it is very exquisite and worth viewing carefully. With the support of the Beijing Cultural and Art Foundation, "Rising At Dawn" has gathered the classic works of the senior artists of the Central Academy of Fine Arts over the past 80-odd years, as well as the works on the theme of Beijing that have been collected by the art museum and remained in the academy in recent years. Through four units, it has constructed a corridor of time and space, presenting the features of the capital city in different eras. At the same time, the exhibition is held in the Capital Library, which has a history of 110 years. The combination of calligraphy and paintings conforms to the logic of art appreciation. It is hoped that the Central Academy of Fine Arts and the Capital Library will deepen their cooperation in scientific research and creation in the future, so that high-quality exhibitions can benefit more audiences.Gao Gao, Deputy Director of CAFA Art Museum of, served as the hostGroup photo taken at the opening ceremonyThe exhibition will last until May 5th. It is hoped that the audience can encounter the authentic artworks in the corridors of bookshelves in the Capital Library, and feel the urban cultural context and contemporary innovation of Beijing amidst the fragrance of books and the charm of paintings.01DawnArtists' diverse depictions of the moment of dawn construct a dynamic pictorial book of urban humanities. These works interpret in a way of visual poetics that the dawn is not merely a physical moment of the transition between day and night, but also an aesthetic manifestation of the vitality of the city.Liu Jingui, "The Street Sweeper", 1984, 83.5cm×288cm, color on paper, collected by CAFAMXie Yan, "The Forbidden City in the Morning", 1997, 185cm×205cm, oil on canvas, collected by CAFAM02VitalityThe attention paid by artists of different generations to urban life presents diverse cross-sections of the urban ecosystem in different eras. These artworks deconstruct "vitality" into an organism that keeps growing, and they have become another dimensional yardstick for measuring the progress of urban civilization.Shi Xiguang, "Joining the Young Pioneers", 1964, 78cm×104.5cm, color on paper, collected by CAFA Art MuseumTan Quanshu, "One of the Series of Paintings of Tiananmen Construction Site II", 1958, 27cm×41cm, color woodblock print, collected by CAFA Art MuseumGuang Jun, "The Small Street on a Festival Day", 2018, 90cm×70cm, color woodblock print, collected by CAFA Art MuseumQu Guangci, "Wangfujing", 1994, 40cm×35cm×118cm, 50cm×65cm×116cm, 50cm×43cm×106cm, colored fiberglass reinforced plastic, collected by CAFA Art Museum03RenewalThe artists' visual dissection of the architectural texture and cultural memory reveals the deep logic of the renewal of the ancient capital: It is not merely the reorganization of physical space, but also the transplantation of collective memory and the reconstruction of the spiritual field.Shao Shenglang, "Scenery of Beijing No. 8: Autumn Rain on Jingshan Hill", 1961, 65cm×34cm, ink and color on paper, collected in CAFA Art MuseumDai Ze, "Banbi Bridge in the Summer Palace", 2002, 41cm×55cm, oil on canvas, provided by the collectorWang Qi, "Overpass from the Melody of the Street Series of Paintings", 1987, 40.2cm×28cm, monochrome woodblock print, collected in CAFA Art MuseumZhang Guilin, "Memory No. 5", 2008, 45.5cm×67.5cm, screen printing with multiple colors, collected in CAFA Art MuseumMiao Xiaochun, "Standing", 2007, 253cm×444cm, collectible fine art inkjet print, collected by CAFA Art Museum04Choose the central positionArtists transform the wisdom of city construction into a visual grammar. The central axis is not only the hub of the physical space, but also a spiritual anchor for the identification of civilization.Ai Zhongxin, "Remaining Snow on the Forbidden City", 1947, 38cm×70cm, oil on wood panel, collected by CAFA Art MuseumYazaki Chijiro, "Beihai Park in Beiping", 1947, 23.4cm×31cm, pastel on paper, collected by CAFA Art MuseumWen Jinyang, "Qianmen, Spring Festival", 1953, 43cm×56.5cm, oil painting on wood panel, collected by CAFA Art MuseumTan Quanshu, "Tiananmen Square", 1958, 35.5cm×25.5cm, monochrome woodblock print, collected by CAFA Art MuseumZhou Jirong, "Landscape - The Drum Tower", 2013, 60cm×75cm, screen printing with multiple colors, collected by CAFA Art Museum| Regarding the Beijing Cultural and Artistic Fund|The Beijing Cultural and Artistic Fund is a public welfare fund initiated and established by the Beijing Municipal Bureau of Culture and Tourism. It focuses on providing financial support in three major areas: the creation of stage art, cultural communication and exchanges, and the cultivation of artistic talents. The fund accepts applications from the public, and the funding process is subject to social supervision. The achievements of the funding are shared by society. It maximally mobilizes the enthusiasm of social participation in cultural construction, establishes an open, equal, public and transparent art funding system, and gives full play to the exemplary and leading role of the national cultural center.| Exhibition Information |北京文化艺术基金2024年度资助项目Rising At Dawn：中央美术学院美术馆藏北京主题作品展展览时间：4月18日-5月5日展览地点：首都图书馆（华威桥馆）B座第二展厅主办：中央美术学院协办：中央美术学院美术馆首都图书馆支持：中央美术学院科研处主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞
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Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

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CAFA Art Museum Portraiture Rights Licensing Agreement

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.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(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

(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.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

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

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(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

(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.

I have carefully read and agree to the above provisions.