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.

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

2025-11-19

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

: “馆藏大家谈”讲座回顾｜邵亦杨：“记忆的片段——马克·吕布的中国视觉”

2025-11-11

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

: Lecture Recap: "A Dialogue on the Collection" – Li Xiaonan On Roman Signer's Art

2025-11-06

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

: CAFAM Lecture Preview | Michael Armitage to Give a Lecture at CAFA!

2025-10-27

《Michael Armitage》Time: 15:00-17:00, October 28, 2025Venue: Academic Lecture Hall, CAFA Art MuseumSpeaker: Michael ArmitageHost: Yu HongOrganizer: Academic Committee of CAFA (Central Academy of Fine Arts)Co-organizers: CAFA Art Museum， Oil Painting Department of CAFA， International Cooperation and Exchange Office of CAFAScan the QR code to reserve your spot. Spots are limited and available on a first-come, first-served basis.On October 28, 2025, the internationally renowned artist Mr. Michael Armitage will deliver a lecture of the same name at the Academic Lecture Hall of CAFA Art Museum at the invitation of Central Academy of Fine Arts. Audience members from outside the academy may reserve a spot to attend via the QR code.HostYu HongYu Hong was born in Xi'an, China in 1966. She graduated from the 3rd Studio of the Oil Painting Department at the Central Academy of Fine Arts (CAFA) in 1988. Since 1988, she has been teaching at the Oil Painting Department of CAFA while engaging in artistic creation for a long time. Initially, Yu Hong received rigorous training in realistic painting, and later developed a unique artistic language. The core theme of Yu Hong's works has always been "human nature" and human beings' situation and experiences in the world. Through the characters she portrays and the grand, epic scenes in her works, she expresses her deep concern for reality and the living environment, as well as her in-depth analysis of human nature.SpeakerMichael ArmitageMichael Armitage is a Kenyan-British artist who has garnered significant attention in the international art world today. Born in Nairobi, Kenya, in 1984, he currently lives and works in London and Nairobi. He graduated from the Slade School of Fine Art in London in 2007 with a Bachelor of Fine Arts degree, and in 2010, he obtained a postgraduate diploma from the Royal College of Art in London. In 2022, the Royal College of Art, London, conferred upon him the title of Royal Academician in Painting. With his unique and compelling painting style, he has become a crucial bridge connecting Africa to the global dialogue on contemporary art. Armitage is the founder of the Nairobi Contemporary Art Institute (NCAI), a non-profit platform established in 2021. The NCAI organizes exhibitions, curatorial research residency programs, maintains a library and archive, and runs other educational initiatives, all aimed at enriching discussions on contemporary creative practices in the region.Armitage's works are deeply rooted in the cultural, social, and political context of East Africa. He skillfully weaves together African myths and legends, historical events, current news, and personal memories. One of the most distinctive features of his creations is his use of "Lubugo"—a type of Ugandan bark cloth—as the canvas. This traditional material, with its natural seams and mottled textures, not only endows the paintings with a unique materiality but also serves as a metaphor for themes of colonial history, cultural trauma, and healing.His painting language moves between figuration and abstraction, integrating the compositional techniques of European Old Masters with local East African artistic elements. This fusion creates a visual narrative that feels both familiar and unfamiliar, beautiful yet unsettling. His works aim to challenge simplistic historical narratives and shed light on the complex social realities and human contradictions of the post-colonial era.Armitage's works have been exhibited at world-renowned institutions such as the Royal Academy of Arts in London and the Museum of Modern Art (MoMA) in New York, and he participated in the Venice Biennale in 2019. His artistic practice provides an outstanding example for young artists on how to transform local cultural resources into a contemporary language with global influence."Tea Pickers" Oil on Lubugo Bark Cloth 100 x 150 cm 2023"Breast Milk" Oil on Lubugo Bark Cloth, 150 x 200 cm, 2022"Dandora (Xala, Musician)" Oil on Lubugo Bark Cloth, 220 x 440 cm, 2022"Among the Living" Oil on Lubugo Bark Cloth, 220 x 420 cm, 2022"Curfew (Likoni, 27 March 2020)"Oil on Lubugo Bark Cloth, 250 x 350 cm, 2022"Three Boys at Dawn" Oil on Lubugo Bark Cloth, 220 x 300 cm, 2022"Detention Room" Oil on Lubugo Bark Cloth, 221.3 x 170.5 cm, 2021"The Cave" Oil on Lubugo Bark Cloth, 200 x 150 cm, 2021"The Promised Land" Oil on Lubugo Bark Cloth, 220 x 420 cm, 2019"Twilight of Sorrow and Idleness" Oil on Lubugo Bark Cloth, 330 x 170 cm, 2019"Enasoit" Oil on Lubugo Bark Cloth, 170 x 300 cm, 2019"The Decree of Paradise" Oil on Lubugo Bark Cloth, 220 x 420 cm, 2019Chief Editor / He Yisha Editor / Du YinzhuImages & Text / Chi Ming
More

: Hurry Up To Register! Academician Li Jiangang Gives A Lecture: Holding Up The Sun Of Tomorrow, Decoding The present And Future Of Magnetic Confinement fusion

2025-09-17

Holding Up the Sun of Tomorrow——The Current Development and Future Outlook of Magnetic Confinement Fusion|Time|September 18th (Thursday), 9:30-11:30 a.m.|Venue|Lecture Hall of CAFA Art Museum |Speaker|Li Jiangang(Member of the Chinese Academy of Engineering, Chief Scientist of the Energy Research Institute) Scan the QR Code to Reserve Limited Spots AvailableVisitors can enter the campus with a reservation recordCAFA faculty, staff and students do not need to make a reservationOn the Grand Opening of the Exhibition "Energy and Civilization-Science & Art · Fusion Future"，We are honored to specially invite Academician Li Jiangang — a leader in China's nuclear fusion field and a core scientist who has witnessed and advanced China's magnetic confinement fusion endeavor from a follower to a pacesetter — to deliver a keynote lecture titled "Holding Up the Sun of Tomorrow — The Current Development and Future Outlook of Magnetic Confinement Fusion".This lecture will start with an introduction to humanity's utilization of energy and highlight the advantages of fusion energy as a new energy source. Combining his personal experiences, Academician Li will recount the history of China's independent design and construction of magnetic confinement tokamak devices. He will also elaborate on China's three-step strategy for nuclear fusion development, expound on the diverse applications of controlled nuclear fusion beyond power generation, and share insights into the exploration of integrating science and art. Chinese scientists have left an indelible mark of China's contributions on the global advancement of fusion research.After the lecture, Academician Li Jiangang will reserve a Q&A session to answer questions from the audience on-site. We look forward to your participation! Speaker Li JiangangMember of the Chinese Academy of Engineering, Chief Scientist of the Energy Research Institute, Researcher at the Institute of Plasma Physics (ASIPP), Convener of the National Expert Committee on Magnetic Confinement Fusion Energy, Council Member of the ITER Organization, and Doctoral Supervisor.He has long been engaged in fusion research, presided over national large-scale scientific engineering projects to overcome a series of technical bottlenecks, and built a number of internationally advanced engineering experimental systems. He has taken charge of the engineering and technological development as well as scientific experiments of fusion devices at the Institute of Plasma Physics. In the fields of design, key technology development, engineering construction, system integration, and scientific research of superconducting tokamak engineering systems, he has solved a series of technical problems and achieved a number of major outcomes.He participated in and presided over the construction and operation of the HT-M, HT-7, and EAST devices; took part in leading the design and construction of six subsystems out of the ten systems of the EAST device; and presided over the EAST auxiliary heating system project, which was completed with high quality and ahead of schedule. This project led to the establishment of a world-leading steady-state lower hybrid current drive system and an internationally advanced neutral beam injection heating system. He is in charge of conducting high-performance steady-state tokamak experiments and has solved many important scientific and technological issues. He has actively initiated and promoted China's participation in the International Thermonuclear Experimental Reactor (ITER) Project, and taken charge of the implementation of major engineering procurement packages of the Institute of Plasma Physics, making significant contributions to fusion research in China and around the world.He has successively won 2 First Prizes of the National Science and Technology Progress Award, 1 Anhui Provincial Major Scientific and Technological Achievement Award, 2 First Prizes of Anhui Provincial Science and Technology Progress Award, and 1 Second Prize of the Chinese Academy of Sciences Science and Technology Progress Award. He is also among the first recipients of the "National High-Level Talent Special Support Program" (also known as the "Ten-Thousand Talents Program") for leading talents, and a winner of many other honors including the Outstanding Professional and Technical Talent Award jointly issued by four national ministries and commissions, the Asian Achievement Award of the Global Chinese Physicists Association, and the Helmholtz International Cooperation Award. As a lead author, he has published 152 papers (including 135 SCI-indexed papers), among which 119 papers have been cited 1,334 times. He has also authored 2 monographs, obtained 8 invention patents, and delivered more than 30 invited reports at international conferences. About the Exhibition Energy and Civilization — Science & Art·Fusion FutureExhibition Venue 1st Floor Gallery, Art Museum of the Central Academy of Fine Arts Exhibition Period September 14, 2025 - October 12, 2025 Opening Time 10:00 a.m., September 14, 2025 Opening Venue Academic Lecture Hall, CAFA Art Museum OrganizersCentral Academy of Fine ArtsEnergy Research Institute of Hefei Comprehensive National Science CenterPeople's Government of Hefei MunicipalityUndertakersArt Museum of the Central Academy of Fine ArtsScience and Art Joint Laboratory, Energy Research Institute of Hefei Comprehensive National Science CenterBig Sun (Hefei) Culture and Technology Co., Ltd.Co-organizersInstitute of Plasma Physics, Hefei Institutes of Physical Science, Chinese Academy of SciencesSchool of Nuclear Science and Technology, University of Science and Technology of ChinaScience Popularization ChinaDepartment of Sculpture, Central Academy of Fine ArtsSchool of Experimental Art and Technological Art, Central Academy of Fine ArtsSchool of Design, Central Academy of Fine ArtsSchool of Urban Design, Central Academy of Fine ArtsOffice of Scientific Research, Central Academy of Fine ArtsInstitute of Technological Art, Central Academy of Fine ArtsSchool of Design and Art, Beijing Institute of TechnologySchool of Future Design, Beijing Normal UniversityProfessional Committee of Science Popularization and Cultural Industry, China Association for Science and Technology PressKey Laboratory of Industrial Manufacturing Art Innovation Design, Ministry of Industry and Information TechnologySupporting OrganizationsBeijing International Design WeekBeijing ByteDance Network Technology Co., Ltd.Epson Lighting Research InstituteShenzhen Shiju Guangxu Electronics Co., Ltd.Beijing Yuanlichen Superconducting Technology Co., Ltd.Jimu LaboratoryTianyu ARTECHAnhui Benlun Technology Co., Ltd.Beijing Hegu Gongchuang Technology Co., Ltd.Chief Editor / He YishaEditor / Du Yinzhu
More

: Collection Talk | Lecture Preview for the Series "Flowing Artscapes: CAFAM International Exchange Research Exhibition from The Collection"

2025-09-11

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

: CAFAM讲座预告 | 佩特拉·布莱瑟：应用艺术，玩转内外——Art Applied, Inside Outside

2024-09-20

2024年09月20日，Inside Outside事务所的创始人兼首席设计师、独立展览设计师佩特拉·布莱瑟女士将受邀来到中央美术学院，带来"央美建筑系列讲堂"的第十九次讲座——《应用艺术，玩转内外》(Art Applied, Inside Outside)。“央美建筑系列讲堂”（CAFAa Lecture Series）由中央美术学院建筑学院于2018年发起，旨在立足建筑学术前沿，邀请当今世界最杰出的学者、教育家、建筑师、艺术家展开研讨、讲座、会议等多种活动，共同建构批评、包容、开放的国际建筑学术平台。该系列已成功邀请雷姆·库哈斯、莫森·莫斯塔法维、曹汛、矶崎新、斯蒂文·霍尔、彼得·塔居里、崔愷、威尼·马斯、伊东丰雄、卡洛斯·爱德华多·科玛斯、佩特拉·布莱瑟、安杰罗·马吉、张永和、刘家琨、赫尔南·迪亚兹·阿隆索、艾琳娜·曼费迪尼等多位学术巨匠进行讲座及会谈。讲座题目 0 应用艺术，玩转内外 Art Applied, Inside Outside 演讲嘉宾佩特拉·布莱瑟Inside Outside事务所的创始人兼首席设计师独立展览设计师学术主持 0朱锫中央美术学院建筑学院院长、教授讲座时间 02024年09月20日 15:00 讲座形式 0线下讲座地址中央美术学院美术馆学术报告厅（注：受场地限制，讲座对校外公众开放200个名额，先到者优先，请携带身份证原件在中央美术学院北门扫码登记入校；本场讲座将安排同声传译。）| 讲者简介 |Petra Blaisse 佩特拉·布莱瑟 ‍佩特拉•布莱瑟, Inside Outside事务所的创始人兼首席设计师，从事多个创意领域的工作，包括室内设计、景观建筑、展览设计、纺织品和幕布设计。布莱瑟在接受视觉艺术教育后，于1978年至1986年在阿姆斯特丹市立博物馆的应用艺术部门工作。从1986年起，布莱瑟开始作为一名独立展览设计师与鹿特丹艺术委员会(Rotterdamse Kunst Stichting)和大都会建筑事务所(OMA)等组织合作。她的工作范围很快延伸至室内设计和景观设计，并与世界各地的建筑师和工匠合作。1996年，布莱瑟在阿姆斯特丹创立了她的事务所Inside Outside。多年来，布莱瑟因其工作室极具创新性和充满活力的项目而获得了众多奖项。2022年，布莱瑟荣获荷兰ARC22设计大赛建筑设计作品奖。‍‍‍布莱瑟还为国际学生授课和举办工作坊。布莱瑟在继2007年和2012年出版了两本关于Inside Outside作品的书之后，2024年初出版了一本全新的书籍《Art Applied》。‍‍‍‍‍‍‍‍| 讲座内容 |本次讲座将介绍关于Petra Blaisse和Inside Outside作品的这本新书，展示从1986年至2023年间的作品。布莱瑟将在讲座现场翻阅这本新书并实时拍摄投影。她会首先讲述这本书的编撰过程，之后将更深入的介绍她和Inside Outside的一些项目作品。--------------------------------------------------------------------------------‍主办中央美术学院建筑学院承办中央美术学院建筑学院学术部协办中央美术学院美术馆中央美术学院TEXTENT学社主编 / 何一沙责编/ 杜隐珠
More

: CAFAM公众招募 | 2024中央美院本科生毕业作品展（一）系列公共教育活动

2024-06-04

2024年“心向往之--中央美院毕业季”本科生毕业展正在如火如荼的进行，这是青春绽放的时节，更是艺术的盛宴。为了更好地推广艺术教育，让更多的人了解和欣赏到央美学子的优秀作品，本周CAFAM公共教育部继续策划了系列公教活动，邀请大家共同参与，通过互动、体验与交流的方式，拉近艺术与公众的距离，让艺术的魅力感染每一个人的心灵。在这浪漫夏日共同见证美院人的艺术、青春与创造。01CAFAM儿童工作坊艺术与线形结构——探索创意与稳定的融合正值六一儿童节，中央美术学院美术馆作为全国科普教育基地且伴随毕业季的进行。公教部为孩子们策划了以力与线性结构为主题的艺术工作坊。我们将通过介绍线形结构的基本概念、历史和应用领域，带领儿童了解线形结构的基础原理，结合实例了解艺术品中线与力的运用，创造独特而动人的艺术品。通过实际案例的分析和亲手体验线形结构的创作过程，从而激发孩子们的创造力和想象力。本次工作坊将以平衡与线为切入点，通过张拉式整体结构的创作，邀请每一位参与者探索创意与稳定的融合，了解力平衡中的奥秘。带领大家使用各种材料和技巧，设计和制作属于自己的线形结构作品，学习如何在艺术创作中保持稳定性和平衡，探索美学原则。| 工作坊报名 |工作坊时间：6月1日（周六）10:00-12:00工作坊地点：美术馆展厅及会议室招募对象：10岁以上热爱艺术的儿童（每位儿童限一位家长陪同）招募人数：15人报名方式：请编辑“儿童活动+参与者姓名+年龄+电话”发送短信至13261936837（梁老师），名额有限，报满为止。报名成功者将会收到短信回复，请勿重复提交报名。注：1.工作坊全程免费参与。2.请报名成功的公众于活动当天准时在美术馆一层大厅集合并签到，志愿者将带领大家集体前往展厅及活动地点。3.活动最终解释权归中央美术学院美术馆所有。| 毕业作品介绍 |作品名称：《爷爷的线》作品尺寸：2m*2m*75cm作品材料：电机，榆木，农具作品阐释：这件作品聚焦于年轻一代与老一辈的亲情纽带，我与爷爷之间的牵挂，通过爷爷农具中间红线的拉扯，牵动铃铛的发出响声，血缘就像一个无形的纽带，一直连接着我，超越了物理时空的距离。| 工作坊导师 |李伊澜2024年中央美术学院实验艺术与科技艺术学院社会方向毕业生，热爱表演，机械，古朴质感的艺术创作，关注社会与人等问题。曾任北京2022年冬残奥会志愿者，曾获得中央美术学院社会工作优秀奖，2022 年中央美术学院实验星火荣誉称号，第九届中国国际“互联网+”大学生创新创业大赛北京赛区省市级三等奖，青创北京”2023 年“挑战杯”首都大学生课外学术科技作品竞赛省市级二等奖。王晶中央美术学院美术馆公共教育部实习生，2023级实验艺术与科技艺术学院在读研究生，研究方向科技艺术，个人作品曾在（上海）没顶艺术中心、（北京）首钢六工汇展出。曾获腾讯高校游戏创意制作大赛银奖、校级党课优秀组长，参与统筹多场校内外美育活动，连获三年中央美术学院优秀社会工作奖。02艺术法工作坊：数字时代下艺术创作的那些事| 工作坊介绍 |数字时代的浪潮正席卷着艺术世界的每一寸领域。数字技术不仅改变了艺术创作、制作的过程，也丰富了艺术作品呈现、传播的渠道。一方面，借助数字手段和新兴创作工具，艺术创作者的创作效率得到了极大地提升。另一方面，互联网技术的进步，尤其是社交媒体平台的兴起，使数字化的艺术作品能够通过网络迅速传播，广泛触及全球观众。在数字时代下，艺术创作者也面临着新的挑战。数据的泛滥以及数字复制技术的发展，使艺术创作者面临着前所未有的知识产权保护压力。如何在有效利用数字技术的同时，以合法的途径保护艺术创新，成为艺术界亟须解决的问题。正值央美毕业季，美术馆公教部以探讨关于数字时代下艺术创作的艺术法及知识产权问题为主题举办一场艺术法工作坊。本次工作坊得到了央美艺术法诊所的支持，由周林教授作为学术主持，邀请艺术管理与教育学院同学进行分享，旨在为艺术创作者、艺术管理者、艺术爱好者们提供深入学习与广泛交流的机会，一起探讨数字时代下艺术与法律的融合之道。在本次工作坊中，我们精选了业界所关注的热点议题，并将围绕着数字化创作工具的应用、知识产权保护、AI创作的法律问题等方面展开讨论。期待与您的相遇，共同探讨数字时代下艺术创作的那些事！| 工作坊报名 |工作坊时间：6月2日（周日）14:00-15:30工作坊地点：美术馆会议室招募对象：18岁以上艺术创作者和相关专业爱好者招募人数：15人报名方式：请编辑“活动二+姓名+职业/就读专业+电话”发送短信至 13608359798，名额有限，报满为止。报名成功者，将会收到短信回复。请勿重复提交报名。注：1.工作坊全程免费参与。2.请报名成功的公众于活动当天准时在美术馆一层大厅集合并签到，志愿者将带领大家集体前往展厅及活动地点。3.活动最终解释权归中央美术学院美术馆所有。| 艺术法诊所介绍 |央美艺术法诊所成立于2021年，是中央美术学院艺术法研究中心设立的公益性法律志愿者服务团队，旨在以法律助力央美人成就自己的艺术梦想。| 学术主持 |
More

: CAFAM公众招募 | 2024中央美院本科生毕业作品展（一）系列公共教育活动

2024-06-01

2024年“心向往之--中央美院毕业季”本科生毕业展正在如火如荼的进行，这是青春绽放的时节，更是艺术的盛宴。为了更好地推广艺术教育，让更多的人了解和欣赏到央美学子的优秀作品，本周CAFAM公共教育部继续策划了系列公教活动，邀请大家共同参与，通过互动、体验与交流的方式，拉近艺术与公众的距离，让艺术的魅力感染每一个人的心灵。在这浪漫夏日共同见证美院人的艺术、青春与创造。01CAFAM儿童工作坊艺术与线形结构——探索创意与稳定的融合正值六一儿童节，中央美术学院美术馆作为全国科普教育基地且伴随毕业季的进行。公教部为孩子们策划了以力与线性结构为主题的艺术工作坊。我们将通过介绍线形结构的基本概念、历史和应用领域，带领儿童了解线形结构的基础原理，结合实例了解艺术品中线与力的运用，创造独特而动人的艺术品。通过实际案例的分析和亲手体验线形结构的创作过程，从而激发孩子们的创造力和想象力。本次工作坊将以平衡与线为切入点，通过张拉式整体结构的创作，邀请每一位参与者探索创意与稳定的融合，了解力平衡中的奥秘。带领大家使用各种材料和技巧，设计和制作属于自己的线形结构作品，学习如何在艺术创作中保持稳定性和平衡，探索美学原则。| 工作坊报名 |工作坊时间：6月1日（周六）10:00-12:00工作坊地点：美术馆展厅及会议室招募对象：10岁以上热爱艺术的儿童（每位儿童限一位家长陪同）招募人数：15人报名方式：请编辑“儿童活动+参与者姓名+年龄+电话”发送短信至13261936837（梁老师），名额有限，报满为止。报名成功者将会收到短信回复，请勿重复提交报名。注：1.工作坊全程免费参与。2.请报名成功的公众于活动当天准时在美术馆一层大厅集合并签到，志愿者将带领大家集体前往展厅及活动地点。3.活动最终解释权归中央美术学院美术馆所有。| 毕业作品介绍 |作品名称：《爷爷的线》作品尺寸：2m*2m*75cm作品材料：电机，榆木，农具作品阐释：这件作品聚焦于年轻一代与老一辈的亲情纽带，我与爷爷之间的牵挂，通过爷爷农具中间红线的拉扯，牵动铃铛的发出响声，血缘就像一个无形的纽带，一直连接着我，超越了物理时空的距离。| 工作坊导师 |李伊澜2024年中央美术学院实验艺术与科技艺术学院社会方向毕业生，热爱表演，机械，古朴质感的艺术创作，关注社会与人等问题。曾任北京2022年冬残奥会志愿者，曾获得中央美术学院社会工作优秀奖，2022 年中央美术学院实验星火荣誉称号，第九届中国国际“互联网+”大学生创新创业大赛北京赛区省市级三等奖，青创北京”2023 年“挑战杯”首都大学生课外学术科技作品竞赛省市级二等奖。王晶中央美术学院美术馆公共教育部实习生，2023级实验艺术与科技艺术学院在读研究生，研究方向科技艺术，个人作品曾在（上海）没顶艺术中心、（北京）首钢六工汇展出。曾获腾讯高校游戏创意制作大赛银奖、校级党课优秀组长，参与统筹多场校内外美育活动，连获三年中央美术学院优秀社会工作奖。02艺术法工作坊：数字时代下艺术创作的那些事| 工作坊介绍 |数字时代的浪潮正席卷着艺术世界的每一寸领域。数字技术不仅改变了艺术创作、制作的过程，也丰富了艺术作品呈现、传播的渠道。一方面，借助数字手段和新兴创作工具，艺术创作者的创作效率得到了极大地提升。另一方面，互联网技术的进步，尤其是社交媒体平台的兴起，使数字化的艺术作品能够通过网络迅速传播，广泛触及全球观众。在数字时代下，艺术创作者也面临着新的挑战。数据的泛滥以及数字复制技术的发展，使艺术创作者面临着前所未有的知识产权保护压力。如何在有效利用数字技术的同时，以合法的途径保护艺术创新，成为艺术界亟须解决的问题。正值央美毕业季，美术馆公教部以探讨关于数字时代下艺术创作的艺术法及知识产权问题为主题举办一场艺术法工作坊。本次工作坊得到了央美艺术法诊所的支持，由周林教授作为学术主持，邀请艺术管理与教育学院同学进行分享，旨在为艺术创作者、艺术管理者、艺术爱好者们提供深入学习与广泛交流的机会，一起探讨数字时代下艺术与法律的融合之道。在本次工作坊中，我们精选了业界所关注的热点议题，并将围绕着数字化创作工具的应用、知识产权保护、AI创作的法律问题等方面展开讨论。期待与您的相遇，共同探讨数字时代下艺术创作的那些事！| 工作坊报名 |工作坊时间：6月2日（周日）14:00-15:30工作坊地点：美术馆会议室招募对象：18岁以上艺术创作者和相关专业爱好者招募人数：15人报名方式：请编辑“活动二+姓名+职业/就读专业+电话”发送短信至 13608359798，名额有限，报满为止。报名成功者，将会收到短信回复。请勿重复提交报名。注：1.工作坊全程免费参与。2.请报名成功的公众于活动当天准时在美术馆一层大厅集合并签到，志愿者将带领大家集体前往展厅及活动地点。3.活动最终解释权归中央美术学院美术馆所有。| 艺术法诊所介绍 |央美艺术法诊所成立于2021年，是中央美术学院艺术法研究中心设立的公益性法律志愿者服务团队，旨在以法律助力央美人成就自己的艺术梦想。| 学术主持 |
More

: Anish Kapoor Workshop | Simulation and Parameter

2019-12-27

2019/12/28 (Sat) 14:00—16:00 | CAFA Art Museum
More

Child Public Education Reservation Form

*
Event name
*
Event time
*
Gender
Male

Female
*
*
*
*
*
*
Do you need any accessibility service?
Wheelchair service

Volunteer service

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.

Submit

Adult Public Education Event Reservation Form

*
Event name
*
Event time
*
*
Gender
Male

Female
*
*
*
*
*
Do you need any accessibility service?
Wheelchair service

Volunteer service

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.

Sumbit

Group Public Education Event Reservation Form

*
Event name
*
Event time
*
Group type
University

Institution

Group
*
*
*
*
Participating group type
Children

Youth

Adult

Seniors
*
*
Wheelchair service

Volunteer service

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.

Submit

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

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.

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.