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.

: 展览延期公告

2026-10-15

尊敬的观众朋友：为满足广大观众的观展需求，“穿·越：亲历中国时尚——吕越艺术文献展”将延期至2026年11月1日。欢迎您前来观展。中央美术学院美术馆2026年10月14日穿·越：亲历中国时尚——吕越艺术文献展时间：2026年9月17日—11月1日地点：中央美术学院美术馆三层B展厅主编 / 何一沙责编 / 杜隐珠
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: CAFAM展览预告 | “播种者——伍必端的美育人生” 即将启幕

2026-10-15

本次“播种者——伍必端的美育人生”展览，立足中央美术学院百年美育文脉，是对 2018 年习近平总书记给央美老教授回信精神及“塑造学生品格、品行、品位的大先生”指示的具体落实。展览以伍必端先生代表作《播种者》为核心策展理念，从其“受学-践学-传学”的艺术求索、时代实践与美育耕耘切入，构建“学-践-教”互促共生的叙事体系，立体呈现这位艺术家、教育家与时代、学院共生成长的轨迹。1953年，伍必端带领学生下乡，在武安县小冶陶村与任清美合作社长合影，三排右三为伍必端，中间站立的白衣老者为任清美80年代初期，伍必端（左四）时任版画系主任，与插图工作室学生合影展览在策划过程中，尝试跳出单一作品陈列范式，从艺术生态研究展开情境化叙事，将原作、草图、教学文献、实物遗存编织为共生知识网络，创作史与教育史并重。经典作品展现创作高度，战地速写留存鲜活的时代现场，留苏笔记、学科档案、课堂资料实证新中国版画学科建设历程，辅以先生自述引文相互印证，凸显其求学者、创作者、筑基者、变革者、播种者的多重身份叠加，将个体生命、学院发展与新中国美术教育演进交织为一体……播种者水印木刻 58×47cm 1987年伍必端中央美术学院美术馆藏第一章“蒙养・时代植种”周总理画像平版画 32×40cm 1976年伍必端中央美术学院美术馆藏陶行知像黑白木刻 77×50cm 2006年伍必端中央美术学院美术馆藏惯于长夜过春时黑白木刻 49×35cm 20世纪伍必端自藏第二章“践教・扎根山河”感谢志愿军叔叔纸本水粉 75.5×55cm 1954年伍必端中国美术馆藏戴红花的矿工麻胶版画 32.5×66cm 1962年伍必端中国美术馆藏和平签名丝网套色 45×55cm 2019年重作伍必端自藏第三章“取法・融鉴蓄教”雅罗斯拉夫教堂纸本水粉 33.5×52cm 1957年伍必端自藏选草莓铜版画 29×40cm 1958年伍必端中国美术馆藏毛主席和亚非拉人民在一起纸本粉彩 143×156cm 1963年伍必端、靳尚谊中央美术学院美术馆藏第四章“融通・筑基育人”月亮白马丝网套色 41×56cm 2010年伍必端中央美术学院美术馆藏第五章“育才・播种成林”回望伍必端先生的百年，是从少年受蒙到桃李成林的美育长旅。战乱中，左翼木刻的启蒙在他心底种下“为人民而画”的种子；解放区与战地的磨砺，让他以刻刀对准时代、把课堂设在田垄与炮火之间。赴列宾取法，他融汇中西、筑基版画学科；八十年代更以丝网、插图拓荒，将学科推向多元。七十载笔耕不辍，他播撒火种，终成桃李成林、文脉绵延。本次“播种者”展览，正是对这漫长耕耘的深情回望——看他诠释“学而后践、践而后教、教而复促学”的精神闭环，让美育薪火生生不息。艺术家简介1987 年，伍必端在伦敦国会大厦前1988年，伍必端在比利时麦绥来勒版画工作室制作石版画伍必端，出生于1926年9月。江苏南京人，我国著名版画家、美术教育家，擅长版画、彩墨画与文学插图，是中国版画学科化建设的重要开拓者。1939年，伍必端进入陶行知创办的育才学校绘画组学习，1941年15岁创作的木刻《血的仇恨》，于《新华日报》发表，控诉日本侵华暴行。1946年赴晋察冀解放区华北联合大学文艺学院美术系学习。1948年随解放军进入天津，任《天津画报》美术编辑。1950年任教于中央美术学院，1951年作为中央美术学院首批赴朝战地记者，他奔赴朝鲜战场采访，创作大量战地速写，作品刊登于《人民日报》。1956年公派赴苏联列宾美术学院进修版画，系统研习各类版种技法，作品《列宁与中国志愿军战士》发表于苏联《真理报》。1959年归国，带回全套苏联版画教学资料，助力国内版画教学建设。历任央美版画系副主任、主任，推动木版、铜版、石版工作室建设，秉持深入生活的教学理念，带领学生下厂下乡，培养大批版画人才。1979年当选中国美术家协会理事。创作涉猎广泛，代表作有版画《播种者》《葵花地》《列宁与中国志愿军战士》《毛主席像》《丰收的喜悦》《选草莓》《悲剧—张志新》等，素描《周总理画像》《采野果的姑娘》等，插图《恰巴耶夫》《铁流》《青年近卫军》等，另创作大量山河风物主题彩墨作品，为新中国美术事业作出重要贡献。伍必端参与创作《李自成进北京》百年辉煌·中央美术学院艺术名家播种者——伍必端的美育人生展览时间：2026年10月16日—11月8日展览地点：中央美术学院美术馆3层A展厅总策划：徐扬林茂学术主持：于洋项目策划：秦建平徐新立孔亮展览总监：靳军韩文超展览统筹：高高海军李垚辰扈学婷策展人：葛玉君展览协调：刘希言胡晓岚赵晶策展团队：简斌朱柳阳朱睿郭泽铱孙萍展览助理：王惟仪张琬欣徐一琳杨清清汤淄喻视频制作：杜霄成视觉设计：王天宁展陈设计：朱子甲主编 / 何一沙责编 / 杜隐珠
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: Cold Dew

2026-10-08

Cold Dew
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: Review of the Opening Dialogue for "World-Seeking — An Art-Science Exhibition on Exoplanet"

2026-10-08

Why do we search for such distant planets that can hardly be seen directly? What will scientific data become when it enters an art museum? While scientists are searching for an unknown world, what can artists do?If you were to paint an exoplanet, what would it look like?✧"World-Seeking — An Art-Science Exhibition on Exoplanet" ✦✦ Opening Talk Review✦ ————On September 23, the opening dialogue of "World-Seeking — An Art-Science Exhibition on Exoplanet" took place in the first-floor gallery of CAFA Art Museum. Guests from diverse fields including astronomy, art, curation and tech art exchanged ideas on topics such as “Why do we search for exoplanets”, “How science enters art”, and “How to make specialized knowledge accessible to more people”.—— ✦ Review of Dialogue Speeches ✦ ——Gou Lijun Researcher, National Astronomical Observatories, Chinese Academy of Sciences Professor of Astronomy, University of Chinese Academy of SciencesGetting to Know Those Distant Exoplanets ✦ ————In recent years, thanks to the growing number of sci-fi films and popular cultural works, exoplanets have gradually come into public view. Over the past two to three decades, human understanding of exoplanets has undergone tremendous changes. At first, we mostly wondered “Are there aliens in the universe?” Today, however, a growing number of scientists take exoplanets as a specific research focus, investigating their properties, environments and the possibility of life.The advancement of science itself starts with hypotheses, which are then verified through observation and research. More often than not, what we learn is not a simple “yes” or “no”, but an ongoing process of exploration. For example, based on existing observations, we may infer that a planet’s surface is largely covered by water, yet an “inference” is not a confirmed conclusion. Science moves forward precisely through such cycles of hypothesis, verification and revision.Therefore, this exhibition aims to show the public that science is more than a collection of established conclusions. This exhibition may only mark a modest beginning, yet no one knows whether it will connect to a truly groundbreaking scientific discovery someday in the future. Bringing art and science together also opens up more room for imagination and trial and error — to envision unanswered questions while respecting scientific facts.✦Using the pulsar‑timing method, scientists discovered planets orbiting the pulsar PSR B1257+12. This marks humanity’s first confirmed detection of exoplanets and ushers in a new era for exoplanet researchhttps://science.nasa.gov/resource/extreme-planets/———— ✦ ✦ ✦ ————Jin Jun Director, Professor, Digital Artist of CAFA Art MuseumMay You Find Your Own Answers ✦ ————For many people, “exoplanet” remains a relatively unfamiliar term. Through this exhibition, we hope to re-present these originally specialized and remote scientific questions via art, moving images and spatial experiences. Rather than simply telling visitors what exists in the universe and how many planets scientists have discovered, we aim to offer a space for slow viewing, imagination and reflection.When we gaze at those distant celestial bodies, we are also rediscovering the Earth beneath our feet. Why are we curious about other worlds? What kind of planets can nurture life? How did Earth become what it is today? Though these questions seem to point to the faraway cosmos, they are ultimately tied to our own lives.Therefore, what “Star Quest” intends to achieve is more than a popular science exhibition about exoplanets. It invites everyone to start from a distant planet and discover what resonates with them. It may be a scientific question, a new vision, or a renewed sense of wonder toward our familiar Earth. May each of you find your own answers in this “star-seeking” journey.✦"World-Seeking" gallery———— ✦ ✦ ✦ ————Wang Xuesong Associate Professor, Department of Astronomy, Tsinghua University Scientific Advisor of the ExhibitionWhat Humanity Seeks Beyond Earth ✦ ————If there truly exists an Earth-like planet outside the Solar System, what would we want to know? Does it have water? Does it have an atmosphere? Is its temperature suitable? These seemingly simple questions determine whether we can further judge if a planet could potentially be habitable for life.To date, scientists have discovered a large number of exoplanets. Some are similar to Earth in size, and some orbit within the so-called "habitable zone". Their existence does not guarantee life, yet they offer us a chance to rethink planetary worlds: besides our familiar Earth, are there other places in the cosmos that can sustain life?For this very reason, searching for exoplanets is more than just "looking for another Earth". What we truly want to learn is how special a world like Earth is, and whether life has other possibilities across the universe.✦Artist’s Impression of Exoplanetshttps://science.nasa.gov/resource/exoplanet-types-illustration/ ———— ✦ ✦ ✦ ————Tang Yu Deputy Director and Associate Researcher, Research Office of Central Academy of Fine ArtsWhat happens when science meets art? ✦ ————There is ample room for interaction between science and art. For artists, some seemingly simple scientific knowledge, unfamiliar at first glance, may spark fresh imagination. Nowadays, fields including life science and energy science are continuously integrated into artistic creation, bringing a new dimension to students’ works."Star Quest" is not a conventional exhibition featuring artists and artworks. It combines scientific knowledge, artistic creation, spatial experience and audience engagement. We hope visitors can discover the diverse ways to perceive science, and that this exhibition will inspire new imaginations of outer space.✦"World-Seeking" gallery———— ✦ ✦ ✦ ————Chen Baoyang Digital Artist, Associate Professor of the School of Experimental Art and Science & Art, Central Academy of Fine ArtsChange the Color, See Another Universe ✦ ————Many NASA cosmic images we see online boast rich hues, yet these colours are not necessarily what the human eye perceives. Frequently, scientists convert data captured by telescopes into varied colours, enabling us to detect information otherwise difficult to observe directly. This process itself is fascinating: science supplies data, while art renders these abstract, distant phenomena more tangible.✦"World-Seeking" gallery———— ✦ ✦ ✦ ————Liu Yuhan Project Supervisor of Curatorial Research Department, Curator of CAFA Art MuseumWhat does an exoplanet look like in your imagination ✦ ————The initial inspiration for this exhibition actually came from a NASA poster. There are 30 "planets" displayed in the gallery, while more than 6,300 exoplanets have been confirmed to date. Naturally, we cannot include all of them in the exhibition hall, so we wish to reserve some space for visitors. You may draw your own exoplanet and place your imagined celestial body into this starry sky. ✦"World-Seeking" gallery———— ✦ ✦ ✦ ————Lin Zixuan 13th President of the Tsinghua University Student Astronomy AssociationFinding Questions Worth Pursuing in "Star Quest" ✦ ————Most stars we see in the night sky shine with light we can observe directly. Exoplanets, however, do not reveal themselves so easily. They lie extremely far away, and are often obscured by the brilliant glare of their host stars. For this reason, scientists seldom observe a planet directly. Instead, they infer its existence by detecting changes in the star’s brightness, or the stellar motion induced by the planet’s gravitational pull.The search for exoplanets is therefore a process of uncovering answers from faint, subtle clues. As Xu Bing observes, a vital task of artists is to pose questions. The same holds true for researchers. Though science and art follow different paths, both are driven by questions that demand constant inquiry. We invite you into this space to seek out questions of your own.Artistic Rendering of 51 Pegasi bhttps://www.eso.org/public/images/eso1517a/ ———— ✦ Academic Talk Moderator ✦ ————Liu Xiyan Director of Curatorial Research Department, Curator of CAFA Art MuseumThe opening talk also invited representatives from Beijing New Art Dynamics Social Work Development Center, who took part in painting the planetary artworks for the exhibition. Tang Xiaowen, person-in-charge of the center, shared how the children created these small spheres. When they first received the spheres, the children felt a little hesitant and unsure what to draw. Once they started painting, ideas gradually emerged. They put their imaginations of these “planets” onto the spheres. Eventually, these spheres were brought to the venue and became part of the Star Quest exhibition. For the children, it was an experience to join the exhibition in their own way and envision another world.On that day, Lin Zixuan, the 13th President of Tsinghua University Student Astronomy Association, gave a professional popular science talk on exoplanets for the audience present. He presented cutting-edge astronomical knowledge in easy-to-understand language and guided the audience into the vast, mysterious planetary world beyond the Solar System. Both rigorous and engaging, the talk helped attendees form a more intuitive and in-depth understanding of exoplanet research.During the exhibition, visitors may come to the interactive area to hand-draw a planet of their own, bringing the imaginations in their minds into this starry sky.Star Quest invites you to step into the exhibition hall and behold worlds we cannot yet truly see. Perhaps the next discovered planet awaits us somewhere far away.National Science Popularization Month Series World-Seeking — An Art-Science Exhibition on ExoplanetOrganizer: CAFA Art Museum Academic Support: Department of Astronomy, Tsinghua University Co-organizers: Popularization Committee of Chinese Astronomical Society, Research Office of Central Academy of Fine ArtsExhibition Dates: September 22 – November 8, 2026 Venue: 1st Floor Galleries, CAFA Art MuseumExhibition Team Academic Chair: Yu Yang Exhibition Directors: Jin Jun, Han Wenchao Exhibition Coordination: Gao Gao, Hai Jun, Li Yaochen, Tang Yu Science Advisors: Wang Xuesong, Wang Xiaofeng, Bai Xuening, Zhu Wei, Shi Jingsi Curators: Liu Yuhan, Liu Xiyan Curatorial Assistants: Wang Cong, Zhang Shurong, Tang Ziyu Space Design: Cui Ailan, Yue Dehua Visual Design: Li Qiang, Wu Jiangtao, Wang Chaojing, Wang Yiyang Exhibition Management: Jing Peng, Su Shicun, Chen Xiaohua, Lü Zhifa, Guo Xu Media & Communications: He Yisha, Wu Jing, He Yifei, Du Yinzhu, Guo Hongmei, Min Zhiyi Public Education: Xiao Baozhen, Geng Jinghua, Wang Jun, Yao Yiqun, Liang Wen, Cai Meng Development & Promotion: Sun Wei, Yi Yi, Kou Lei, Jin Jianru Finance: Yang Liu, Men Jing Administrative Support: Yue Junyao, Liu Xingling, Zhang Qian, Jiang SiyuAcknowledgements: Beijing New Art Dynamics Social Work Development Center, ARTMAN Children’s Art Studio, Experimental Kindergarten of Beijing Normal University (Atlantic New Town)Editor-in-Chief / He Yisha Responsible Editor / Du YinzhuEditor / Wang Cong
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: Exhibition Countdown｜Through Fashion

2026-10-08

The interwoven evolution of the spirit of the times across distinct historical periods forms an endlessly surging river. Fashion artifacts, to a large extent, mark the course and trajectory of this river. Among them, clothing, by virtue of its universality and necessity, constitutes an indispensable domain within fashion. In particular, the sartorial aesthetics and dress codes that dominated the cultural landscape of their eras are widely regarded as a weathervane of the zeitgeist and culture. As an ancient saying goes: “Huangdi, Yao and Shun hung their robes and the world was well-governed, drawing inspiration from heaven and earth.” Such clothing systems as a form of fashion not only embody the aesthetic tastes and ritual norms of specific social strata, but also reveal subtle shifts in relations between different social groups. When it comes to the creative practice of individual artists, costume design as artistic creation serves as a unique medium through which artists freely respond to the spirit of their times. This is precisely demonstrated in Professor Lü Yue’s exhibition currently on view at the Art Museum of Central Academy of Fine Arts.On September 16, 2026, Professor Lü Yue’s exhibition "Through·Yue: Witnessing Chinese Fashion — A Retrospective of Lü Yue's Art and Pedagogy" opened at CAFA Art Museum. The exhibition is divided into four sections: “Youth Memories”, “Witness of the Times”, “Academic Reflections”, and “Dialogue with the Times”. It features physical garments, original design sketches, industry video archives, traditional pattern-making techniques, mixed-media fashion installations, and digital interactive experiences. This exhibition presents a comprehensive showcase of the artist’s creative journey and achievements. As the founder of the Fashion Design program at the Central Academy of Fine Arts, a firsthand witness to China’s fashion scene, and one of its accomplished pioneers, Professor Lü Yue’s show also largely reflects the development of the Fashion Program within CAFA’s School of Design, and even the transformations of Chinese fashion over the past half-century.If, in the first two exhibition sections, Professor Lü Yue largely draws upon the inherent physical properties of materials to seek her personal expression of the times within a stable, rational order, the latter two sections delve deeper into the cultural meanings embedded in material media. She experiments with diverse creative logics to embody her perceptions of contemporary society, exemplified by Madame Butterfly and Golden Radiance. Madame Butterfly is a complex paradox. It brings together “the gentle lady and the kitchen maid, freedom and confinement, Chinese handwoven native cloth and Western hoop skirt, hand-dyed printing and laser engraving, Sister Aqing and internet celebrity, plane and volume, past and present, East and West, yin and yang, void and substance. Seemingly unrelated elements reveal a mutually sustaining harmony.” This work vividly captures a vital facet of contemporary society: a large body of traditional cultural elements struggle to find their footing amid modern conditions, taking on an awkward guise. Meanwhile, driven by the consumer logic of industrial and commercial civilization, contemporary society keeps dismantling all established orders and structures. When such deconstruction reaches a certain threshold, a systematic longing for stable order and structure emerges instead. What Madame Butterfly presents is precisely this tangled landscape amid the evolution of the times. Golden Radiance, by contrast, uses visual transformation of physical materials to confront viewers directly with the operational logic of consumer society.Madame ButterflyGolden RadianceProfessor Lü Yue’s fashion works integrate traditional culture with modern design. More precisely, she dedicates herself to exploring expressive languages that enable mutual transformation between the spirit of contemporary fashion and traditional culture. To a considerable extent, such exploration has set a valuable benchmark for the entire fashion industry in China.Through·Yue: Witnessing Chinese Fashion — A Retrospective of Lü Yue's Art and PedagogyDates: September 17 – October 7, 2026Venue: Gallery B, 3rd Floor, Art Museum of Central Academy of Fine ArtsEditor-in-Chief / He Yisha Responsible Editor / Du Yinzhu Text / Hong Mei Installation Photographs / He Yifei
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: From Artworks to Classroom: Practice of Lü Yue’s Fashion Art and Design Education

2026-10-06

01From Artworks to Classroom: Design Education Is Also a Form of PracticeLü Yue led her students in collaboration with Microsoft AI XiaoIce to carry out a cross-disciplinary teaching practice of fashion × AI, Beijing, 2021To understand Lü Yue’s practice solely through her artworks would leave Through·Yue incomplete. Beyond her individual creative output, another long-running thread of her work lies in bringing experimental methodologies back into design education.In 2006, the Central Academy of Fine Arts and Hongik University of South Korea launched a joint curriculum centered on Fashion Art. Students were asked to step away from conventional garment fabrics and rethink the relationships among the body, structure and form using materials such as paper. The subsequent China–Korea fashion art exchanges, together with the international Fashion Art exhibitions held continuously after 2007, brought these originally classroom-based experiments into broader public discourse.Here, the classroom is not a separate undertaking outside artistic practice. For design education within an art academy, the classroom itself serves as a site of experimentation. When students can no longer rely on familiar fabrics, patterns and garment categories, they must re-examine what structure is, what material is, and why the body needs to be enveloped in a particular way. These seemingly “impractical” material experiments do not primarily train skills for making unconventional garments; instead, they cultivate the capacity to pose questions anew.Lü Yue at the curtain-call group photo for CAFA’s special show at the 1st China International College Student Fashion Week, Beijing, 2013Lü Yue teaching undergraduates in CAFA Building 7, Beijing, 2021From this perspective, Lü Yue’s shifts between the identities of designer, educator, artist and curator are not merely separate entries in her resume.Design experience flows into the classroom; artistic experiments reshape design methodologies; teaching generates new works and discussions; exhibitions in turn carry these conversations into a broader cultural field. In this way, her individual practice gradually transforms into a public space accessible to students, peers and creators from diverse cultural backgrounds.This also marks what differentiates an “archive exhibition” from a conventional retrospective. What the archive preserves includes not only those finalized and canonized “representative works”, but also courses, sketches, photographs, exchanges, and experiments that remain inconclusive. History often resides within these modest materials.02 Body, Material and Invisible LabourNeedleworkLü Yue’s works do not merely pursue the single trajectory of “turning clothing into art”. As her practice unfolds, garments become a gateway to bodily experience, material memory and social life.Needlework explores the relationships among the female body, textiles, flowers and manual labour. Originally, “needlework” refers to the long-standing textile, sewing and embroidery labour carried out within domestic spaces. Playing on the homophone of the Chinese character gong in nü gong, the title superimposes labour, colour and the female body into one single concept.No specific human figures appear, yet the body is omnipresent. The lustre of silk, clusters of flowers, corseted silhouettes and suspended torsos collectively transform intimate, meticulous labour into a public form with scale and volume. Those repetitive tasks often concealed behind garments thus move beyond the status of “production process” and become integral to the work itself.No specific human figures appear, yet the body is omnipresent. The lustre of silk, clusters of flowers, corseted silhouettes and suspended torsos collectively transform intimate, meticulous labour into a public form with scale and volume. Those repetitive tasks often concealed behind garments thus move beyond the status of “production process” and become integral to the work itself.Here, the significance of materials lies not only in visual novelty. The lived experience, bodily sensations and traces of time they carry constitute what the audience truly perceives. Handwork matters not simply because it suggests slowness or uniqueness; rather, every repeated gesture embeds human time onto the surface of matter.03 “Being There”: Between Personal Memory and Public HistoryWall of Historical Documents in the Exhibition HallFashion is inherently tied to the notion of “newness”.One season supersedes another; one visual identity replaces the next. New materials, technologies and media of communication emerge continuously. Precisely for this reason, fashion is a field particularly vulnerable to losing its own history. Manuscripts, newspapers, sample garments, photographs and classroom records — materials that may have seemed commonplace at the time — can quickly vanish from public memory if left unpreserved.Through·Yue re-places these materials within a single space and transforms their original nature. A photograph is no longer merely a personal memento, nor is a course document only a record of teaching. Instead, they begin to cross-reference artworks, institutions, industry and social life.In this context, “being there” first denotes a standpoint. It does not seek to overwrite the complex history of the industry with a personal narrative, but acknowledges that history can only be approached through the lived experiences of specific individuals. Lü Yue’s nearly half-century of practice forms the core of this archive exhibition not because one person’s story can stand for Chinese fashion as a whole, but because she has consistently occupied an intersection of multiple realms: from design practice to art academy, from commercial products to artworks, from teaching to curating, from local Chinese practice to international exchange.The timeline of one individual thus becomes an aperture into an era.04 “Through·Yue”: Not an Ending, but a Continuation of QuestionsTo revisit these works today carries another layer of meaning.As artificial intelligence, digital fashion, virtual spaces, new materials and emerging bodily technologies continuously enter design practice, questions that once seemed self-evident — “What is clothing?” “What is the body?” “What does it mean to wear?” — have become open-ended once again. Garments no longer necessarily rely on physical fabrics and the human body.Seen from this perspective, if we look back at Lü Yue’s long-standing exploration of the boundaries between “wearable” and “unwearable”, design and art, materials and the body, we find that these inquiries have not lost their relevance over time. On the contrary, they are unfolding under new technological conditions.The value of “Through·Yue”, therefore, lies not merely in preserving the past.“Through” refers to the fundamental relationship between garment and body, and also signifies passing through and entering. “Yue” means traversing nearly half a century of time, as well as repeatedly stepping beyond established disciplinary boundaries. In this way, the exhibition takes history as a starting point to understand the present and move toward the future, posing a set of ongoing questions:When clothing is detached from the act of being worn, what kind of medium can it become? When tradition enters the contemporary context, how can it continue to grow rather than merely leaving superficial symbols? As technology once again reshapes the boundary between body and garment, what is it that design truly ought to retain?Perhaps herein lies the significance of “Through·Yue”.Through·Yue:Witnessing Chinese Fashion-- A Retrospective of Lyu Yue's Art and PedagogyDates: September 17 – October 7, 2026Venue: Gallery B, 3rd Floor, CAFA Art MuseumEditor-in-Chief / He Yisha Editor / Du Yinzhu
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: CAFAM Cultural and Creative Products Shine at the "Beijing Gifts" Campus Cultural & Creative Zone of CIFTIS 2026

2026-10-03

Recently, the 2026 China International Fair for Trade in Services was successfully held at Shougang Park in Beijing. Cultural and creative products of CAFA Art Museum made a splendid appearance in the “Beijing Gifts” Campus Cultural & Creative Zone, Hall 9 of the fair. As the only art university with both Fine Arts and Design selected as “Double First-Class” construction disciplines, the Central Academy of Fine Arts has set a benchmark for aesthetic standards and design excellence with its cultural and creative offerings. As one of the first batch of National Key Art Museums designated by the Ministry of Culture and Tourism and a pilot institution for cultural and creative development, CAFA Art Museum guides its product development with cutting-edge design concepts. Drawing on the century-old institutional culture and abundant collection resources of the academy, it strives to create creative merchandise that integrates academic value, refined aesthetics and avant-garde design. For this exhibition, CAFAM Creative has selected representative pieces from multiple series: the CAFAM Brand series, CAFAM Collection series, CAFAM Exhibition series, CAFAM Artist series, CAFAM Curated Picks series, CAFA Graduation Season series and CAFA Graduate series.| CAFAM Brand |Centered on the core of CAFA’s campus brand culture — including the campus logo, landmark buildings, natural scenery, historical lineage and spirit of the academy motto — this series extracts distinctive cultural symbols with strong evocative power. Adopting a minimalist and restrained modern design language, it conveys the unique artistic temperament of the Academy. The range of well-crafted, thoughtfully designed merchandise is made for everyday life. In this way, culture is no longer confined to galleries and archives. Users may feel the warmth and profound heritage of CAFA campus culture through casual contact and daily use.| CAFAM Collection |Drawing upon more than 20,000 treasured works in the CAFA Art Museum collection, this series delves deep into the artistic essence and cultural heritage of the artworks. It features a lineup of merchandise closely linked to the original collection pieces with strong recognizability, aesthetic refinement and ingenious design. Rooted in the visual language of the collection, the design carries out secondary creative transformation. Moving beyond simple pattern reproduction, it reinterprets artistic symbols through modern and personalized design, advancing the revitalization of collection resources. Precious artworks thus step out of galleries and integrate into daily life. While using these products, the public can closely engage with the beauty of tradition and art, and imperceptibly sense the cultural power spanning thousands of years. It realizes tangible art education in daily life and opens a pathway for art to travel from the museum halls into people’s everyday lives.| CAFAM Exhibition |Centered on the high-quality ongoing exhibitions at CAFA Art Museum, this series takes the unique thematic core, visual language and profound academic connotations of each show as its design starting point. It extracts striking visual symbols, iconic colour palettes and avant-garde artistic concepts from exhibition spaces, condensing artistic expressions originally confined within galleries into tangible, usable and portable creative merchandise. After leaving the exhibition halls, visitors may retain their gallery memories through these physical objects. The artistic reflections encountered at the museum can be integrated into daily life, creating a two-way connection between the academic value of exhibitions and the public’s everyday experience.| CAFAM Artist |This series gathers creative merchandise by outstanding artists of CAFA. Taking artists’ representative works as core materials, it refines and translates their artistic language, redesigning the forms and spiritual essence of artworks into daily-use cultural products. It builds a bridge for dialogue between creators and the public. The product range includes limited-edition prints, artistic jewellery, fridge magnets, phone stands and other diverse items. Carrying the unique artistic DNA of CAFA, the series transforms artists’ creative inspiration into tangible, portable art objects. It brings academic creation beyond campus and into public life. Every use becomes a dialogue between audiences and the artist in aesthetics and ideas.| CAFAM Curated Picks |With an open and inclusive vision for professional selection, this series discovers and carefully recommends high-quality merchandise featuring distinctive artistic character, thoughtful craftsmanship and refined aesthetic taste. CAFAM Curated Picks continuously broadens the dimensions of visual cultural communication for the museum, exploring more possibilities for promoting an artistic lifestyle. It enables diverse contemporary design expressions and avant-garde artistic thinking to step out of galleries and studios, merging naturally into the public’s daily vision and fabric of life.| CAFA Graduation Season |Centered on the annual campus highlight — the graduation exhibition, this series adopts the key visual identity of the graduation season as design elements. Blending CAFA’s humanistic heritage and artistic aesthetics, it distills the youthful spirit, creative passion and parting sentiments of graduation into souvenirs with both commemorative meaning and practical value. These items serve not only as precious mementos of graduates’ campus life, but also as warm messages from the academy to its students.| CAFA Graduates |Created for CAFA alumni after graduation, this series incorporates original design works by numerous CAFA graduates. Grounded in the artists’ distinctive personal visual language, the collection translates artistic expressions into functional everyday objects. It showcases young creators’ keen perception and continuous exploration of visual storytelling, material experimentation and the integration of art into daily life, bringing academic art into ordinary scenarios.Grand Beauty within InchesCAFAM Gift Shop Awaits YouEditor-in-Chief / He Yisha Responsible Editor / Du Yinzhu
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: Entering an Era Through a Garment: Lyu Yue and the "Through·Yue" of Chinese Fashion

2026-10-03

————Rereading an Ongoing History of Chinese Fashion: Between Personal Experience, Fashion Art and Design Education01How much history can a garment preserve?It retains the measurements left by the body, as well as the judgments of an era concerning beauty, identity and ways of living. It documents shifts in materials, craftsmanship and modes of production, and bears witness to how designers, brands, markets, and even the very concept of “fashion” have been reinterpreted. As time stretches on, a design sketch, an artwork, a runway show, a course, or even a faded footage can transform from personal recollections into evidence for understanding an era.On September 16, 2026, Through·Yue: Witnessing Chinese Fashion — A Retrospective of Lyu Yue's Art and Pedagogy opened at the Art Museum of Central Academy of Fine Arts. Centered on nearly half a century of learning, design, teaching, artistic creation and industry practice by Lü Yue, Professor at the Central Academy of Fine Arts and founder of its Fashion Design program, the exhibition presents a wide range of exhibits including garment artefacts, design sketches, industry footage, pattern-making archives, mixed-media installations and digital interactions. It constructs a mutually reflective timeline linking personal experience to the development of contemporary Chinese fashion. The exhibition is divided into four sections: “Memories of Youth”, “Witness of the Times”, “Academic Reflections”, and “Dialogue with the Era”.Yet if Through·Yue is merely interpreted as a career retrospective of a designer or a chronological personal resume, we may overlook what truly merits discussion in this documentary exhibition. “Experiencing firsthand” does not mean one individual’s story can stand in for the entire history of Chinese fashion. On the contrary, the value of individual experience lies in offering a sufficiently concrete vantage point: macro transformations of industry, society and culture are refocused here onto how one person learns, works, understands design, and continuously reorients herself when confronted with new questions raised by the times.Therefore, what Through·Yue reorganizes is not only Lü Yue’s personal timeline, but also the identity of “clothing” itself. Garments were once design objects to address structural, technical, market and wearability demands. Later, they evolved into installations entering the museum space, artistic carriers of cultural concepts, pedagogical tools in classrooms, and further, a medium to revisit discussions of the body, materials and social relations.02Starting from “Wearing”: How a Garment Enters Its EraDrawings of fashion created by Lü Yue during her studies and teaching at the Central Academy of Arts and Crafts around 1990Lü Yue’s personal experience spans several distinctly different phases in the development of contemporary Chinese fashion. From artistic training at the Affiliated High School of the Central Academy of Fine Arts, to entering the rapidly expanding garment industry in the 1990s; from returning to academia through design practice and participating in the foundation and development of the Fashion Design program at the Central Academy of Fine Arts; and to her ongoing fashion art creation, teaching, curation and international exchanges in subsequent years, her position has continuously shifted.What has changed is not only her personal identity, but also the questions each era posed to “fashion design”.In the 1990s, China’s garment industry and market underwent rapid growth. A key proposition was how to establish the social identity of professional designers, and how to develop autonomous design value out of manufacturing. After she joined the art academy, the questions took on a different form. When fashion faces more than just the market, when painting, sculpture, materials, space and contemporary art all enter the teaching context, what kind of knowledge structure can “fashion design” within an art academy build, one that differs from traditional garment education?When garments step further away from runway shows and commercial contexts and into the art museum, the questions shift once again: if a garment is no longer primarily intended “to be worn”, how else may we understand it?This also forms an important thread for understanding Lü Yue’s subsequent practice of “fashion art”.03Garments Leave the Body, yet Human Scale RemainsYin-Yang HarmonyCreated in 2006, Yin-Yang Harmony retains a recognizable relationship between clothing and the human body, yet deliberately abandons the wearable function in the conventional sense.Lü Yue selected snap fasteners, an extremely common auxiliary material in garments, to construct the work. These tiny structures, originally hidden inside clothing to serve fastening purposes, are massively repeated and magnified. Ultimately, they replace fabric and become the main body of the artwork. She later recalled that most creators with fashion training at that time were still accustomed to making “wearable garments”. For this reason, she consciously took an alternative path: using a piece that could not actually be worn to discuss the distinction between fashion art and design.What takes place here is a seemingly minor yet critically pivotal transformation.Once comfort, practicality and mass production are temporarily set aside, clothing does not lose its connection to the body. Even without a real human figure in the work, viewers can still sense the presence of the body through the proportions of shoulders, waist, chest and torso. The body is thus transformed from “the person wearing the garment” into a scale embedded within the work.This is perhaps one of the most subtle relationships between fashion art and general installation art: fashion art can move beyond the practical function of clothing, yet it can hardly break free from the body entirely. Even when the human body is absent, it lingers within the work through outlines, measurements, imagined gestures and viewing experience.Day and Night: Yin and YangIn Day and Night: Yin and Yang, this relationship is further transposed onto the materials themselves.Glass bulbs, metal wires and lamp bases form part of the work’s structure. The bulb and the lamp base correspond to one another: white and black, protrusion and hollow, light-receiving and light-absorbing, constituting two interdependent sides. Lü Yue has remarked that her understanding of “Yin and Yang” does not stem from the direct appropriation of certain traditional patterns, but rather from her perception of relationships and balance in real life. For this reason, she seeks objects that inherently carry contrasting relations within their materiality — snap fasteners, bulbs and lamp bases, intaglio and relief carving.This invites us to reinterpret the notion of “tradition” in Lü Yue’s works.Tradition does not necessarily manifest first as recognizable Chinese decorative motifs or cultural symbols. At a deeper level, it is a way of ordering relations between things: yin and yang, void and solid, soft and hard, constraint and freedom, body and space. Culture is not affixed to the surface of the artwork, but embedded within the very structure that makes the work exist.04Tradition is not a pattern, but a relationship that still functions.Madame ButterflyMadame Butterfly is one of Lü Yue’s best-known works. At first sight, it is easily read as an expression of “Oriental aesthetics.” Blue calico, butterfly elements, Chinese-style attire and a full skirt create a striking visual signature. Yet if the viewer only sees these cultural symbols, they may miss the work’s more essential layers.What the piece continuously constructs is relationships.Flat blue calico patterns peel away from the fabric surface and turn into three-dimensional butterflies in flight. The vernacular blue calico is incorporated into a garment structure with ritual presence and monumental volume. Eastern materials are juxtaposed against Western skirt silhouettes. The static costume and butterflies that appear to be taking flight forge a tension between stillness and movement, substance and void.The presentation evolves as the work travels to different sites. At the cavernous industrial venue of Minsheng Wharf in Shanghai, it responds to the scale of the architecture. Installed within a museum, the piece reshapes the viewing dynamic via a mirrored runway, suspended imagery and reflections.Madame Butterfly Installation ViewTherefore, the same artwork is not merely “repositioned” across different spaces. Instead, it renegotiates the relationships among body, material and environment with each presentation.From this perspective, the “traditionality” of Madame Butterfly does not reside entirely within blue calico itself. It lies in how traditional materials engage the present and form new connections with new spaces. In an interview, Lü Yue has remarked that culture evolves more like a slow, gradual infiltration and need not be deliberately emphasised.This insight suggests another approach to understanding contemporary Chinese design: cultural identity does not have to be repeatedly asserted through external symbols. It can also be embedded in material choices, structural relations and creative methodologies. Tradition is thus not merely something to be preserved; it can function as an active, working grammar.The exhibition runs until October 7. Interested visitors are welcome.Through·Yue: Witnessing Chinese Fashion — A Retrospective of Lyu Yue's Art and PedagogyDates: September 17 – October 7, 2026Venue: Gallery B, 3rd Floor, CAFA Art MuseumEditor-in-Chief / He Yisha Editor / Du Yinzhu
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: Refreshed! "Collection of CAFA Art Museum — Modern Chinese Art" Reopens

2026-09-24

The “Collection of CAFA Art Museum — Modern Chinese Art” exhibition has reopened, featuring 237 classic works from the museum’s collection. Step into the galleries to trace the lineage and feel the human warmth of modern and contemporary Chinese art.> > > >The section “Modern Chinese Art” is not merely a retrospective of the course of modern Chinese art, but also an outlook on the future development of art. Through these works and this artistic journey, visitors may truly perceive the artistic pursuit of successive generations of artists, who refined and advanced their visual language, as well as their outstanding experimental explorations in conceptual innovation. Audiences can also experience the perseverance, resilience and uplifting spirit of the Chinese people.This renewed display introduces eight newly added works, including masterpieces such as Huang Binhong in His Later Years by Jin Shangyi and landscapes by Luo Gongliu. The modern segment of this permanent collection exhibition represents individual artistic expressions. More importantly, it embodies the quests and transformations amid the tides of history, responding to the times through modern forms and visual language.Huang Binhong in His Later YearsJin Shangyi, 1996 Oil on canvas, 115 × 99 cm Collection of CAFA Art MuseumStill Life (Flowers, Books) Chang Shuhong, 1942 Oil on canvas, 79 × 64 cm Collection of CAFA Art MuseumDelivering Charcoal in Snow Ai Zhongxin, 1947 Oil on canvas, 72 × 88 cm Collection of CAFA Art MuseumSong of the Rammer Wang Wenbin, 1962 Oil on canvas, 156 × 320 cm Collection of CAFA Art MuseumBombardment Hua Tianyou, 1946 Bronze cast, 116 × 90 cm Collection of CAFA Art Museum> > > >Collection of CAFA Art Museum — Modern Chinese ArtExhibition Dates: Permanent DisplayVenue: Gallery B, 2nd Floor, CAFA Art MuseumEditor-in-Chief / He YishaEditor / Du Yinzhu
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: Today is the Autumn Equinox

2026-09-23

Today is the Autumn Equinox
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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

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

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

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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.