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中轴之像——“北京中轴线文化主题摄影创作人才培训”结课展 开幕

2024-12-05

2024年11月30日,“中轴之像——北京中轴线文化主题摄影创作人才培训”结课展开幕式在中央美术学院美术馆举行。嘉宾、学员及观众近百人参与。中国美术家协会主席范迪安、中央美术学院院长林茂一早赴现场认真观展,并给予高度赞许。以不同形式参与开幕环节的还有中央美术学院副院长吕品晶、美术馆馆长靳军、设计学院副院长张欣荣、教务处副处长周岚、中轴线基金会专委会宋慰祖、遗产影像学专家周梅生、人民画报社中国专题图库总编辑吴亮、中国人民大学哲学院教授张旭、山东艺术学院传媒学院摄影系主任张博晨等。中央美术学院设计学院摄影方向主任、项目负责人林彤教授主持开幕式。习近平总书记在文化传承发展座谈会上的重要讲话中强调,在新的起点上继续推动文化繁荣、建设文化强国是我们在新时代新的文化使命。中央美术学院获批的国家艺术基金2024年度艺术人才培训资助项目《北京中轴线文化主题摄影创作人才培训》,将北京中轴线文化主题摄影的创作为导入,以影像展现北京文化整体风貌的摄影创作为案例,组织业界资深专家和学员面对面交流,实地考察拍摄。旨在让学员将文化地理的表述转换为摄影媒介的方式观察和思考。该项目已于2024年夏季完成集中培训,来自全国18个省区市的30名学员,在酷暑中完成培训和自由创作。参加此次培训项目的学员们的佳作成果汇聚在中央美术学院美术馆举办展览,以此向“北京中轴线”申遗成功献礼。美协主席范迪安先生对于“中轴之像”的展览策展表示肯定,并对影像作品的丰富性、多元性、当代性给予认可,鼓励学员们在创意之轴、时空之轴、民生之轴的理念下,持续挖掘和创作。林茂院长参观《中轴之像》展览林茂院长参观《中轴之像》展览林茂院长强调:“在此谨向国家艺术基金管理中心表示衷心的感谢!正是有了你们的支持和信任,我们才能够有机会开展这样一项具有重要意义的艺术人才培训项目。同时,我也要向参与本项目的各位专家学者、老师表示崇高的敬意。从创作实践成果来看,本次参加培训的学员们优质完成了既定任务,达到了培训目的。学员们以摄影为媒介,深入探索北京中轴线的每一个角落,用镜头捕捉那些被时光雕琢的建筑细节,记录那些在中轴线上生生不息的市井生活,定格那些转瞬即逝的光影变化。他们的作品不仅展现了高超的摄影技艺,更深刻地揭示了北京中轴线的独特韵味。”吕品晶副院长的致辞中指出:“科研是艺术创新的重要支撑,也是推动文化传承与发展的关键力量。我们将继续秉持‘尽精微、致广大’的理念,加强科研教学与理论研究的深度融合,推动艺术创作与理论研究的协调发展。林彤教授及其团队的严谨治学使得项目进展顺利,并推动摄影教育在央美科研的画卷中书写了浓墨重彩的一笔,这是双向奔赴的大好事。” 靳军馆长谈到:“展览中的摄影作品,具有非常深入的学术研究和新的当代思考,以艺术的方式对于北京中轴线做出既有经典传统内容又有现代生活场景的影像表达,是城市文化的新景观。在中轴之像的主题下,构成了古今对话不同凡响的创作探索。”宋慰祖先生说:“通过这些精彩的作品,我们不仅认知了北京城,更解了这个城市厚重的历史文化,也能看到建筑文化的艺术表达。作品为北京中轴线的文化传播,以及国际交流提供了良好的平台。”靳军馆长在《中轴之像》展览开幕式上致辞宋慰祖先生在《中轴之像》展览开幕式上致辞“北京中轴线申遗成功的消息,无疑是对中轴线文化价值的最高肯定,也彰显了此次培训项目的重要意义。我们向中轴线申遗成功表示最热烈的祝贺,同时大家也对为此贡献一份力量而深感荣幸。”来自山东省高校领域的学员代表张博晨对记者说。学员代表张博晨在《中轴之像》展览开幕式上发表感言中央美术学院设计学院摄影方向主任、项目负责人林彤教授在开幕式中表示,这不仅是一次展览,更是学员们对中轴线文化深刻理解和艺术感悟的集中展现。通过本次展览,可以看到学员们不仅在摄影技艺上得到了提升,更在摄影过程中经历了一场心灵的触碰与文化的洗礼,在影像艺术创作上实现了自我突破和成长。”林彤教授主持《中轴之像》展览开幕式并致辞“一根长达8公里,全世界最长,也最伟大的南北中轴线穿过全城。北京独有的壮美秩序就由这条中轴的建立而产生。前后起伏、左右对称的体形或空间的分配都是以这中轴线为依据的;气魄之雄伟就在这个南北引申、一贯到底的规模。”中国著名建筑学家梁思成先生曾感叹。北京中轴线,作为古都北京的文化象征和城市名片,它不仅是城市空间布局的核心,更是中国传统文化和现代文明的交汇点。北京中轴线向北向南伸展几十公里,挺起21世纪中国首都的“脊梁”。中轴线既体现了政权统一、政令贯通的政治理念,也反映了中正顺畅、平衡和谐的社会理想。中央美术学院作为当代中国艺术教育领域的先驱者和领导者,百年来都致力于打破各门类艺术间的藩篱,培养综合型艺术人才。我们培训的人才除具备过硬的影像技术外,更在项目内提升影像哲学、影像思辨、影像批评以及影像策展能力,完成全方位影像人才塑造。做坚持与时代同步,坚持以人民为中心,坚持以精品奉献人民,坚持用明德引领风尚的艺术工作者。文化源远流长,文明博大精深。只有全面深入了解中华文明的历史,才能更有效地推动优秀传统文化创造性转化、创新性发展。在这条贯穿南北的中轴线上,每一个学员都仿佛成了一位历史的见证者,用镜头捕捉那些被时光遗忘的角落,用光影讲述那些沉默不语的故事。他们并非在简单地拍摄影像,而是在用心地感受古都厚重的文化,用情与历史对话和进行艺术创作。他们的作品中蕴含着对中轴线文化的理解与热爱。影像中的城砖在轻声细语,讲述着它千年的沧桑与辉煌。古老的建筑、繁忙的胡同、宁静的公园......在学员们的镜头下,它们谱写出一曲关于时间、空间与文化的交响乐。当代影像教育是年轻的,具备当代影像精神的高端人才供不应求。推动社会创新的需求迫在眉睫,新时代呼唤杰出的艺术创作者,央美的新百年计划更是期望通过美育教育培养更多具有文化理想和创造能力的艺术创作实践人才。以影像方式塑造出充满象征意味的空间意象——走向复兴的中国更加开放、自信。
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“国魂铸梦 翰墨华章——2024年全国文史研究馆馆员书画新作展” 如期开幕

2024-12-04

11月30日上午,由国务院参事室、中央文史研究馆、中央美术学院共同主办的“国魂铸梦 翰墨华章——2024年全国文史研究馆馆员书画新作展”在中央美术学院美术馆开幕。国务院参事室党组书记、主任高雨在开幕式上讲话并宣布展览开幕。
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专访|米尔顿·顾然:塞巴斯提奥·萨尔加多,从巴西到世界

2024-12-02

值此中巴建交50周年之际,成都当代影像馆、文泽时代和巴西联邦共和国驻华大使馆携手献礼,于11月12日至12月1日在中央美术学院美术馆呈现巴西摄影大师赛巴斯提奥·萨尔加多(Sebastião Salgado)的展览“巴西,重返大地”。此次展览由米尔顿·顾然(Milton Guran)和让-吕克·蒙特罗索(Jean-Luc Monterosso)共同策划,通过萨尔加多最具代表性的三十余幅作品,带领观众回顾这位巴西最杰出摄影师的创作生涯,并透过他的镜头,看见人文与纪实摄影所蕴含的人道精神。我们与策展人米尔顿·顾然展开了一场深度对话。从展览的策划思路,到萨尔加多独特的创作视角,再到本次展览所蕴含更广泛的文化意义,米尔顿分享了他思考与见解。“巴西,重返大地——塞巴斯提奥·萨尔加多”正在中央美术学院美术馆四层展厅展出,展期将持续至2024年12月1日。----------------------------------------------------------------------------------------------------------------------   ◆采访:李文静(成都当代影像馆 媒体专员)受访者:米尔顿·顾然(本次展览策展人)李文静(以下简称“李”):为什么会选择“巴西,重返大地”作为展览主题?这一主题与萨尔加多的创作理念有何联系?米尔顿·顾然(以下简称“顾”):展览“巴西,重返大地”(Do Brasil à terra)旨在庆祝巴西与中国建交50周年。从这个意义上讲,我们认为有必要从展览标题就开始突出“巴西”。并且,萨尔加多是一位基于其祖国生活经历发展出自己摄影视角的摄影师,他将这种视角带向了世界。值得一提的是,葡萄牙语中的“terra”一词既指“土地”,也可以指“地球”。►“巴西,重返大地——塞巴斯提奥·萨尔加多”展览现场李:萨尔加多坚持以系列的形式呈现他的摄影作品,而不是单张照片。您如何看待这种叙事方式对观众理解作品的影响?顾:一张独立的照片具有极强的审美意义,因为它是作为一个整体被欣赏的。而一组照片则讲述了一个故事。事实上,萨尔加多不仅是我们这个时代标志性照片的创作者,他同样擅长构建宏大的叙事。能够像他这样专注于全球范围叙事的摄影师,在世界上寥寥无几。李:本次展览的叙事也是通过系列的方式展开,展出了《创世纪》、《劳动者》、《另一个美洲》等多个系列作品。您和让-吕克·蒙特罗索(Jean-Luc Monterosso)是如何筛选和组织这些作品的?这些作品存在什么样的联系?顾:本次展览的策展思路是向中国观众呈现赛巴斯提奥·萨尔加多在中国可见作品的概览。因此,我们对这些系列进行了梳理,从每个系列中挑选了具有代表性的影像。►“巴西,重返大地——塞巴斯提奥·萨尔加多”展览现场李:在人文与纪实摄影中,很多着眼于“第三世界”的作品常给人以悲情或使人怜悯的印象,而萨尔加多的作品却表现出一种微妙的社会和经济洞察力。您认为他是如何避免自己陷入刻板的叙事方式,并在艺术表现和情感表达之间找到这种微妙平衡的?您认为这种特质来自他的哪些创作理念或方法?顾:赛巴斯提奥·萨尔加多最初受训于经济学。在成为专职摄影师之前,他是一名职业的经济学家。此外,他的家庭居住在巴西内陆的一座农场里,这让他对土地相关的经济和社会问题有着丰富的实践经验。这些经历塑造了他的视角,并引导了他作为摄影师的创作方向。李:您认为萨尔加多是如何通过摄影探讨关于社会与环境议题,并传递平等和人类共同命运的观念?在当前的社会背景下,这些作品具有怎样的特殊意义?顾:萨尔加多的摄影不仅关注经济和社会层面的问题,还通过卓越的美学表现将这些议题提升到更高的认识层次。他的摄影作品不仅传递信息,更重要的是,能够打动人心。危地马拉城的郊区,1978 © 塞巴斯提奥·萨尔加多Os subúrbios da Cidade da Guatemala, 1978 © Sebastião Salgado李:巴西作为萨尔加多的故乡,对他的创作有何影响?这种影响如何贯穿于他的作品中?顾:萨尔加多在农庄里长大,因此,他的最初视角来源于土地、种植与收获的时间,以及基于农业经济模式所形成的社会关系。李:萨尔加多的摄影常以全球化视角审视地方性问题。您如何看待他的作品在不同文化背景下的解读和接受度?尤其本次展览在中国展出,是否存在文化距离?这种距离会对中国观众的理解产生怎样的影响?顾:赛巴斯提奥·萨尔加多的作品享誉全球。他几乎获得了所有表彰摄影师杰出成就的权威奖项。这种成功得益于他作品中体现的全球视角,以及他从个体出发看世界,并通过更宏大的全球视野触及个体的意愿。厄瓜多尔,1982 © 塞巴斯提奥·萨尔加多Ecuador, 1982 © Sebastião Salgado李:“巴西,重返大地”作为跨文化的展览项目,对于作为策展人的您来说,在策划和执行中有哪些亮点和挑战?顾:在我看来,尽管展览涵盖的所有主题都很重要,但其最大的亮点是对“人”的关注,尤其是对巴西土著人民的展现。李:您如何看待中巴两国在艺术和文化领域的互动?本次展览是否有助于加强两国之间的了解?顾:我们今天所知的巴西是一个非常年轻的国家,仅有五百年的历史。而中国则有着数千年的历史。国家与人一样,可以通过文化交流学到许多东西。通常,年轻的一方注入激情与好奇,而年长的一方则带来深度与稳重。我认为,我们两国之间的关系也将如此。| 关于策展人 |摄影师、策展人,巴西里约热内卢国际摄影节创始人、总监;社会传播学硕士,人类学博士。巴西里约热内卢联邦大学口述历史及图像实验室研究员,主要研究摄影和人类学领域,发表多篇论文,并出版著作。其作品被巴黎欧洲摄影博物馆、巴西圣保罗艺术博物馆、里约热内卢现代艺术博物馆、巴西里约艺术博物馆等多家公立和私人艺术机构收藏。巴西,重返大地Do Brasil à terra展览时间:2024年11月12日-12月1日展览地点:中央美术学院美术馆四层展厅艺术家:塞巴斯提奥·萨尔加多 Sebastião Salgado策展人:米尔顿·顾然 Milton Guran ,让-吕克·蒙特罗索 Jean-Luc Monterosso主办:成都当代影像馆 ,文泽时代协办:巴西联邦共和国驻华大使馆学术支持:中央美术学院美术馆特别支持:淡水河谷矿产品(中国)有限公司支持:SPX,Suzano特别鸣谢:莱莉娅·瓦尼克·萨尔加多 Lélia Wanick Salgado ,钟维兴主编 / 何一沙责编  / 杜隐珠
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CAFAM活动预告|艺术家对谈:数字屏幕时代的摄影

2024-11-30

艺术家对谈:数字屏幕时代的摄影时间:2024年11月30日16:30地点:中央美术学院美术馆 小会议室(即美术馆咖啡厅斜坡尽头左侧会议室)| 主旨发言人 | 达尼·盖尔卡Dani Ghercă“崇高”展参展艺术家 | 特邀嘉宾 |姚璐中央美术学院教授、博士生导师、当代影像艺术家迟鹏设计教育学博士,现从事儿童教育、当代艺术及电影艺术创作及研究 刘恪北京航空航天大学新媒体艺术与设计学院副教授、硕士生导师李新铎北京交通大学建筑与艺术学院数字媒体艺术专业助理教授、硕士生导师 | 主持人 |  刘希言中央美术学院美术馆策划研究部主任、副研究员 | 参与方式 |校内观众无需预约校外观众请扫码预约入校< 内容介绍 >从达尼·盖尔卡(Dani Ghercă)的摄影艺术出发,本次对谈活动将聚焦于摄影从触感真实的纸质照片向短暂易逝的数字屏幕形式的转变所带来的影响。嘉宾们将围绕这一转变探讨它如何深刻地改变了我们对摄影艺术的感知、分享和互动方式,从而重新定义其在当今数字时代中的角色,以及探讨当代摄影在这场数字革命中所面临的挑战与机遇。< 嘉宾介绍 >达尼·盖尔卡达尼·盖尔卡(Dani Ghercă),罗⻢尼亚新兴一代视觉艺术家之一。他以概念性的⽅式运⽤摄影媒介。他在布加勒斯特国⽴艺术⼤学学习摄影,其作品曾展出于马德⾥ICO博物馆、利物浦泰特交流中⼼、维也纳ESSL博物馆、布加勒斯特国家现代艺术馆、布鲁塞尔HISK、阿纳姆Sonsbeek等地。他的作品被多个机构和公司收藏,包括阿姆斯特丹ING、Proximus等。他是布加勒斯特当代艺术空间Switch Lab的创始人,布加勒斯特艺术馆Scanteia +的联合创始人,以及罗马尼亚布加勒斯特占地2500平方米的艺术中心Atelierele Scânteia的联合创始人,该中心设有多个艺术家工作室。姚璐姚璐,当代影像艺术家、中央美术学院摄影专业教授、博士生导师。1967年生于北京,1987-1991年就读于中央美术学院版画系, 获学士学位;1991-1998年就职于《中国国土资源报》,任编辑、记者;1998-2000年就读于中央美术学院与澳大利亚格里菲斯大学昆士兰艺术学院联合举办摄影艺术研究生班, 获昆士兰艺术学院视觉艺术硕士学位;2019年于中央美术学院研究生院版画专业毕业,获艺术学博士学位。  迟鹏迟鹏,设计教育学博士。他是儿童创造性思维方法创造者,故宫学校特聘客座教授,负责儿童美育课程及儿童读 物专项研发。他曾长期任教于中央美术学院,讲授基础性思维方法、艺术与设计创作方法、摄影艺术等课程,现从事儿童教育、绘本创作、当代艺术及电影艺术的创作及研究。刘恪刘恪,北京航空航天大学新媒体艺术与设计学院副教授、硕士生导师、德国卡塞尔艺术学院自由艺术系硕士、获大师生称号、德国汉堡艺术学院访问学者、中国美术学院跨媒体艺术学院实验艺术理论与跨媒体实践方向博士。研究方向为虚拟现实艺术、新媒体互动影像艺术及现当 代影像艺术,现工作生活于北京和杭州。以动态影像、表演、 纪录片、摄影、文本、装置为主要创作媒介,研究高低语境文化中“空间叙事与影像叙事”在社会观察与个体生存层面的异质化构建与表达。李新铎李新铎,北京交通大学建筑与艺术学院数字媒体艺术专业助理教授、硕士生导师。北京电影学院新媒体艺术专业方向硕士、博士,美国明尼苏达大学访问学者。发表CSSCI等论文十余篇,研究方向为现当代艺术理论,早期影像媒介语言,装置艺术的多媒介表达,关注基于当代视角的数字影像及其时空特征。< 主持人 >刘希言刘希言,艺术学理论博士、副研究员,中央美术学院美术馆策划研究部主任,北京文艺评论家协会会员,北京美协策展委员会委员,新美术馆学研究中心特聘研究员。入选文旅部青年策展人扶持计划,策划展览多次获得文旅部优秀展览项目。著有《建构与思辨:艺术博物馆陈列方法论研究》一书,研究方向为美术馆史、美术馆学理论及跨地域美术馆实践研究等。崇高THE SUBLIME主办:Switch Lab  北京罗马尼亚文化中心  文泽时代联合主办:中央美术学院美术馆协办:北京交通大学建筑与艺术学院艺术家:达尼·盖尔卡(Dani Ghercă)该项目由罗马尼亚国家文化基金共同资助主编 / 何一沙责编 / 杜隐珠
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CAFAM展览预告|罗马尼亚艺术家达尼·盖尔卡摄影展“崇高”即将呈现

2024-11-29

值此中国-罗马尼亚建交75周年之际,罗马尼亚艺术家达尼·盖尔卡(Dani Ghercă)的摄影展“崇高”(THE SUBLIME)将于2024年11月30日至2025年1月5日在中央美术学院美术馆呈现。此次展览由Switch Lab、北京罗马尼亚文化中心、文泽时代主办,中央美术学院美术馆联合主办,北京交通大学建筑与艺术学院协办,由罗马尼亚国家文化基金共同资助。展览将展出达尼·盖尔卡,这位罗马尼亚新一代视觉艺术家在2024年的持续创作项目。此次展览将通过艺术家的五件最新作品,向观众展示这位罗马尼亚摄影师对中国大都会城市景观的独特观察、捕捉和思考。>>>>《崇高/上海1号》 LED屏  200x400厘米  2024年The Sublime / Shanghai #I  LED panels  200x400cm  2024《崇高/重庆1号》 LED屏  200x350厘米  2024年The Sublime / Chongqing #I  LED panels  200x350cm  2024《崇高》是达尼·盖尔卡于2024年在上海斯沃琪中心驻留期间启动的持续创作项目。他的作品探讨了21世纪中国大都市中的“崇高”概念。城市景观的迅速扩张常常唤起一种敬畏与孤独感。这些复杂的人造环境既引发了惊叹,也带来了不安,突显出在这个以空前速度发展的世界中所产生的迷惘。《崇高/重庆3号》 LED屏 200x300厘米 2024年The Sublime / Chongqing #III  LED panels  200x300cm  2024期待罗马尼亚艺术家达尼·盖尔卡的个展“崇高”在中央美术学院美术馆的精彩呈现!< 关于艺术家 >达尼·盖尔卡(Dani Ghercă,生于1988年)是罗⻢尼亚新兴一代视觉艺术家之一。他以概念性的⽅式运⽤摄影媒介。他在布加勒斯特国⽴艺术⼤学学习摄影,其作品曾展出于马德⾥ICO博物馆、利物浦泰特交流中⼼、维也纳ESSL博物馆、布加勒斯特国家现代艺术馆、布鲁塞尔HISK、阿纳姆Sonsbeek等地。他的作品被多个机构和公司收藏,包括阿姆斯特丹ING、Proximus等。他是布加勒斯特当代艺术空间Switch Lab的创始人,布加勒斯特艺术馆Scanteia +的联合创始人,以及罗马尼亚布加勒斯特占地2500平方米的艺术中心Atelierele Scânteia的联合创始人,该中心设有多个艺术家工作室。< 开幕活动介绍 >01“崇高”展艺术家开幕导览活动 时间 : 2024年11月30日(周六) 16:00地点:中央美术学院美术馆一层大厅>>>>02“崇高”展艺术家开幕对谈活动 数字屏幕时代的摄影——达尼·盖尔卡艺术家对谈Photography in the age of digital screens: Dani Ghercă Artist Pannel Discussion时间 : 2024年11月30日(周六) 16:30地点: 中央美术学院美术馆 小会议室 | 主旨发言人 |达尼·盖尔卡(罗马尼亚视觉艺术家) | 特邀嘉宾 |姚璐(中央美术学院摄影专业教授、博士生导师)迟鹏(设计教育学博士,现从事儿童教育、当代艺术及电影艺术创作及研究)刘恪(北京航空航天大学新媒体艺术与设计学院副教授、 硕士生导师)李新铎(北京交通大学建筑与艺术学院数字媒体艺术专业助理教授、硕士生导师) | 主持人 |刘希言(中央美术学院美术馆策划研究部主任、副研究员) | 内容介绍 |本次对谈活动将聚焦于摄影从触感真实的纸质照片向短暂易逝的数字屏幕形式的转变所带来的影响。艺术家达尼·盖尔卡将阐述这一转变如何深刻地改变了我们对摄影艺术的感知、分享和互动方式,从而重新定义其在当今数字时代中的角色,探讨当代摄影在这场数字革命中所面临的挑战与机遇。 | 活动预约二维码 |校内观众无需预约校外观众请扫码预约入校崇高THE SUBLIME时间:2024年11月30日-2025年1月5日地点:中央美术学院美术馆一层大厅主办:Switch Lab  北京罗马尼亚文化中心  文泽时代联合主办:中央美术学院美术馆协办:北京交通大学建筑与艺术学院艺术家:达尼·盖尔卡(Dani Ghercă)该项目由罗马尼亚国家文化基金共同资助主编 / 何一沙 责编 / 杜隐珠
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CAFAM Forum Preview | "Live - Exhibition As A Perspective for Literary Criticism" To Be Held Soon

2024-11-28

主办:中国文艺评论(中央美术学院)基地、中央美术学院美术馆、中央美术学院文艺评论研究中心总策划:傅怡静、靳军、韩文超、刘礼宾组织:刘希言、沈森、李捷时间:2024年11月29日(周五)9:30-17:00地点:中央美术学院美术馆会议室< 论坛简介 >文艺评论和文艺创作,犹如车之双轮、鸟之双翼,是推动文艺事业繁荣发展的重要力量。习近平总书记强调,要打磨好批评这把“利器”,把好文艺批评的方向盘,运用历史的、人民的、艺术的、美学的观点评判和鉴赏作品,倡导说真话、讲道理,营造开展文艺批评的良好氛围。近年来,中国文艺评论(中央美术学院)基地充分发挥文艺评论引导创作、推出精品、提高审美能力、引领风尚的重要作用,深入文艺创作现场,顺应媒介化和数字化转向的时代趋势,推动传统文化在现代语境中的创造性转化与创新性发展。展览现场在文艺工作座谈会召开10周年之际,中国文艺评论(中央美术学院)基地围绕以中央美术学院和学院美术馆为代表的艺术现场,以各类展览、展览中的文艺创作新情况为观察对象,对其进行分析和评述,尝试通过艺术与思想的碰撞交锋来总结审美经验、归纳时代声音,并以展览评论作为一种独特的文艺评论形式,向公众推荐展览、普及美育,使文艺评论更加紧扣现场、精准有力。回顾艺术发展史,各类艺术展览一直是艺术世界的重要组成部分,它以时代性为基本特征,首先关照时代艺术的普遍现象和特殊现象;并融入对时代性的思辨,以先锋性、批判性的思维评论这些现象,从而以一种综合性的艺术形式进入艺术历史的叙事脉络。换言之,艺术事件、艺术流派、艺术运动、艺术家转型往往是由某个展览所激发或呈现,对展览言之有物的评论和研究,是深入文艺现场的一条重要途径,也是人民群众接受度较高的一种评论形式。展览现场此次论坛从当下展览评论者、展览主体创作者和展览史研究者三个角度,邀请中青年学者针对其撰写评论的经验和思考展开讨论,从而探索建构中国式文艺评论体系的多样性思路、促进当代文艺现场的有效评论生成;优化文艺评论人才队伍、扶持青年评论人才成长,发挥基地培养评论人才的职能作用。此次论坛是中国文艺评论(中央美术学院)基地年度学术活动和中央美术学院美术馆年度专题学术活动的主体部分,将拉开系列研讨、工作坊、出版的序幕。< 论坛日程 >9:30-9:50 开幕致辞傅怡静  中国文艺评论(中央美术学院)基地副主任、中央美术学院文艺评论研究中心执行主任韩文超  中央美术学院美术馆直属党支部书记10:00-11:40 论坛第一场在场与观察:从展览观察到展览评论简介:此场论坛邀请展览的观察者——作者与编辑,从当代展览评论撰写、当代展览评论汇编观察的角度,展开关于评论观点与艺术现场关系的讨论,重点关注近年来展览评论的发展情况、切入视角,并探寻展览评论存在的问题与解决方案。主持:高高  中央美术学院美术馆副馆长评议:刘礼宾  中央美术学院教授、中国文艺评论(中央美术学院)基地副主任、中央美术学院文艺评论研究中心副主任主题发言:缑梦媛(中国艺术研究院副研究员、《美术观察》副主编):展览即评论许柏成(中国互联网新闻中心·艺术中国主编):媒体时代,展评何为?沙鑫(四川美术学院艺术人文学院西部艺术与中华民族共同体研究院主任):重返大地:美术馆展览“地质生态”转向下艺术评论的方法实践葛秀支(清华大学艺术博物馆馆员、中国美术批评家年会副秘书长):走向现代:引领艺术史的展览朱莉(中央美术学院学报编辑部副研究员):“编辑”艺术:关于展览评论的实践、方法与思考13:30-15:00 论坛第二场立场与创作:从艺术实践到展览策划简介:此场论坛邀请展览的参与者——策展人与艺术家,围绕艺术创作、文艺研究与展览现场展开探讨。论坛将重点关注展览与策划、创作及现场之间的关系,探究展览评论作为实践延伸的功能和意义。主持:刘希言  中央美术学院美术馆副研究员、策划与研究部主任评议:冀鹏程  《美术》杂志社社长、中国美术家协会策展委员会副秘书长主题发言:林书传(南京艺术学院副研究员、美术馆副馆长):“行走”——作为一种策展方法卢征远(中央美术学院教授、造型学科基础部副主任):艺术家与策展人双重角度下的展览差异刘畑(中国美术学院跨媒体艺术学院当代艺术与社会思想研究所执行所长):策展的批评与自我批评薛良(北京画院美术馆负责人):何要浮名——以策展方式启示当下艺术创作许崇宝(泰康美术馆研究员):装束美与现实感:蒋兆和艺术的转型15:10-16:55 论坛第三场展场与历史:从展览史到展览知识生产简介:此场论坛邀请艺术批评与美术史研究学者,从中外展览历史的视角,展开关于展览现场与艺术发展关系的讨论,并重点关注艺术史中的展览现场作为知识生产与文化塑造的作用和机制,揭示展览历史对文艺叙事的重要影响,为当代展览评论提供历史参照与实践思考。主持:沈森  广州美术学院副教授、新美术馆学研究中心副主任评议:曹庆晖  中央美术学院教授、北京文艺评论家协会副主席主题发言:王志亮(河北大学艺术学院教授):1977年“图像”展:点燃后现代艺术的时刻李垚辰(中央美术学院美术馆副研究员、典藏部主任):发现历史的脉搏——中央美术学院建校百年展览史(1918—2018)研究的思考曾小凤(中央美术学院国家主题性美术创作研究中心副研究员):质与量的飞跃——1955年第二届全国美展与油画“中国化”的肇始吴晶莹(中央美术学院科研处副研究员):无界,抑或有界?——“大地魔术师”展览与当代艺术批评的全球化转向张晨(中央美术学院人文学院副教授):作为物的绘画——从展览到艺术史尹冉旭(北京大学社会学系博士后):物质文化研究与展览史书写16:55-17:10 闭幕总结及致辞刘礼宾  中央美术学院教授、中国文艺评论(中央美术学院)基地副主任、中央美术学院文艺评论研究中心副主任靳军  中央美术学院教授、中央美术学院美术馆馆长报名方式 >招募人数:20人报名方式:请编辑“论坛听众+参与者姓名+职业+电话”发送短信至19121726339(会务组邹德淑),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。主编 / 何一沙责编 / 杜隐珠
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Hai Jun has Taken On The New Position As The Deputy Curator of CAFA Art Museum

2024-11-27

On November 26th, the appointment meeting was held in the academic lecture hall of CAFA Art Museum, it was announced that Hai Jun was appointed as the deputy curator of CAFA Art Museum.Leaders and guests attending the meeting were: Lin Mao, President of the Central Academy of Fine Arts; Lu Yingming, Director of the Organization (United Front Work) Department; Jin Jun, Director of the Museum of Fine Arts; Han Wenchao, Secretary of the Immediate Party Branch of the Museum of Fine Arts; Gao Gao, Vice-Director of the Museum of Fine Arts; Hai Jun, Vice-Director of the Museum of Fine Arts; Wang Chunchen, Former Vice-Director of the Museum of Fine Arts; and comrades from the Organization (United Front Work) Department of the school, the Museum of Fine Arts, and other related comrades. Lu Yingming, Director of the Organization (United Front Work) Department, was entrusted by the Party Committee of the Central Academy of Fine Arts to read out the notice of appointment.Speech by Lin Mao, President of the Central Academy of Fine ArtsLin Mao, president of the Central Academy of Fine Arts, in his speech, on behalf of the school to congratulate Hai Jun on his assumption of duties, and Wang Chunchen's selfless dedication and hard work over the years to send a heartfelt thanks! He said that Wang Chunchen has served in the Museum for many years, has done a lot of work for the Museum, organized and participated in many large-scale activities, and has a relatively wide influence in the art world, and his academic writings also reflect his profound contemporary thinking, which effectively strengthened the Museum's academic strength and management level, and promoted the development of the Museum's career; Comrade Hai Jun is the Central Academy of Fine Arts School of Design early training of doctoral students, long-term persistence in the teaching and research front line of cultivation, has achieved visible results, and widely recognized, I believe that Comrade Hai Jun will soon be able to integrate into the family of the Museum of Fine Arts, together with the team members, and continue to enhance the influence of the Museum of Fine Arts. Finally, President Lin hoped that under the leadership of the Party Committee of the university, all the colleagues of the Museum of Fine Arts would work hard for the implementation of the "New Century" strategy and the construction of the "Double First Class", and paint a new picture for the people of the Museum of Fine Arts in the second half of the "14th Five-Year Plan". In the second half of the "14th Five-Year Plan", we hope that all the colleagues of the Art Museum will work hard for the implementation of the "New Century" strategy and the "Double First Class" construction, and draw a new scroll belonging to the people of the Art Museum!Statement by Wang Chunchen, Former Deputy DirectorWang Chunchen, the former deputy director, thanked the school leaders and the art museum team for supporting his work over the years in his speech. He said that the Art Museum of Central Academy of Fine Arts has developed into a highly reputable and academic art museum at home and abroad through the efforts of several directors. He believes that the museum will do better and better under the new leadership in the future, so that its academic and research systems can exert greater influence.Speech by Jin Jun, Director of the Art Museum of the Central Academy of Fine Arts (CAFA)In his speech, Director Jin Jun thanked Wang Chunchen for his contribution to the construction of the art museum over the years, his support for the work of the leadership team of the art museum, and thanked the party committee of the university for selecting Navy as the deputy director of the art museum. He talked about how Navy, as an outstanding young scholar and professor in the School of Design, has made a lot of achievements in academic research and management, and looked forward to colleagues working together to promote the continuous innovation and development of the art museum.中央美术学院美术馆副馆长海军发言In his speech upon taking office, Deputy Curator Hai Jun expressed his gratitude for the trust and care from the school organization, as well as the support and assistance from his colleagues. He mentioned that as one of the first batch of "National Key Art Museums", the Art Museum of the Central Academy of Fine Arts has gathered a large number of masters and renowned artists here, which has shaped the magnificent history of the museum and also created the pattern and mission of a professional and international modern art museum integrating functions such as academic research, exhibition display, collection restoration and public education. He stated that in his future work, he will, together with his colleagues in the museum, strive wholeheartedly to continuously build the museum's outstanding academic leadership, social influence, industrial integration ability, educational participation ability and cultural inheritance ability from four aspects: emphasizing politics, unity, responsibility and learning.Lu Yingming, the head of the Organization (United Front Work) Department of the Central Academy of Fine Arts, presided over the appointment meeting.Editor-in-Chief / He Yisha  Editor / Du Yinzhu
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When We Enter The Art Museum, What Can We Gain?

2024-11-27

走进美术馆,我们能收获什么呢?在这样一个日益数字化和后数字化的世界里,美术馆发挥着重要作用,不仅要保护物质文化,而且要使各种各样的公众在展览中重返艺术和历史的现场,探寻其中人性的,情感的,思想的与艺术的痕迹。美术馆将要继续扮演指南针的角色,成为一个能听到许多不同声音且能让不同声音被传达的机构。本年度冬季,中央美术学院继续教育学院“中华美育行”社会美育计划携手中央美术学院美术馆,共同推出“美术馆运营与展览策划短期研修课程(第四期)”。在课程启动之际,我们特别邀请了一批在美术馆运营与展览策划领域有着深厚造诣的导师,他们将分享如何在坚守美术馆美育功能的同时,让艺术之美和价值得以更广泛的传播和传承。靳  军中央美术学院美术馆馆长中央美术学院教授,博士生导师教授课程:“数字艺术与美术馆的新质发展”“中央美院美术馆历经了几十年的演变,作为现代美术机构,它从早期就开始收藏和整理艺术精华。最初的中央美院陈列馆的建立,在新中国时期具有重要意义,也为新世纪以来中央美院美术馆的发展奠定了良好基础。现今,推动美术馆的发展依然面临着新挑战,包括社会背景的变化和经济形势都对文化事业有着不同程度的影响,如何进一步发展艺术文化事业需要更多的思考和实践。当前社会对文化、美育和审美的认知以及艺术创新、科技创新融合的大趋势都为我们带来了新机遇。科技的发展和新技术的应用将推动艺术领域取得更好的发展手段与效率。面对挑战和机遇,美术事业同仁需要共同探索,形成更加包容的社会环境和氛围,同时促进文化事业更好地融入社会发展,努力实现新质生产力发展的持续进步。”选自:“靳军:科技探索x艺术融合 美院美术馆融入新质发展”《艺讯网》于  洋中央美术学院科研处处长中央美术学院教授、博士生导师教授课程:“近现代美术作品展览的策划与解读”“作为一种艺术表现风格,现实主义手法一直以来是美术创作呈现历史与现实,通过观察与反映现实社会生活,关注现实人生、社会与自然的表达方式。如何在今天以造型艺术的方式展现与反思现实,如何在跨学科语境和多元化价值观下,与时俱进地理解文艺创作中现实主义的内涵,如何通过美术作品的呈现,将思考与感受'艺术地'与现实生活相连,成为当下的美术创作者共同面对的课题。在现实主义创作手法的时代演进历程中,面对20世纪中国美术积淀的本土传统与新世纪以来国际化语境下的时尚新潮,今天的美术创作者既不能刻舟求剑,亦不能邯郸学步,唯有在坚守艺术本真的前提下,打开视野,守正创新,以全心投入的真情实感灌注于自身创作,方能以艺术创作召唤真实、贴近现实,以艺术之力介入社会,融入时代。”选自:“于洋:美术创作,如何表达‘真实’”《北京文艺评论》高 高中央美术学院美术馆副馆长教授课程:“美术馆的运营与管理”“对于一种少为人知的艺术类型的首次展览,无论在策划时采取怎样的开放态度,它都不可避免地会产生某种“定义”效果。那么,作为艺术家手制书在国内的首次系统亮相,要为观众带来怎样的作品,要给观众在这一艺术领域的视觉经验留下怎样的第一印象,要为观众对于这一艺术领域的理解搭建怎样的基础框架,这是策展中反复斟酌的核心问题。正如两位策展人在展览前言中都提到的,此次展览最为关心的是艺术家手制书能够成为什么样,以及它能够为全球视觉语言的发展发挥怎样的作用,从而展示这种艺术在观念和形态上的多样面貌,以及它与文化传统的深度关联,成为第一届“钻石之叶”展览的主要目标。基于此,展览形成了一个主体展、三个卫星展的结构。”选自:“高高:闪耀着智慧之光的书页——‘钻石之叶:全球艺术家手制书’策展回顾”《画刊》我们诚挚邀请您共同踏上艺术的提升之旅,深入了解美术馆与运营之道与展览背后的策划执行。本次研修班注重“对导师面对面”和“个性化指导”,在经验丰富的导师带领下,只需要你带着一点对艺术的好奇、一点对美术馆的兴趣,在导师的带领下,让对话发生,共同体悟包罗万象的艺术与文化之美。| 温馨提示 |“中华美育行——美术馆运营与展览策划短期研修课程(第四期)”的报名将于12月15日截止,更多招生信息可致电咨询(13957702868),或点击“阅读原文”跳转查看招生简章。中央美术学院继续教育学院CAFA SCE“中华美育行”社会美育行动计划中央美术学院继续教育学院积极践行美育服务大众精神,以习近平总书记在文化传承发展座谈会的核心精神为引领,充分发挥部属院校的专业优势和人才优势,为践行中央美术学院“中华美育行”提供可持续的高质量发展方案。中央美术学院继续教育学院“中华美育行”社会美育行动计划由中央美术学院专家、学者共同参与,为央美美育精神的传播和推广贡献智慧和力量。中央美术学院美术馆中央美术学院美术馆是集合学术研究、展览陈列、典藏修复和公共教育等功能的专业性、国际化的现代美术馆。它的历史可以追溯至20世纪50年代初,是中华人民共和国成立后建造的第一座专业美术展览馆,也是国家首批重点美术馆之一。秉承“兼容并蓄、继古开今”的学术理念,中央美术学院美术馆用“智识”服务于社会,致力于当代公共文化空间的建设,以全新的视野向广大公众呈现人类的艺术文明,与社会各界分享时代文化。主编 / 何一沙责编  / 杜隐珠
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CAFAM Workshop Review | 90th Anniversary Of The Sculpture Series - Public Education Programs

2024-11-26

“雕塑大系”90周年背后的故事主     办:中央美术学院美术馆协     办:中央美术学院雕塑系活动时间:2024年11月14日 14:00-16:00活动地点:中央美术学院美术馆三层展厅导     师:杜英奇、夏理佳“雕塑大系”中央美术学院雕塑学科90周年展览自开幕以来得到了广泛关注,展览筹备组的各位老师在完成展览布展、开幕工作以来,承担起为观众进行义务导览的工作,希望能够通过这种方式,让观众能够深入的、全面的了解雕塑学科90年的发展历程。杜英奇、夏理佳老师在现场导览11月14日,中央美术学院美术馆联合雕塑系举办了第一场“雕塑大系90年”系列公教活动,展览物料筹备组的杜英奇、夏理佳老师为观众进行了一场特别的导览——透过展览为观众讲述展览背后的故事。两位老师以具体的词条展板内容为线索,为观众呈现了更多展览以外的物料信息,筹备展览过程中所遇到的问题和解决方案,让观众了解到展览以外雕塑系老师们所做的工作与思考。活动后两位老师也与美术馆的导览志愿者进行了交流,就具体导览中遇到的实际问题进行了解答。“伸手触摸·神兽出没”儿童工作坊&“和合共塑·内美之光”成人工作坊主     办:中央美术学院美术馆协     办:中央美术学院雕塑系活动时间:2024年11月16日  10:00-12:00/ 14:00-16:00活动地点:中央美术学院美术馆三层B展厅导     师:杜英奇、夏理佳助     教:郑印雯、董皓泽王合内作品11月16日,“雕塑大系90年”系列公教活动第二场和第三场,分为上午的CAFAM儿童工作坊和下午的CAFAM成人工作坊,从临摹王合内先生的雕塑开始,走进和了解王合内先生的雕塑世界。活动邀请雕塑系的夏理佳老师和杜英奇老师带领各位由网络招募的学员进行临摹、创作实践,雕塑系第二工作室的郑印雯和董皓泽同学为各位学员制作准备了相关雕塑材料,并作为助教参与了本次活动。开始上课前两位老师首先对王合内先生和她的两座雕塑进行介绍和分析,王合内先生艺术创作以动物雕塑见长。在她所有艺术创作中,动物雕塑作品占绝大多数。既有沁透着舔犊之爱的羔羊、小鹿,也有充满阳刚之气的虎、豹。本次活动临摹的就是王合内先生的两件动物雕塑,以浮雕和圆雕两种形式来表现。公教活动现场儿童工作坊主要由夏老师带领以浮雕的形式进行临摹,夏老师介绍活动所用的主要材料—超轻粘土,并且展示了自己平时创作的超轻粘土作品,让同学们对该材料的可能性有一个基本的认知。为了更好的呈现最终效果以及速度的把控,夏老师提供了用kt板裁剪好的整个雕塑的基本外轮廓,建议小朋友们可以先在卡纸上描出雕塑的外轮廓行,接着根据已有的轮廓形进行塑造,小朋友自行选择喜欢的粘土颜色进行混合搭配,最终可呈现彩色的独一无二的作品。夏理佳老师与助教在现场进行指导小雕塑家和他们的作品(横向滚动)成人工作坊以圆雕形式来临摹雕塑。老师们也为课程做了充分的准备,为学员们提供了硬纸板做的支架。雕塑支架是圆雕的基础也是必不可少的重要部分,在两位老师根据材料的需求和简便性等情况协商后,最终选择以硬纸板刻出雕塑外轮廓形,再粘合后作为支架,学员们根据已有的外轮廓形进行填充塑造,这契合了王合内先生雕塑造型中的压缩处理,同时提高了学员们的效率,保证了临摹工作的顺利进行。专注投入的“同学们”通过本次活动,让学员们了解到王合内先生的故事,并通过临摹细致观察了她的作品,并通过亲手触摸雕塑材料,近距离感受到了雕塑造型的美,感受到了塑造的快乐,找到了一种平淡天真的感觉。好像有那么一刻,我们感觉到与王合内先生的距离很近,好像感受到了她作品中的内美之光。合影策划&执行:中央美术学院美术馆公共教育部项目负责:耿菁华  姚轶群  梁雯项目助理:上午:金彦冰、王紫;下午:陈以琳、周心韵摄影:常蒙恩  王子涵主编 / 何一沙责编  / 杜隐珠
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Child Public Education Reservation Form

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Adult Public Education Event Reservation Form

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Group Public Education Event Reservation Form

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

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Event Booking Form

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Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
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