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.

: 社会美育的在地实践 | “时空图层——中央美术学院美术馆藏毕业作品特展”在艺术旌阳启幕

2025-11-03

2025年10月25日，“时空图层——中央美术学院美术馆藏毕业作品特展”在四川省德阳市旌阳区文德湖中央公园西区启幕，艺术走出“白盒子”，融入公园的草木，与市民的日常。艺术旌阳以“美育经济”为路径，探索公共空间的美学焕新，让文化在融合中生长出产业活力，让消费在艺术浸润中释放潜能。这是一场生活与艺术的双向奔赴，更是一座城市以文化人、向美而生的生动实践。
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: Xu Xingzhi's Dramatic Art | This exhibition will Close On October 31st

2025-10-31

"A Majestic Ode to China--Xu Xingzhi's Artistic Achievement"Exhibition SiteXu Xingzhi is an important figure that cannot be overlooked in the development of modern Chinese drama. Having received professional training in fine arts, he made achievements in multiple fields such as drama, film, fine arts, and poetry, demonstrating his cross-media artistic talents. With a firm left-wing stance, he participated in the modern drama movement, was active in groups like the Shanghai Art Troupe, and personally witnessed and promoted the birth and development of modern Chinese drama.In terms of drama theory, he proposed that drama should possess both "inner" and "outer" dimensions, and emphasized a comprehensive theory of the integration of performance and viewing. The former emphasizes that drama integrates various art forms, while the latter highlights the interactive relationship among the audience, the theater, and the actors. He forward-lookingly emphasized the importance of theatricality and the interaction between the audience and the performers.In terms of creation, he had both screenwriting and directing talents. His representative works include Eternal Love adapted from a world classic, The Last Christmas Eve which depicts the lives of people after the fall of Hong Kong, and the six-act play The True Story of Ah Q, which was polished and revised over many years with his painstaking efforts. All these works reflect his concern for reality and his exploration of artistic forms.He integrated his literary accomplishment, fine arts skills and theatrical practice, endowing the stage with profound humanistic spirit and artistic appeal. He was truly a versatile dramatist. His thoughts and works still hold inspiring significance to this day.——Ding LuonanProfessor, Shanghai Theatre AcademyThis exhibition is by far the largest and most comprehensive retrospective of Xu Xingzhi's artistic achievements. Through more than 400 representative works as well as precious documents, it presents the artist's outstanding accomplishments in multiple fields—including painting, art history, literature, film, and drama—to the audience in an all-round, multi-dimensional, and in-depth manner. The exhibition will close on October 31st; audiences who are interested should not miss it!The First Page of Xu Xingzhi's Anti-Japanese Children's Drama Script The Bell of the Ancient Temple (1936)The First Page of Xu Xingzhi's Anti-Japanese Children's Drama Script The Last Lesson (1936)In February 1937, the anti-Japanese children's drama The Bell of the Ancient Temple (cover), written by Xu Xingzhi, was published by Shanghai Xinzhi Bookstore. According to Beyond the Great Wall by Mrs. Snow (Nym Wales), this children's drama was staged in Yan'an shortly afterwards.Stage Photo of Thunderstorm, a play by Cao Yu, Directed by Xu Xingzhi and Performed by the Blue Bird Drama Troupe, December 1937In 1937, Xu Xingzhi adapted Lu Xun's classic work into a six-act drama The True Story of Ah Q for the first time. The script of this drama was serialized in the 10th issue of the 2nd volume of the semi-monthly magazine Brightness. Soon after, the drama was staged by the "Chinese People's Anti-Japanese Drama Troupe" in Yan'an, and it was watched by the leaders of the Communist Party of China (CPC) as well as the military and civilians in Yan'an. The picture shows the cover of this issue.In 1939, an American female journalist published Beyond the Great Wall. In Chapter 3, "The Mobile Troupe", she recorded that Xu Xingzhi's plays The True Story of Ah Q and The Bell of the Ancient Temple were staged in Yan'an.Cover of the stage play script The True Story of Ah Q, adapted from Lu Xun's famous work by Xu Xingzhi, compiled and printed by the Shanghai Drama Art Research Association, August 1939In 1939, Xu Xingzhi adapted Lu Xun's work into the script of a six-act drama The True Story of Ah Q for the second time. The script was published by Guangming Bookstore in 1940 and went through its 10th printing in 1953.In July 1939, after Xu Xingzhi adapted the six-act drama The True Story of Ah Q for the second time, he personally directed the Sino-French Drama Troupe in a performance run that lasted for half a month. This caused a great sensation at that time. The picture shows the printed performance script compiled and published back then.At the end of July 1939, director Xu Xingzhi posed for a group photo with Wang Zhuyou, the actor who played Ah Q.After the fall of Shanghai in 1938, Xu Xingzhi actively participated in the progressive drama movement in the concession areas and directed a number of stage plays. This is a group photo of him with the actors after he directed Romain Rolland's The Struggle Between Love and Death.In February 1940, Xu Xingzhi directed Xia Yan's drama The Wedding Night, which was staged by the Dazhong Drama Troupe at the Shanghai Russian Art Theatre.In October 1956, to commemorate the 20th anniversary of Lu Xun's death, a number of theater troupes across the country re-staged the six-act drama The True Story of Ah Q adapted by Xu Xingzhi. The picture shows a stage photo from the performance by the Shenyang Drama Troupe.| Artist Profile |Xu Xingzhi (1904–1991) was a renowned Chinese artist, art historian and theorist, art educator, film and drama director and screenwriter, pioneer of the Left-wing Art Movement, literary and art warrior, member of the Council of the Chinese Artists Association, and professor at the Central Academy of Fine Arts. In his early years, he graduated from the Shanghai Academy of Fine Arts and the Tokyo School of Fine Arts in Japan. In 1930, he participated in initiating and organizing the "Shidai Art Society" (Times Art Society), a Left-wing art group, and was elected as the first chairman of the Chinese Left-wing Artists League.In the field of literature, Xu Xingzhi was an important poet of China’s 1930s Left-wing Literature Movement, creating representative poems such as Pastoral Song, The Blood Seller, Daban Well, and The Rose on the Spearhead.In the film industry, he directed films including Children of Troubled Times, Long Live China, and Storm at Sea, and wrote theoretical articles such as On Film Direction and A History of the Development of Film Art. In the drama field, Xu actively engaged in the Left-wing Drama Movement and was the first creator to adapt Lu Xun’s The True Story of Ah Q for the drama stage.In 1954, Xu was transferred to work at the Central Academy of Fine Arts, where he founded and served as the director of the Art Theory Research Office, laying the foundation for the establishment of China’s art history discipline. In 1959, he was transferred to the Third Studio of the Oil Painting Department, where he collaborated with Professor Dong Xiwen in guiding painting teaching.Xu Xingzhi was an all-round talent in the literary and art circle. He was not only a pioneering practitioner of artistic creation, but also a researcher, writer, and disseminator of literary and art theories. He made outstanding contributions to the cause of New China’s art history and theory, as well as the cultivation of painting art talents.A Century of Glory · Art Masters of the Central Academy of Fine Arts A Heroic Ode ToChina – Xu Xingzhi's Artistic AchievementsExhibition Period: September 18 – October 31, 2025Exhibition Venue: Hall B, 3rd Floor, Art Museum of the Central Academy of Fine ArtsOrganizers: Chinese Artists Association, Central Academy of Fine ArtsCo-organizers: Publicity Department of the Party Committee of the Central Academy of Fine Arts, School History Research Center of the Central Academy of Fine Arts, Art Museum of the Central Academy of Fine Arts, School of Humanities of the Central Academy of Fine Arts, Oil Painting Department of the Central Academy of Fine ArtsSupporting Units: National Memorial Museum of the Chinese People's War of Resistance Against Japanese Aggression, China Film Association, China National Film MuseumAcknowledgements: National Art Museum of China, Long Museum, Taikang Insurance Group Inc., Zhiyi Foundation, Wang Wei, Shi Junzhao, Huang Jun, Dong RuiChief Editor / He YishaAssociate Editor / Du Yinzhu
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: The Melody Persists -- CAFA’s Exhibition on the Inheritance of Teaching (2nd Edition)" Opens as Scheduled | "One Mentor, One Protégé" Gathers to Celebrate the Double Ninth Festival

2025-10-30

Savor the Warmth Between Teachers and StudentsEmbrace the Original Aspiration of Aesthetic EducationWish the Elder Artists Evergreen Artistic VitalityMay the Torch of Art Be Passed Down from Generation to GenerationMembers of the Academy of Fine Arts are accustomed to respectfully addressing their beloved teachers as "Xiansheng" . Among them, "Senior Xiansheng" are revered as idols by all members of the academy. Through their patient guidance and earnest teachings, these mentors continuously lead the younger generation into the profound mysteries of art. In turn, the younger generation’s diligent pursuit of art and adherence to their teachers’ instructions ensure that the mentors’ legacy never fades from the classrooms and campus. As time flows on, the younger generation gradually grows into the "Xiansheng," inheriting the glorious traditions and carrying forward the academy’s century-old academic heritage.Senior teachers, senior professors, senior cadres, and senior staff members of the Central Academy of Fine Arts , along with President Lin Mao, Deputy Party Secretary Wang Xiaolin, Vice President Lü Pinjing, Deputy Party Secretary and Secretary of the Disciplinary Inspection Commission Wu Qiang, as well as heads of relevant departments and colleges, attended the event.On the morning of October 28, 2025, the opening ceremony of "The Melody Persists - CAFA’s Exhibition on the Inheritance of Teaching (2nd Edition)" and the 2025 Double Ninth Festival Blessing & School Update Briefing were held at the Central Academy of Fine Arts. Senior teachers, senior professors, senior cadres, and senior staff members of CAFA gathered at the academy to jointly celebrate the Double Ninth Festival.Mr. Jin Shangyi, the former president of the Central Academy of Fine Arts, announced the opening of "The Melody Persists - CAFA’s Exhibition on the Inheritance of Teaching (2nd Edition)"President Lin Mao gave a briefing on the school's developments to the senior teachersDeputy Party Secretary Wang Xiaolin presided over the eventZhou Hongbing, the school-level Party building liaison officer, delivered a work report on the Elderly Committee for Caring for the Next Generation and the Department of Retirement Services.Professor Wang Wei from the Department of Sculpture spoke as the representative of young and middle-aged teachers at the exhibition, and affectionately recalled the precious memories of having "heart-to-heart conversations" with several senior Xiansheng since he joined the Central Academy of Fine Arts As a new chapter of the "Senior Artists · New Era" exhibition series, "The Melody Persists - CAFA’s Exhibition on the Inheritance of Teaching" is a vivid embodiment of our efforts to build on CAFA’s century-old academic heritage, reflect on the practice of aesthetic education, inherit the ideal of aesthetic education, and carry forward the spirit of aesthetic education. Adopting an intertextual "one mentor, one protégé" approach, the exhibition narrates the stories of teacher-student inheritance respectively from the School of Chinese Painting, School of Calligraphy, Department of Oil Painting, Department of Printmaking, Department of Sculpture, Department of Mural Painting, and the Fundamental Department of Plastic Arts. It strives to outline a clear academic vein and vivid mentor-protégé relationships, thereby comprehensively presenting the aesthetic education panorama co-created by "what the mentors impart" and "what the younger generation learns".Editor-in-Chief / He YishaAssociate Editor / Du YinzhuOn-Site Photographs / He Yifei
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: 精彩回顾 | “能源与文明——科学艺术·聚变未来”科普展览圆满闭幕

2025-10-28

2025年10月13日，为期近一个月的“能源与文明——科学艺术·聚变未来”大型科普展览在中央美术学院美术馆圆满落下帷幕。展览是国内首个以“可控核聚变”为主题的美术馆级科学艺术展览。由中央美术学院、合肥综合性国家科学中心能源研究院与合肥市人民政府联合主办。大太阳(合肥)文化科技有限公司、合肥综合性国家科学中心能源研究院科学艺术联合实验室共同承办。自9月14日开幕以来，吸引了来自科学、艺术与教育领域的广泛关注，成为2025年全国科普月、北京国际设计周及中国（合肥）国际科学艺术周系列活动中一道璀璨的风景。展览以“能源迭代与文明演进”为脉络，聚焦可控核聚变这一前沿科技，通过历史文献、科学装置与当代艺术创作的深度融合，构建起一座连接理性科学与感性美学的桥梁。观众在沉浸式体验中，既能在文献墙前回顾能源推动人类文明的恢弘历程，也能通过互动装置直观感受核聚变能量的无限潜力。多件大型科学艺术装置，将抽象的等离子体、磁场约束等概念转化为可感知的光影与动态形式，实现了科学与艺术的双向激发。On October 13, 2025, the large-scale science popularization exhibition titled "Energy and Civilization - Science & Art · Fusion Future", which lasted for nearly a month, successfully concluded at the Art Museum of the Central Academy of Fine Arts. As China's first museum-level science and art exhibition themed on "controllable nuclear fusion", it was co-sponsored by the Central Academy of Fine Arts, the Energy Research Institute of Hefei Comprehensive National Science Center, and the People's Government of Hefei Municipality, and jointly undertaken by Big Sun (Hefei) Culture and Technology Co., Ltd. and the Science and Art Joint Laboratory of the Energy Research Institute of Hefei Comprehensive National Science Center. Since its opening on September 14, the exhibition has attracted widespread attention from the fields of science, art and education, and become a brilliant highlight among the series of events of the 2025 National Science Popularization Month, Beijing International Design Week and China (Hefei) International Science and Art Week.With "energy iteration and civilization evolution" as its context, the exhibition focuses on controllable nuclear fusion, a cutting-edge technology. Through the in-depth integration of historical documents, scientific devices and contemporary art creations, it builds a bridge connecting rational science and perceptual aesthetics. In the immersive experience, visitors can not only review the magnificent course of human civilization driven by energy in front of the document wall, but also intuitively feel the infinite potential of nuclear fusion energy through interactive devices. A number of large-scale science and art installations transform abstract concepts such as plasma and magnetic confinement into perceivable light, shadow and dynamic forms, realizing the two-way inspiration between science and art.装置作品《闪电》特斯拉线圈、钢大太阳（合肥）文化科技有限公司提供展览现场呈现了多个大科学装置作品《闪电》《人造太阳》《造浪》等，有效打破科学与艺术之间的学科壁垒，将抽象的核聚变原理转化为可直观感知的感官体验，进而引导观众深入思考人类与能源的内在关联。“可控核聚变”科学装置提供单位：合肥综合性国家科学中心能源研究院中子技术应用研究中心，中国科学院合肥物质科学研究院等离子体物理研究所、中性束注入研究室 (十三室)“托卡马克”科学装置中国科学技术大学核科学技术学院提供展览还特别展示了多件核聚变科学文物，展现了物理世界的精密与奥秘。包括我国托卡马克装置KT-5，东方超环EAST全超导托卡马克装置等，这些实物和模型记录了中国核聚变研究的关键历史节点。自1960年代起，中国便启动了磁约束聚变研究，托卡马克成为了主要研究路径。影像作品《遥远太阳之歌》AGI影像19分08秒，50帧每秒，4k高清视频（3840x2160），宽高比16：9，彩色，立体声，Led屏幕装置天与ARTECH x 能源院科学艺术联合实验室提供现场还呈现了一件由人工智能生成影像作品《遥远太阳之歌》，影片演绎关于太阳文化符号的历史记录，与可控核聚变“人造太阳”的技术愿景，呈现出跨越时空的不同“造日”实践。能源乌托邦的愿景与技术反思，都存在于这部由算法塑造的影像之中，当无限能源成为现实，人类世界回归到以人为中心的理想状态，我们将会用可控核聚变书写一本怎样全新的太阳编年史？文献墙《能源与文明》展览中的文献墙依据能源使用类型的演变划分为青铜时代、铁器时代、工业时代及核能时代等不同历史阶段，并通过这一脉络展示了人类对能源利用方式的演进。其中隐含一条贯穿始终的核心线索，即对温度控制能力的不断增强：从石器时代仅能利用火的普通温度，到核能时代电子温度1.6亿度的实现，体现出人类随时代发展对能源掌控力的显著提升。展览期间，主办方举办了一系列高品质的联动活动成功引爆了关于“能源未来”与“可控核聚变”的公众话题。这不仅是一场视觉与思维的盛宴，更是一次面向未来的能源启蒙之旅。开幕式现场照片9月14日上午，“能源与文明——科学艺术·聚变未来”大型科普展览在中央美术学院美术馆隆重启幕。开幕式现场群贤毕至，主办与承办方领导、科学界与艺术界的专家学者及各界特邀嘉宾齐聚一堂，共同见证了这一跨界盛事的开启。现场，孩子们以充满未来感的表演点亮舞台，他们纯净的视角与象征人类终极能源的核聚变主题交相辉映，为这场跨界盛典注入了蓬勃的活力与希望。开幕式表演现场照片开幕式下午，在美术馆报告厅内举行同名主题论坛。论坛活动以人类文明与能源技术的演进关系为脉络，聚焦“可控核聚变”这一关乎未来的终极能源，邀请了来自能源、艺术、科普、科幻等多个领域的专家学者，围绕“能源与文明”这一核心议题，展开三场圆桌对话，分别是圆桌一：能源·电力·科幻——未来文明叙事主导权；圆桌二：科学·公教·传播——中国科普教育新浪潮；圆桌三：科学·艺术·共振——当人类拥有制造恒星的能力。9月18日上午，“能源与文明——科学艺术·聚变未来”展览系列讲座隆重邀请中国工程院院士、能源研究院首席科学家、等离子体物理研究所研究员李建刚院士作科普讲座，以《托起明天的太阳——磁约束聚变发展现状及未来展望》为题做主题科普分享。中央美术学院党委书记徐扬、中央美术学院院长林茂出席展览活动。李建刚院士从人类能源利用的历史演进切入，系统阐述了发展聚变能源的重要意义与技术路径。他结合自身科研经历，生动介绍了我国自主设计建造全超导托卡马克核聚变实验装置（EAST）的发展历程，详细解读了中国核聚变能源研究“三步走”发展战略，并对聚变能源在发电以外的多领域应用前景进行了专业展望。本次活动不仅为科研工作者、艺术从业者、高校师生及社会公众搭建了高质量的跨学科交流平台，更通过科学艺术的全新视角，有效提升了公众对能源科技与文明发展的认知水平，获得了与会者的一致好评。李建刚院士科普讲座活动现场2025年9月20日，“能源与文明——科学艺术·聚变未来”系列沙龙在中央美术学院举行。本期活动以“科学共同体如何塑造未来叙事？”为主题，由策展人沈聪主持。活动邀请到北京大学哲学博士、曾任清华大学科学史系副教授胡翌霖、北京外国语大学国际组织学院讲师包堉含以及产业代表极因造物联合创始人兼CEO高任骋展开对话，共同探讨科学共同体如何通过与政策、资本、艺术等领域的互动，构建社会对技术未来的集体想象，推动公众参与未来构想。系列沙龙“科学共同体如何塑造未来叙事？”论坛活动现场 10月7日下午，一场别开生面的“科学家VS艺术家沙龙会”将在馆内举行，来自可控核聚变、人工智能领域的顶尖科学家将与策展人、艺术家展开跨界对话，为公众呈现一场关于未来能源的头脑风暴。本次沙龙以“科学家与艺术家的头脑大风暴”为主题，旨在打破学科壁垒，搭建深度交流的公共平台。活动特邀全国巡回科普演讲推荐人董珊博士、聚变产业中心主任/首席科学家孔德峰博士、能源研究院助理研究员王力实博士，与展览策展人、中央美术学院老师与首席策展人中央美术学院雕塑系老师张兆宏，策展人、学者苏磊一同探讨。在主持人、策展人耿菁华的引导下，双方将围绕能源、核聚变、AI与艺术介入等前沿议题，从理性逻辑与感性创造的双重维度，探讨科技如何塑造文明，艺术又如何为科学注入人文想象。系列沙龙“科学家与艺术家的头脑大风暴”论坛活动现场 10月7日下午，中央美术学院老院长靳尚谊先生莅临现场观展。科学与艺术的深度融合得到了老院长的充分肯定与高度赞赏。参观结束后，靳尚谊先生意犹未尽，与策展团队进行了头脑风暴及座谈交流，鼓励大家继续开拓科学艺术的探索和实践。10月8日下午，系列沙龙活动《后碳未来：冰与火的文明记忆》在美术馆报告厅成功举办。活动聚焦能源转型中文明层次与节奏的变化，呼应展览中可控核聚变所呈现的未来文明想象。本活动也是《后碳：光与热的政治经济学》系列放映及论坛的收官之作。“后碳”系列曾在北京、上海、广州等多地呈现，回应太阳能与南方热浪对地景、技术及视觉文化的影响。本次由策展人陈娱、蔡艺璇主持与策划，论坛邀请了瑞士艺术家Christoph Oeschger，并放映他的影片《在冰中，一切都会留下痕迹》，同时邀请科学文化作家郑军，以及人民大学哲学教授刘永谋，从艺术、科幻与哲学三个维度，共同探讨能源转型后的未来社会与文明形态。系列沙龙“后碳未来：冰与火的文明记忆”论坛活动现场展览系列沙龙活动的“能源与文明——科学、艺术与人工智能的未来探索”学术论坛于10月10日在北京理工大学良乡校区举行。论坛由设计与艺术学院副院长张帆主持，论坛汇聚能源科学、人工智能、量子科技、数字艺术等多领域专家，包括合肥能源研究院渠承明副研究员、山东大学刘健教授、北理工物理学院张博副教授、北理工光电学院翁冬冬教授、北理工姜可教授等学者，以及展览总策划吴征、策展人沈星逸等策展团队代表。与会嘉宾从核聚变研究进展、AI赋能科学探索，到超写实数字人技术、虚拟仿真在文化遗产中的创新应用，共同探讨了能源变革与文明演进的多重可能性。此次论坛作为“能源与文明”科学艺术展览的延伸活动，旨在推动学科融合，激发公众对未来能源形态的想象与思考。系列沙龙“能源与文明——科学、艺术与人工智能的未来探索”论坛活动现场10月13日下午，中国著名雕塑家、中央美术学院雕塑系前系主任隋建国先生莅临观展。在科学与艺术的大装置展项前，隋建国先生仔细聆听策展团队成员的详细介绍，并提出能源与文明的相关拓展性话题进行深度交流。著名雕塑艺术家隋建国先生莅临观展10月13日晚，由中央美术学院校团委、中央美术学院美术馆与合肥综合性国家科学中心能源研究院联合主办，大太阳（合肥）文化科技有限公司及合肥综合性国家科学中心能源研究院科学艺术联合实验室联合承办的“聚变电音——能源艺术电子音乐会”在中央美术学院美术馆正门震撼演出。本次活动不仅是电子音乐与能源科技的一次跨界实验，更是科学艺术联合领域的创新实践。据悉，此次电子音乐会吸引了近千名观众现场参与，线上直播覆盖数万人，获得业内与公众的广泛好评。它成功打破了艺术展示与科技体验的界限，让观众在电光火石中感受到能量转换的美学价值，也为未来艺术与科技的深度融合提供了全新尝试。“聚变电音——能源艺术电子音乐会”活动现场展期内，展览的公教团队聚焦“可控核聚变”核心主题，以“100个科学幻想”为创意载体，推出系列趣味工作坊，吸引北京数千名中小学生踊跃参与，打造了沉浸式科普新场景。工作坊摒弃传统理论灌输模式，围绕100个脑洞大开的科学幻想展开——从“核动力直升机”到“行星发动机”，通过故事引导、创意绘画、简易模型搭建等多元形式，将抽象的可控核聚变原理转化为小朋友易懂的趣味知识。孩子们在幻想与实践中，初步理解可控核聚变的核心逻辑与能源价值，既感受科学的神奇，又释放创新想象力。此次活动意义深远。它打破了学科壁垒，将严谨的科学知识置于充满美感的美术馆空间中，以一种跨学科、沉浸式的方式，为青少年们呈现了一部生动立体的“能源文明发展史”。同学们不仅通过展览了解了能源如何驱动人类文明进程，更通过亲手实践和与专家对话，深刻认识到能源问题的紧迫性与可持续未来的重要性。
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2025-10-27

10月22日，"逐光同行——中央美术学院青年艺术作品邀请展·济南站”在城投湖光里方寸·光艺术中心正式启幕。2025年中央美术学院毕业季以“逐光而行”为主题，探寻艺术与生命中的光芒与方向。而今我们携这一理念走出校园，走进济南，以“逐光同行——中央美术学院青年艺术作品邀请展”为名，与公众共享一场关于艺术生命力的对话。本次展览聚焦中央美术学院2025届毕业生作品及往届毕业的优秀青年艺术家的作品，以“微光”“逆光”“高光”三个板块构成展览的叙述要点。意在延续“逐光而行”的精神内核，展现青年艺术家在个人叙事、生态关怀、文化传承等维度的创造与探索。展览呈现了近50件/套青年艺术家的作品，通过他们多样的个人艺术语言，多层次、多维度地呈现“光”在艺术表达中的丰富内涵和独特意义——它既是物理的存在，也是精神的象征性指引；既属于个体感悟，也呼应时代脉动。01 微光—————————————————————微光不必等待黑暗，它自身就是答案。微光往往藏于日常的边缘、心绪的缝隙，却蕴含着初的力量与寂静的启示。参展作品以绘画、影像、装置等作为媒介，通过捕捉那些细腻而隐晦的光芒，呈现青年艺术家对细微事物的敏锐感知与诗意转化。它们或许不张扬，却足够真诚，如同黑暗中悄然点亮的星火，提醒我们：艺术常常始于一道微弱却坚定的光。02 逆光—————————————————————当你背对太阳，你只能看到自己的影子。逆光是一种视角，也是一种态度——它不回避阴影，而是在对比中重新定义清晰与模糊、可见与不可见。这一部分作品多以强烈对比的视觉语言、反思性的主题切入，探讨个体与社会、理想与现实之间的张力。展现青年艺术家在文化语境、社会现实与自我认同之间的思辨与张力，在挑战中寻找突破，在阻力中凝聚力量。03 高光—————————————————————高光不是光，而是物体上最亮的部分。高光是对闪耀时刻与能量凝聚的礼赞。高光既是舞台的焦点，也是生命中的辉煌片段；它既可以来自外界的认可，也源于内在的自省。作品在这一板块中多以鲜明色彩、强烈动势或浓烈情感为特征，传递青年艺术家对生命、理想与未来的坚定信念。它们不仅是技艺的展示，更是精神的彰显。展览现场导览现场“逐光同行”展览落地城投·湖光里，是济南城投集团依托优质艺术资源，对艺术赋能商业空间的全新探索。这一举措不仅为青年艺术作品提供了展示平台，给城市注入充满活力的艺术基因，也为市民提供了高品质的公共文化体验，同时为“艺术如何赋能商业街区”提供了全新范式。“逐光同行——中央美术学院青年艺术作品邀请展·济南站”闭展日期为2025年11月30日。即日起，欢迎广大市民走进城投·湖光里，与青年艺术家一同在光与艺术的交汇中，共赴一场“逐光同行”的美好旅程。张诗琪生生 150×170cm异形框⽊板油画综合材料 2025苑瑗映照 I&II 195×320 cm 布面油画 2023袁欣无畏2024-2 150×200cm 布面油画 2025刘海一无字碑 -1 96 x 250 cm 纸本综合 2025张艺潆不息之境尺寸可变木板丙烯，综合材料 2025苏昱铭园丁 64×124 cm 纸本丙烯 2024陈海军游春图 600×80×60cm 尺寸可变匣钵土 2025董雯霏实验 84×125cm 布⾯油画 2025逐光同行——中央美术学院艺术作品邀请展·济南站展览时间：2025年10月1日—11月30日展览地点：城投·湖光里“方寸·光”艺术中心主办：中央美术学院美术馆、济南城市投资集团有限公司学术指导：中央美术学院承办单位：山东泉逸新商业发展有限公司参展艺术家（按姓氏首字母排序）曹轶陈海军陈家昊陈子涵董雯霏杜英奇范一诺付斌管天淇郭浩郭双郭文静何健恺侯帅胡一葳黄振涵霍启鹏雷雨菲李百舸李木子李湘宜林子豪刘海一刘志琪吕慧瑶罗依涵苗菁菁能尖日农羽瞳秦观伟权玥月时砚亮苏昱铭万珈彤王子阳魏荟青武玥肖雨轩徐钰童闫烨于雨田袁欣苑瑗张捷张诗琪张诗陶张艺潆邹达闻主编 / 何一沙责编 / 杜隐珠编辑 / 晏宇希
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: CAFAM Academic Series｜Art Museum Youngs Forum “ Unearthing And Reinterpretation” is About to Begin

2025-10-24

Opening RemarksLü PinjingVice President of the Central Academy of Fine ArtsSession 1: Ancient Chinese Art HostessLi JieAssociate Senior Editor, Department of Curatorial Research, CAFA Art MuseumSpeakerLan MengPh.D. Candidate, Central Academy of Fine Arts"A Study on Shen Zhou’s Yunshui Xingwo Tu — With a Discussion on the Relationship Between 'Image Guide' and Poetry Scrolls on the Same Theme"Hu ZhengyuanMaster’s Student, Central Academy of Fine Arts"Jin Nong’s Paintings of Calamus"Tang YanzhiUndergraduate Student, Central Academy of Fine Arts"Imitating the Ancients and Reconstructing: A Preliminary Study on Zhan Gong’s Yaomin Jirang Tu (Album) "Chen HanPh.D. Candidate, Central Academy of Fine Arts"From Painting to Printing: A Re-exploration of the Interaction Between Qian Huian’s Style and Yangliuqing Paintings Centered on the Album of Figure Stories"Zhang PengPh.D. Candidate, Central Academy of Fine Arts"Inner Mist and Clouds Inherent in the Brush Tip: A Glimpse into the Accumulation of Knowledge and Spatial Construction in Qi Zhijia’s 'White Clouds and Red Trees' Paintings Through the Qi Zhijia Paintings Collected by the Central Academy of Fine Arts"Chen GuanshiPh.D. Candidate, Central Academy of Fine Arts"On Ren Bonian in the History of Exhibitions"Ma XingmengPh.D. Candidate, Tongji University"Narrative Structure and Cultural Coding of the Eastern Han Dynasty 'Grain-Husking' Pictorial Bricks from the Perspective of Visual Narrative"Wang YingMaster’s Student, Central Academy of Fine Arts"A Study of Two 'Hu People Holding Lamp Figurines' in the Collection of the Art Museum of the Central Academy of Fine Arts"Tang YiruiMaster’s Student, Central Academy of Fine Arts"A Study on the Tricolor Glazed Tomb Guardians in the Collection of CAFA Art Museum — With a Discussion on the 'Hu-Stylization' Phenomenon of Human-Faced Tomb Guardians in the Tang Dynasty"Session 2: Modern Chinese ArtHostessWang JingDeputy Director, Department of Curatorial Research, CAFA Art MuseumSpeakerYang QingxuanMaster’s Student, Central Academy of Fine Arts"The Gravity of Symbols and the Light of Ideals: Zhang Anzhi’s Group Strength and His Creative Philosophy During the War of Resistance Against Japanese Aggression"Wang ChenPh.D., Tsinghua University"A Study on Pang Xunqin’s Service at the Preparatory Office of the Central Museumand the Resolution of Doubts in Painting History"Lu DingyuanMaster’s Student, Guangzhou Academy of Fine Arts"The Other Shore and the Edge: The Alienation Between Collection and Research in Wang Shaoling’s Works and Cross-Cultural Experiments"Ji XuPh.D. Candidate, Central Academy of Fine Arts"A Detailed Exploration of the Development Vein of Populist Art — Taking the New Year Painting Zhao Guilan at the Gathering of Heroes in the Collection of CAFA Art Museum as an Example"Li ZeqingPh.D. Candidate, Academy of Arts & Design, Tsinghua University"From New Year Paintings to New Gongbi: Zhao Guilan at the Gathering of Heroes and the Linguistic Transformation of Gongbi Figure Painting"Sun WenPh.D. Candidate, Central Academy of Fine Arts"Diving Deep into a New Life: Li Hua’s Creation and Daily Life in the Early Years of the People’s Republic of China, Viewed Through Collected Diaries and Manuscripts"Zhou WeimengPh.D. Candidate, Central Academy of Fine Arts"Mural as a 'Mediator': Ye Qianyu’s The Liberation of Beiping and the Discourse on National Art Heritage in the 1950s"Li JiaweiMaster’s Student, Central Academy of Fine Arts"National Experience and Artistic Expression in 'Painting' and 'Dance': On Ye Qianyu’s Figure Painting Lotus Dance"Ma BenyuMaster’s Student, Central Academy of Fine Arts"Past Stories of Oil Fields and New Trends in Printmaking: Sorting and Reflections on Two Daqing Oil Field-Themed Prints in the Collection of CAFA Art Museum"Zhang XinyiMaster’s Student, Central Academy of Fine Arts"The Formation of Wei Qimei’s 'Concise and Poetic' Style Under the Influence of Edward Hopper"Hao RuichangPh.D. Candidate, Central Academy of Fine Arts"Printmaking Practice of 'Construction and Transformation': Xu Bing's 'Where There Are Mountains' as an Early Practice of 'Process as Concept'"Closing Speech Jin JunDirector of the CAFA Art MuseumThe Experts for the Youth Forum Call for PapersHe Xilin, Qiushi Distinguished Professor, Doctoral Supervisor, School of Art and Archaeology, Zhejiang UniversityAcademic Advisor for Collection and ExhibitionZhang Peng, Professor, Central Academy of Fine Arts; President of Art Research Magazine, Central Academy of Fine Arts; Director of the Editorial Department of the Journal of Central Academy of Fine Arts; Deputy Director of the Collaborative Innovation Center for Silk Road Art Research; Academic Advisor for Collection and Exhibition of CAFA Art MuseumYu Yang, Professor, Central Academy of Fine Arts; Director of the Scientific Research Office; Director of the Advanced Innovation Center for Visual Arts; Academic Advisor for Collection and Exhibition of CAFA Art MuseumHuang Xiaofeng, Professor, Dean of the School of Humanities,Central Academy of Fine Arts; Academic Advisor for Collection and Exhibition of CAFA Art MuseumCao Qinghui, Professor, Doctoral Supervisor, Department of Art History, School of Humanities, Central Academy of Fine Arts; Academic Advisor for Collection and Exhibition of CAFA Art MuseumZheng Yi, Professor, Doctoral Supervisor, Department of Art History, School of Humanities, Central Academy of Fine Arts; Academic Advisor for Collection and Exhibition of CAFA Art MuseumGuo Huaiyu, Associate Research Librarian, The Palace Museum; Former Collection Grading Expert (Calligraphy, Painting, Epigraphy and Rubbing Group), National Museum of China; Academic Advisor for Collection and Exhibition of CAFA Art MuseumGeng Shuo, Deputy Director of the Department of Cultural Heritage, School of Humanities, Central Academy of Fine ArtsDeputy Director of the Research Center for Art ArchaeologyAcademic Advisor for Collection and ExhibitionLi Yaochen, Director of the Collection Department, Art Museum of the Central Academy of Fine Arts; Associate Researcher; Executive Curator for Collection and ExhibitionLiu Xiyan, Director of the Planning and Research Department of CAFA Art Museum; Associate Researcher; Executive Curator for Collection and ExhibitionCAFAM Academic SeriesThe CAFAM Academic Series launches concurrently with the "Exhibition of Artworks from the CAFA Art Museum Collection." A series of activities focusing on industry development, art museum management, and collection research are planned to be held throughout 2025. With a global perspective and cross-cultural dialogue, the CAFA Art Museum aims to expand public awareness of its rich collection, explore the roles and missions of contemporary art museums in the context of globalization and digitalization, provide the public with a platform for in-depth participation in artistic dialogue, and realize the organic integration of academic research, public education, and social engagement. Specific activity arrangements include:in March, the "Cultural Engine – CAFA Art Museum Summit Forum" and the "National Alliance of University Art Museums Conference" ; in June, the Lecture Forum "Cultivation and Exploration – Research and Current Status of the CAFA Art Museum Collection" ; in September, the Industry Forum "Curation and Dissemination – Art Museum Collections and Exhibitions in a Public Context" ; in October, the Youth Forum "Rediscovery and New Interpretation – Case Studies on the CAFA Art Museum Collection Research" .Editor-in-Chief / He YishaEditor / Du Yinzhu
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: 许幸之与美术史论

2025-10-24

“雄歌一曲献中华——许幸之艺术成就回顾展”展览现场许幸之是中国现代美术史研究的重要奠基者。他早年即关注艺术与社会的关系，提出“新兴美术”的理论主张，强调艺术应服务民族解放与社会进步。20世纪30年代，他连续发表《新兴美术运动的任务》《中国美术运动的展望》等重要文章，并翻译多篇西方艺术理论文献，积极参与左翼美术思想的建构。1954年，许幸之主持并担任中央美术学院美术理论研究室主任，该研究室正是后来美术史系的前身，许幸之组织起了一支教师队伍，共同翻译资料、编写讲义，制定了一份经过文化部认可的教学大纲，并开设出《西洋美术史》《俄苏美术史》《艺术概论》等课程，为新中国第一个美术史系的诞生打下了坚实的基础。许幸之不仅是近代中国西方艺术史译介和教学领域中的重要学者，也是新中国建立之初研究外国美术史的领军人物，更因其为新中国美术史论事业的发展所做出的贡献，而成为新中国美术理论和外国美术史教学体系的开创者和奠基人，他所取得的成就和做出的贡献值得今天的美术史后学们铭记。——易英中央美术学院教授
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: Today is Frost's Descent.

2025-10-23

Today is Frost's Descent.
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: 展览延期｜感受杜英奇作品中的所“相”之物和形之所“相”

2025-10-21

“广角°青年实验项目空间”第三期最后一个展览：“应物“相”形——杜英奇雕塑新作”将延期至2025年10月31日。本次展览为中央美术学院雕塑系教师杜英奇的个人作品展。杜英奇长期以来对自然的骨形感兴趣，且从中受到某种来自远古的启发，以及对现实处境的感应。这里呈现的作品，就是基于这样的观察感受完成的，希望观众能从这些雕塑新作中感受到所“相”之物和形之所“相”。空间剧本及其实施中央美术学院美术馆3层C展厅是广角°青年实验项目的实施地。由半开放的外部空间(A蓝色区域，以下称A空间）和相对封闭的内部空间(B红色区域，以下称B空间）两部分构成，如下图所示。A空间相对狭窄（宽3.4米）但具有高度（高8.5米），B空间之所以给人相对封闭的感觉主要因为入口相对较窄（宽1.4米）。半开放的A空间还有一个特点，就是每一个进入美术馆的观众，如果到楼上参观，无论乘坐电梯还是通过步行坡道，都会在美术馆一层大厅空间的最远端看到这里。所以，在项目实施之前，作者首先结合美术馆的空间特点假设了观众的观看动线——进入美术馆，无论观众是否上楼观展，都可能会在远处看到A空间，注意到这里有作品，接下来有可能走过二楼进入这个半开放的空间，最后进入B空间，完成观展。中央美术学院美术馆3层C展厅平面及展览作品布局图展览空间示意图从美术馆一层大厅远端看向3层C展厅A空间基于以上空间感受和对观看动线的想象，得出以下判断：A空间的作品必须体量巨大，掌控美术馆空间的制高点，让每一个观众在远处可以看到。这是视觉体验。由于A空间作品体量大，因此可以让到达此处的观众穿过雕塑内部。这是身体体验。B空间占地面积较小，但墙面空间相对充裕，因此选用浮雕，墙面作品在封闭空间将观众包裹。这是心理体验。以上判断构建起作者希望通过展览带给观众视觉、身体、心理的三重体验，也是本次展览整体的空间剧本。与之对应的是作者对本次展览标题《应物“相”形》的“非专业”翻译：object（物），telepathy（心灵感应），forms（形）。本次展览的作品就是在telepathy（心灵感应）的发动下所创造的object（物）与forms（形）的连接与转化。在美术馆大厅远端看《甲骨》作品01至09的编号即本次展览的观看顺序，对于它们位置的经营就是对整体空间剧本结构的细化。作品01 & 02作品01与02位于展厅入口，此处平面接近正方形，原计划制作一件高塔，使观众绕塔而行。实际呈现为由两座塔形成的“塔林”，主要原因是受制于现场搭建条件与作品材质的承压度，如此实施使位于展厅入口的作品间形成一条“夹缝”，或一道“窄门”，对观看路线形成一定“阻挡”。观众可以选择穿过一片由木方和工业金属F夹搭建后而失去自然生理弯曲的“脊椎塔林”，也可以选择离开。01 02无尽之塔泡沫、石膏纱布、木方、金属工业级重型F夹01：200×158×475cm02：177x178x3902025作品03作品03在现场搭建时决定让其悬空50厘米，一方面可以使它更加接近美术馆的天顶，一方面使雕塑本身的穹顶抬高，保证观众进入作品后的通过性，也使作品对展场空间进行更有效的切割，让悬空的巨物尽可能给观众的身体体验形成足够的“压制”。03甲骨泡沫、金属脚手架、纱布497×300×720cm2025作品04作品04是三件平面作品，本位于A空间尽头的墙面，形成三联组画（空白画布位于中间）。但实际A空间尽头墙面与观众观看的行进路线并非垂直，作者认为一道斜墙一定程度削弱了观众面对三联画本应感受到的庄严，因此将两幅有画面的画布悬挂于作品03附近的墙面，这两幅画面记录了作品03的三视图及其组装步骤，重叠印刷制成的画面也是作品不同视角和制作时间的叠压。空白画布的材料就是做前面雕塑所使用的石膏纱布，位于A空间尽头墙面，与前两幅画面共同构成了作品04，使观众于此地面对空白画布有所喘息。展览的整体节奏就此短暂停顿。转场。04三视石膏纱布、油墨、木方97×63cm×32025进入B空间，从作品05至09呈顺时针方向布局。由于墙面作品需要一定的后退观看距离，因此中间地面不能放置展台或更多地面作品，这是基本原则。作品05作品05是一个可以打开的匣子，匣子内装有——镜像、星座、负形。灯光从对面投射，不同打开状态的匣子会在墙面或地面形成投影，所以此作品所在墙面应该是空旷辽阔的。05幻戏石膏、木方、铅、铜丝、枯枝60×45×56cm2024作品06 & 07作品06与07是B空间占据地面的两件作品，一高一低，一白一黑。背后墙面倚立的木方与钢锯条并非还原工作室的工作场景，而与作品06的意义以及它在现场空间的构图有关。作品07被C型钳倾斜夹在木托一边，所以选择重色点状物——铅块——随机抛撒于木托之上，无序的抛撒契合了梦境的“蒙太奇”（作品07标题为《梦游者》）。06重建甲骨石膏、木方、金属工业级重型F夹158×160×390cm202207梦游者不锈钢、铅、木托80×60×40cm2025作品08作品08在项目方案阶段被设定摆放成一条线进行展示，强调其日常叙事特征。但作者在创作过程中对于手形的选择具有一定随机性，致使作品间的线性叙事特征并不强，且实地展线不足，因此改为矩阵式布局，占满B空间最大的墙面，观众对作品阅读变为散点式触发。作品08最后一件编号为32的“手”装在漂流瓶中，数量为399，除了墙面展示以外，如何延续到空间中并传递给观众，是布展过程中遇到的问题。需要强调的是，它不是展览的“衍生品”，它就是作品08最后一件编号为32的作品的399分之一，所以需要将它们与展厅中作品的展示逻辑衔接好，且必须随机传递给观众，其展示方式绝不能像售卖或赠予。在此设定下，作者把现场的木方斜向作品所在墙面，长短随机置于地面，使其形成一种“漂流木”的漂浮状态，契合了“漂流瓶”的概念，漂流瓶乱序摆放其上，观众自行弯腰拿取，且不易选择其所谓心仪的编号。并非作者不想讨好观众，原因是瓶内的“手”原型来自于叙利亚大马士革博物馆所藏“手印”，它是用于民主集会的“请柬”或“票证”，其中所蕴含的民主平等的理念是崇高且动人的。08三十二相石膏、铁丝、树脂多种尺寸2024—202508-32请柬石膏、麻绳、漂流瓶、热敏纸、玻璃、木方4×4×12cm×3992025作品09作品09，是展览中体量最小的一件作品，但对于作者个人，或本次展览，这是一座纪念碑（关于“纪念碑性”的论述，参见巫鸿《中国古代艺术与建筑中的“纪念碑性”》，上海人民出版社，2009年4月）。就作者个人的感受，这个展览空间更接近一个舞台，作品是舞台布景，作者的工作就是制作作品并构建其在空间中的关系，让观众既可以通过舞台“台口”远观，也可以进入其中。杜英奇2025年10月3日广角°青年实验项目空间主办中央美术学院美术馆“广角°青年实验项目空间”于2022年初启动首期，我馆秉承推动中央美术学院青年教师在策展与创作方面多维探索的理念，使美术馆三层C展厅的独立空间，成为青年教师创作研展、展览策划的一块实验田。目前已完成四期方案的征集、评选（现有22个展览方案入选）。应物“相”形——杜英奇雕塑新作主办：中央美术学院美术馆支持：中央美术学院雕塑系展览时间：2025年9月12日—10月31日展览地点：中央美术学院美术馆3层C展厅主编 / 何一沙责编 / 杜隐珠
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: Recruitment for CAFAM Workshop | Pastel Painting Experience Of "Xu Xingzhi's Artistic Achievements"

2025-10-17

“雄歌一曲献中华——许幸之艺术成就回顾展”展览现场“A Heroic Ode To China--Xu Xingzhi's Artistic Achievements is Currently on Display. This exhibition is part of the "Century-long Glory · Renowned Artists" series hosted by the Central Academy of Fine Arts. As the largest and most comprehensive retrospective exhibition of Xu Xingzhi's artistic achievements to date, it showcases over 400 pieces/groups of his representative works and precious documents, many of which are being exhibited for the first time. The exhibition presents the artist's outstanding accomplishments in multiple fields – including painting, art history, literature, film, and theater – in an all-round, multi-dimensional, and in-depth manner.《黄山日出》许幸之 1981年砂纸色粉 22.5×27cm《玉屏暮色——黄山风景》许幸之 1981年纸本色粉 30.6×45.9cm《海恋——根据印度诗人泰戈尔诗意创作》许幸之 1984年纸本色粉 30.3×45.5cm许幸之先生晚年时期开始尝试色粉画创作，在各地写生期间陆续创作了《黄山夕照》《飞来峰之晨》《太湖之滨》《云海》等作品。在展览期间，我们特别策划了此次色粉绘画体验工作坊，带您从“欣赏者”变身“创作者”，在导师的带领下，深度了解许幸之先生独特的色粉创作方式，并从中获得灵感，完成属于自己的专属色粉作品。工作坊招募 01成人工作坊活动时间：2025年10月18日（周六）10:00—12:00（请于9:50在美术馆前台准时签到）活动地点：中央美术学院美术馆3层B展厅招募对象：18岁以上成人招募人数：20人报名方式：扫描下方二维码报名，名额有限请预约本次活动的公众自行购买美术馆门票名额有限，报满为止*报名后如不能参加请及时取消，年度内累计两次未取消且缺席者，将暂停本年度公教活动参与资格。| 工作坊导师 |迟明1984年生于山东烟台，2011年和2021年先后毕业于中央美术学院和伦敦艺术大学获得双硕士学位。现为中央美术学院油画系第三工作室青年教师。作品曾被中央美术学院美术馆、上海民生现代美术馆、澳大利亚悉尼白兔美术馆等机构收藏。02儿童工作坊活动时间：2025年10月18日（周六）14:00—16:00（请于13:50在美术馆前台准时签到）活动地点：中央美术学院美术馆3层B展厅招募对象：8—15岁招募人数：20人报名方式：扫描下方二维码报名请参与活动的青少年微信扫码，预约本次活动的家长或陪同人员请购买美术馆门票名额有限，报满为止*报名后如不能参加请及时取消，年度内累计两次未取消且缺席者，将暂停本年度公教活动参与资格。| 工作坊导师 |邝纯熙中央美术学院油画系第三工作室学生，曾获中央美术学院三等奖学金，造型学科基础部优秀学生奖等。参加成人和儿童工作坊的公众，请自备绘画材料：1.色粉Pastel（20色—30色，参考上图）2.色粉纸（尺寸：27.9×35.6cm或A3尺寸大小均可；纸张数量不限）3.画板（可根据个人情况准备，尺寸在半开以内即可）注：1. 该活动为公益项目，报名成功的公众可免费参与本次工作坊活动。2. 绘画材料需按照上文图示自备。3. 活动最终解释权归中央美术学院美术馆所有。百年辉煌·中央美术学院艺术名家雄歌一曲献中华——许幸之艺术成就回顾展展览时间：2025年9月18日—10月31日展览地点：中央美术学院美术馆3层B展厅主办单位：中国美术家协会、中央美术学院承办单位：中央美术学院党委宣传部、中央美术学院校史研究中心、中央美术学院美术馆、中央美术学院人文学院、中央美术学院油画系支持单位：中国人民抗日战争纪念馆、中国电影家协会、中国电影博物馆展览鸣谢：中国美术馆、龙美术馆、泰康保险集团股份有限公司、之已基金会、王薇、施俊兆、黄俊、董瑞主编 / 何一沙责编 / 杜隐珠
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Child Public Education Reservation Form

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Adult Public Education Event Reservation Form

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Group Public Education Event Reservation Form

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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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.