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母亲节的艺术告白——中央美院毕业季「母性叙事」特辑

2025-05-10

当康乃馨的芬芳漫过五月的风,中央美术学院毕业季中一场关于生命起源、成长羁绊与情感链接的艺术告白,正在展厅中悄然生长。几位青年艺术家分别用画笔、雕塑、影像,构建了一场生命对话录,将"母亲""母爱"“母性”这一永恒的母题凝练成视觉的诗篇。在母亲节到来之际,为观众献上这一份兼具情感与温度的艺术厚礼。01看见时光的重量CAFAM@ 2025作者:苗润泽作品名:《母亲的母亲的母亲》  导师:宁瀛 冯欣中央美术学院城市设计学院苗润泽的毕业作品——《母亲的母亲的母亲》通过对外曾祖母日常生活的记录与访谈,塑造一位98岁老人幽默而坚韧的生命状态,以纪实与诗意交织的影像,描绘了一位母亲、女性坚毅而丰盈的生命底色。苗润泽在构思毕设选题时,希望自己的作品能跳出传统家庭纪录片的框架,采用诙谐生动的语言讲述外曾祖母的故事,回望她过往的人生,既展现其积极正向的生活态度,同时表达她对生命体验的感悟和人生思索。02生命最初的凝视CAFAM@ 2025作者:杨淞然作品名:《痕迹》  导师:牟柏岩材料:植鞣革牛皮"当手指抚过这些雕塑上保留的痕迹、缝线时,触摸到的不仅是柔软的皮革——那是一位母亲分娩后,妊娠纹在腰间的低语、是哺乳后松垂乳房的呢喃,是束腰带勒进血肉的疼痛记忆”。中央美院雕塑系杨淞然创作的《痕迹》将雕塑与植鞣革皮料结合,让这些“实用”的器物成为诉说者,放到公共场域里呈现给大家,那些被社会刻意淡化的母亲的创伤便无从躲避,每一处缝合都是女性自我重建的轨迹。她认为,这不是关于美的展示,而是一场对女性生命韧性的解剖——她们的力量从不在于完美无瑕,而在于带着伤痕依然选择孕育、挣扎与生长!这也正是每一个位母亲的伟大之处。03成长的羁绊与觉醒CAFAM@ 2025作品名称:见信如晤作者:白若萱导师组:王黎明 靳军 冯梦波 刘德健研究方向:沉浸式体验与游戏设计中央美术学院设计学院白若萱的沉浸式交互影像作品《见信如晤》以写信、读信的方式,叙述了作者经历焦虑以及克服焦虑的过程。在这个过程中,妈妈给予了无条件的托举和支持。一封封关切的信件,包裹着温暖。在这场对话里,母爱始终保持着恰好的距离,在作者每一次踉跄的时刻,沉默地照亮下一段路。白若萱也写下了给妈妈的回信:“作为一个第一次当母亲的人,您已经非常非常成功了!给了我非常幸福的生活和开朗的性格!那么接下来,我希望您可以摆脱’妈妈‘’母亲‘这个词,自私一点,希望以后的日子里把所有的最好的东西都留给你自己”!相信,这也是所有儿女的心声。观众互动展览现场04重构记忆的味道CAFAM@ 2025作品名称:三餐作者:黄哩导师组:陈卓 靳军 王黎明 周舒lsabelHerguera(外聘专家)研究方向:影像叙事研究《三餐》源自中央美院设计学院毕业生黄哩的情感和经历。她说:“在 2024 年,我的母亲离开了,丧亲的伤痛让我难以将情绪宣之于口,对母亲的怀念最后附在了她生前爱吃的食物上”。她的创作是以饮食为整个影片的脉络,通过征集获取不同家庭的日常饮食情境作为基底,用三屏并置的朴素形式,将“离别”这一命题演绎为生活本身。她希望证明:永恒的离别并非戏剧化的告别,而是生活中每一刻都在流逝的生命存续。用这些普通的记录、平凡的一餐一饭以食为媒进行生命对话,在镜头里留存味道的记忆。当展厅的灯光渐渐亮起,那些凝固在雕塑上的皱纹、定格在影像中的拥抱、封存在信件里的叮咛,都将化作温柔的触点——或许是一段被忙碌掩盖的童年记忆,或许是一句羞于表达的感恩,又或许是对生命传承的顿悟。在这里,艺术不再是单向的观看,而是一场心跳同频的情感共振。最后,愿每位母亲都能在时光的洗礼中凝住自己的光,每位驻足者都能在此寻找到属于自己的情感锚点,让那些未曾言说的爱,在艺术的肌理中延续。主编 / 何一沙 责编 / 杜隐珠
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神谷幸江:艺术探索是连接当地历史与世界的催化剂——广岛与纽约的案例研究 | 2025CAFAM学术季

2025-05-10

日本东京国立新美术馆首席策展人 神谷幸江「神谷幸江女士以广岛现代艺术馆和纽约日本协会为例,探讨了艺术机构如何通过本土与全球的辩证统一构建跨文化对话平台。广岛馆以原爆创伤为纽带,通过艺术疗愈将地方记忆升华为人类共同议题;纽约协会则聚焦日美文化交融,以创新叙事推动全球再诠释。神谷幸江指出,当代美术馆需植根本土、开放对话、创新叙事,成为连接时空与文化的催化剂。这一观点与央美论坛对科技赋能下美术馆虚实共生的探讨相契合,共同指向艺术机构在全球化时代的使命——通过多元协作与技术融合,深化文化理解,促进艺术价值的跨地域传播。」1.个人背景与核心研究主题神谷幸江女士在担任日本东京国立新美术馆首席策展人之前,曾经在广岛现代艺术馆与纽约日本协会美术馆都担任过首席策展职位,她以两个不同区域城市的美术馆为研究对象,探讨艺术如何在植根本土文化的同时,通过历史与全球性特质的融合,构建起一个跨地域的对话平台,从而促进不同文化之间的交流与理解。2.艺术机构的全球化使命与实践框架神谷幸江强调,艺术机构在全球化的背景下,必须在尊重和维护地方文化基因的基础上,通过跨地域的合作与多元文化的视角,将本土的艺术经验提炼并升华为全人类共同关注的议题。她认为,艺术机构应当成为连接不同文化、不同历史背景的桥梁,通过艺术的力量促进全球性的对话与交流。广岛现代艺术馆聚焦原爆创伤的集体记忆传递,纽约日本协会则致力于日美文化的动态交融。二者虽路径不同,但均体现了“在地性”与“全球性”的辩证统一。这一实践框架要求艺术机构既要深入挖掘地方历史的文化深度,亦需打破地域限制,借助策展策略推动跨文化理解与协作,最终实现历史叙事与当代价值的有机融合。3.具体案例分析与实践1. 广岛现代艺术馆:创伤记忆的全球叙事重构据神谷幸江介绍,广岛现代艺术馆成立于1989年,其核心使命是通过艺术语言重构1945年原爆事件的历史创伤,将其转化为连接过去与未来的文化纽带。馆藏作品不仅记录原爆瞬间的毁灭性场景,更致力于传递个体与集体的记忆。她举例指出,艺术家宫岛达男的数字装置《时间之死》,以1至9的循环数字象征原爆瞬间的“时间停滞”,将抽象概念具象化为历史见证;草间弥生的《复苏的灵魂》通过密集细线隐喻逝去的生命,以极简形式引发对战争伤亡的沉思;奈良美智画中的“小女孩”则以双重眼神设计——一只眼映射原爆蘑菇云,另一只眼望向蓝天——展现创伤记忆与未来希望的交织。该馆的策展实践进一步通过跨文化合作拓展全球性反思。例如,英国雕塑家Henry Moore的原子主题雕塑与日本能剧面具的结合,以及艺术家Simon Starling与能剧大师三井康雄的合作项目,均以破碎的能剧面容象征身份撕裂,将传统艺术形式转化为国际性议题。神谷幸江强调,此类实践需平衡广岛居民的原爆记忆与外来游客的旁观视角,构建“共享记忆”平台,避免单一叙事对历史复杂性的简化。通过艺术疗愈与记忆重构,广岛现代艺术馆不仅建立了地域身份认同,更将地方创伤升华为人类共同议题,实现了从地方叙事到全球对话的跨越。2. 纽约日本协会:多元文化中的动态叙事创新纽约日本协会以促进日美文化交流为核心使命,其策展理念强调“去中心化”,即摒弃单一国家视角,转而关注文化交融中的动态关系。通过建筑与艺术的并置,该机构直观呈现了日本社会从战后重建到后工业时代的复杂转型。以东京建筑演变为例,丹下健三设计的1964年代代木国立体育场融合传统与现代风格,象征战后日本的经济复苏与文化自信;而隈研吾设计的2020年新国立竞技场则以木材与自然元素回应老龄化社会与福岛核灾后的生态反思,体现当代日本对可持续性理念的实践。在艺术领域,纽约日本协会通过先锋展览重构日本叙事。例如,“荒野中的激进主义”聚焦60年代日本先锋派艺术,展现其在装置与行为艺术领域的突破,及其与国际前卫运动的呼应。地方艺术实践(如乡村艺术项目)与全球知识生产的结合,进一步凸显跨地域协作的创新潜力。为增强展览的多维性,该协会打破传统空间布局,将历史档案、建筑模型与当代影像并置,以直观方式呈现东京的城市变迁。这种叙事策略不仅强化了文化交融的深度,也鼓励观众通过批判性思考参与对话,推动日本文化在全球语境中的再诠释。4.策展范式对比与未来使命广岛与纽约的案例揭示了两种差异化叙事路径:广岛以原爆创伤为核心,通过情感共鸣与体验式观展建立身份认同;纽约则以文化交融为框架,通过知识传递与批判性思考映射社会经济变迁。二者在全球化实践中形成互补——广岛通过国际合作将地方创伤升华为人类共同议题,纽约则依托多元文化背景推动日本叙事的全球再诠释。神谷幸江总结,当代艺术机构需承担三大使命:其一,植根本土,深入挖掘地方历史与文化基因,确保叙事的真实性与深度;其二,开放对话,通过跨地域合作与多元视角,构建全球共享的艺术语言;其三,创新叙事,利用技术、空间与策展策略,将静态历史转化为动态体验,激发观众对过去、现在与未来的多维思考。广岛与纽约的实践案例清晰地展示了艺术所承载的深远意义,它不仅仅是历史的记录者,更是连接不同时空、地域与不同群体之间的强大催化剂。通过策展实践,地方性的经验与故事得以跨越地理界限,成为全球文化对话中不可或缺的有机组成部分。这种跨文化的交流与互动,最终促进了文化的传承与再生,使得艺术的影响力得以在更广阔的范围内得到认可和发扬。演讲嘉宾介绍神谷幸江神谷幸江曾担任纽约日本协会画廊总监、广岛市现代美术馆首席策展人以及纽约新博物馆的副策展人。2025 年 4 月将开始担任东京国立艺术中心的首席策展人。神谷幸江是第 12 届上海双年展(2018 年)的联合策展人,并策划了多个国际展览。作为久保田茂子影像艺术基金会的顾问委员会成员,也是国际艺术评论家协会(AICA) 成员。出版物包括《杉本博司:天堂之门》(Skira Rizzoli,2017 年 )、《被摧毁的:冲突时期的艺术与文化》(Mercatorfonds,2014 年)以及《更精选:当代艺术与文化》(Phaidon, 2010 年)。 ∨ 主编 / 何一沙 责编 / 杜隐珠拍照 / 贺伊飞编辑 / 丰凯梓奇
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打破AI焦虑、“做”出来的央美雕塑 | 2025中央美院毕业季

2025-05-10

在人工智能刷新创作效率的今天,当算法生成的“完美”雕塑模型充斥屏幕时,中央美术学院雕塑系的研究生们选择用多种媒介,在展厅中铺开一场沉默的宣言:香樟木、树脂、PU、金属、石膏、陶瓷、影像等——这些作品以回归本源的创作姿态,重新确认着手工劳作与身体经验在艺术中的不可替代性。几十件凝结温度的作品向人们证明:艺术最珍贵的部分,永远无法被算法计算。  “很高兴,呈现一台没被‘AI焦虑’所困扰的雕塑展,在此,雕塑依然是被“做”出来的。身体、现场、情感、甚至是缺憾,是雕塑不可替代的专业硬核”,中央美术学院雕塑系直属党支部书记孙璐如是说,“同时,作为毕业展的亲历者,具身在美术馆这个文化道场,体会着身心的物性呈现,这美妙的心理体验和高度的仪式感,将会成为每位同学的永恒”,当中央美术学院美术馆的天光洒进展厅,金属上的斑斑锈迹,木材的膨胀张力,石膏固化的余温……这些物质的“语言”,才是雕塑最本真的叙事。在这里,没有AI焦虑的阴影,只有一群年轻人用最动人的方式,追逐着思想之光。01展览现场CAFAM@ 202502展出作品CAFAM @ 2025
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伊莎贝尔·贝尔托洛蒂:在MacLYON开展本地和国际跨文化合作 | 2025CAFAM学术季

2025-05-10

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浇不熄的艺术热情 | 央美毕业季中的版画作品释放全新生命力

2025-05-09

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活动招募 | 跟随导览漫步“冉冉晨城”,参与首都图书馆创意工坊

2025-05-08

“冉冉晨城——中央美术学院美术馆藏北京主题作品展”正在首都图书馆(华威桥馆)B座第二展厅展出。本周末将有两场活动招募公众参与,欢迎预约报名。在书香画意中,感受城市的冉冉晨曦和艺术的跃动光芒。漫步“冉冉晨城”——跟随艺术家和策展人一同看展时间:2025年5月10日周六,10:00-11:00地点:首都图书馆(华威桥馆)B座第二展厅北京中轴印象——立体书制作儿童工作坊时间:2025年5月10日周六,14:00-16:00地点:首都图书馆(华威桥馆)B座第二展厅*活动需报名预约,具体参与方式详见下方活动介绍01.漫步“冉冉晨城”——跟随艺术家和策展人一同看展“冉冉晨城——中央美术学院美术馆藏北京主题作品展”聚焦中国现当代美术史中北京城市形象的艺术叙事,系统性梳理中央美术学院美术馆典藏的北京题材艺术作品。展览以“晨起”“蓬勃”“更新”“择中”四个板块为叙事线索,精选60件艺术作品,呈现了不同代际艺术家在都市景观描绘与人文精神诠释中的风格流变轨迹。本周末,此次展览的参展艺术家周吉荣教授,策展团队高高、易玥,将与观众一起漫步“冉冉晨城”。在观看精彩展品的同时,聊叙不同历史时期艺术创作对城市面貌与社会语境的关注。| 导览嘉宾 |周吉荣中央美术学院二级教授,博士生导师,中央美术学院学术委员会委员,国际学院版画研究院副院长。中国美术家协会会员。作品曾参加国内、国外多项重要展览,获奖十余次项。出版画集、画册10余种。曾多次在国内外举办个人画展。作品被多家重要博物馆、美术馆收藏。高高中央美术学院美术馆副馆长。2010年进入中央美院美术馆工作,主要负责美术馆国际展览项目的组织、策划与实施,以项目负责人的身份主持完成了多个国际艺术展览。| 主持人 |易玥中央美术学院美术馆策划研究部副主任,曾参与策划多个国内外现当代艺术展览,侧重于展览史、展览策划与视觉传播的研究。| 线下导览时间 |2025年5月10日(周六)10:00-11:009:50在展厅签到集合| 线下导览地点 |首都图书馆(华威桥馆)B座第二展厅| 线下参与方式 |识别下方二维码预约活动活动适合成人和15岁以上的未成年人限40人,约满即止*报名后如不能参加请及时取消,否则将可能影响您预约首图其他活动活动须知1.活动开始前30分钟可持预约码签到入场,一人一码,敬请谅解。2.活动开始后30分钟将停止签到,预约成功如无法按时参加,最迟请于活动开始前30分钟取消预约,否则将影响您预约其他活动。3.为保护知识产权,导览过程中未经授权,禁止录音和录像,请勿使用闪光灯或专业摄影设备。4.请勿将食品饮料带入活动场地,场内请勿饮食。5.主办方会对导览进行全程摄录,读者到达现场即视同接受群像、特写等拍摄及传播。6.导览中主讲人和活动嘉宾的观点不代表本馆立场。7.活动内容视具体情况调整,如有变化会及时通知。本次导览为公众安排了导览直播请关注以下线上直播时间与平台| 线上直播时间 |2025年5月11日(周日)17:00-18:00| 线上直播平台 |中央美术学院美术馆官方平台抖音平台@中央美术学院美术馆小红书平台@中央美术学院美术馆首都图书馆官方平台02.北京中轴印象——立体书制作儿童工作坊小朋友们,在北京这座充满古韵与魅力的城市中,藏着一条神秘的 “魔法线”—— 北京中轴线。它宛如城市的脊梁,默默串联起众多闻名遐迩的建筑,见证着北京从古至今的历史变迁。时光回溯至 700 多年前的元朝,皇帝欲打造一座宏伟都城,聪慧的建筑师们灵机一动,规划出一条笔直的轴线,让重要建筑沿此依次排列,北京中轴线由此诞生。宋红雨,《北京胜境全景》,1992年,199.5cm×199.5cm,布面油彩,中央美术学院美术馆藏张桂林,《记忆之四》,2008年,45.5cm×67.5cm,丝网套色,中央美术学院美术馆藏正在展出的“冉冉晨城——中央美术学院美术馆藏北京主题作品展”,呈现了艺术家们围绕中轴线建筑所创作的艺术作品。在随课程导师浏览展览作品和中轴线上的建筑后,小朋友们将亲手制作中轴线上的建筑立体书,并搭建一个属于自己印象中的“中轴建筑”哦!工作坊主题北京中轴印象——立体书制作| 工作坊策划 |肖宝珍中央美术学院美术馆公共教育部主任| 课程导师 |张伊驰中央美术学院2024级建筑专业研究生,从本科到硕士,七年扎根央美建筑系,在空间美学与结构逻辑的探索中,始终怀揣着对美育的热忱。五年间,张伊驰将专业所学转化为美育实践,参与央美“高参小”项目,陪伴孩子打开艺术世界。本次工坊将带领孩子们用彩纸、木料等材料,将天马行空的想象变为立体书、皮影戏道具。美育不仅是技巧的传授,更是创造力的唤醒。| 工作坊时间 |2025年5月10日(周六)14:00-16:0013:50在展厅签到集合 | 工作坊地点 |首都图书馆(华威桥馆)B座第二展厅 | 参与方式 |识别下方二维码预约活动活动适合8-12岁儿童,限20人,约满即止*报名后如不能参加请及时取消,否则将可能影响您预约首图其他活动活动须知1.活动开始前30分钟可持预约码签到入场,一人一码,敬请谅解。2.活动开始后30分钟将停止签到,预约成功如无法按时参加,最迟请于活动开始前30分钟取消预约,否则将影响您预约其他活动。3.请勿将食品饮料带入活动场地,场内请勿饮食。4.主办方会对活动进行全程摄录,读者到达现场即视同接受群像、特写等拍摄及传播。5.活动内容视具体情况调整,如有变化会及时通知。| 关于北京文化艺术基金 |北京文化艺术基金是由北京市文化和旅游局发起设立的公益性基金,重点围绕舞台艺术创作、文化传播交流和艺术人才培养三大领域开展资助。基金面向社会接受申报、资助过程受社会监督、资助成果由社会共享,最大限度调动社会参与文化建设积极性,搭建了一个开放平等、公开透明的艺术资助体系,充分发挥全国文化中心的示范引领作用。| 展览信息 |北京文化艺术基金2024年度资助项目冉冉晨城:中央美术学院美术馆藏北京主题作品展 展览时间:4月18日-5月18日展览地点:首都图书馆(华威桥馆)B座第二展厅 主办:中央美术学院协办:中央美术学院美术馆 首都图书馆支持:中央美术学院科研处主编 / 何一沙责编  / 杜隐珠编辑 / 丰凯梓奇现场图 / 贺伊飞
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辛友仁 | 作为方法的比较:全球南部的非殖民化艺术史、批判性恢复与代表性问题 |2025CAFAM学术季

2025-05-06

新加坡国家美术馆策展、研究与展览总监辛友仁「日前,在”文化引擎——中央美术学院国际美术馆高峰论坛“中,新加坡国家美术馆策展、研究与展览总监辛友仁以“作为方法的比较:全球南部的非殖民化艺术史、批判性恢复与代表性问题”为题,探讨了在文化多元共生的时代,如何建立更为平等、包容的艺术叙事以及多元现代性的艺术价值判断标准。未来,这种以批判性思维和比较视野为基础的策展方法论,或将成为美术馆应对文化复杂性的重要路径。」1.反思性博物馆的理念构建新加坡国家美术馆作为2015年成立的年轻机构,以其独特的文化定位和策展理念,为全球美术馆提供了非西方视角的重要参考。该馆将前市政厅和最高法院两座历史建筑改造为艺术空间,这一物理载体本身就象征着权力场域向公共文化空间的转化。美术馆以"反思性博物馆"和"人的博物馆"为核心理念,致力于构建新加坡与东南亚、东南亚与世界的艺术对话网络。这种定位超越了传统美术馆的展示功能,将自身塑造为文化认同建构与知识生产的活跃场域。2.批判性恢复性别平等和去殖民化的艺术史重构美术馆的核心策展方法"批判性恢复",是对东南亚艺术史的系统性重审。通过对8500件馆藏的性别分析发现,男性艺术家作品占比高达80%,女性艺术家仅占10%,这一数据揭示了艺术史书写中的结构性不平等。美术馆通过持续性的藏品研究和展览策划,试图解构殖民时期形成的父权叙事,如重新审视19世纪英国殖民艺术家创作的植物图谱——这些作品表面是科学记录,实则是殖民权力对自然与文化进行规训的视觉表征。在"你是谁"等常设展中,美术馆不断挑战既有的历史叙事框架。对旅游海报等殖民视觉材料的批判性展示,揭露了东方主义视角如何塑造东南亚的刻板形象。这种恢复不仅是历史修正,更是一种文化主权的主张,通过艺术档案的重新解读,建立本土的阐释权。3.比较方法论全球南方的艺术对话"热带:东南亚与拉美艺术比较展"(2024)体现了美术馆创新的策展方法。该展览打破西方中心主义对"热带"的单一想象,通过巴西建筑师奥斯卡·尼迈耶的作品与东南亚艺术的并置,构建南南对话的知识框架。这种比较不是简单的形式对照,而是对地理概念的文化解码——将"热带"从西方视角下的异域奇观,还原为多元现代性的发生场。展览特别关注高更作品的重新语境化,将其置于太平洋艺术家的创作脉络中审视,解构了现代主义大师神话。这种策展实践呼应了霍米·巴巴的"第三空间"理论,在文化交叉处创造新的意义可能。通过建立东南亚与拉美艺术家的作品对话,美术馆构建了去中心化的艺术史叙事网络。面对女性艺术家文献匮乏的困境,美术馆发展出独特的档案研究方法。通过挖掘早期艺术学校记录、展览档案和私人收藏,重建被主流叙事遮蔽的女性创作谱系。研究发现,殖民地时期的女性艺术家常被贬为"周末画家",其专业成就遭到系统性忽视。美术馆通过"周日画室"等专题展览,不仅展示作品,更呈现性别化的艺术生产机制。这种研究延伸到跨学科实践领域,关注戏剧、音乐与视觉艺术的交汇点。对多元艺术形式的包容,打破了传统美术馆以架上绘画为中心的收藏体系,体现了更为民主的艺术价值判断标准。4.机构实践与文化政治美术馆的策展战略具有明确的文化政治指向:首先,通过"全球艺术史中的位置自觉",既参与国际对话又保持文化主体性;其次,采用"灵活重构"的方法,使新加坡艺术史成为持续更新的开放文本;最后,建立广泛的国际伙伴网络,在交流中拓展研究视野。这种实践面临三重挑战:如何平衡本土关怀与国际视野、如何处理历史遗产与当代诉求、如何在资源有限的情况下进行深度研究。美术馆通过"多重现代性"框架回应这些挑战,既承认中国水墨、俄罗斯先锋派等多元影响,又强调东南亚自身的现代性轨迹。5.威尼斯双年展的启示与策展伦理对威尼斯双年展的案例分析,揭示了代表性政治的复杂性。美术馆提出"深度策展"理念,反对符号化的文化展示,强调策展应超越表面异国情调,触及艺术生产的深层结构。这种伦理思考直指核心问题:美术馆为谁而存在?知识生产为谁服务?新加坡国家美术馆的实践表明,当代美术馆不仅是艺术品的保管者,更是文化话语的生产者。通过批判性恢复和比较方法,它构建了非殖民化的知识体系,为全球南方美术馆提供了范式参考。其经验启示我们:美术馆的革新不仅在于展示形式,更在于认知框架的转换;不仅关乎艺术史的重写,更关乎文化权力的重新分配。这种实践的价值超越了地域限制,对全球美术馆界具有普遍意义:在文化多元共生的时代,如何建立更为平等、包容的艺术叙事?新加坡国家美术馆的探索,为这一命题提供了富有启发性的解题思路。未来,这种以批判性思维和比较视野为基础的策展方法论,或将成为美术馆应对文化复杂性的重要路径。演讲嘉宾介绍辛友仁2024年被任命为新加坡国家美术馆策展、研究与展览总监。此前,他担任的职位是高级策展人和副总监(负责策划与研究)。目前,他在新加坡国立大学担任艺术史辅修课程的讲师。他于 2019 年获得墨尔本大学的博士学位。他的研究聚焦于从有关游散、移民及文化迁移等议题的研究出发探讨区域艺术史(主要关注东南亚艺术)。目前,他是现代艺术博物馆与收藏国际委员会(国际博物馆理事会的附属组织) 的董事会成员,也是新加坡独立艺术机构 OH! Open House 的董事会成员。他策划过许多关于现当代亚洲艺术的展览,并发表了大量关于亚洲艺术史、展览史和艺术团体史的写作。主编 / 何一沙 责编  / 杜隐珠文字整理 / 曹雨晨现场图 / 贺伊飞
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展览导读 | “冉冉晨城”艺览:穿越时空的北京艺术叙事

2025-05-06

“冉冉晨城:中央美术学院美术馆藏北京主题作品展”正在首都图书馆(华威桥馆)B座第二展厅展出。本次展览聚焦中国现当代美术史中北京城市形象的艺术叙事,通过系统性梳理中央美术学院美术馆典藏的北京题材艺术作品,深入探讨不同历史时期艺术创作与社会语境的互动关系。展览以“晨起”“蓬勃”“更新”“择中”四个板块为叙事线索,精选60件艺术作品,呈现了不同代际艺术家在都市景观描绘与人文精神诠释中的风格流变轨迹。本文带领大家走进展览,解读作品背后的艺术故事,诚邀观众亲临首都图书馆展厅,在书香画意中感受艺术魅力,共赴这场艺术与人文的对话。 艾中信,《紫禁城残雪》,1947年,38cm×70cm,木板油彩,中央美术学院美术馆藏1947年冬,青年画家艾中信踏雪登高,在凛冽寒风中完成了此件写生油画作品《紫禁城残雪》。画布之上,皑皑残雪覆盖的紫禁城宛如沉睡的巨龙,沿中轴线次第展开的三大殿(太和、中和、保和)与后三宫(乾清、交泰、坤宁)构成规整宏大的建筑群。画家以横向延展的全景式构图,将这座昔日皇城从容纳入画框。前景虬曲的柏树枝干如墨色波涛,深郁的冷色调中跳跃着斑驳亮色,巧妙营造出树冠与中景的空间纵深感。远景朱墙金顶在澄碧苍穹下渐次浮现,与天际浅橙的云霞遥相呼应,恰似在冰封的历史记忆中透出春意萌动的生机。艾中信是20世纪中国第二代油画家的杰出代表之一,尤其致力于推进写实主义油画创作。早年师从徐悲鸿,1940年留校后又受徐悲鸿之邀在北平艺专教学,解放后历任中央美术学院教授、油画系主任、副院长。邵声朗,《北京风景之二:西城朝晖》《北京风景之八:景山秋雨》,1961年,65cm×34cm,纸本设色,中央美术学院美术馆藏邵声朗在1961年创作的一套八件中国画作品《北京风景》,将传统“燕京八景”转化为具有新中国气息的城市景观。无论是对“风景”的选择,亦或是“风景”的形式与语言,艺术家意在以“新国画”构建起新中国山水画的美学范式。八景均是以俯瞰视角呈现北京城廓,西式焦点透视替代了传统山水“三远法”,并与水墨皴擦奇妙共生。画家巧妙运用屋脊的纵深排列、道路的线性延伸,营造出立体空间感,使观者仿佛置身高处俯瞰“风景”。与此同时,光感也成为这组作品着力表现的重点,特别是在《北京风景之二:西城朝晖》中可以清晰的识别出沐浴在橘红色的城市是处在清晨的特定时间段。八幅风景犹如打开的折叠城市,在收放之间凝固了古都向现代首都蜕变的决定性瞬间。邵声朗于1956年夏考入中央美术学院中国画系,师承于叶浅予、蒋兆和、李可染、李苦禅等大师门下,1961年至湖北艺术学院(现湖北美术学院)美术系任教,被誉为誉为湖北画坛学院派的代表。历任湖北艺术学院美术系副主任、副教授,湖北美术学院教授、研究生导师、湖北书画院副院长等。王琦,《大街上的旋律组画之立体交叉》《“大街上的旋律”组画之平地青云》,1987年,40.2cm×28cm,木版单色,中央美术学院美术馆藏在改革开放的浪潮中,80年代的中国城市涌动着现代性觉醒的脉搏。王琦于此时创作的系列版画《大街上的旋律》,以黑白木刻的独特语言,强烈地表现了城市走向未来的现代气息与活力:纵横的直线构筑建筑纲领,崛起的高楼与交错的街道构成视觉五线谱,往来汽车、行人与门户犹如跃动的音符。其中,《立体交叉》以现代桥梁的曲直线条分割画面,画面下方嵌入了1981年北京地铁开创的中国首条城市轨道交通。当《立体交叉》登上大英博物馆馆刊首页时,世界不仅注视着中国版画的艺术突破,更见证了改革开放时代中国城市化进程的蓬勃生命力。王琦的刻刀犹如时间之梭,既保持了木刻艺术的筋骨之力,又暗合现代都市速度感的审美特质。王琦是中央美术学院教授、著名版画艺术家、美术理论家,历任中国美术家协会副主席、分党组书记、顾问,曾任中国版画家协会主席,在美术创作、研究和组织工作上取得了卓越成就,影响深远 。瞿广慈,《王府井》,1994年,40cm×35cm×118cm、50cm×65cm×116cm、50cm×43cm×106cm,玻璃钢着色,中央美术学院美术馆藏瞿广慈创作于上世纪90年代的雕塑《王府井》,塑造了三位不同的对象,即手握小旗、维持秩序的老年妇女、大步奔走的青年女子和伫立等待的青年男子,共同构成了公交车站附近的市民百态缩影。作品以独特的现实主义视角凝固了朝气活跃的市井图景,将北京最具活力的商业街解构为充满哲学隐喻的视觉剧场,使市井百态升华为转型期社会的集体精神肖像,在个体叙事中折射出城市化进程中的文化张力,延续了央美雕塑学派对社会现实的敏锐观察。瞿广慈是中国当代著名雕塑家,1997年毕业于中央美院雕塑系,获硕士学位。《王府井》是瞿广慈于1994年完成的本科毕业创作,并获得第八届全国美展大奖。缪晓春,《立》,2007年,253cm×444cm,收藏级艺术微喷,中央美术学院美术馆藏缪晓春自进入新世纪后便开始关注城市的加速更新,用相机记录北京新形象的建立过程。缪晓春于2007年完成的摄影作品《立》是此阶段的代表作之一,它以独特视角重构了北京奥运时代的城市生长史。艺术家持续追踪鸟巢、水立方等标志性建筑的施工进程,经长达数月的定点拍摄,并通过精密计算的光影衔接,将不同时间维度的建设影像拼合成单幅作品——脚手架林立的工地与渐显轮廓的奥运场馆共处同一画面,形成现实与超现实交织的视觉档案。有别于传统摄影的瞬间定格,《立》刻意模糊了时间的线性逻辑。画面中既有地基开挖的原始场景,也有钢结构焊接的火花飞溅,甚至捕捉到穹顶收尾时工人如蚁的细节。这种时空叠合手法打破了摄影的瞬时性,使建设过程本身成为叙事主体。缪晓春现为中央美术学院设计学院教授,作品包括摄影、绘画和基于软件创作的三维电脑动画,算法绘画和雕塑,并在国际上广泛展出。周吉荣,《景观——鼓楼》,2013年,60cm×75cm,丝网套色,中央美术学院美术馆藏周吉荣的《景观》系列版画以独特的视觉考古学视角,解构了北京中轴线的时空密码。艺术家选取了中轴线上的12座典型建筑,包括永定门、祈年殿、箭楼、天安门、太和殿、乾清宫、鼓楼、钟楼、景山和鸟巢,从南向北推移的顺序进行表现,通过180度多角度拍摄获取上千张素材,经数字合成与25层以上丝网套印,使凝固的建筑在画面上产生时间性的虚像叠变。这种"层"的美学建构,既是技术革新更是观念突破。每增加一个印刷层,建筑的实体轮廓便向历史纵深退隐一分,最终呈现的虚像恰如城市记忆的显影。艺术家通过综合版画的复数性特质,将中轴线从地理坐标升华为文明演进的视觉年轮。周吉荣现为中央美术学院二级教授,硕士生、博士生导师,国际版画研究院第一副院长,国际学院版画联盟秘书长,中国美术家协会会员。| 关于北京文化艺术基金 |北京文化艺术基金是由北京市文化和旅游局发起设立的公益性基金,重点围绕舞台艺术创作、文化传播交流和艺术人才培养三大领域开展资助。基金面向社会接受申报、资助过程受社会监督、资助成果由社会共享,最大限度调动社会参与文化建设积极性,搭建了一个开放平等、公开透明的艺术资助体系,充分发挥全国文化中心的示范引领作用。| 展览信息 |北京文化艺术基金2024年度资助项目冉冉晨城:中央美术学院美术馆藏北京主题作品展 展览时间:4月18日-5月18日展览地点:首都图书馆(华威桥馆)B座第二展厅 主办:中央美术学院协办:中央美术学院美术馆 首都图书馆支持:中央美术学院科研处主编 / 何一沙责编  / 吴靖编辑 / 丰凯梓奇现场图 / 贺伊飞识别二维码,关注我们微信公众号官方网站官方微博官方抖音官方小红书哔哩哔哩点赞分享推荐
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今日立夏

2025-05-05

今日立夏
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无疗愈,不艺术 |央美毕业季的观看指南

2025-05-05

今天恰逢五四青年节的到来,此篇推送将通过2025中央美术学院研究生毕业展的多幅作品,展示当代青年多维度的精神图景——这里没有标准答案式的治愈鸡汤,而是构筑起一个充满共情与诗意的窗口。从旧的“玩具小象”对于“希望”的重新赋予,到“理想之地”的具象化表达;从可触摸可“躺平”的软雕塑到用家人旧照片为媒介创作的花丝镶嵌;从探讨生命、记忆虚幻本质的泡沫雕塑装置到万物皆流、一瞬永恒的时空叙事。这些作品不是高高在上的艺术宣言,也不是轻飘飘的情绪安慰剂,而是用跨学科的创作、沉浸式的互动与细腻的表达,为人们营造了一个“艺术疗愈”空间。01回望与希望“希望”是人类精神世界最微妙也最强大的存在之一,这幅作品将“希望”与“陈旧玩具”联结,当旧玩具被从垃圾桶或阁楼重新拾起时,它的“复活”隐喻着希望的韧性——破败的外表下,仍有被重新赋予意义的可能。这组雕塑描绘的并非是现实中真实的牧场景象,更像是一种作者对“理想之地”的具象化表达。在“静地之上”,万物平等,各自为生,互不打扰。这些小动物们不是工具,也不是点缀,它们有名字、有情绪、有姿态,在那个地方,关系被重组,万物不再按功能与归属被分类,而只是平等地存在着,自由地活着。02感受与重塑在作者塑造的白银世界中,一生不被衰老和生计所扰,得以一直保持孩童般的无忧无虑。有时候会感觉生活突然变得矛盾,而大家都在矛盾中重复着一些东西,重复渐渐成了规矩,并且无法摆脱。作品表现了一成不变的“生”和挥之不去的阴影的“活”结合在身体和心理上的感受。尝试触摸它、拥抱它,会有不同的心灵体验。作者在家中发现了很多照片,它们自然带着时代的滤镜,诉说不同的人物在各个时期的故事。而花丝镶嵌工艺制作的首饰或器物中都是蕴含叙事性的,纹样符号的隐喻叙事、丝型结构的空间叙事再到题材故事。填丝的过程是治愈的过程,也是和遗憾和解的过程。03虚幻与瞬间此雕塑作品以材料的脆弱性与短暂性为核心,探讨了生命、记忆的虚幻本质。泡沫易逝的形态隐喻存在的无常,而透明质感则暗示表象与真实的矛盾。观众可介入触碰或观察其光影变化,从而参与对“消亡与创造”的思考——在美丽与崩塌的临界点,揭示永恒与瞬息的辩证关系。此雕塑作品以材料的脆弱性与短暂性为核心,探讨了生命、记忆的虚幻本质。泡沫易逝的形态隐喻存在的无常,而透明质感则暗示表象与真实的矛盾。观众可介入触碰或观察其光影变化,从而参与对“消亡与创造”的思考——在美丽与崩塌的临界点,揭示永恒与瞬息的辩证关系。2025年的中央美院毕业季还有很多精彩的作品等你探索,它们没有故作深沉的宏大叙事,只有对生命皱褶的温柔注视。当艺术成为普通观众触手可及的自愈工具,这场展览本身便成为一代青年人的精神镜像:我们或许易碎,但拥有重新拼凑自我的勇气。当然,真正的疗愈永远始于观展后走出美术馆大门的那一刻——当你带着修复过的自己重新走进生活中,那才是艺术开始生效的瞬间。主编 / 何一沙 责编 / 杜隐珠现场图 / 贺伊飞部分图片来源于网络
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Child Public Education 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

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

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

Reminder:

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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