Exhibitions and Events-News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

个体微声在山重水复中徐徐道来|“颅海见山:楔子”展览现场

2025-04-17

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,使美术馆二层半的独立空间,成为青年教师创作研展、展览策划的一块实验田。目前已完成三期方案的征集、评选(现有十八个展览方案入选)。重峦叠嶂处,山重水复;柳暗花明时,声声唤归。“广角°青年实验项目空间”第三期第五个展览“颅海见山:楔子”已于3月20日春分日中在中央美术学院美术馆2层C展厅开幕。展览由冯雪副教授、王子琪副教授、韩佳彤、刘则芊、王楠、郑淏文组成的师生团队进行策划,蔡山海、杜昆、杜英奇、观潮KwanTeo、古务运动发展小组、顾适、黄洋、绘川、李沁洋、钱彬、社实SPL、沈靖皓、盛文强、邬建安、夏海瑜共15位艺术家或团体参展。在时代浪潮的沉浮里,如蜉蝣一般的生命如何展开?“颅海见山”关注个体及群体的际遇,聚焦“现实”在脑海中投射、演化和改造后的模样。本次展览从民间出发,将那些游离的颅海世界显化至山川之间。内心的风景背后尽是过去的记忆和古老的智慧,山成为情感的寄托,恒久的信仰,欢悦、素朴或虔诚的执念。因山阻隔,外人望不穿个体丰富的精神世界;有山而立,个体得以在时代洪流中稳固自身。“颅海见山:楔子”展览空间线图启领于山与海的意象,展览从空间上分为三个章节。从第一幕“莓苔见履痕”的幽暗处寻着入口,丛林掩映、溪流回环,岸边雾气笼罩。所展出的作品为此次展览委托创作,分别来自绘川与夏海瑜。“颅海见山:楔子”展览现场(图片致谢策展团队)在绘川的The Pool-Generation of Code中,代码生成的虚拟生物正在随着时间演化。当算法与生命在面前交叠重合,我们方知自己也身处这片海中,浮光掠影,皆是蜉蝣。海天留片石,石间六面皆山,山中自有乾坤。观夏海瑜《颅海见山》组画时,可见人世百态,可念万般遐思。金木水火土风,颅海之重重叠叠山吸引我们的凝望,目光回环迤逦,找寻共鸣之声时,已落入相异山海。The Pool-Generation of Code(委托创作)|2025|投影、石英砂、纱幕|尺寸可变图片由艺术家绘川惠允《颅海见山》组画(委托创作)|2025|纸本设色|6件,每件约40×50cm图片由艺术家夏海瑜惠允复行数十步,渐入晨间的山林。在第二幕“横看成岭侧成峰”的开阔通道里,个体之身躯、声波、墨迹、泥范或刻痕制成了自我的精神切片,一面立为坐标,一面围成屏障。江流天地外,颅海之中,一念障千山。“颅海见山:楔子”展览现场(图片致谢策展团队)循着人声以及回声的声波,杜昆的《喊山图》将我们引入了山林之间。呐喊时,个体的微声化为绵延山峦,而回声重重,因此拥有了穿山渡水的力量。杜英奇的《梦游者》将不锈钢的随机组合漂浮出轻盈姿态,《大清凉·云中现》处,宁静胜景,山林变照。云光掠影,观心中所见。《喊山图》|2023|数码视频|2分钟图片由艺术家杜昆惠允《大清凉·云中现》|2024|石膏、木、纸浆着色|左:25×15×1cm;右:40×30cm《梦游者》|2015|不锈钢|78×36×21cm图片由艺术家杜英奇惠允在《木刻三十六景》系列中,黄洋的目光聚焦于家乡老城墙面上,自然界雕琢的奇特纹理,并从中体悟材料与人的对抗及对话。这些内心的风景也不啻为一剂克服焦虑、安神健脑的良药,既暗示了艺术家不同状态的情绪波动,也反映了某种“以版入道”的创作追求。在《嵩阳印象》中,蔚然满目的古木古建、朝气蓬勃的研学儿童、源远流长的中华文脉共处于特定时空关系里,一次游历的生活体验经常会因为文化感染力或应景思维带来感情和精神上的触动,从而留下深刻记忆。
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“冉冉晨城:中央美术学院美术馆藏北京主题作品展”即将在首都图书馆亮相

2025-04-17

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开幕时间:4月18日15:00展览时间:4月18日—5月5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“冉冉晨城:中央美术学院美术馆藏北京主题作品展”是北京文化艺术基金2024年度资助项目。首展将于2025年4月18日15:00在首都图书馆(华威桥馆)B座第二展厅启幕。本次展览由中央美术学院主办,中央美术学院美术馆与首都图书馆共同承办,并得到了中央美术学院科研处的大力支持。展览展出60件名家大师与当代艺术家的艺术作品,类型包括油画、国画、版画、雕塑、摄影和影像,以四个版块——“晨起”“蓬勃”“更新”“择中”——为叙事线索,讲述北京城市层累生长的故事,展示首都不断发展的焕新面貌。北京的城市基因里镌刻着层积性生长的密码。“冉冉”既是晨光初照的都市苏醒,亦是文明积淀的层累生长;“晨城”既指向永定河畔三千载的建城记忆,更隐喻着新时代首都的破晓锋芒。中央美术学院与北京城市发展的共生,是一部艺术介入城市文明的实践简史。一代代从央美走出的艺术家们融入于北京的城市建设,频频参与在首都发展与时代变迁的现场,创作大量映现时代精神与文化理想的佳作。中央美术学院美术馆的收藏是研究北京城市形象演变的重要视觉文献库。典藏中星罗棋布的都城映像,既承载着艺术本体的风格演进,更折射出城市化进程中社会肌理与文化认同的变迁。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”为叙事线索,建构起跨越时空的艺术对话场域:一方面呈现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;另一方面则着力于艺术家在当代语境下对城市主题的持续探索与观念革新。透过城市的冉冉晨曦和艺术的跃动光芒,历史、当下与未来在此悄然交响。北京正在见证,城市文脉在当代绽放的全新生机。01晨起艺术家们对晨光时刻的多元截取,建构起一幅动态的都市人文图鉴。这些作品以视觉诗学的方式诠释着:晨光不仅是昼夜交替的物理时刻,更是城市生命力的美学表征。刘金贵,《清洁工》,1995年,173cm×460cm,纸本设色,中央美术学院美术馆藏谢岩,《清晨紫禁城》,1997年,185cm×205cm,布面油彩,中央美术学院美术馆藏02蓬勃不同代际艺术家对城市生活的关注,呈现了不同年代城市生态的多元剖面。这些作品将“蓬勃”解构为持续生长的有机体,并成为丈量城市文明进程的另一种维度标尺。史希光,《入少先队》,1964年,78cm×104.5cm,纸本设色,中央美术学院美术馆藏谭权书,《天安门工地组画之二》,1958年,27cm×41cm,木版套色,中央美术学院美术馆藏广军,《节日的小街》,2018年,90cm×70cm,木版套色,中央美术学院美术馆藏瞿广慈,《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03更新艺术家对建筑肌理与文化记忆的视觉解剖,揭示古都更新的深层逻辑:不仅是物理空间的重组,更是集体记忆的移植与精神场域的重构。邵声朗,《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戴泽,《颐和园半壁桥》,2002年,41cm×55cm,布面油画,藏家提供王琦,《大街上的旋律组画之立体交叉》,1987年,40.2cm×28cm,木版单色,中央美术学院美术馆藏张桂林,《记忆之五》,2008年,45.5cm×67.5cm,丝网套色,中央美术学院美术馆藏缪晓春,《立》,2007年,253cm×444cm,收藏级艺术微喷,中央美术学院美术馆藏04择中艺术家将营城智慧转化为视觉语法。中轴线不仅是物理空间的中枢,更是文明认同的精神锚点。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矢崎千代二,《北平北海》,1947年,23.4cm×31cm,纸本色粉,中央美术学院美术馆藏文金扬,《前门,春节》,1953年,43cm×56.5cm,木板油画,中央美术学院美术馆藏谭权书,《天安门》,1958年,35.5cm×25.5cm,木版单色,中央美术学院美术馆藏周吉荣,《景观——鼓楼》,2013年,60cm×75cm,丝网套色,中央美术学院美术馆藏| 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5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
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人与花&人与画的合一 |记花之道——花的语言转换与思维构成

2025-04-16

4月6日,由中央美术学院美术馆主办,中央美术学院中国画学院,北京师范大学艺术与传媒学院美术与设计系协办的花之道——花的语言转换与思维构成课程工作坊在中央美术学院美术馆圆满举办。美术馆3B展厅在一片春意盎然之中迎来了30位同学。活动初始,我们邀请了中国画学院研究生会主席邓金为学员们对传移模写展进行了深入导览,让学员在进入课程前对环境中发生的艺术先行学习。在课程开始时,中国画学院的贾田雪老师首先为大家讲解了中国古代绘画中的花鸟题材的源流与发展。邓金为学员导览展览导师关越与辅助导师耿菁华、贾田雪互动
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“颅海见山:楔子”分享会预告|潮声与航船:地方影像的自我叙事与流动可能

2025-04-16

潮声与航船:地方影像的自我叙事与流动可能时间:2025年4月17日14:30地点:中央美术学院美术馆会议室(即美术馆咖啡厅斜坡尽头左侧会议室)|特邀嘉宾| 陈柏麒“观潮KwanTeo”联合创始人、策展人 |主持人| 王楠“颅海见山:楔子”策展团队成员 |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|“颅海见山”从民间出发,期冀微观的颅海世界在人潮中泛开涟漪,地方故事连接遥远山峦。本次分享会嘉宾陈柏麒是“观潮KwanTeo”的联合创办人,也是一位“耕作”于地方的建筑人类学研究者与影像创作者。分享会将由潮汕地区航行至亚洲南方,从地缘叙事出发,游走在远行与归来的数部影像之间,以具身经验,分享在区域策动中,与多方群体的联结与互动故事;探讨在排他性与流动性的认知之间,影像的创作与交流所传达出的力量。|嘉宾介绍|
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30s拔草 |“传移模写:中央美术学院中国画临摹教学作品展”

2025-04-15

30s拔草 |“传移模写:中央美术学院中国画临摹教学作品展”即将于4月16日闭展~还有谁没有近距离观赏央美百年积淀的临摹作品、课徒稿及临创转化创作?300余件作品集中呈现在央美美术馆,信息量巨大!
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中央美术学院美术馆临时闭馆公告

2025-04-14

尊敬的观众朋友:根据北京市气象局发布的大风预警,为保障观众人身安全,中央美术学院美术馆将于4月13日(周日)临时闭馆一天,4月14日(周一)例行闭馆。由此给您带来的不便,敬请谅解。对于已经购买4月13日门票的观众,我们将为您自动办理退款,退款金额将按原支付路径退回,预计10个工作日内到账,请您注意查收。中央美术学院美术馆2025年4月13日
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央美花young游 | 这个周末,簪花佩羽,来美术馆一起“走花路”

2025-04-10

这个春日,在中央美术学院美术馆中,你会看到跨越千年的500余件馆藏作品:《桃柳聚禽图》花鸟画的生动传神,朱耷《松鹤芝石图》色彩沉稳而不失活泼;唐代仕女俑的婀娜风姿还能欣赏到央美百年来中国画学院的临摹作品、课徒稿等:《韩熙载夜宴图》听乐、观舞的情景再现;《瑞鹤图》中的仙禽振翅掠过穹顶;敦煌飞天的栩栩如生;法海寺壁画人物的姿态各异;王梦白、王雪涛的花鸟画稿在光影中次第绽放……央美美术馆由此化身为东方美学秘境,我们诚邀您簪花佩羽而来,或着雀纹锦袍,或系花枝步摇,在墨香氤氲间化身古画中人,来美术馆一起“走花路”,共谱一曲花鸟相和的当代风雅。* 专属福利 *即日起至4月13日,着花鸟元素装扮前来的观众,将美美的打卡照po到小红书,带话题#央美花young游,并@中央美术学院美术馆,截至4月14日(周一)17:30,笔记获赞最高的前20位观众,可获得“2025中央美术学院毕业季”门票一张!让我们共赴这场艺术之约!小Tips:如果为活动装扮发愁,别担心!现场有中央美术学院的学子为无装扮的观众绘制艺术脸绘,你将收获独一无二的创意妆容。宋代《文会图》中,东坡居士簪牡丹于冠,在曲水流觞间挥毫泼墨;唐代壁画里的宫娥云鬓斜簪芍药,随霓裳羽衣舞动满庭芬芳;明代江南园林里,仕女鬓插玉兰,手执绘有翠鸟的团扇扑流萤。在东方意境中,簪花不仅是装饰,更是文人墨客对自然之美的礼赞,是生活美学的诗意符号。霓裳羽衣这场千年前的时尚风潮,将自然之美化作流动的诗篇。而今在央美美术馆,你可以装扮成"十二花神",重现古人簪花雅集的盛景,置身《韩熙载夜宴图》般的古典意境;可化身敦煌壁画中的散花天女……你还可以效法唐代《簪花仕女图》,以绒花、点翠复原云鬓花颜,手持绘有《写生珍禽图》元素的团扇;或取意于非闇、颜云霖的《花鸟》,着青绿色长衫,腰间悬垂雀形香囊;亦可解构《御鹰图》图谱,将北宋赵佶笔下的白色雄鹰化作朋克风格的羽饰……今人不见古时月,今月曾经照古人。这场古今共写的丹青雅集,不在他处,正在您簪起海棠、系上雀翎,踏入中央美院美术馆的瞬间。主编 / 何一沙责编 / 杜隐珠友情出镜&脸绘 / 徐睿 杨晓璨 李嫚拍摄 / 贺伊飞
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2025-04-09

“锐角——策展培育计划”第八回方案联展与“美术博物馆陈列与视觉传达专题训练”课程合作,邀请该课程近年的两个优秀集体策展方案,已于3月27日在中央美术学院美术馆一层公共空间展出。美术馆语境下的策展实务所属院系:中央美术学院艺术管理与教育学院课程主持:冯雪授课教师:冯雪 高高、权文熙、梁爽授课对象:美术博物馆管理工作室本科三年级“美术博物馆陈列与视觉传达专题训练”课程建立在艺管学院本科三年级专业公选课《美术博物馆陈列与视觉传达》原典精读与案例辨析的基础上,带领学生以命题虚拟策展练习的方式,具身体会美术博物馆展览从策划到实施的“全过程”。从动脑到动手,从文本到呈现,课程旨在以“运用”促进与深化学生对艺术史、艺术批评、策展理论及实务知识的认识和理解。课程设置“故事”(story)、“策略”(strategy)和“空间”(space)三个版块的专题训练,并以在中央美术学院美术馆顶层展厅策划一场“中国艺术的古今对话”特展为课题。在多学科背景的专业教师的引导下,学生以策划小组的形式进入练习,伴随国内外有关策展案例研究、重点知识讲授、展览现场授课和课堂讨论,逐步完成对展览主题与主旨的构思和写作、内容版块厘定、国内外不同机构藏品遴选、细化工作流程、组织各类技术文本等环节的专业训练。
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CAFAM说 | 十余位国内外学者聚焦探讨“传移模写与中国画的演进”(内附直播通道)

2025-04-09

“传移模写:中央美术学院中国画临摹教学作品展”国际学术研讨会主办:中央美术学院承办:中央美术学院中国画学院          中央美术学院人文学院          中央美术学院美术馆会议召集人:丘挺  黄小峰时间:2025年4月9日9:00开幕地点:中央美术学院美术馆学术报告厅由中央美术学院主办的“传移模写:中央美术学院中国画临摹教学作品展”正在中央美术学院美术馆展出。本次展览对中央美术学院中国画百年教学创作进行历时性的多维度梳理与研究,回溯中央美术学院中国画教学的文脉精神与学脉传承。为进一步挖掘“三位一体”教学方式的学理特征与思想内涵,展览以“临摹”为切入点,展示央美百年来中国画临摹教学的临摹作品、课徒稿及临创转化创作,通过研究“传移模写”在当代高等美术院校中国画教学中的学理价值与时代新意,从中国画的本体根源上讨论传统视觉图像、程式语言与笔墨理法在当下的纯正性、启示性与开放性。与“传移模写:中央美术学院中国画临摹教学作品展”同期,围绕“中国画的演进模式与文明特质”“临摹在中国画演进中的意义”等主题举办国际学术研讨会,特邀请专家学者莅临中央美术学院,展开研讨与交流。直播通道抖音平台@中央美术学院美术馆小红书平台@中央美术学院美术馆哔哩哔哩平台@中央美术学院美术馆线下报名预约4月9日门票即可参与学术活动会议流程9:00 开幕致辞主持人:丘挺致辞:吕品晶9:20 第一场主持与评议:黄小峰毕斐:“传模移写”辨 [意] 毕罗(Pietro De Laurentis):《集王圣教序》集字过程中的摹写与润饰丘挺:“纸抄纸”——王蒙青卞山水与沈周、董其昌、王翬三家之程式转换与笔墨承变10:20 Q&A 10:45 茶歇11:05 第二场主持与评议:朱万章陈韵如:画稿与摹本:探索画院运作机制的迴路张震:试析董邦达、金廷标的摹写——以三希堂张贴的两幅绘画为中心11:45 Q&A 14:00 第三场 主持与评议:陈韵如朱万章:苏轼画像的摹写与传播——以赵孟頫画本为中心吴雪杉:鹊华秋色:明清“仿赵孟頫”山水与文人画的“主体间性”王中旭:仿古如参禅:禅对董其昌绘画之影响15:00 Q&A 15:25 茶歇15:45 第四场主持与评议:尹吉男陈婧莎:《清明上河图》后期版本与宋本关系的猜想黄小峰:婴戏图的摹仿与创新陈相锋:从观物方式、形理关系到创作转化——宋元绘画临摹与三位一体教学反思16:45 Q&A17:10 会议总结/闭幕致辞会议总结:黄小峰 闭幕致辞:尹吉男嘉宾介绍毕斐,山东荣成人。曾就读于山东大学、中国美术学院。现为中国美术学院美术史教授、博士生导师、浙江省古籍保中心专家委员会委员。出版专著《历代名画记论稿》,译著《书法与古籍》等,点校本《王曰申摹刻砚史手牍》《明嘉靖刻本历代名画记》,发表论文《张彦远家世的历史——以士族家学为中心的考察》《张彦远笔下的长安画家与画迹》等。朱万章,香港故宫文化博物馆研究员,从事书画鉴藏与美术史研究、书画策展等,著有《从吾所好:书画鉴藏与美术史研究》、《书画鉴真与辨伪》、《过眼与印记:宋元以来书画鉴藏考》、《画外乾坤:明清以来书画鉴藏琐记》、《画里相逢:百年艺事新见录》、《图以载道:传统绘画的图像叙事》、《应物而祥:明清花鸟画的另类视野》和《尺素清芬:百年画坛书札丛考(正续编)》等,兼擅书画。毕罗(Pietro  De Laurentis),意大利汉学家,中国国家级人才项目入选者、广州美术学院教授、博导、中外书写文化与美术交流研究中心负责人、清华大学伟伦特聘访问教授。多年来主要从事书法学研究。使用意大利语、英语、汉语三种语言出版了多部著作和论文。代表作有《一觞一咏:〈兰亭诗集〉研究》(Bevendo e poetando tra monti e ruscelli nell’antica Cina)、《以书护法:〈集王圣教序〉研究》(Protecting the Dharma through Calligraphy in Tang China: A Study of the Ji Wang shengjiao xu)和中文专著《尊右军以翼圣教》,译著有张天弓《中国书法主要术语的释读与研究》(Understanding Chinese Calligraphy: 35 Key Concepts)。丘挺,中央美术学院中国画学院院长,教授。中国艺术研究院博士生导师、上海大学博士生导师、浙江大学艺术与考古委员会委员。曾参与多项国家级重要创作,多次参加国际重要学术展并获奖。长期致力于中国画语言的探索与理论研究,作品被故宫博物院、中国美术馆、波士顿美术馆、加拿大安大略省博物馆、浙江美术馆、广东美术馆等机构收藏。出版的专著及画册有《山水画笔墨技法详解》《宋代山水画造境研究》《丘园养素——丘挺书法作品集》等。《延月梳风—丘挺作品集》获2023年中华印制大奖,2022年中国出版政府奖等。黄小峰,中央美术学院教授、人文学院院长。主要研究中国美术史,致力于中国古代绘画的研究。著有《货郎图:小商贩肩挑大历史》《虢国夫人游春图:大唐丽人的生命瞬间》《古画新品录:一部眼睛的历史》《西园雅集:两宋人物画》等,译有柯律格《大明:明代中国的视觉文化与物质文化》。吴雪杉,本科、硕士、博士均就读于中央美术学院美术史系,2003—2015年任教于中央民族大学,2016年调入中央美术学院。研究领域为中国美术史与视觉文化研究,著有《长城:一部抗战时期的视觉文化史》(2018年)、《大河颂:中国现代美术中的黄河》(2023年)、《图像的焦虑:中国现代美术的12个观察》(2024年)。张震,浙江大学艺术与考古学院艺术史系研究员、博士生导师,北京大学人文社会科学院邀访学者,2020年2月至今在浙江大学工作,主要从事中国书画史、书画鉴藏史的研究;2004年8 月至2020年1月在故宫博物院书画部工作,主持策划多项专题展,主编、参与编写图录十余本,出版专著《“因画名室”与乾隆内府鉴藏》,在《故宫博物院院刊》、《新美术》、《美术研究》、《台湾大学美术史研究集刊》、《华夏考古》等发表论文、文章40余篇。陈韵如,台大艺术史博士,现任台大艺术史研究所教授。1997-2019年任职于台北故宫博物院书画处。曾获奖助至日本东京大学东洋文化研究所(2005年)、美国大都会博物馆亚洲部(2014-15年)短期学术访问。主要研究方向为中国绘画史、画论知识与鉴藏史、宫廷画院运作机制等,近期探讨视觉叙事与东亚图绘交流等课题。陈相锋,字南元。现为中央美术学院教授、博士生导师,中国画学院创研部主任,西泠印社社员,中国美术家协会会员,中国工笔画学会会员。出版专著《徐三庚篆刻及其刀法》《菊花白描技法精讲》《五代黄筌写生珍禽图》《陈相锋白描写生课徒作品》《游心方外:陈相锋作品集》《陈相锋花鸟画范例》《宋元墨竹》等10种,编著《中国画技法图典》花鸟篇等13种共计16册,主编《宋元之眼:历代花鸟名品临摹技法丛书》第1、2辑共计14册。陈相锋,字南元。现为中央美术学院教授、博士生导师,中国画学院创研部主任,西泠印社社员,中国美术家协会会员,中国工笔画学会会员。出版专著《徐三庚篆刻及其刀法》《菊花白描技法精讲》《五代黄筌写生珍禽图》《陈相锋白描写生课徒作品》《游心方外:陈相锋作品集》《陈相锋花鸟画范例》《宋元墨竹》等10种,编著《中国画技法图典》花鸟篇等13种共计16册,主编《宋元之眼:历代花鸟名品临摹技法丛书》第1、2辑共计14册。陈婧莎,广州美术学院研究生院副院长、绘画艺术学院副教授。本、硕、博均毕业于中央美术学院人文学院美术史系,主要从事中国古代绘画史研究。著有《宋本之外:〈清明上河图的〉传播与再生》,于《文艺研究》《美术研究》等杂志发表论文多篇。与会者名单(按姓氏拼音排序)毕   斐  中国美术学院艺术人文学院教授[意] 毕罗 Pietro De Laurentis  广州美术学院教授、博士生导师、美术教育学院中外书写文化与美术交流研究中心负责人、清华大学伟伦特聘访问教授陈婧莎  广州美术学院副教授、研究生院副院长陈相锋  中央美术学院中国画学院创研部主任、教授陈韵如  台湾大学艺术史研究所教授黄小峰  中央美术学院人文学院院长、教授吕品晶  中央美术学院党委常委、副院长、教授王中旭  故宫博物院书画部副主任、研究馆员吴雪杉  中央美术学院人文学院美术史系主任、教授丘 挺  中央美术学院中国画学院院长、教授尹吉男  中央美术学院教授、广州美术学院图像与历史高等研究院院长张 震  浙江大学艺术与考古学院教授朱万章  香港故宫文化博物馆研究员传移模写中央美术学院中国画临摹教学作品展主办单位:中央美术学院承办单位:中央美术学院中国画学院     中央美术学院美术馆展览时间:2025年1月21日—4月16日展览地点:中央美术学院美术馆三层展厅主编 / 何一沙责编  / 杜隐珠
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“颅海见山:楔子”对谈预告|地脉与潮声:田野、考古与媒介转译

2025-04-08

地脉与潮声:田野、考古与媒介转译时间:2025年4月8日15:00地点:中央美术学院美术馆会议室(即美术馆咖啡厅斜坡尽头左侧会议室)|对谈嘉宾| 葛康岚古务运动发展小组成员 盛文强作家、海洋文化研究者 邬建安艺术家,中央美术学院教授、博士生导师 |主持人| 刘则芊“颅海见山:楔子”策展团队成员|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|“颅海见山”从民间出发,将那些游离的精神世界显化至山川之间。本次对谈嘉宾的作品汇聚成了内心风景的多个面向,他们走入在野音声响彻的地下,走入流动着海洋秘史的潮间带,也走入古老智慧与生命力闪烁的原野,在地脉与潮声中考古人迹。对谈以声音、文本和视觉等不同的创作媒介为切入点,探讨来自田野现场的知识、经验和技艺如何转译。|嘉宾介绍|古务运动发展小组古务运动发展小组自成立以来,一直筹备开展针对中国传统民间音声的采集、制作计划。其视野中,包含宝卷讲唱、文人清曲、小曲小调等等。这些音声,如今有的只存在于某些小圈子,有的已经深埋地下。它们记录了古人们最直接的乐与哀,生命的苦痛,以及朴素的期盼。小组的采集和制作计划得到郊眠寺Cable Temple 的支持,同时,作为一个民间音声的发表平台,古务运动发展小组希望此计划有更大的扩展性,容纳各种各样的音声成果。盛文强1984年生于青岛,作家、海洋文化研究者。近年来奔走于中国东南沿海,致力于海洋民间故事、渔夫口述史的搜集整理,兼及海洋题材的跨文体写作实践。作品见于《人民文学》《十月》《花城》《天涯》《大家》等,著有《渔具列传》《海盗奇谭》《海神的肖像》《海怪简史》《岛屿之书》《半岛手记》等。邬建安1980年生于北京,毕业于中央美术学院,获硕士学位并留校任教,现为中央美术学院教授、博士生导师,工作、生活于北京。邬建安的艺术思辨和视觉创造,核心在于借助那些看似远离今日生活的情境,表达人类文明历史中永恒的部分,唤醒人内心感受中隐秘幽微却宏大磅礴的潜意识,进而引发对时代和人的反思与观照。邬建安的作品曾代表中国参加第57届威尼斯双年展,近年来还曾在中国上海余德耀美术馆(2023)、美国伯克利美术馆及太平洋影像艺术中心(2022)、俄罗斯国立艾尔米塔什博物馆(2021)、法国里尔伯爵夫人博物馆(2021)、中国银川当代美术馆(2020)、意大利那不勒斯国家考古博物馆(2019)、日本森美术馆(2018)、新加坡艺术科学博物(2017)、美国波士顿美术馆博物馆(2015)等机构参加重要展事,并在北京、上海、香港、西安、新加坡、巴塞尔、卡拉马祖、芝加哥、纽约等地举办个展。多家世界级美术馆和艺术基金会等机构皆收藏有邬建安的艺术作品,如美国大都会艺术博物馆、洛杉矶郡立艺术博物馆、康奈尔大学赫伯特 F.约翰逊艺术博物馆、中国中央美术学院美术馆、北京民生现代美术馆、星美术馆、巴西奥斯卡 ·尼迈耶博物馆、日本福冈亚洲艺术博物馆、澳大利亚白兔艺术基金会等。|主持人|刘则芊策展人、美人鱼潜水教练。本硕毕业于中央美术学院艺术管理与教育学院艺术史论专业及艺术展览与策划研究方向。当下关注后人类语境中的艺术与博物馆实践、海洋及生态可持续性和环境伦理,在跨文化、跨物种交流间探索策展的边界。曾策划展览“颅海见山:楔子”(中央美术学院美术馆,2025)、“《历史、契机与方法——艺术博物馆策展介入海洋可持续发展目标》研究生学位论文毕业展”(中央美术学院,2024)、“直立的人 返航时我们不必起身”(入围新绎美术馆“青年策展人计划”,2024)、“FIRST AID+ ART CLINIC”(布达佩斯春季艺术节,2022)、“庞茂琨×缪晓春双人展:未来从何而来?”(首届全国大学生虚拟策展大赛二等奖,2022);撰写展评《邬建安“视神经变图”:从细胞到宇宙》发表于中央美院艺讯网。重峦叠嶂处,山重水复;柳暗花明时,声声唤归。“颅海见山”关注个体及群体的际遇,聚焦“现实”在脑海中投射、演化和改造后的模样。展览从民间出发,将那些游离的颅海世界显化至山川之间。峰峦与潮汐交叠,不同的视野交汇于此。“楔子”既引出于展览期间展开的对谈、共读与分享会,又暗示未来将发生于展览空间外的在地实践。一系列事件将远抛片石,共落颅海,我们期待这激起的圈圈“涟漪”能够从波动中漫延开来,连接起相隔的山,也呼唤回离散的人。颅海见山:楔子主办单位:中央美术学院美术馆展览时间:2025年3月18日—4月20日展览地点:中央美术学院美术馆2层C展厅主编 / 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

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.

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