Exhibitions and Events-News

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

展览导读 | 走进“无‘野’不成城”章节三 “生长的绿野”

2026-03-02

展览现场< CAFAM赛道特等奖方案展览 >无“野”不成城章节三 “生长的绿野”人类社会的异化是非人类物质遭遇的先兆,一如植物在人类栽培的过程中逐渐失去自身的特性与差异,人类长期以来的控制与剥夺在极大程度上忽视了非人类物质的能动性。人类如何理解世界?这一章节以地理学的“MTHG”(More- than- human Geographies, MTHG)的理论切入,以非人类的视角,深度思考我们所处的“附近”——城市远非一个纯粹的人类空间。我们存在的世界是一个多元的集合体,生物哲学提供了一种特殊的时空想象, 它是“块茎的”(去中心化的、不稳定的、多维的)和拓扑的,由此提供了一个不断被重塑的具有多元空间的世界。“再野化”(rewilding)或许能成为当代构筑起这一拓扑网落的粘合剂,“再野化”关注那些非人类物质的发展,使其重新和谐地归复我们所在的空间,“rewild”并非是人类与自然生态的对立,而是在行动者网络中找回那些不受人类规训的“野性”,世界不是先验性的存在,而是每时每刻在复杂的交织中不断生成的。“再野化”想构筑的,是一种以物本身的关系为导向的,强调非人类和人类互动共生,更生动而丰富的世界。本章节参展作品《惊蛰》作者:孙贻武创作媒介:纸本水墨创作年代:2023作品尺寸:100cm×573cm春雷动,万物生,是为惊蛰。人类如何理解世界?自然万物的苏醒与蛰伏,在某种程度上也映射着人类精神的内在生息。在条幅《惊蛰》中,艺术家孙贻武以宏观视野静观万物,将流转的自然节律融入笔墨。这一视觉图景暗合了中国古代“天地并生、万物为一”的哲思,将观众引入一方心与物游的澄明天地。
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马上有“艺” | 中央美术学院美术馆2026艺术新年展出季 等你打卡!

2026-02-28

馆藏西汉陶马头穿越两千年时空,化身为四米多高的现代艺术装置,静静矗立在美术馆一层大厅中央。它不仅迎接每一位踏入艺术殿堂的观众,也成为连接四个展览、贯穿古今的艺术象征。观众在欣赏当代艺术装置的同时,也能漫步于两千年的艺术长廊,感受从战国铜镜到现代油画的视觉变迁,体会周令钊先生七十年的艺术坚守。当观众走出美术馆,手中拿着馆藏“福”字,心中则装满了从古至今的艺术记忆。那些汉代画像砖上的生活场景、唐代陶俑的生动表情、周令钊笔下的时代印记,以及毕业生们无限的想象力,将共同构成这个春节独特的文化记忆。主编 / 何一沙责编 / 杜隐珠
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CAFAM青少年设计工作坊招募|当方寸邮票,遇见马年的想象力

2026-02-28

如果历史可以被折叠,那么最精致的那道折痕,就是一枚邮票。《壬戌年》特种邮票 周令钊设计 26mmx31mm 1982年发行周令钊先生,被誉为“新中国设计第一人”。他绘制了1949年开国大典天安门城楼毛泽东主席像,参与中国人民政治协商会议会徽、中华人民共和国国徽等国家标识的创作,主笔中国共产主义青年团团旗,完成“八一勋章”“独立自由勋章”“解放勋章”等三大勋章设计,并担任第二、第三、第四套人民币票面整体美术设计,参与《中华人民共和国成立十周年》纪念邮票及壬戌年狗年邮票等重要国家视觉工程。从天安门城楼的国家仪式现场到邮票与货币的日常流通载体,他的设计与艺术创作持续进入公共生活,沉淀为几代中国人共同的视觉记忆。周令钊 新兴力量大团结(10分票)1951年 22.5×31.5cm 纸本  中央美术学院美术馆藏1963年,为纪念第一届新兴力量运动会,周令钊先生设计了“新兴力量大团结”邮票——在仅52×31毫米的画幅中,以棕榈树与红旗为背景,将亚非拉多国运动员挽手并肩的集体动势凝于方寸之间。清晰的构图、鲜明的符号、整齐而有力的节奏,让一枚小小的邮票承载起团结与希望的宏大叙事。这正是周令钊先生贯穿一生的设计智慧:在限制中建立秩序,在秩序中注入温度。2026年丙午马年新春,我们邀请9至15岁的青少年走进“画在时光深处——周令钊先生捐赠作品展”,以新时代学子的身份,步入先生的“艺术课堂”。孩子们将跟随导览教师穿行于展线之间,细细品读那深藏巧思的笔触与构图,聆听作品背后的创作故事;而后,在中央美术学院美术馆的画桌上,将新春的祝福、关于马的想象力、传统纹样的意蕴——化为自己笔下的新春邮票。课程第一部分走进周令钊先生的艺术课堂 · 展览导览时间: 3月1日(周日)下午 13:30—14:10地点: 中央美术学院美术馆 3层A展厅展览以“溯光·初心”“凝光·铸心”“映光·传心”三个板块,勾勒出艺术家与时代同行的轨迹。导览教师将带领孩子们沿展线缓缓行进:在“溯光·初心”板块,一同研讨周先生如何在战火辗转中,以寥寥数笔捕捉人物神情;在“凝光·铸心”板块,近距离观看《新兴力量大团结》邮票手稿、《古都集萃》壁画线稿、毛主席纪念堂建筑装饰图案等珍贵原作,观察他如何将传统纹样提炼、简化为服务于国家公共空间的视觉语言;在“映光·传心”板块,读懂先生晚年捐赠作品、照亮后学的深意。这些在展馆场域中的观察,都将成为小设计师们接下来艺术创作的源泉。课程第二部分马年新春邮票设计创作 · 工作坊时间:3月1日(周日) 下午 14:20—16:30地点: 美术馆一层西门公共教育区当方寸邮票,遇见马年的想象力,会在孩子们的指尖,漾开怎样的意趣?将对马年的美好期许,绘成一枚枚独一无二的邮票。工作坊将以周先生的经典邮票为参照,引导孩子们从传统纹样中汲取灵感,在限定画幅内布局构图、经营位置——如何安排主图与边框?如何处理面值与铭记的关系?如何让色彩既喜庆又雅致?一步步地将孩子们天马行空的想法,“规整”为一枚符合邮票美学、兼具秩序感与生命力的完整设计。
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30s拔草

2026-02-27

正在央美美术馆三层A展厅的“画在时光深处——周令钊先生捐赠作品展”是一场跨越时空的艺术对话。展览集中呈现周令钊先生捐赠中央美术学院美术馆的221件作品,涵盖水彩、水粉、速写、连环画、壁画、宣传画与设计等多个门类,时间跨度自1938年至2008年,贯穿其七十年的艺术实践。展览将于3月1日闭展,感兴趣的朋友不要错过。
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“画在时光深处——周令钊先生捐赠作品展”重点作品推荐(三)

2026-02-27

钟涵曾评价周令钊“开创出一种平面装饰图像语言体系”,并称之为中国现代的“周家样”,认为其影响深远。所谓“周家样”,并非可被轻易归类的风格标签,而是在长期艺术实践与审美探索中逐渐形成的一套现代视觉语法,以装饰性的秩序承载叙事,以象征性的符号传达民族气质,以富于乐感的节奏组织意义,让“民族形式”不止停留在图像表面,而获得持续的生命力与传播力。  更关键的是,周令钊对“民族形式”的理解,核心在于如何“解构”与“重构”。以《白云黄鹤》、《山乡锦绣》等作品为例,他从传统、民族、民间审美中分析提炼意象、气韵与秩序,再借助现代构成与色彩逻辑重新组织,使图像既保有东方美学的意蕴,又呈现清朗、向上的现代气质;既能够进入公共空间,也能够被大众阅读、记取。由此,民族性的表达不再只是被观看的装饰符号,而成为可以进入生活、被共同铭记的经验。  与“民族形式”探索并行的,是他对“真善美”的不懈坚守。于他而言,美不只是装饰性的悦目,而是一种可感的温度;善不只是抽象的指向,而是对人的体恤、对生活的关照;真也不只是“写实”的准确,而是对时代气息与人心经验的真诚回应。正是在这种审美与伦理的双重自觉里,图像具备了更稳定、更持久的精神指向。  因此,“映光 · 传心”的逻辑便清晰可循:当作品在语言上趋于成熟,它所映照的“光”便不再局限于画面之内,而能够从视觉传播进入公共生活,并在更长的时间尺度中实现延续与再生成。周令钊艺术深处的“光”,由此成为一种可感、可循、可传的艺术精神,既根植传统,又面向当代;既属于民族,也贴近大众,拥有不断延续、持续延展的生命力。01传移模写周令钊 寒冰地狱(四川大足石窟)1954年 53×38cm 纸本水粉 中央美术学院美术馆藏该作品是周令钊于1953年至1955年间,随文化部“四川石刻艺术调查团”赴大足宝顶山考察时,对第20号“地狱变相”中“寒冰地狱”局部所作的现场水粉临摹。画面聚焦于两位受刑者形象,他们蜷缩蹲坐,双臂紧抱双膝,眉头深锁、獠牙外露,夸张的面部肌理与狰狞神情极具表现张力。画家以冷峻的灰褐与青灰色调渲染出石质肌理的厚重与寒冷,深色背景进一步强化了形象的立体感与场景的压抑氛围。在艺术处理上,周令钊有意将高浮雕的体量关系转化为二维图像:人物躯体被概括为凝练的三角构图,衣纹简化为硬朗的折线,以表现冰凌割体的质感;背景则以纵向的冰柱笔触,与人物横向的动态构成视觉张力。尤为重要的是,画家提高了色彩明度,舍弃了原石刻的风化深重色调,使“寒气”通过更具现代感的视觉语言得以传达,凸显其从现场写生到创作素材的转换意图。此稿不仅记录了“地狱变相”中“寒冰地狱”的典型图像,也见证了二十世纪五十年代国家主持的石刻调查与美术创作之间的互动。这批临摹作品曾在央美 U 字楼展出,并为筹备革命博物馆和军事博物馆提供了重要的素材,兼具实物记录、教学研究与创作参考的多重价值。周令钊 敦煌飞天(321初唐,龛顶飞天) 1981年 184×102cm 纸本水粉 中央美术学院美术馆藏画面描绘了成群结队的飞天从画面右侧红色拱形结构向左侧飘舞而去。飞天身姿轻盈,长带飘逸,身后留下一道道流畅的彩带与飘卷的线条,似在虚空中滑行,仿佛置身天界云海 。 人物多呈回首 、 伸臂、飞舞的动态,神态飘然,展现出佛教世界的超凡与清净。02“周家样”钟涵曾评价周令钊“开创出一种平面装饰图像语言体系”,并称之为中国现代的“周家样”,认为其影响深远。所谓“周家样”,并非可被轻易归类的风格标签,而是在长期艺术实践与审美探索中逐渐形成的一套现代视觉语法。周令钊、陈若菊 山乡锦绣 1984年 103×103cm 纸本丙烯 中央美术学院美术馆藏该作品捕捉了两位少数民族女性日常互动场景。人物造型生动,服饰与头饰刻画精细,体现出浓郁的民族特色。画面以温润的绿色描绘山乡环境,与人物服饰中红、黄、蓝等明快色彩形成对比。既突出主体,又传递出生机盎然的乡土气息。在创作中,陈若菊参与了民族服饰的绘制。该作创作于20世纪80年代,在改革开放的语境下,周令钊并未选择宏大叙事,而是聚焦于平凡生活中的温情瞬间。作品不仅展现了少数民族地区的文化风情,更通过细腻的视觉语言,呈现出山乡生活的美好与希望,成为这一时期人文关怀与乡土抒情的典型代表。周令钊  织网(惠安组画) 1984年 45×44.1cm 纸本丙烯 中央美术学院美术馆藏《织网》是周令钊 “惠安组画”系列中的代表作。通过特写视角聚焦惠安渔女劳作的场景,将日常劳动升华为一幅充满地域风情的人文画面。画家以概括的线条提炼出惠安女独特的斗笠、头巾与服饰造型,使之成为鲜明的文化符号;色彩上则以蓝绿色调呼应海洋环境,并以暖棕、粉红等色点缀人物,在对比中既还原渔村生活的真实氛围,又凸显出民俗美学的生动气息。该作以平凡劳动为切入点,体现了改革开放初期艺术创作对基层生活与地域人文的深入观照。作品不仅是对劳动场景的描绘,更是“人物—劳动—环境”紧密关联的文化缩影,成为承载地域周令钊  织网(惠安组画) 1984年 45×44.1cm 纸本丙烯 中央美术学院美术馆藏《织网》是周令钊 “惠安组画”系列中的代表作。通过特写视角聚焦惠安渔女劳作的场景,将日常劳动升华为一幅充满地域风情的人文画面。画家以概括的线条提炼出惠安女独特的斗笠、头巾与服饰造型,使之成为鲜明的文化符号;色彩上则以蓝绿色调呼应海洋环境,并以暖棕、粉红等色点缀人物,在对比中既还原渔村生活的真实氛围,又凸显出民俗美学的生动气息。该作以平凡劳动为切入点,体现了改革开放初期艺术创作对基层生活与地域人文的深入观照。作品不仅是对劳动场景的描绘,更是“人物—劳动—环境”紧密关联的文化缩影,成为承载地域周令钊 贵阳黔灵公园 1984年 44.3×44.3cm 纸本丙烯 中央美术学院美术馆藏这件作品创作于1984年,以平视延伸的构图,将巴陵桥作为视觉起点,通过桥面与延伸向远方的铁路,构建出“桥—铁路—城市”的递进空间序列。造型语言凝练概括,桥栏、路灯、房屋等元素经几何化处理,精准捕捉了80年代城市建设的秩序感与发展节奏。色彩上依托纸本丙烯媒介,以灰白主调表现桥体与路面,辅以暖棕、灰绿点缀建筑与植被,既还原了城市环境的质感,也凸显出改革开放初期朴素、高效的工业化审美特征。画面中心一列远远驶来的火车,为静谧的城景注入一缕动感与生机。该作不仅记录了改革开放深化阶段的城市发展痕迹,更以交通基础设施为切入点,体现了艺术对现代化进程中人文景观的早期关注。它在周令钊的创作中,是“城市景观日常化”与“基础设施艺术化”的先行探索,兼具现实记录与形式表达的双重价值。03生产生活周令钊 插秧比赛 1961年 73×59cm 纸本水粉 中央美术学院美术馆藏这幅创作于1961年的《插秧比赛》,以全景构图生动再现了韶山公社水田集体劳作的场景。作品灵感来源于1960年的劳动竞赛,画面中人物队列疏密有致,动态简练而富有节奏,精准捕捉了竞赛特有的协作感与秩序性。色彩处理方面,使用青绿色调表现水田,人物服饰以蓝、绿色为主,与红色旗帜形成明快对比,既展现了南方的农耕环境,也烘托出分组竞赛的热烈氛围。该作是周令钊在中央美术学院执教水彩水粉课程期间的重要实践,亦可视为一幅完整的套色木刻创作画稿。是记录劳动美学、集体主义精神与时代动员力量的生动艺术见证。周令钊 ⼈民公社万岁(创作⼩稿)1963年 23×26cm 纸本粉彩 中央美术学院美术馆藏作品创作于人民公社化运动持续推进阶段,民族地区积极响应政策,这一时代背景使作品成为时代与民族文化互动的艺术见证。创作采用小型尺幅,以纸本为载体保留创作过程的生动笔触,以水彩质感突出民族建筑色彩与生活场景氛围的呈现。画面中呈现的苗族吊脚楼为土地改革时征用的当地土户房屋,作者以这幢建筑与集体生活场景为核心,通过平面化造型手法,精准还原干栏式建筑结构,人物动态贴合集体劳作与生活互动的场景。依托纸本水粉特性,以棕褐、蓝绿、粉紫及多彩服饰色营造强烈色彩层次,既凸显苗族文化绚丽特征,又呼应时代主题的热烈氛围。该作将民族建筑空间与时代集体叙事相融合,成为民族地区落实政策的艺术切片,记录了时代运动在民族地区的实践瞬间。作为周令钊民族题材创作的关键环节,此小稿实现了从生产场景记录到“民族空间+时代主题”融合的拓展,为后续创作探索了空间布局与题材整合的路径。周令钊 阳朔自由市场 1963年 54.5×37.5cm 纸本粉彩 中央美术学院美术馆藏这幅创作于1963年的作品,描绘了广西阳朔一处熙攘的集市场景。它所记录的,不仅仅是地域风情,更是一个特殊历史时期的生动侧影——画面中的“自由市场”,正兴起于“三年自然灾害”那段连续干旱、物资匮乏的岁月之后。在艰难渐渐缓和的年代,市集的恢复与活跃,象征着民生韧性与社会生机的复苏。画面中心,一条老街在青翠树影的荫蔽下向前延伸,白墙灰瓦的民居静立两旁,远方漓江畔的秀峰淡如墨痕。而街巷之中,却是另一番鲜活景象:人群摩肩接踵,男女老少穿梭往来,或挑担叫卖,或俯身挑选,或驻足交谈。每一张面容、每一个动作,都浸透着日常生活的温度与活力。画家以扎实的写实功底与饱含情感的笔触,将那个特定年代里人们对生活最本真、最执着的热望,凝结于市井一隅。这不仅是一幅地域风情画,更是一份关于复苏、希望与平凡人生命力的视觉见证。04白云黄鹤1983年,周令钊应邀为正在重建中的黄鹤楼设计一层大厅壁画——《白云黄鹤》,在周令钊和七位青年艺术工作者的共同努力下,这幅大壁画最终落成。工作过程十分艰苦,根据他的回忆:“我带了七位年轻人在宜昌彩陶厂刻、画陶瓷板、作品为高温釉下彩工艺,由宜昌彩陶厂烧制,共 756块彩色陶瓷板。我们自己刻、自己上釉,白天刻制,晚上进窑,满怀希望地等待作品次日出窑但往往是全部报废或大部分报废,我们又得重新刻制,所以花了很多时间、费了很多体力,动了很多脑筋,大家共同努力,用了近一年时间,才终于成功。”参与设计者孙景波回忆“周先生那个时候63岁,已经是接近退休年龄的人了,可是吃了不少苦。我们在宜昌彩陶厂烧的是高温釉下彩陶瓷,它的窑温要达到1400度以上。周先生不顾年高体迈和我一起到宜昌,我们是六七月份的夏天在那里研制,因为那个时候中国的陶瓷壁画刚开展不久,很多釉料配合什么颜色,要艺术家亲自在厂子里头做大量色标的探索。因为烧成温度的不同,釉料配合的比重不同,都会达不到设计的理想,老先生这些全都是亲力亲为,而且经常在零上接近40度的高温天气。而我们的工作室在烤房的旁边,室内甚至高到四五十度,经常在热的汗流浃背的环境中从事创作。”周令钊 黄鹤楼彩色设计终稿 1984年 178.5×103.5cm 纸本彩墨 中央美术学院美术馆藏黄鹤楼实景《白云黄鹤》是周令钊创作的一幅兼具历史价值与时代意义的壁画,如今已成为黄鹤楼的标志性视觉符号。在改革开放后中国壁画复兴的进程中,这件作品占据着里程碑式的地位,它以宏大直观的艺术语言,凝练并传递出黄鹤楼跨越千年的深厚文化内涵。画面构图饱满、色彩鲜明,将神话传说、千古诗境与地标意象融为一体。上方,仙人乘鹤翩跹于云海江涛之间,飘逸灵动,呼应“昔人已乘黄鹤去”的悠远意境;下方,黄鹤楼巍然矗立,朱檐碧瓦与苍松云涛相映成趣,楼前游人如织、祥和欣然,一改原诗“此地空余黄鹤楼”的孤寂苍凉,满溢着积极向上的时代气息。创作手法上,周令钊巧妙融合工笔重彩的装饰美感与舞台美术的空间张力,既保留了传统云水纹样的韵律之美,又以现代化的表现手法强化画面的视觉气势。这幅作品成为公共艺术参与文化重建、塑造城市形象、凝聚集体记忆的典范。于艺术史研究与公共文化传播领域留下了深远影响。主编 | 何一沙责编 | 杜隐珠文字编辑 | 张满玉
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展览导读 | 走进“无‘野’不成城”章节二 “拟像”

2026-02-24

展览现场< CAFAM赛道特等奖方案展览 >无“野”不成城章节二 “拟像”当代⽂化话语与制度通常以⼈类社会⾃⾝的发展为唯⼀参照,忽略了物与物之间的联系,从⽽建构出⼀套封闭的坐标,在城市化⻜速运转的当下,⼈类的⾃我及“孤岛化”的⽣态,变成⼀种脱离现实的虚拟,在这种被⼤都会异化的“理想化”状态下,本我爆发出尖锐的嘶鸣——抑郁、焦虑、迷茫,恍若标签张贴于⾏⾊匆匆的⼈群,⾃我定位与⾝份焦虑,在极⼤的落差中锐化。“社会”和“⾃然”元素的观念在城市化进程中愈发对⽴,在⾼楼与钢筋的包围中,⾃然逐渐被压缩为⼀种与⼈类极不对等的“资源”与“符号”,这类⾮⼈类物质的主体地位逐渐被边缘化,使其不得不在“孤岛式”的⽣境中挣扎。在这种状态下,⽣物具有的独特⽣命与活⼒俨然成为⼀种荒诞的“拟像”,将⼈类与⾮⼈类⼀并推向两败俱伤的境地。本章节参展作品《盆栽》作者:陈墨创作媒介:铜版画创作年代:2025作品尺寸:50cmx60cm城市的高速发展具有不可逆性,这种关于技术的高速运转,潜移默化地影响着人类、自然物,在某种程度上,打破了某种微妙的平衡,使社会朝着危险的方向运转,于艺术家陈墨的《盆栽》系列中,我们可窥见自然物的生存空间现状,当植物在人类为主导的社会中生存的时候,那些被人类所凝视,所珍爱的自然植物则转化为了盆景,在某种程度上是否透露着对其自然生长空间的剥夺?《无题》作者:刘乙霖创作媒介:布面丙烯、木炭、喷漆创作年代:2025尺寸:25cm×30cm当技术物前进的余波仍震荡着人类社会,形形色色的办公楼宇间常现的“假植物”成为了当代人精神慰藉。绿植被消费社会抽离为一种符号,反映出人类无暇顾及与真实自然的联系,这种对于自然的模仿,重构着世界原初的“真实”,俨然一种“拟像”危机的表征。艺术家刘乙霖的《无题》以一种极其抽象的语言呈现着这种游离于真实与虚幻的混沌状态,人们的感知亦在这种情境中逐渐钝化,最终失去触碰本真的能力。循环反复的线条是艺术家情绪的外化,也是对这种仿真世界的发问,在媒介与图像间,我们如何触及那些被湮没的真实?本章节参展艺术家陈墨陈墨的创作横跨版画与绘画,关注图像与材料之间的关系,喜爱自然与凹痕。他研究中外古代艺术,特别着眼于其中独特的空间结构与非传统的透视方式,从文学和神话文本出发,强调质料的呈现,重视制作过程中偶然与时间性的介入,在不断与纸张、金属、颜料等媒介碰撞的过程中生成图像。刘乙霖2001年出生于四川,现工作生活于重庆,四川美术学院造型艺术学院油画系研究生。刘乙霖主要使用绘画、图像、现成品作为创作媒介,通常在边缘与混沌中游走,也乐于接受创作过程的不可预见性,他的作品拒绝单一的信息,而是拥抱多元性和不安的可能性,始终致力于运用联想与潜能的力量。第四届全球大学生虚拟策展大赛指导单位:全国普通高校毕业生文旅艺术行业、就业创业指导委员会主办单位:中央美术学院、中共北京市东城区委宣传部承办单位:中央美术学院艺术管理与教育学院、中央美术学院创新创业教育中心、中央美术学院美术馆、北京画院、青年艺术100组委会执行单位:中央美术学院美术博物馆虚拟策展与美育课程虚拟教研室为贯彻落实中共中央办公厅、国务院办公厅印发的《关于全面加强和改进新时代学校美育工作的意见》,推进社会主义文化强国建设的决策部署,激发艺术创新动力,推动艺术成果传播,中央美术学院自2022年起策划举办“大学生虚拟策展大赛”品牌赛事。大赛以“以策展助力美育,为美育而策展”为宗旨,意在鼓励大学生们将人文艺术、前沿技术与美育传播有机结合,通过还原度高、操作性强的虚拟策展实验平台,创作出优质的虚拟展览方案,将成果推向公众,延伸出社会美育的多重可能。「CAFAM赛道」是大赛组委会联合中央美术学院美术馆(简称CAFAM)共同设立的命题赛道,本赛道要求参赛者自主选择艺术作品,在中央美术学院美术馆项目空间场地进行展览策划,打造具有实验性和在地性的特色展览。获得赛道特等奖的项目最终落地中央美术学院美术馆(简称CAFAM)“广角——青年实验项目空间”场地,为大学生的想象力提供具有实验性与在地性兼具的施展空间。展览时间:2026年1月9日—3月1日展览地点:中央美术学院美术馆3层C展厅主办单位:中央美术学院承办单位:中央美术学院美术馆、美术博物馆虚拟策展与美育课程虚拟教研室 主编 / 何一沙责编 / 杜隐珠
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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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