Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

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

: 开放报名！本周六10余位嘉宾齐聚“耕耘与求索”论坛 | “CAFAM学术季”活动重磅启幕（附直播通道）Open For Registration! More Than 10 Guests Will Gather At The "Cultivation And Exploration" Forum This Saturday | The "CAFAM Academic Season" Event Kicks Off With A Bang (With Live Broadcast Channel Attached)

2025-06-20

此次论坛为2025年CAFAM学术季的系列活动之一，以“耕耘与求索”为主题，聚焦美术馆藏品的学术研究、展览实践与保护现状，旨在深入探讨馆藏艺术的历史脉络、学术价值及当代意义。“中央美术学院美术馆藏陈列——古代中国艺术”展览现场“中央美术学院美术馆藏陈列——现代中国美术”展览现场论坛以馆藏陈列展出的经典作品及收藏体系的建构逻辑为主体，包含近年来学界对其的研究成果，计划通过这一开放的学术交流平台，向社会各界介绍央美美术馆丰富的艺术收藏，推动藏品研究的深化与传播。论坛邀请了近年来深耕馆藏研究的专家进行主题发言，他们在藏品个案分析、陈列展示规划及藏品修复保护方面做出了诸多成绩。论坛分为“历史与薪传”和“凝华与更新”上下半场，分别关注“中国古代艺术”与“中国现当代美术”，涉及美术考古文物、古代书画、陶瓷艺术、宗教美术、近现代油画、现当代水墨等不同类型的藏品情况概述、代表性藏品介绍和藏品维护过程。值得一提的是，此次论坛的内容也将作为下半年青年学者论坛的重要材料基础。扫描二维码预约名额有限先约先得央美在校生无需预约开场辞靳军中央美术学院教授、中央美术学院美术馆馆长张鹏中央美术学院教授中央美术学院《美术研究》杂志社社长学报编辑部主任丝绸之路艺术研究协同创新中心副主任发言嘉宾高高中央美术学院美术馆副馆长发言题目：中央美术学院美术馆的收藏概述耿朔中央美术学院人文学院文化遗产学系副主任美术考古研究中心副主任发言题目：馆藏美术考古文物情况概述田率北京师范大学历史学院考古文博系教授北京师范大学文物博物馆副馆长发言题目：馆藏古代陶瓷情况概述黄小峰中央美术学院教授、人文学院院长发言题目：馆藏古代书画情况概述郑弌中央美术学院人文学院美术史系教授发言题目：馆藏宗教文物情况概述主持刘希言副研究员、中央美术学院美术馆策划研究部主任发言嘉宾曹庆晖中央美术学院人文学院美术史系教授发言题目：馆藏中国近现代油画情况概述徐研中央美术学院美术馆油画修复师发言题目：馆藏油画作品修复案例于洋中央美术学院教授、科研处处长、视觉艺术高精尖创新中心主任发言题目：馆藏近现代水墨的文脉源流窦天炜中央美术学院美术馆修复师发言题目：馆藏纸本作品修复案例李垚辰副研究员、中央美术学院美术馆典藏部主任发言题目：现代美术家个案收藏的概况与工作方法主编 / 何一沙责编 / 杜隐珠
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: 中央美术学院美术馆2025年暑期实习生招募

2025-06-19

主编 / 何一沙责编 / 杜隐珠
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: 油画系特辑 | 2025中央美院毕业季最后阶段

2025-06-14

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: 央美“GO”野快闪店 • 毕业季专场 | 周末限时打卡~坐标北野

2025-06-13

当中央美术学院的先锋艺术灵感，遇上北京野生动物园的自然野趣，会碰撞出怎样奇妙的火花？答案就在眼前！作为2025中央美院毕业季的特别企划，央美“GO”野快闪店毕业季专场正式登陆北京野生动物园！6月14日-15日，走进快闪店，你将有机会：1. 把“央美毕业季”带回家！精选央美毕业季主题限定艺术衍生品，这些充满巧思与才华的设计，可能是你收藏创作灵感的绝佳机会。2. 亲手“复刻”野性之美！在央美版画系学生的指导下，你可以参与妙趣横生的动物主题版画体验：一脸淡定的卡皮巴拉、灵动可爱的鹦鹉，还有温顺迷人的小熊猫，用艺术的方式感受、记录并创造！这个周末，和我们一起探索艺术的无限可能！📍 地点：北京野生动物园内雕塑区域后侧⏰ 时间：2024年6月14日—6月15日温馨提示：现场有主题大象形象打卡、盖章等精彩活动等你参与，前往快闪店需自行购买北京野生动物园门票。
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: Enter The Whimsical World Of Picture Books | Witness The Fantastic Narratives Of Graduates From The Central Academy Of Fine Arts

2025-06-11

The much-anticipated graduation works of the Picture Book Creation Studio are now on display in the Glass Exhibition Hall on the second floor of CAFA Art Museum. Taking books as the carrier, 16 graduates present a rich and wonderful whimsical world to the public through the form of page-turning reading.Stepping into the exhibition hall is like entering a magical forest: in the pupils of "that cat", you can see the warmth and loneliness in the corners of the city; while the silent dialogue between "the Snowman and the Little Seed" tells the story of exploration and hope for a better life. The cover marked "32nd of the 13th Month" has long broken free from the shackles of time, inviting you to step into a boundless whimsical universe. Do you see yourself in "Meow God"—clumsy yet striving with all your might? When the faint light shines from the "Forest Convenience Store", what meets the eye is the friendliness and mutual help among people. As for those "chattering non-stop" wonderful images, they depict a child's journey from self-enclosure to brave expression and being understood. And the phrase "I lost..." grows quietly in the 留白 (blank space) of loss, sprouting a philosophical inquiry into existence and meaning.The Catby Chen ZiyiThe Cat is created by using cream glue as the base to produce a relief effect, followed by printing, drawing with a ballpoint pen, and scanning. The picture book tells a sad story: a kitten lives happily with a little girl. When the girl passes away suddenly, the kitten is filled with confusion. After a long wait, the kitten eventually dies as well. The ending of this work is open to interpretation: perhaps the kitten and the girl will never meet again, or maybe they continue to live happily together after death.The Snowman and the Little Seedby Zhang ChenhaoThe snowman feels lost in its unchanging life. One day, a traveling seed bursts into its world. Encouraged and led by the seed, the snowman tries to leave home, journeying alongside the seed to explore the outside world and seek beautiful places. Through their trials and companionship, they make new friends, play together, and face crises. In this process, the snowman relaxes, allowing its strengths to shine. It grows alongside the little seed, heading toward a beautiful and vast world.The 32nd Day of the 13th Monthby Song YumengIs the last day of the year December 31st? Not at all! In the world of elves, the 13th month signifies the beginning of many fantasies. Now, the Kaka elves will take you on a journey to experience various magical events that occur on the 32nd day of the 13th month! Are you ready to set off? The author has a great affection for fantasy creatures and intends to use the fictional framework of the 13th month to bring elves into reality. Through this picture book, humans can catch a glimpse of the marvelous corners of the world inhabited by other creatures.Meow Godby Xiang TianyiA stray white kitten is misunderstood as the "Meow God" by forest animals and helps many of them. Until one day, a wild goose with a broken wing arrives. No matter what the kitten does, it can't help the goose return to the sky, causing its confidence to collapse instantly. Why does the kitten stop in its tracks as it leaves on a rainy night... People may be forced to pretend to be "omnipotent" due to others' expectations or the desire to be loved, but we are ultimately ordinary. When illusions shatter, we're engulfed by the void of self-worth—and in these moments, we need to return to our essence, acknowledging the clumsy yet earnest efforts we've made.The Forest Convenience Storeby Yang BoyingA convenience store is opened in a tree hole in the forest. Today, the store is holding a big sale, and customers flock here in droves. While the business is booming, the store is thrown into chaos! Just as the mouse boss is on the verge of breaking down, the warm-hearted customers step in to help one after another...Non-Stop Chatterby Deng FenghongDue to stuttering, the little boy can never express what he wants to say, and others fail to understand him. He can only use his own ways to express, paint, and paste together his unique "world". Starting from the author's childhood experience of stuttering, the work focuses on the inner world of children whose expression is hindered. Through the form of a picture book, with broken language and emotional images, it depicts a child's journey from self-enclosure to brave expression and being understood, exploring communication and empathy beyond words.I Lost...by Su YuxuanIn the process of growing up, we always lose many things—from something as small as keys, rings, necklaces, hair ties, bicycles... Most of the time, they never reappear. But what if one day they all came back? I wonder what they would look like, and whether they would still be the same as before they were lost... The author herself is someone who often loses things, and after losing them, she can't help but imagine where they might be and what experiences they have gone through. She uses illustrations and words to bring all these fantasies to life!There are many more works on display in the exhibition hall.They dance on the boundary between reality and fantasy,gently questioning life and growth,and even more, echoing profoundly through absurd humor.Let's step into this fantastic space together,shaped by colors and imagination...Reservation Channel2025 CAFA Graduation SeasonCAFAM@ 2025The online reservation and ticketing channel for the 2025 CAFA Graduation Season has been opened. Visitors can make reservations and purchase tickets through the CAFA Art Museum mini-program, WeChat official account, or official website (for ticketing instructions, please refer to the official website). The number of daily visiting slots is limited and will be available until fully booked. During the Graduation Season, the Art Museum will be open as usual on Mondays.When making a reservation, valid identification documents must be used for real-name registration. Each person can only make one reservation per day. After successful reservation, visitors should arrive at the scheduled time. During the Graduation Season, please enter the museum through the special ticketing channel at the north gate of the Central Academy of Fine Arts by swiping valid identification documents such as an ID card for verification.Chief Editor / He YishaEditor / Du Yinzhu
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: Roundtable Dialogue | Jin Jun & Juan José Herrera de la Muela：The Transformation And Dialogue Of Museums

2025-06-10

On May 28th, a roundtable dialogue themed "The Transformation and Dialogue of Museums" took place at the Cervantes Institute in Beijing. The dialogue was jointly participated by Jin Jun, Curator of the CAFA Art Museum, and Juan José Herrera de la Muela, Cultural Counselor of the Spanish Embassy in China, with Isabel Cervera, Director of the Cervantes Institute in Beijing, serving as the host. At the beginning of the event, taking the contemporary dance performance in the Prado Museum in Madrid that breaks the traditional concept of museum space as a starting point, Isabel and the two guests jointly discussed the concepts, development changes, operation management, pluralistic integration, and the important roles they assume in contemporary society of museums and art galleries.Jin Jun, Curator of CAFA Art MuseumJuan José Herrera de la Muela, Cultural Counselor of the Spanish Embassy in ChinaIsabel Cervera, Director of the Cervantes Institute in Beijing01The Development and Changes of CAFA Art MuseumThe old site of CAFA Art Museum, Photographer: José Manuel BallesterThe new site of CAFA Art Museum under construction Photographer: José Manuel BallesterIsabel invited Professor Jin Jun to talk about the development and changes of CAFA Art Museum by displaying the contrast between the old and new buildings of the museum. Jin Jun mentioned that the old site of CAFA Art Museum was built in the 1950s and was an important cultural building at that time, witnessing China's progress from tradition to modern civilization and industrialization. Today, the Art Museum of the Central Academy of Fine Arts has developed into a modern model in terms of construction and operation management. Although it is not large in scale, it has perfect functions. This not only reflects the museum's own development over more than half a century but also is a significant symbol of the progress of Chinese culture, art, and modern civilized society, demonstrating China's achievements in the construction of museums and art galleries from a global perspective.02The Characteristics of Museumsin Different RegionsDoria Pamphilj Gallery in RomeThe Temple of Dendur, Metropolitan Museum of Art, New YorkAltamira New Cave (Replica Cave)Mogao Grottoes, DunhuangIsabel showed the audience live scenes of museums and art galleries in different regions of the world. Muela launched into a discussion about the evolution and definition of museums. Combining his personal experiences and academic perspective, he presented profound reflections on museum culture: He expressed his love for museums and mentioned that he has always tried to explore why he is so fascinated by them, as well as the commonalities among different museums, but found it difficult to define them clearly. Although different types of museums (art, history, science and technology, etc.) have distinct functions, they can all evoke similar spiritual touches. Muela noted that "cultural management is more complex than it appears," and museums need to simultaneously act as "guardians of history," "disseminators of knowledge," "social interlocutors," and even "drivers of the economy," requiring them to find a balance among diverse demands.Temple of Debod, MadridIn particular, Muela focused on sharing the background, relocation, exhibition, and significance of the Temple of Debod in Madrid. Built in the 2nd century BCE, the temple was originally located in the village of Debod near Aswan, Egypt. In the 1960s, as Egyptian historical sites faced the risk of submersion, Spanish engineers assisted in relocating the relics. As a gesture of gratitude, Egypt donated the Temple of Debod to Spain. It was later reconstructed in Madrid's Western Park, maintaining its original east-west orientation from Egypt, and opened to the public in 1972. The temple allows Spaniards and Europeans to directly experience an ancient foreign civilization without traveling to Egypt, enriching the diversity of local cultural landscapes, promoting cultural exchange, and expanding their own cultural horizons. Today, the Temple of Debod at sunset has become a major highlight of Madrid.03The Characteristics and Collection Mechanism of CAFA Art MuseumThe exhibition site of "Collection of CAFA Art Museum- Modern Chinese Art"The exhibition site of "Collection of CAFA Art Museum"When talking about the characteristics and collection mechanism of the CAFA Art Museum, Jin Jun introduced that although the museum is affiliated with the academy, it remains a public art institution and undertakes the basic mission of a public cultural and artistic institution. Relying on the Central Academy of Fine Arts and working closely with various professional departments of the school, it has a direct research and teaching background, giving it more advantages in creation than other art museums. In the process of nearly a century of development, it has accumulated nearly 30,000 collections involving ancient and modern times, combining Chinese and Western works, including ancient cultural relics, modern and contemporary art, and ancient calligraphy and painting, providing rich resources for teaching, research, and exhibitions. The museum not only displays historical works from traditional collections but also presents the latest creations of young artists, such as the annual graduation season exhibitions, which attract a large number of visitors, providing a communication platform for teachers, students, and the public, and promoting the spread and promotion of art. Through functions such as collection, display, and education, it fulfills various functions of aesthetic education in society, helping the public understand artworks and enhancing the public's artistic awareness.2025 CAFA Graduation Season Jin Jun also mentioned that the construction of the museum's donation and collection system relies on diversified cooperation and historical accumulation. Through an open donation mechanism, the museum establishes cooperation with all sectors of society, forming dual support in terms of funds and collections. The participation of social forces not only broadens the collection channels but also enables the museum to more widely absorb different types of artworks and improve the public collection system. In addition, the excellent works accumulated by the Central Academy of Fine Arts over the past century have also enriched the museum's collections. The outstanding works created by teachers and students over the years, especially the representative achievements of Chinese art creation in the 20th century, present a relatively complete creative context. These collections are not only precious resources for the school's teaching and research but also display the evolution of Chinese fine arts to the public through exhibitions, becoming an important carrier of public cultural memory. Therefore, the combination of historical accumulation and social donations has made the collections of CAFA Art Museum both academically profound and publicly oriented, serving both art education and public aesthetic education.04The Diverse Development and Integration Trends of Chinese Museums and Art GalleriesAfter seeing the data display of the number of museums and art galleries in China and the number of visitors, Muela lamented the rapid growth and diversification of Chinese cultural and artistic institutions. From ancient to modern, and from physical to digital, different types demonstrate the richness and innovation of China's museum system. Subsequently, in response to this phenomenon, Jin Jun expressed his views and analyzed it from three dimensions: the rise of multiple types, the expansion of spatial functions, and the opportunities of technological integration: 1. Emergence of Diverse Types of Institutions: From Comprehensive to Specialized Collection Ecosystems Public museums and art galleries in China have rich collections, systematically presenting Chinese history, art, and culture, serving as the cornerstone of public culture. Meanwhile, thematic collections have emerged: a large number of small and medium-sized thematic museums, such as those focusing on automobiles, matches, silk fabrics, furniture, snuff bottles, lighters, and other niche fields, interpret cultural diversity from unique perspectives. In addition, many Chinese cities, including Guangzhou, Shenzhen, Suzhou, and Chengdu, are actively constructing large-scale museums and art galleries. These venues have superior hardware conditions. Although their collections need time to accumulate, they actively promote art communication through exhibitions. 2. Cross-Border Expansion of Spatial Functions: From Single Display to Diverse IntegrationModern art galleries are breaking through traditional boundaries, becoming composite spaces for art integration and public life, and actively exploring deep integration with visual arts and performing arts (dance, music, drama). For example, the Art Museum of the Central Academy of Fine Arts has held integrated exhibitions of dance and art practices to explore more possibilities of spatial narration. 3. Technological Empowerment and Opportunities of the Times: Dual Challenges of Communication and InheritanceWith the help of the Internet and digital technologies, such as online exhibitions and virtual tours, art institutions can break through physical space limitations, expand cultural influence, and enable more of the public to access art resources. This presents both opportunities and challenges. In this process, art galleries and museums are not only containers of art but also core forces promoting the improvement of social aesthetics and the construction of cultural confidence.Group photo of the guestsAt the conclusion of the event, the three guests delivered summaries, stating that the realization of an art museum's value requires the joint promotion of public participation and cross-cultural dialogue. The display of art across regions and eras breaks the original context, enabling audiences to reinterpret works in new temporal and spatial dimensions, thus forming "new possibilities for cultural dialogue." This will enhance the richness of artistic discourse and make art museums a realm where cultural confidence and openness coexist.Event SiteAudience Q&A SessionBiographies of the Guests- Jin JunDigital artist, currently serving as the Director of CAFA Art Museum, as well as a Professor and PhD Supervisor at the School of Design of the Academy. He has previously held positions such as Director of the Digital Media Teaching and Research Section and Vice Dean of the School of Design at the Central Academy of Fine Arts. His career integrates art, design, and technology, holding a Bachelor's Degree in Electronic Engineering from Tsinghua University and a Master's Degree in Art and Design from Boston University in the United States. With this interdisciplinary background, he has long been committed to innovative exploration and teaching practice in the intersection of art, design, and technology. His research directions include: digital dynamic media art research, immersive experience and game design, and digital twin design research.Juan José Herrera de la MuelaA senior diplomat and art history scholar, he has long been dedicated to the study of cultural power relations, with a particular expertise in the field of cultural diplomacy. He has served as the Extraordinary Ambassador for the "Spain-Russia Bilateral Cultural Year" and Ambassador for Public and Global Affairs of Spain. He also served as President of the Asia House in Barcelona, Cultural Counselor in Moscow, Diplomat to Bolivia, and Cultural Consul in New York. During his tenure at the Spanish Ministry of Culture, he was a member of the Advisory Committee to the Secretary of State for Culture and Deputy Director of the Department of Music and Dance. Later, he served as Director General of the Department of Museums and Music in the Madrid City Government and President of the Spanish Geographical Society from 2012 to 2015. He holds a bachelor's degree in law and corporate legal consulting, as well as a master's degree in art history from the Institute of Fine Arts at New York University. Over the years, he has collaborated with multiple national and international cultural institutions, published numerous articles, and actively participated in international biennials and university projects. In addition, he founded the "Voice of the East" (tentative translation) book series at the 21st Century Publishing House.Editor-in-Chief / He YishaEditor / Du Yinzhu
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: 趁热观展 | “中央美院本科生毕业展”终章今日开启

2025-06-09

中央美术学院本科生毕业展（第二阶段）在炎炎夏日中正式开展。6月8日是开展首日，美术馆外早早排起长队，观众中既有美术专业学生、艺术从业者、艺术爱好者，也有带孩子前来的家庭群体。有观众表示：“在实验艺术展区感受到了科技与艺术的化学反应，让我意识到艺术可以如此‘身临其境’。” 修复学院的展区则吸引了许多文物爱好者，他们驻足观看修复记录，感叹 “每一道裂痕都是历史的指纹”。而绘本专业展区深受小朋友们的喜爱，仿佛让人穿越到绚烂的童话世界……此阶段展出了油画系、壁画系、实验艺术与科技艺术学院、城市设计学院、艺术管理与教育学院、修复学院的毕业生作品，各院系依专业特色创作，以多元创作视角、创新表达形式与互动体验设计，展现了青年学子对艺术的深度思考与时代探索。展览将持续至6月22日，毕业季期间周一不闭馆，期待您来到现场从不同角度解读这些作品的叙事层次。现场直击2025中央美院毕业季CAFAM@ 2025预约通道2025中央美院毕业季CAFAM@ 20252025中央美院毕业季线上预约购票通道已经开启，观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票（购票说明详见官网）。每日观展名额限量约满为止，毕业季期间美术馆周一正常开放。预约时需使用有效证件进行实名预约，每人当天只能预约一次，预约成功后，观众按预约时间到场。毕业季期间，在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞
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: CAFAM Lecture Preview | Boundless China: Artistic Methods and Aesthetic Imagination From A Diasporic Perspective

2025-06-08

李爽，《和我结婚，拿中国国籍》，2015图片致谢艺术家TimeJune 10th, 18:30 - 20:30VenueAcademic Lecture Hall of the Art Museum of the Central Academy of Fine ArtsHosted bySchool of Arts Management and Education, Central Academy of Fine ArtsOrganized byCAFA Art MuseumHostJin Jun (Director of CAFA Art Museum)Co-speakersPi Li (Artistic Director of Tai Kwun Contemporary, Hong Kong)Guo Ying (Senior Curator of Tai Kwun Contemporary, Hong Kong)Liu Qianxi (Curator of UCCA Center for Contemporary Art, Beijing)Scan the code to make an appointment. Limited slots available, first come, first served.Viewers can enter the lecture hall through the west gate of CAFA art museum with their appointment records after 17:30.Students of the Central Academy of Fine Arts do not need to scan the code.This lecture will focus on "China" and "diaspora" as the core, exploring the multiple dimensions of overseas Chinese art in the 20th - 21st centuries. Under the profound influence of globalization, a single cultural identity has been redefined. "China" is regarded as an open methodology rather than a fixed ethnic label. The lecture will start from history, review the evolutionary context of overseas Chinese art, and focus on the latest artistic practices, analyzing how the diaspora experience has become an aesthetic strategy for artistic creation and a source of cultural imagination. Through the analysis of artists' works, it will explore new possibilities of cultural mobility, identity reconstruction, and creativity in the context of globalization.| Host |Jin JunDirector, Professor, and Doctoral Supervisor of CAFA Art Museum; Dean of the School of Design and Art at Beijing Institute of Technology. He has presided over many major design projects, including the design of dynamic sports icons for the 2022 Beijing Winter Olympics. He has also organized and planned over 40 series of art thematic exhibitions titled "Looking Back and Reflecting: Rereading the Classics", including the "Invitation Exhibition of Famous Chinese Painters in the 20th Century". Recently, he has completed the creation and planning of digital immersive art, such as the "Equal Views of Digital Realms: Research Exhibition on Traditional Art and Technology", as well as the planning of the "Immersive Art Design Exhibition of the National Center for the Performing Arts 'Art in Life'" and the "Beijing Media Art Biennale".| Introduction of Guests |Pi LiThe art director of Tai Kwun Contemporary in Hong Kong, he was formerly the senior curator of the Sigg Collection and head of curatorial affairs at the M+ Museum of Visual Culture (2012 - 2023). Prior to that, he taught at the School of Humanities of the Central Academy of Fine Arts (2001 - 2012). The exhibitions curated by Pi Li include one of the opening exhibitions of M+: "From the Great Revolution to Globalization" (M+ Hong Kong, 2021); "Song Huai Gui: Art Pioneer and Fashion Matriarch" (M+ Hong Kong, 2023), "Bruce Nauman" (Tai Kwun Contemporary, Hong Kong, 2024). The books published by Pi Li include: "From Action to Idea" (2015), "Farewell to Moralism" (2018), "M+ Sigg Collection: Forty Years of Chinese Contemporary Art" (2021), "Song Huai Gui: A Lifetime of Art, A Lifetime of Fashion" (2023).Guo YingCurrently a senior curator at Tai Kwun Contemporary, she curated exhibitions as an independent curator from 2013 to 2021. She has collaborated with domestic and international art and cultural institutions, including curating biennials, museum exhibitions, and other partnerships, as well as developing various projects for artists. Her research-based curatorial practice combines different expressions in contemporary visual art, including site-specific commissions, performances, films, and videos. Her past curatorial projects or those where she served as art director include: the 5th Audemars Piguet Art Commission, "The Moon Passes Without a Sound," a solo exhibition by Xu Fanghua; "Peer to Peer: UK/HK 2020"; "Epidemic Metropolis: Far and Near" at Tai Kwun / Wellcome Trust in Hong Kong; and "Yang Jiahui's Disaster Relief Album" at the Hong Kong Pavilion of the 57th Venice Biennale / M+ Museum. From 2006 to 2012, Guo Ying was the curator of the Chinese Arts Centre in Manchester, UK. In 2014, Guo Ying was awarded a grant by the Asian Cultural Council and was also the recipient of the Clore Leadership Programme Hong Kong Scholarship in 2018/19.Liu QianxiA curator and researcher based in Beijing, she is currently the curator of the UCCA Center for Contemporary Art. She is the recipient of the Asian Cultural Council's Individual Fellowship in 2023. From 2017 to 2024, she served as the curator of Taikang Space (now Taikang Art Museum). From 2014 to 2017, she worked at the New York-based magazine ARTFORUM. She has served as a judge and nominator for numerous art awards, such as the nominator for the 2025 Sigg Prize at the M+ Museum in Hong Kong, the preliminary judge for the Huayu Youth Award in 2020 and 2021, and the nominator for the Jimei x Arles Discovery Award in 2018. She has participated in editing multiple publications and has published critical articles in magazines such as ARTFORUM, LEAP, ArtAsiaPacific, and FLASH ART.Editor-in-Chief / He Yisha Editor / Du Yinzhu
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: On The Eve Of The Opening | The Final Sprint Of The Second Phase Of The "Undergraduate Graduation Exhibition Of The Central Academy Of Fine Arts"

2025-06-07

There are less than 2 days left until the official opening of the Undergraduate Graduation Exhibition (Phase 2) of the Central Academy of Fine Arts on June 8th, and the exhibition layout has entered the final sprint stage. This exhibition showcases the graduation works of the Department of Oil Painting, the Department of Mural Painting, the School of Experimental Art and Technological Art, the School of Urban Design, the School of Arts Management and Education, the (China-France) School of Arts and Design Management, the School of Conservation and Restoration, and the School of Continuing Education. Today, we offer an exclusive preview, unlocking some exhibits from eight departments for you. More wonderful experiences await you on-site.Reservation channel2025 CAFA Graduation SeasonCAFAM@ 2025Visitors can make reservation and purchase tickets through the mini-program, WeChat official account or official website of CAFA Art Museum (for details of ticket purchase, please refer to the official website). The daily number of visiting slots is limited and will be closed when full. During the graduation season, the art museum is open as usual on Mondays.When making a reservation, valid identification documents must be used for real - name reservation. Each person can only make one reservation per day. After a successful reservation, visitors should arrive at the appointed time. During the graduation season, visitors can enter the museum by swiping valid identification documents such as ID cards at the special ticket - checking passage at the north gate of the Central Academy of Fine Arts.Chief Editor / He Yisha Editor / Du YinzhuOn-site Photos / He Yifei
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: Today Is The Grain In Ear

2025-06-05

Today Is The Grain In Ear.
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Child Public Education Reservation Form

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Group Public Education Event Reservation Form

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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.