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.

: 无疗愈，不艺术｜央美毕业季的观看指南

2025-05-05

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

2025-05-04

Wang Shaoqiang, Director of Guangdong Art Museum「Recently, at the "Cultural Engine — International Art Museum Forum of the Central Academy of Fine Arts," Wang Shaoqiang, Director of the Guangdong Art Museum, delivered a keynote speech titled "Carrying Forward the Past and Forging the Future: Art Museum Construction and Urban Development in the New Era." In his speech, he summarized the decade-long journey of the Guangdong Art Museum—transforming from a professional collection institution into a public cultural platform, and from an art exhibition space into a living room for urban ideas —condensing the transformative trajectory of China's art museum cause.」01.The Era Mission of Art Museums as Cultural HubsIn his speech, Director Wang Shaoqiang weaves a decade of professional experience to outline the magnificent landscape of China's art museum development. The opening of his speech is not merely a retrospective of his personal career but also a reflection of the collective journey of Chinese art museums transforming from professional institutions to public cultural platforms. As a cultural witness at the forefront of China's reform and opening-up, the practice of the Guangdong Museum of Art holds typical significance—from its historical birth in 1997 alongside the Guan Shanyue Art Museum and He Xiangning Art Museum to its leapfrog development with the completion of a 90,000-square-meter new venue in 2023. Its experiences provide a rich case study for exploring how art museums can respond to contemporary needs and drive urban cultural upgrading.02.Continuation in Historical Dimension:Combing and Reconstructing Academic ContextsThe decade-long practice of the Guangdong Art Museum begins with a deep excavation of Chinese art history in the 20th century. The Director particularly emphasized research on the transformative period of Chinese painting (1920s-1930s), and this academic positioning is by no means accidental. In the development history of public art museums, the systematic collation of local art traditions constitutes the foundation of institutional legitimacy. Through a series of projects such as the century-long combing of "From Embroidery to Guangzhou Fine Arts" and the thematic research on "Chinese-Style Landscape," the museum has constructed an academic framework connecting regional characteristics with national narratives. This strengthening of historical consciousness has formed a unique cultural identity in the globalized context and also provided a reference system for subsequent contemporary art practices.The application of case study methods is particularly noteworthy. The thematic exploration of photographic media and the systematic collation of annual artists reflect the museum's micro-level grasp of the art ecosystem. This research approach of "gaining insight from subtle clues" avoids the emptiness of grand narratives while revealing the internal laws of art development through specific artistic phenomena. In the digital wave, the Guangdong Museum of Art's research on the conservation and activation of traditional materials such as calligraphy and painting on paper and bronze media further embodies contemporary thinking about material cultural heritage.03.Exploration of Institutional Innovation:The Biennial Model and Spatial ExperimentsInnovative practices in large-scale exhibition mechanisms constitute a highlight of the Guangdong Art Museum's experience. The biennial exhibition system, which originated in Sanyuanli, Guangzhou, has built a public influence reaching 600,000 to 800,000 visitors through three to four editions of continuous exploration. This internationally recognized exhibition model has been reinvigorated within the local context: on the one hand, it maintains academic intensity through a "three-month exhibition period" to control pacing; on the other hand, it leverages diverse entry points such as technology, culture, and social phenomena to transform exhibitions into platforms for intellectual discourse. What is particularly commendable is that each biennial exhibition emphasizes the curatorial philosophy of "raising questions," enabling the exhibitions to transcend the mere display of artworks and evolve into collective reflections on the present and future.The innovation in spatial concepts is equally striking. Guided by the practical philosophy of "static architecture, flowing space," the museum continuously creates "defamiliarization" experiences through means such as lighting design and exhibition innovation. This dynamic spatial narrative breaks the static impression of traditional art museums, transforming the exhibition-viewing process into a journey full of discovery. In the planning of the 90,000-square-meter new venue, spatial experiments will gain a larger stage, and how to balance architectural scale with humanistic dimensions will become a crucial topic testing the museum's wisdom.04.Practice of Functional Expansion:From Restoration and ConservationThe trend of diversified functions is fully demonstrated in the Guangdong Art Museum. Beyond regular exhibitions, its hidden restoration system meets national standards, and the introduction of interdisciplinary knowledge such as materials science and energy management reflects the expansion of professional depth. The achievements in public education are equally remarkable: the regular holding of international forums has made the museum a node for knowledge production and dissemination. These "invisible efforts" precisely form the cornerstone of the museum's professionalism and are also the key features that distinguish it from ordinary exhibition spaces.The digital transformation strategy demonstrates forward-looking vision. The standardization and digitalization of the collection system not only enhance management efficiency but also activate collection resources through means such as digital exhibittions. Guided by the concept of "activation," cultural relics conservation and contemporary display form a virtuous cycle, providing a paradigm for the creative transformation of traditional cultural resources.05.Deepening UrbanInteraction:Museum-City Symbiosis in the Context of the Greater Bay AreaThe completion of the new venue marks the Guangdong Museum of Art’s entry into a brand-new development phase. With a total area of 90,000 square meters, it not only achieves a leap in scale but also confronts the epochal proposition of constructing the Guangdong-Hong Kong-Macao Greater Bay Area. The Director’s reflections touch on the essence of the relationship between art museums and cities: In the strategy of regional coordinated development, how can cultural facilities transcend geographical boundaries to form a radiation effect? Especially in less-developed regions, the establishment of an art museum not only embodies cultural inclusiveness but also requires vigilance against the risk of creating a "cultural enclave."The "Guangdong-Guangxi positioning" of the Guangdong Art Museum demonstrates the wisdom of regional linkage. Through six years of continuous cross-provincial cooperation projects, the museum has broken down administrative barriers and established a culturally complementary resource network. This experience holds reference value for the construction of the Greater Bay Area—under the framework of "one country, two systems," how can art museums maintain academic independence while also serving as a catalyst for cultural identity?06.Challenges and ProspectsThe Theoretical Construction of MuseologyThe intention of "museology research" revealed in the speech points to the deep-seated needs of the industry's development. While China's art museum cause is thriving in practice, there is an urgent need to establish a localized theoretical system. The Guangdong Art Museum continuous improvement of its management system and research on the characteristics of art museums both reflect this sense of consciousness. In future development, how to balance academic pursuits with public needs, the guardianship of tradition with innovative drive, and local stance with international vision still requires sustained exploration.Talent strategy is another key point. Having experienced the transition from academia to art museum management, the Director particularly emphasizes the importance of interdisciplinary approaches and professional development. As the functions of art museums become increasingly complex today, building a team of interdisciplinary talent will serve as a guarantee for the institution's sustainable development.The decade-long journey of the Guangdong Art Museum encapsulates the transformative trajectory of China's art museum undertakings. From a professional collection institution to a public cultural platform, and from an art exhibition space to an urban "living room for ideas," its evolving role echoes the cultural needs of social development. The inauguration of the new venue not only bears witness to its phased achievements but also marks the beginning of future challenges. Under the vision of symbiosis and shared prosperity between art museums and cities, there is a need for more practitioners like the speaker—those who examine the present with a historical perspective and pioneer the future with an innovative spirit, so that art museums can truly become cultural beacons illuminating the urban spirit.Introduction to the Guest Speaker Wang ShaoqiangDirector of the Guangdong Museum of Art, Professor, Researcher at the second-level position in cultural relics and museology, PhD supervisor, and expert enjoying the special allowance from the State Council. He also serves as a Professor and PhD supervisor at the Chinese National Academy of Arts, a Council Member of the China Artists Association, President of the Guangdong Museum Association, and Vice Chairman of the Guangdong Artists Association.He has been selected for talent projects such as the "Guangdong Special Support Program" for leading talents in propaganda, ideology, and culture, and the cultivation target of Guangdong's "Ten-Hundred-Thousand" Project. He has been consecutively listed twice on the "China Art Power List," named a "Person of the Year" by National Art magazine, awarded the Artist Prize of the 22nd Naples Cultural Classic Award, the 14th Global Chinese Golden Star Award - Annual Focus Figure Award in 2023, and Italy's 2023 4th "Artistic Career Award." He served as the Chief Curator of the 2023 Chengdu Biennale, was named a "Lingnan Culture International Communication Envoy" in 2023, and was selected into the "Guangdong Literary and Art Masters Studio" of the Guangdong Federation of Literary and Art Circles in 2024.∨Chief Editor / He Yisha Editor / Du YinzhuText Compilation / Cao YuchenPhotography / He Yifei
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: 春日喜讯 | “中央美术学院美术馆藏陈列——现代中国美术”荣获文旅部2024年度全国美术馆优秀展览项目

2025-04-29

近日，文化和旅游部发布了“文化和旅游部办公厅关于开展2024年度全国美术馆优秀项目评选工作的通知”，共评选出10个“2024年度优秀展览项目”，其中，我馆策划展出的“中央美术学院美术馆藏陈列——现代中国美术（1900-2000）”展览入选优秀展览项目名单。展览概况陈列现场长期陈列的推出，既是中央美术学院美术馆对经典馆藏探索、活化的重要探索，是对收藏研究工作的阶段性总结，也是对习总书记提出中国的美术馆要在高质量收藏、高水平利用、高品质服务上下功夫的指示的积极响应，更是对新时代美术馆核心价值的展示，是丰富与建构中国新时代的美术史研究物质呈现的努力。陈列现场“中央美术学院美术馆藏长期陈列”的呈现不仅是久远恢宏的艺术史的生动书写，更是学院教学实践的重要资源，承载着百年美院艺为人民的学术积淀，见证了中国美术教育筚路蓝缕的发展历程。陈列现场011900-1949021950-1976
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: Whose Artistic DNA Is Stirred Again Upon Seeing This "Apple" In The 2025 CAFA Graduation Season? (Including Benefits)

2025-04-29

When the main visual image of the 2025 graduation season of the Central Academy of Fine Arts was released – a warm-colored apple surrounded by halos suspended in the void, this visually striking symbol instantly awakened the viewers' artistic memories. The theme of this year's graduation season at the Central Academy of Fine Arts is "Moving Forward in Pursuit of the Light". This imagery, which is both classical and modern, precisely expresses an inquiry into and reconstruction of the essence of art.The main image of this graduation season takes the object that every art student first comes into contact with as the carrier. Through the flow and smudging of the illuminated surface on the white plane, it implies that light is the foundation and prerequisite for all our observations and creations. The overall visual style is delicate and elegant, emphasizing that at a moment like the graduation season, the path we have traveled should illuminate the path ahead, and the continuous pursuit of art is always hidden in that beam of light attached to the object. This not only tears open the surface narrative of visual art but also metaphorically represents the spiritual core of contemporary art education.In an era where 1.7 trillion digital images are generated every second, the main visual of the 2025 CAFA graduation season, in a gesture of returning to simplicity, reconstructs the most basic modeling elements into a visual declaration full of a sense of the future. When viewers gaze at this luminous object suspended in the void – those eternal propositions about light and shadow, form, and concept are giving birth to new strength amidst a gentle ambiance.At the same time, many audiences have also expressed their opinions and unique insights into art on various self-media platforms. This interactivity has also reconstructed the social interpretation space of the image of this graduation season.Well,After seeing this shining apple,Whose artistic DNA has been stirred again?Leave your thoughts in the comment section.The comments from the top 10 viewers who receive the most likesWill each be awarded a ticket to the graduation season during the May Day holiday.Let's get close to the light, follow the light, and become the light.The 2025 CAFA graduation seasonIs waiting for your arrival!Chief Editor / He Yisha Editor / Du Yinzhu
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: Official spoiler! More than 3,000 postgraduate works are gathered in the graduation season of CAFA

2025-04-28

In late April at the Central Academy of Fine Arts, the fragments of flower catkins float in the spring breeze. In the exhibition hall of the CAFA Art Museum, a group of young graduates are carefully infusing their passion, confusion, and expectations into their paintings bit by bit, shaping them into sculptures, and integrating them into the code. This graduation season of CAFA, titled "Marching Towards the Light", is quietly brewing like a silent storm at the end of spring.The artistic context, created by more than 500 master's and doctoral students, takes emotions, philosophy, and humanistic care as its foundation, deconstructing "Marching Towards the Light" into an artistic language that transcends time and space. Today, on the second day of the works' move-in, let's go deep into the front line of exhibition arrangement and unveil some spoilers of this mysterious event...Light serves as both a medium and a carrier of memory. When 532 graduates choose light as their vessel, this exhibition ceases to be an endpoint; instead, it becomes the first draft of countless possibilities. In 2025, we look forward to you "Marching Towards the Light" with us.Visitors can make reservations and purchase tickets through the WeChat mini-program, WeChat official account, or official website of the CAFA Art Museum (for detailed ticketing instructions, please refer to the official website). The daily number of visiting spots is limited and will be closed once fully booked. During the graduation season, the museum is 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 a successful reservation, visitors should arrive at the venue at the reserved time. During the graduation season, visitors can enter the museum through the special ticket access at the north gate of CAFA by swiping valid identification documents such as ID cards for ticket verification.Chief Editor / He Yisha Editor / Du YinzhuSome pictures are provided by students
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: Jin Jun: The Integration Of The Virtual And The Real And Symbiotic Development Of Art Museums In The Post-digital Era | 2025 CAFAM Academic Series

2025-04-27

Jin Jun, Director of CAFA Art Museum「In today's era, the rapid development of technology is profoundly transforming every aspect of our lives, and the field of art is no exception. Recently, at the "Cultural Engine —— International Art Museum Summit Forum of the Central Academy of Fine Arts", Jin Jun, the director of CAFA Art Museum, delivered a keynote speech. With the theme of "The Integration and Symbiotic Development of the Virtual and the Real in Art Museums in the Post-digital Era", he deeply explored how art museums can achieve the integration of tradition and modernity, as well as the integration of the physical and the virtual under the impetus of the wave of technology. He also discussed the far-reaching impact of such integration on the development of art and the public's art experience.」01.Empowered by TechnologyTraditional and Classic ArtJin Jun first pointed out that traditional art museums, as spaces for the collection and display of art treasures, provide the public with an important venue to be influenced by art and understand different cultures. However, in the development of the art field, there are differences in the development speed among different regions and fields. The advancement of technology, especially the emergence of new media technology, has brought new possibilities for the display of traditional artworks, enabling them to break through the limitations of time and space and present themselves to the public in a brand-new look.The presentation of traditional art in an immersive digital virtual way is a typical practice of technology empowering traditional art. Through immersive digital means, audiences can experience artworks in the environment of a specific art museum in different places and feel the overall scale and details of the artworks in space. This new way of presentation not only gives the audience a more intuitive understanding of the artworks but also endows traditional art with new vitality. For example, with regard to the painting Listening to the Qin by the Song Dynasty in China, through the digital virtual method, the audience can interactively feel the humanistic thoughts and the humanistic spirit based on nature at that time, thus obtaining a deeper new experience. In addition, the re-creation of Chinese traditional artworks in a digital way has also been an important direction of exploration in recent years. This kind of re-creation incorporates modern cognitive understanding. Taking some traditional Chinese landscape paintings as examples, the presentation in a digital dynamic way makes these ancient paintings radiate new vitality and brings the audience a brand-new visual enjoyment.02.Digital Art under the Support of TechnologyNew FormsWith the continuous development of technology, new art forms are constantly emerging. Jin Jun mentioned that digitalization, the transformation of pixelated forms, colors, and new interpretations of tradition are all directions for the exploration of new art forms. For example, the digital dynamic sculptures created by Turkish artists, through digital means, enable the sculptures to show their unique charm in motion and bring new changes to the daily space. This digital dynamic art form not only presents a new look in the space of art museums but also plays an important role in public spaces.The advancement of technology has also brought new ways to interpret art forms. For example, by combining traditional machinery with digital sensing technology, novel art forms such as human-machine dance have been created. In the Beijing Media Art Biennale once held at CAFA Art Museum, European artists transformed human nerve commands through programming, enabling machinery to drive the human body into a dancing state. This unique artistic experience has given the audience a deeper understanding of the integration of art and technology.In addition, the integration of technology and art is also reflected in the combination of biological themes and dynamic art. In the Media Art Biennale in 2023, works related to ecological integration demonstrated the combination of technology and art through dynamic techniques, triggering people's ethical reflections on technological progress. At the same time, artists are also exploring participatory interactions between technology and traditional art, real-time rendering, and the construction of online exhibitions of traditional ancient art, etc., enabling the audience to appreciate the charm of traditional art through online platforms.03.From the Physical Space to the Digital Ecological EntityJin Jun further elaborated on the transformation trend of art museums from physical spaces to digital ecological entities. The development of digital technology has made it possible for a global art network to take shape. For example, the National Portrait Gallery in Washington presents the appearance of its museum through digital means, and Google Arts & Culture has created digital exhibition halls, allowing audiences to appreciate artworks from all over the world via the Internet. The construction of this digital ecological entity not only breaks the limitations of the physical space of traditional art museums but also provides a broader platform for the dissemination and exchange of art.Jin Jun further elaborated on the transformation trend of art museums from physical spaces to digital ecological entities. The development of digital technology has made it possible for a global art network to take shape. For example, the National Portrait Gallery in Washington presents the appearance of its museum through digital means, and Google Arts & Culture has created digital exhibition halls, allowing audiences to appreciate artworks from all over the world via the Internet. The construction of this digital ecological entity not only breaks the limitations of the physical space of traditional art museums but also provides a broader platform for the dissemination and exchange of art.In addition, digital technology is also used to enhance the audience's experience. For example, the application of VR technology enables the audience to experience artworks in a brand-new way. Director Jin Jun is leading the disciplinary team to cooperate with multiple institutions to explore how to use new spatial methods to construct a digital twin art museum space. This digital twin art museum space will take the physical art museum as the carrier and create a virtual space corresponding to the physical art museum through digital means, bringing the audience an art experience of the integration and symbiosis of online and offline.04. The Integration of the Virtual and the RealThe Present and the Future Finally, Jin Jun emphasized the importance of the integration of the virtual and the real. He mentioned that the integrated development of the original artworks and dynamic video works in the exhibition space of "Dreams in the Mortal World" is a typical case of the integration of the virtual and the real. In addition, in the VR display in the 798 Art Zone, visitors can walk around the zone while wearing VR glasses and experience the appearance of the digital space. This way of integrating the virtual and the real not only provides the audience with more options when appreciating artworks but also offers new ideas for the future development of art museums.In the post-digital era, the integration of technology and art has become an irreversible trend. Technology not only provides new means for the display and dissemination of traditional art but also gives birth to new art forms and artistic experiences. The transformation from the physical space to the digital ecological entity, as well as the direction of the integration of the virtual and the real, all paint a beautiful blueprint for the future development of art museums. We have every reason to believe that with the help of technology, art museums will be able to better fulfill their functions of cultural dissemination and art education, enabling more members of the public to appreciate the charm of art and feel the profound cultural heritage.Introduction of the Guest Speaker●●●●●●●●●●●●Jin JunDirector of CAFA Art Museum, Professor, Doctoral Supervisor; Dean of the School of Design and Arts, Beijing Institute of Technology. He has presided over a number of major design projects, including the design of the dynamic sports icons for the 2022 Beijing Winter Olympics. He has organized and planned more than 40 series of special art exhibitions under the theme of "Looking Back and Reflecting · Rereading the Classics", including the "Invitation Exhibition of Famous Chinese Painters in the 20th Century", etc. Recently, he has completed the creation and planning of digital immersive artworks, such as the "Equal Views in the Digital Realm: Exhibition on Traditional Art and Technological Research", as well as the planning of the "Immersive Art Design Exhibition of the National Centre for the Performing Arts: Art in Life" and the "Beijing Media Art Biennale", etc.∨Chief Editor / He Yisha Editor / Du YinzhuText Arrangement / Xu XiOn-site Photos / He Yifei
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: Year-round Exploration of Liberal Arts | The CAFAM Annual Pass is Here!

2025-04-25

Special Kind Reminder1. Please bring a valid identification document when entering for a visit to facilitate the verification of your membership status.2. When activating the annual pass for an individual card, please bind the information of your accompanying person, and this information cannot be changed. When activating a family card, you need to bind the information of your family members, and this information cannot be changed. (If there is only one minor, you can fill in this information repeatedly.)3. The accompanying person whose information has been bound needs to swipe their ID card to enter the venue. Minors must be accompanied by at least one guardian to enter the venue.4. During the graduation season, annual pass members do not need to make a reservation.5. Visitors are restricted to entering the art museum only once on the designated visiting day.The cover of the Student Card features the famous work "David" by Teacher Yu Hong. This classic sketch, which was created in 1984, is likely the most renowned portrait of David in China and may also be the most widely circulated one. Countless people got to know what a sketch is and what the basic standards of the Central Academy of Fine Arts are starting from this work. Countless students with artistic dreams have gazed at it and painstakingly copied it stroke by stroke...The cover of the Personal Card features the work "Han · Nine Consciousnesses" by Teacher Chen Wenji. Since 2006, Chen Wenji has stopped his realistic paintings that he had been creating for more than twenty years and embarked on a new creative journey of his own. There are no longer any recognizable objects in the paintings, but only some conceptual graphics: circles, cones, ellipses, triangles, or inclined planes with rounded corners... However, these are by no means the forms in minimalist or optical illusion paintings. Instead, the artist uses them to create a "vision that is exclusively self-enclosed yet infinitely extended."The cover of the Family Card features the work "Early Morning" by the renowned late artist Mr. Zhou Sicong. Mr. Zhou was one of the most outstanding artists in China in the 20th century, excelling in figure painting. His masterpiece "The People and the Premier" participated in the exhibition celebrating the 30th anniversary of the founding of the People's Republic of China and won the first prize in the National Art Exhibition. The work on the cover is his graduation creation at the Central Academy of Fine Arts in 1963, depicting the scene of Tiananmen Square under the red morning sun in the early morning. The peaceful and tranquil atmosphere emanating from the work endows the entire painting with an exceptionally simple and pure quality. ● ○Let's meet in May, during the graduation season.Chief Editor / He Yisha Editor / Du Yinzhu
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: Compulsory Course for Entering the Industry | Countdown to the Recruitment of the "Art Museum Operation and Exhibition Planning" Training Course

2025-04-23

Enter the Behind-the-Scenes World of the Art MuseumUncover the Secrets of Its OperationExplore the Art MuseumExperience the Unique Perspective of the CuratorDraw Back the Curatorial CurtainDiscover the Stories Behind the Art MuseumIn contemporary society, exhibitions have become an indispensable and important part of people's cultural lives. The curation of art galleries is not only a reflection on classical art but also an exploration and response to contemporary creativity. Countless people who are passionate about art gather here, jointly witnessing how art transcends time and space, conveys beauty, inspires thinking, and demonstrates the resonance of culture and the depth of spirit.This spring, the "Social Aesthetic Education Program of Chinese Aesthetic Education Campaign" of the School of Continuing Education of CAFA, in collaboration with the CAFA Art Museum, has grandly launched the "Short-term Training Courses on Art Museum Operation and Exhibition Planning (the 4th/5th Sessions)". This course has especially invited a group of experts and scholars who have delved deeply into the fields of art museum operation and curation. They will conduct an in-depth analysis of industry trends and share how to, while adhering to the aesthetic education mission of art museums, expand the boundaries of art dissemination with innovative thinking, enabling the power of beauty to reach a broader social group and promoting the continuous development and diverse expression of art. Hai Jun Deputy Director of the CAFA Art MuseumProfessor and Doctoral Supervisor of CAFACourses: "Operation and Sustainability of Art Museums""At present, the driving force of technology and the profound changes in social structure are reshaping the operational logic of cultural institutions. As an institutional form that undertakes public cultural functions, art museums inevitably face the pressure of transformation. Against the backdrop of the increasing limitations of the traditional model that relies on government funding and ticket revenues, how to achieve the sustainable development of art museums has become a fundamental issue that cannot be avoided... At its core is the establishment of a mechanism that can maintain self-regulation and continuously produce public value in a complex environment. This mechanism not only depends on a diversified economic support structure, but also requires that the institutional design reflects a balanced consideration of academic autonomy, public nature, and social effectiveness.The sustainable development of art museums must go beyond the technical discussions at the management level and enter into a re-cognition of their institutional essence and cultural responsibilities. This includes: how to deal with the tension between academic research and communication, how to respond to the growing demands for social participation, how to expand a reasonable relationship with the market while maintaining the independence of art, and how to enhance its long-term vitality as a cultural infrastructure through structural organizational reforms." Gao Gao Deputy Director of CAFA Art MuseumCourses: "Operation and Management of Art Museums"If, in the past... visitors were led into a state of passivity by the paintings, then our current design aims to make people take the initiative and become more active. This should be the purpose of my design for this exhibition room.Modern museums are institutions with educational functions. In addition to providing the public with an aesthetic experience, art museums also need to convey knowledge to people. For a modern art museum, since the art categories it involves are very extensive and the art forms displayed are significantly different from traditional art forms, many artworks make the audience feel confused and unable to understand. Therefore, art education becomes even more necessary and important.——Selected from "Alfred H. Barr and the Early Establishment of the Museum of Modern Art in New York" Li Yaochen Director of the Collection Department of CAFA Art MuseumAssociate Researcher of the CAFA Art MuseumCourses: "Overview of the Collection Management Work in Art Museums""The characteristics of an art museum lie in its non-profit nature, public accessibility, and the establishment of a systematic academic framework based on the research of its collections. Systematic collection is an important feature that distinguishes an art museum from other art institutions such as art galleries. The research, exhibitions, and dissemination carried out based on these collections have formed the unique characteristics and cultures of art museums or art galleries.......At the current stage of China's development, the development of permanent exhibitions in art museums is definitely an important trend for the future. The academic depth and the quality of the collections required for permanent exhibitions are higher than those for temporary exhibitions. Planning permanent exhibitions will inevitably mobilize research forces on a wider scale. During the process of studying the collections, identifying their advantages, and sorting out the context, all the deficiencies in one's own work will be exposed, which is a test of one's own research ability and the architecture of all aspects of the art museum. This is a function that temporary exhibitions do not possess. This is also a great promotion for the construction of art museums in China.——Selected from: "Li Yaochen: A Tentative Discussion on the Systematic Collection and Permanent Exhibition in Art Museums” Liu Xiyan Director of the Planning and Research Department of CAFA Art MuseumAssociate Researcher of CAFA Art MuseumCourses: "Modern Curatorial Practice of Classic Exhibitions""The collection displays in China's early art museums demonstrate a process of learning from overseas while constantly adapting overseas experiences to China's actual situation. Overseas experiences played the role of a skeletal structure, assisting the art museums at that time in grasping several major directions that needed attention in planning the display of collections. However, when the early practitioners were adding flesh and blood to this skeleton, they did not completely copy the "Western methods." Instead, after taking into account China's art forms, the special relationship between collection and exhibition, the current situation of aesthetic education, and other factors, they depicted a local appearance for it, demonstrating an outstanding exploration of handling the relationship between Chinese art and Western art through the display of collections and using this as a representation of ideology. Although, as mentioned earlier, these early explorations were stifled in their potential for further development by the flames of war, these practices still had a significant impact on the subsequent thoughts regarding the display of collections in Chinese art museums."——Selected from: "Liu Xiyan: Applying Western Methods in China — A Review of the Collection Exhibitions in China's Early Art Museums in the Early 20th Century"There are also more wonderful courses…Intensive Class(Enrollment in Progress)Weekend Class(Enrollment has been closed)*The art museum has the right to make adjustments to the courses under the same conditions.We sincerely invite you to embark on a journey of artistic enhancement together, delving deep into the operation of art galleries and the planning and execution behind exhibitions. This training workshop places great emphasis on "face-to-face interaction with mentors" and "personalized guidance." Under the guidance of experienced mentors, all you need is a bit of curiosity about art and a touch of interest in art galleries. Let conversations unfold under the mentors' guidance, and together, we can appreciate the beauty of all-encompassing art and culture.| Friendly Reminder |The registration for the "Short-term Training Course on Art Museum Operation and Exhibition Planning (Weekend Class)" has been closed as of April 5th. The registration for the "Short-term Training Course on Art Museum Operation and Exhibition Planning (Intensive Class)" will close on May 15th. For more information, you can call Teacher Jin at 15957702868 for consultation, or click "Read More" to jump to view the course prospectus.The Social Aesthetic Education Action Plan of "Chinese Aesthetic Education Campaign"The Continuing Education College of the Central Academy of Fine Arts actively practices the spirit of serving the public through aesthetic education. Guided by the core spirit of General Secretary Xi Jinping's speech at the Symposium on Cultural Inheritance and Development, it gives full play to the professional and talent advantages of affiliated institutions to provide a sustainable high - quality development plan for the implementation of the "Chinese Aesthetic Education Campaign" of the Central Academy of Fine Arts. The "Chinese Aesthetic Education Campaign" Social Aesthetic Education Action Plan of the Continuing Education College of the Central Academy of Fine Arts is jointly participated by the experts and scholars of the Central Academy of Fine Arts, contributing wisdom and strength to the dissemination and promotion of the aesthetic education spirit of the Central Academy of Fine Arts.CAFA Art MuseumThe CAFA Art Museum is a professional and international modern art museum integrating functions such as academic research, exhibition display, collection, restoration, and public education. Its history can be traced back to the early 1950s. It is the first professional art exhibition hall built after the founding of the People's Republic of China and is also one of the first batch of key art museums in the country. Adhering to the academic concept of "inclusiveness, inheriting the past and creating the future", CAFA Art Museum serves society with "knowledge", is committed to the construction of contemporary public cultural spaces, presents the artistic civilization of mankind to the general public from a new perspective, and shares the culture of the times with all sectors of society.Chief Editor / He Yisha Editor / Du Yinzhu
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: The reservation channel for the 2025 graduation season of the Central Academy of Fine Arts is about to open & Announcement of temporary museum closure

2025-04-21

Dear audience friends:Due to the need for exhibition setup and removal, our museum will be temporarily closed from April 22nd to April 29th, 2025. It will officially reopen on April 30th. The "Graduate Graduation Works Exhibition" will be held during the same period. A total of 532 master's and doctoral students will participate in the exhibition. At that time, more than 3,000 works by graduates will be gathered at the Central Academy of Fine Arts. We sincerely look forward to your visit.CAFA Art Museum2025年4月21日At 00:00 on April 23rd, the online reservation and ticketing channel for the 2025 graduation season of the Central Academy of Fine Arts will be opened. Audiences can make reservations and purchase tickets through the WeChat mini-program of CAFA Art Museum, its official WeChat account, or the official website (for detailed 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, you need to use a valid ID document for real-name registration. Each person can only make one reservation per day. After a successful reservation, the audience should arrive at the museum according to the reserved time. During the graduation season, you can enter the museum through the special ticket inspection channel at the north gate of the Central Academy of Fine Arts by swiping a valid ID document such as an ID card for ticket inspection.Chief Editor / He Yisha Editor / Du Yinzhu
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: Walking In The Light | The 2025 Graduation Season Of The Central Academy of Fine Arts Shines Brightly!

2025-04-21

主编 / 何一沙责编 / 杜隐珠
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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.