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.

: Exhibition Guide | Step Into "Rising At Dawn" and Artistically Explore the "Dawn" and "Vitality"

2025-09-29

“冉冉晨城——中央美术学院美术馆藏北京主题作品展”聚焦中国现当代美术史中北京城市形象的艺术叙事，通过系统梳理中央美术学院美术馆所藏的北京题材艺术作品，并邀请多位艺术家展出其精品力作，深入探讨不同历史时期艺术创作与社会语境的互动关系。"Rising Morning City – Exhibition of Beijing-Themed Works from the CAFA Art Museum Collection"This exhibition focuses on the artistic narrative of Beijing's urban image in the history of modern and contemporary Chinese art. By systematically sorting through Beijing-themed artworks in the collection of the CAFA Art Museum (Central Academy of Fine Arts Art Museum) and inviting a number of artists to exhibit their fine and representative works, it conducts an in-depth exploration of the interactive relationship between artistic creation and social context across different historical periods.展览以“晨起”“蓬勃”“更新”“择中”为叙事线索，建构起一个跨越时空的艺术对话场域：一方面呈现不同代际艺术家在都市景观描绘与人文精神诠释中的风格流变；另一方面，则聚焦于当代语境下艺术家对城市主题的持续探索与观念革新。晨起 | 第一板块晨光如椽笔，在北京城市肌理上晕染出历史与当下的褶皱。艺术家们对晨光时刻的多元截取，建构起一幅动态的都市人文图鉴。既有唤醒城市苏醒的劳动者身影，也有主干道上流动的现代性交响；既捕捉到早市升腾的烟火气息，也定格了通勤潮涌的都市节律。这些作品以视觉诗学的方式诠释着：晨光不仅是昼夜交替的物理时刻，更是城市生命力的美学表征。李秀实，《晨》，1961年，101cm×301cm，布面油彩《晨》以超宽视角定格天安门广场的清晨。浅蓝色天空下，晨光晕染着人民英雄纪念碑，冷暖色调交织出诗意质感，近景中的自行车队伍形成动感的人物群像。这件作品是李秀实的毕业创作，为了完成这件作品，画家数十次在晨间赴广场写生，观察色彩的变化，并通过素描记录人物和建筑；回到画室，再把单个人物和建筑的素描稿剪下，尝试各种组合来推敲构图。他将劳动者的朝气与纪念碑的肃穆联结，隐喻新中国逆境奋进的时代精神，成为第三代油画家探索民族化语言的重要代表作。刘金贵，《清洁工》，1984年，173cm×230cm，纸本设色《清洁工》以淡雅圆润的工笔设色，描绘北京环卫工人劳作的群像，她们身着厚重工装，肩扛扫帚、手拉板车或骑清洁车的队伍穿行街巷，防风巾的鲜艳点缀与人物动态形成自然之美，虚化的行人电车烘托城市初醒的忙碌，刻录了改革开放初期的城市变迁。这件作品是刘金贵在青年时期的毕业创作，获得了叶浅予评价：“很淡，很好。……这就是抓住了生活。”作品突破工笔写实传统，融合民间艺术明快特质与文人画的“逸体”风格，同时将主观感受付诸笔墨，表现了生活的真善与真美。谢岩，《清晨紫禁城》，1997年，185cm×205cm，布面油彩王一，《新站》，2010年，175cm×200cm，布面油彩蓬勃第二板块北京镌刻着新中国历史的记忆，也勾勒出现代社会的蓬勃图景。不同代际艺术家对城市生活的关注，呈现了不同年代城市生态的多元剖面。这些作品将“蓬勃”解构为持续生长的有机体：在个体叙事与集体记忆的交织中，在物质空间与精神图景的共振里，艺术创作最终成为丈量城市文明进程的另一种维度标尺。宋步云，《欢庆解放》，1949年，81cm×100cm，布面油彩《欢庆解放》创作于北平和平解放之际，是艺术家宋步云见证时代巨变的重要作品。作品洋溢着共和国早晨的朝气，透射出画家发自内心的欢欣愉悦，也体现了知识分子坦然真诚的情怀。画面以明亮的色调和由近及远的视角，描绘了人民群众挥舞着红旗，欢庆解放的沸腾场面，既还原了激动人心的历史时刻，又展现新旧时代交替的社会氛围与人民心声。高帆，《参加庆祝活动的北平民众在天安门华表下》，1949年，60.96cm×50.8cm，明胶银盐照片史希光，《入少先队》，1964年，78cm×104.5cm，纸本设色李印清，《机车组上岗》，1960年代，120.5×100cm，布面油彩喻红，《川》，1988年，130×140cm，布面油彩《川》描绘了一群迎风行走的都市青年，中央的女性形象被视为艺术家的自我写照。作品采用了鲜明的色调和略作变形的人物造型，通过模糊的边界来削弱传统写实的明晰感，结合动态构图、粗粝的刮刀肌理，以及巧妙安排的人物位置与姿态，使得画面呈现强烈的流动感与节奏感。此件油画是喻红于1988年创作的本科毕业作品。20世纪80年代中后期是中国当代艺术的重要转折阶段。作为中国新生代艺术家的代表，喻红敏锐地捕捉到社会转型中青年人的情绪和面貌，使《川》成为80年代都市文化变迁的视觉见证。王浩，《电话亭》，1987，30cm×36cm，木板丙烯《电话亭》中的公共电话与行驶的电车及地面积雪共同营造出冬日的质感。此组作品是艺术家王浩的本科毕业创作中的一件，为其本人撰写的城市科幻小说所绘的插图，画面中的北京街景呈现出如照相般的冷峻实感。作为“新生代”艺术群体的代表之一，王浩的“照相写实主义”以近距离且冷静的视角，反映了自身及周围思想情感的变化，不依赖宏大叙事，于平静客观中探索近距离艺术的新可能，并追求艺术语言的纯化。韦蓉，《麦当劳》，1997年，37.1×45.4cm，纸上水彩，家属提供瞿广慈，《王府井》，1994年，40cm×35cm×118cm、50cm×65cm×116cm、50cm×43cm×106cm，玻璃钢着色广军，《街头巷尾》，2007年，79×55cm，木版单色黄银宇，《接单》，2021年，160cm×140cm，布面油彩专题艺术家：翁乃强第二板块翁乃强出生于印尼一个华侨家庭，1951年翁乃强带着父亲的期许追随两个哥哥的脚步踏上了归国之旅，先后就读于育英中学、中央美术学院附属中学、中央美术学院。1964年进入《人民中国》杂志社从事美术摄影报道，历时26年。1990年调任中央美院筹建摄影工作室。翁乃强是新中国成立初期培养起来的艺术家，是中央美术学院摄影专业的奠基人。翁乃强，《1976年10年24日，北京市民庆祝打倒“四人帮”胜利，一直游行到深夜》，2013年（1976年底片），68cm×64.4cm，数字喷墨打印照片我在北京住了很多年，我家原来就在王府井附近的校尉胡同。当时，大家表达思想和爱国情绪的场所主要是天安门，所以我就在那儿一蹲，就能拍摄到各种各样有趣的事。一有什么事，我就背着相机跑到天安门广场去。……我学画画学了9年，搞创作、搞构图，受到好多老师的影响，看了很多画展，翻了很多国外的画册。这些都会有潜移默化的影响——怎么表现，什么美、怎么美，可能不知不觉在拍照的时候，在取景器里面觉得这样拍好看。我感觉到有一个东西很重要——形式跟内容的问题。实际上毛主席已经讲得很清楚，你这个内容好，可是没有好的形式就不会很感人，作品要有表现力。艺术形式跟内容的关系，当然不是为了形式而去搞内容，脱离内容的形式是空的。我们看很多绘画作品和摄影作品，受到这方面的教育比较多，有好处。人家说，翁乃强你拍的照片怎么像油画？我也没有特意地做什么，就是拍照，怎么表现更美、更好、更强烈，就怎么去表现。——翁乃强，摘自《彩色的中国：跨越30年的影像历史》翁乃强，《北京东长安街的大字报与卖小报的盛况》，2013年（1966年底片），68×67.9cm，数字喷墨打印照片翁乃强，《北京西单路口拍摄的从塞外草原赶往大红门的羊》，2013年（1977年底片），76.2×48.4cm，数字喷墨打印照片翁乃强，《中央美院雕塑家们为毛主席纪念堂前的群雕创作场面》，2013年（1976年底片），68×53cm，数字喷墨打印照片关于北京文化艺术基金北京文化艺术基金是由北京市文化和旅游局发起设立的公益性基金，重点围绕舞台艺术创作、文化传播交流和艺术人才培养三大领域开展资助。基金面向社会接受申报、资助过程受社会监督、资助成果由社会共享，最大限度调动社会参与文化建设积极性，搭建了一个开放平等、公开透明的艺术资助体系，充分发挥全国文化中心的示范引领作用。北京文化艺术基金2024年度资助项目冉冉晨城——中央美术学院美术馆藏北京主题作品展展览时间：2025年9月18日-10月19日展览地点：中央美术学院美术馆3层A展厅、4层展厅
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: 秋季实习生招募公告 | 中央美术学院美术馆期待你的加入！

2025-09-28

中央美术学院美术馆秋季实习生招募中央美术学院美术馆致力于为有志投身美术馆领域学习、研究与实践的人士提供实习平台。通过参与具体项目的策划执行，实习生能够深入了解美术馆运营机制，为专业学习和职业发展积累实践经验，同时也为培养新一代高素质美术馆从业者创造条件。中央美术学院美术馆开放七个部门的实习机会：01策划研究部展览项目助理 / 档案管理助理1.美术史或艺术相关专业本科及以上学历或在读；2.有展览相关工作或实习经历，文字能力强；3.熟练使用常见办公软件。02典藏部藏品数据整理助理 / 藏品征集项目助理 / 藏品修复助理1.艺术管理、人文、艺术史、造型专业相关学科本科及以上学历或在读；2. 藏品修复助理岗位优先考虑修复相关专业背景申请者；3. 熟练使用常见办公软件。03媒体宣传部拍摄及视频制作助理 / 媒体编辑助理1. 艺术管理、摄影摄像、新媒体、数字媒体、新闻学相关专业本科及以上学历或在读；2. 具备扎实的文字功底，较强的撰写和编辑能力，可独立完成艺术类报道；3. 有微信公众号、小红书平台编辑经验者优先。04设计部设计助理1.设计、造型学科相关专业本科及以上学历或在读；2.具有良好的团队协作和创新精神，工作耐心细致，执行力强；3.熟练使用Illustrator、Photoshop、InDesign、SketchUp等图形、空间设计处理软件。05公共教育部公众及会员服务助理 / 公教活动助理1.有艺术管理、造型学科等相关专业学习背景；2.服务意识强，善于沟通协作；3.熟练使用常见办公软件。06展览部布撤展助理1. 美术史、设计、造型学科相关相关专业本科及以上学历或在读；2.具备较好的公文写作能力；3.熟练使用常见办公软件及简单绘图软件，熟悉媒体播放软件操作。07发展部文创开发助理 / 合作拓展助理1.设计、艺术管理等相关专业本科及以上学历或在读；2.沟通和执行能力强，有产品设计基础、社团工作或艺术项目合作经验者优先；3.熟练使用ai平面设计软件、3d建模软件、常见办公软件。1.秋季实习期为2025年10月至2026年1月，需完整参与实习周期不少于三个月;2.每周到岗参与工作不少于四天，能够接受周末临时工作安排;3.实行导师制度，由各部门安排实习导师，制订实习计划，指导参与项目实践;4.实习期间无薪资;5.根据实习期间表现及工作记录开具实习证明。1.务必下载《中央美术学院美术馆实习生申请表》，填写后发送至 cafamcafam@163.com，可另附个人简历、作品集、推荐信等；2. 邮件主题需注明“姓名+申请部门+申请岗位”，我们将择优联系参加面试；3. 报名截止时间为2025年9月30日（周二）。百度网盘链接：https://pan.baidu.com/s/1jhlQtSpU4sCaMmUrfOb-4A?pwd=1vfs 提取码：1vfs --来自百度网盘超级会员V7的分享扫描二维码下载《中央美术学院美术馆实习生申请表》CAFAM期待您的加入！主编 / 何一沙责编 / 杜隐珠
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: Announcement On Opening Hours During The National Day and Mid-Autumn Festival Holidays

2025-09-26

Dear Visitors，As the combined National Day and Mid-Autumn Festival holidays approach, to meet the visiting needs of all audiences, our museum will remain open as usual during the holiday period from October 1st to October 8th. The daily opening hours are 9:30 a.m. to 5:30 p.m. (with ticket sales ending at 5:00 p.m.). From classic collections to futuristic tech-themed exhibits, from stories of Beijing to masterpieces by renowned artists, a variety of exhibitions are gathered at the CAFA Art Museum. We look forward to your visit!CAFA Art MuseumSeptember 26, 2025On Display╱ CAFAM@ 2025Reservation Channel╱ CAFAM@ 2025Visitors can make reservations and purchase tickets via the mini-program, WeChat official account, or official website of CAFA Art Museum (for detailed ticket purchase instructions, please refer to the official website).When making a reservation, you are required to use a valid ID for real-name registration. Each person can only make one reservation per day. After a successful reservation, visitors should arrive at the scheduled time and enter the museum by scanning a valid ID at the dedicated ticket verification channel at the North Gate of CAFA Art Museum.Chief Editor / He YishaEditor / Du Yinzhu
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: "Electric Energy" Outside the CAFA Art Museum | Capturing the Stunning Moments of Man-Made Lightning

2025-09-26

The exhibition "Energy and Civilization: Science & Art · Future Fusion" is currently on display, with the installation Lightning outside the CAFA Art Museum building attracting significant public attention.The Lightning installation continues the design philosophy of Nikola Tesla's coils from the late 19th century. Over a hundred years ago, Tesla dedicated himself to exploring the wireless transmission of electrical energy. His coils could generate spectacular artificial lightning, as if holding the universe's energy in one's hands. Today, this work not only pays tribute to the great inventions of scientific pioneers but also connects the past, present, and future of energy exploration. Notably, Lightning is the largest-scale Tesla coil installation producing artificial lightning in China.Through the collision of intense sound and alternating light and shadow, the work not only visually presents the ultra-high temperature environment required for nuclear fusion reactions but also uses visual and auditory language to metaphor the deep-seated power of nature. Like the energy form of nuclear fusion in the universe, it allows viewers to engage in a philosophical dialogue with humanity's ultimate energy dream through amazing sensory experience.Each bolt of electricity is an embodiment of energy, like a star being born in the darkness. It is not merely a performance of "light and sound," but a philosophical inquiry: How do we understand energy? How do we confront humanity's dream of the ultimate energy source? And how do we shoulder the corresponding responsibilities?Lightning invites you into an immersive experience—contemplating energy between light and shadow, and feeling the power of nature through its vibrations. It blurs the boundaries between science, art, and philosophy, and calls upon each of us to pay attention to and imagine the issues surrounding energy. Lightning Specific Performance Times Friday, September 26, 19:00–19:05Important Notes:·The performance will be suspended in case of rain or special weather conditions.·The installation will produce intense light and sound during the performance. Please take appropriate safety precautions.·Elderly visitors, children, pregnant women, and those with pacemakers are advised to watch under the guidance of staff.·Please do not enter the sunken plaza and maintain a safe distance outside the designated viewing area.·A certain amount of noise will be generated during the discharge. We apologize for any inconvenience this may cause. Extended Popular Science Facts ▸ What is a Tesla Coil?It is a device that uses the principle of resonance to generate high-frequency and high-voltage electric current. It can produce artificial lightning that does not require grounding. First invented by Tesla in 1891, its original purpose was to realize the wireless transmission of electrical energy.▸ Why is Nuclear Fusion Called the "Ultimate Energy Source"?Nuclear fusion is the source of the Sun's energy. It is clean, efficient, and its fuel reserves are extremely abundant (such as deuterium in seawater). If controllable nuclear fusion can be realized, humanity will solve the energy problem almost permanently. Regarding the Exhibition Energy and Civilization: Science & Art · Future FusionExhibition Venue: 1st Floor Gallery, CAFA Art MuseumExhibition Dates: September 14, 2025 - October 12, 2025Chief Editor: He YishaEditor: Du Yinzhu
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: CAFAM Live Preview | Go Straight to the "Energy and Civilization" Scene! Explore China's First "Controlled Nuclear Fusion" Art and Science Exhibition

2025-09-25

Friday, September 26, 1:30 PMOn Douyin, WeChat Channels, and Xiaohongshu@CAFAM Official AccountFollow the curatorial team for an in-depth interpretation of the scientific logic and artistic ingenuity behind the works in the "Energy and Civilization" exhibition, and understand the potential and grandeur of "controlled nuclear fusion."...................................................................................................................Live Stream Introduction ……………………………………………………Wang LishiPh.D., Assistant Researcher at the Institute of Energy, Hefei National Comprehensive Science Center.Research Focus: Accelerator physics and technology, with a specialization in compact torus injectors. Participated in the design and commissioning of the water-cooling system for the Wuwei Heavy Ion Cancer Treatment Facility. Contributed to the temperature monitoring upgrade of the Lanzhou Cooler Storage Ring (CSR).Involved in the construction of the cryogenic test station for superconducting magnets at the Heavy Ion Accelerator Facility (HIAF). Took part in developing accelerator and heavy ion therapy simulation experiments for the NUSEP platform. He is currently engaged in research on compact torus injectors for controlled nuclear fusion.Zhang ZhaohongFaculty Member, Department of Sculpture, Central Academy of Fine Arts.An artist and researcher-practitioner in public art, and a founder and member of the "Lag Group." He is committed to experimental research and practice in public spaces, and has long-term collaborations with many well-known domestic real estate companies and public space managers. Through design research in public spaces, he aims to change the perceptions and understanding of public art and public spaces in mainstream Chinese society.Exhibition Information ———————————————————————— ■ ■ ■ ■ ■ ■Energy and Civilization — Science & Art·Fusion FutureVenue: Main Gallery at 1st Floor, CAFA Arts MuseumExhibition Dates: September 14 – October 12, 2025Editor-in-Chief / He YishaEditor / Du Yinzhu
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: 50 Tons of Artificial Seawater Brought into CAFA Art Museum | Unlocking the "Ultimate Energy Source for Humanity" Together

2025-09-24

Wave Making Glass, metal, artificial seawater, wave-making machine2000 cm × 600 cm × 30 cm Provider: Big Sun (Hefei) Culture Technology Co., Ltd.At the recently opened exhibition "Energy and Civilization – Science & Art Fusion Future" at the CAFA Art Museum, a massive kinetic installation titled "Wave Making" has become the center of attention. More than a static sculpture, it is a living, constantly surging entity containing 50 tons of artificial seawater. Through its powerful audio-visual language, it vividly portrays a future where humanity harnesses nearly limitless clean energy from the vast oceans to every viewer.This cubic space, constructed from high-strength glass and a metal frame, is placed in the center of the first-floor exhibition hall. Inside, 50 tons of pale blue seawater rise and fall in a regular, surging rhythm, driven by a wave-making machine. It creates an immersive atmosphere that is both serene and full of power. This is no longer the distant sea; instead, it has been "invited" into the art museum, becoming a technological poem that can be gazed upon and felt.However, the allure of "Wave Making" extends far beyond its visual impact. It also serves as a popular science: controlled nuclear fusion uses deuterium extracted from seawater as its primary raw material. Based on the efficiency of a complete deuterium-tritium fusion reaction, 1 liter of seawater can yield 0.03 grams of deuterium, producing an energy output equivalent to that of 300 liters of gasoline or 336 kilograms of coal. With the Earth's oceans containing a total mass of approximately 1.38×10¹⁸ tons, it is estimated that they hold about 40 trillion tons of deuterium. The deuterium extracted from Earth's seawater to sustain nuclear fusion could meet humanity's current energy needs for about 10 billion years. Hence, nuclear fusion has been dubbed humanity's ultimate energy source.The core intention of this work is to create a material metaphor for the future. These 50 tons of seawater symbolize the Earth's most abundant energy treasure trove. Through this most direct form of artistic expression, we hope to inspire public attention and imagination regarding controlled nuclear fusion as humanity's ultimate energy solution.Many visitors lingered in front of the installation. One visitor who came with their child said, "It's truly 震撼！I always thought nuclear fusion was highly sophisticated and far away. But today, looking at this body of seawater and listening to its sounds, my child asked me, 'Will we really be able to use energy from seawater to drive cars in the future?' I think this is the power of art—it allows the seeds of science to germinate in the hearts of the next generation."At the same time, to help visitors better understand nuclear fusion, a water-sensitive card interactive session is also set up next to the installation. Interested visitors can inquire at the museum shop to experience it.Specific instructions:1. Fully submerge the water-sensitive card in water.2. An image will appear; the text on the back provides an introduction to the image.3. Compare it with the literature wall to find the corresponding image on the water-sensitive card, and learn about the function of the image and its significance in the development of energy through the educational materials provided.Wave Making is not only an art installation but also a bridge connecting science with the public. Through the purest of substances—water—and the most cutting-edge energy dream, it reminds us that the solution to humanity's future energy crisis may be hidden within the blue expanse that sustains our very existence. About The Exhibition Energy and Civilization — Science & Art · Fusion FutureVenue: 1st Floor Gallery，CAFA Art MuseumExhibition Dates: September 14 – October 12, 2025Chief Editor / He YishaEditor / Du YinzhuOn-site Photography / He Yifei
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: Today is the Autumn Equinox

2025-09-23

Today is the Autumn Equinox.
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: "A Heroic Ode for China — A Retrospective of Xu Xingzhi's Artistic Achievement" Opens

2025-09-22

This year marks the 94th anniversary of the September 18 Incident. "Arise! Ye who refuse to be slaves! With our flesh and blood, let us build our new Great Wall!..." The melody of the National Anthem of the People's Republic of China, "March of the Volunteers," has been deeply engraved in the hearts of every Chinese person, becoming a symbol of the national spirit. The song was born in 1935 in the classic film "Children of the Storm," directed by Mr. Xu Xingzhi. Set against the backdrop of the September 18 Incident, the film aimed to awaken the people to join the great tide of the War of Resistance against Japanese Aggression and national salvation.on the occasion of the 80th anniversary of the victory of the Chinese People's War of Resistance against Japanese Aggression and the World Anti-Fascist War，the exhibition "A Heroic Ode for China — A Retrospective of Xu Xingzhi's Artistic Achievements," jointly organized by the Central Academy of Fine Arts and the Chinese Artists Association, opened at the CAFA Art Museum. The exhibition features over 400 works and documents, comprehensively presenting Mr. Xu Xingzhi's artistic achievements across film, painting, literature, theater, and art theory.Opening ceremony sceneAt the opening ceremony, the attendees included: Senior leaders and professors of the Central Academy of Fine Arts: Sheng Yang, Du Jian, Cao Chunsheng, Huang Huaying, Han Guangxu, Yuan Baolin, Zhang Dasheng, You Jindong, Chen Wenji, Chen Jianhua, and Gao Tianxiong. Chairman of the Chinese Artists Association, Fan Di’an. Member of the Party Leadership Group of the China Film Association, Xue Changxu. Secretary of the Party Committee and Director of the Museum of the War of Chinese People's Resistance Against Japanese Aggression, Luo Cunkang. Deputy Secretary of the Party Group of the China National Film Museum, Xu Qingong. Secretary of the Party Committee and Chairman of the China Federation of Literary and Art Circles Publishing House, Yin Xing. Deputy Chief Editor of the China Federation of Literary and Art Circles Publishing House, Wang Baisong. Vice Chairman of the Yangzhou Municipal Committee of the Chinese People's Political Consultative Conference, Li Jianfang. President of the Xu Beihong Art Research Institute and Director of the Xu Beihong Memorial Museum, Xu Qingping. Former Vice President of the Yunnan Academy of Painting, Yao Zhonghua. Professor at the Academy of Fine Arts, Minzu University of China, Liu Bingjiang. Professor at the School of Animation, Communication University of China, Lu Shengzhang. Representatives of Mr. Xu Xingzhi’s family and friends. They were joined by CAFA’s leadership, including President Lin Mao, Deputy Party Secretary Wang Xiaolin, and Deputy Party Secretary and Secretary of the Disciplinary Inspection Commission Wu Qiang, as well as deans, department heads, and representatives of teachers and students. The opening ceremony was presided over by Wang Xiaolin, Deputy Party Secretary of CAFA.Lin Mao President of the Central Academy of Fine Arts ——————————————————————————————————————"Today, as we hold this exhibition of Mr. Xu Xingzhi's art, it is both a deep tribute to the war-torn years and the pioneers of the War of Resistance, and a salute to the older generation of artists who devoted their lives to China's literary and artistic career. We learn from their noble spirit of nurturing talent with profound love and depicting the era with magnificent beauty." Lin Mao stated that the artistic works of these pioneers are the most vivid classrooms, and their creative careers are the most authentic models. He mentioned that the exhibition was carefully curated by an academic team, with Mr. Xu's family meticulously organizing documents and participating deeply in the curation process. Many works and precious documents are being presented for the first time. The exhibition comprehensively and vividly showcases Mr. Xu Xingzhi's outstanding achievements in artistic exploration, education, and cultural undertakings, fully presenting his grand vision that spans multiple artistic fields. It is hoped that teachers and students of the Central Academy of Fine Arts will follow in the footsteps of "great masters" like Mr. Xu Xingzhi, and on the profound foundation of the century-old CAFA, continue the glorious legacy of the Central Academy of Fine Arts.Fan Di’an Chairman of the China Artists Association ————————————————————————————————————"As someone who has long been part of the CAFA family, I still remember often seeing Mr. Xu Xingzhi on the old Wangfujing campus. He seemed to always wear a warm red sweater, with silver hair, exuding the demeanor of a scholarly artist. It was hard to tell from his calm and kindly expression that he had experienced so many historical upheavals and made so many artistic contributions that have been recorded in history."Mr. Fan Di'an recalled Mr. Xu Xingzhi's legendary artistic journey. He noted that Mr. Xu was inspired by the May Fourth New Culture Movement and belonged to a generation of artists who grew up during the era of awakening. He was a versatile artist with talents in fine arts, film, literature, theater, poetry, and music, skilled at integrating and creating across disciplines. Guided by the Party's literary and artistic ideology, he was a revolutionary artist with firm cultural ideals and artistic convictions. The exhibition presents Mr. Xu Xingzhi's rich artistic life and important documents through a comprehensive display approach. The fusion of audio and visual elements, the interplay of images, documents, and paintings creates a scene that allows visitors to step into the space of history and gain a profound understanding of Mr. Xu Xingzhi's life and art. "A heroic song dedicated to China" is indeed a reflection of Mr. Xu Xingzhi's spirit.Li Jianfang Vice Chairman of the Yangzhou Municipal Committee of the Chinese People's Political Consultative Conference ————————————————————————————————————————————————————————————————————————————Li Jianfang, a representative from Mr. Xu Xingzhi's hometown, stated, "Mr. Xu Xingzhi was from Yangzhou. He once used his brush to vividly depict a series of Yangzhou landscapes. In the name of his hometown, we sincerely invite the 'Retrospective Exhibition of Xu Xingzhi's Artistic Achievements' to tour in Yangzhou again, and we warmly welcome Mr. Xu Xingzhi's family, friends, and students to return to Yangzhou for a visit."Yu Runsheng Secretary of the Party Committee of the School of Humanities at the Central Academy of Fine Arts ——————————————————————————————————————————————————————————————————————"In 1954, Mr. Xu Xingzhi was transferred to work at the Central Academy of Fine Arts, where he founded and served as the director of the Fine Arts Theory Research Office, laying the foundation for the establishment of New China's first department of art history." Yu Runsheng noted that the older generation of art educators, represented by Mr. Xu Xingzhi, devoted themselves to building New China's art education system. The educational philosophy they upheld—of art serving the people—has become an important source and foundation for our academic pursuits and educational spirit today.Xu Guoqing representative of Mr. Xu Xingzhi's family, son of Xu Xingzhi, and curator of the exhibition ————————————————————————————————————————————————————————————————"My father, Xu Xingzhi, never ceased creating throughout his 87-year career in the arts, and he continued to paint diligently in his later years, exploring new forms of painting." Mr. Xu Guoqing recalled his father's artistic life. He spent seven years compiling the "Complete Works of Xu Xingzhi," hoping to comprehensively present his father's achievements in various fields such as painting, film, theater, literature, and art history theory.Wang Xiaolin Deputy Secretary of the Party Committee of CAFA —————————————————————————————————————————— presided over the opening ceremonyThe exhibition received strong support from the family, who donated 18 representative works by Mr. Xu Xingzhi to the CAFA Art Museum, including "The Unemployed," "March of the Crystal World," "Quiet River Bend," and "Plaster Cast of Pope Julius II." They also donated 466 types of books from Mr. Xu's personal collection to the School of Humanities at CAFA.Exhibition siteIn September 1978, Xu Xingzhi created the oil painting "March of the Crystal World" at his homeXu Xingzhi (1904–1991) was a renowned Chinese artist, art historian and theorist, art educator, film and theater director, pioneer of the Left-wing art movement, cultural warrior, member of the China Artists Association, and professor at the Central Academy of Fine Arts. He graduated from the Shanghai Academy of Fine Arts and the Tokyo School of Fine Arts in Japan. In 1930, he helped organize the Left-wing art group "Society of the Times" and was elected the first president of the Chinese Left-wing Artists League.Amid the torrents of China's 20th-century artistic transformation, Xu Xingzhi was like a prism that refracted the spectrum of the era into brilliant dimensions. With a palette in his left hand, he dissected the texture of the times; with a camera in his right, he recorded the heartbeat of the nation. He used the theatrical stage as a battlefield of ideas and wielded his literary pen to pierce through spiritual fog. As a representative of the Left-wing cultural movement, he unleashed remarkable creativity across the four dimensions of fine arts, film, theater, and literature, and as an art theorist and educator, he sowed the seeds of revolution into the soil of New China. When we examine the footsteps of this cultural pioneer, we see not only the legend of an individual artist, but a blueprint for the modern transformation of Chinese art in the 20th century.In the field of painting, Xu Xingzhi was a pioneer who first fused modernist language with revolutionary narratives. In his youth, he used expressionist techniques to transform the spirit of the Left-wing cultural movement into questioning of social reality through the weighty themes of "The Unemployed" and "The Pavement Layer." In his middle years, through the formally beautiful language of "The Giant Arm," he passionately celebrated the awakening of industrial power in the new era. In his later years, he distilled his rich life experiences into still-life painting, seeking a path toward the nationalization of oil painting through exploration of Eastern aesthetic sensibilities. This artistic philosophy, which unifies formal exploration with social concern, opened up a new aesthetic path for modern Chinese art.In the field of art theory, Xu Xingzhi was an important founder of modern Chinese art history research. During the nascent stage of Chinese modern art in the 1930s, he was one of the most important translators and popularizers of art theory. He consecutively published significant articles such as "The Tasks of the Emerging Art Movement" and "Prospects for the Chinese Art Movement," translated numerous Western art theory documents, and actively participated in constructing Left-wing art ideology. In 1954, Xu Xingzhi presided over and served as director of the Fine Arts Theory Research Office at the Central Academy of Fine Arts, which later became the predecessor of the Department of Art History. He organized young faculty members to translate materials and introduce teaching resources, and personally wrote more than a dozen lectures on foreign art history, laying a solid foundation for the establishment of New China's first Department of Art History.In the literary world, Xu Xingzhi always maintained the sensitivity of a poet and the sharpness of a warrior. His poetry collection "The Age of Poetry" uses "Pastoral Song," "Daban Well," and "China's Mother" to connect the emotional resonance between personal growth and the changes of the times. His prose collection "Return" hides threads of social criticism within its lyrical style. He built a bridge connecting Lu Xun with emerging writers, allowing Left-wing literature to maintain both ideological sharpness and diverse expressions.In the field of cinema, Xu Xingzhi transformed the camera into the eye of the era, recording the collective memory of the nation. His 1935 film "Children of the Storm" (Fengyun Ernu) used a plain cinematic style to awaken the most stirring and inspiring fighting spirit. The film's theme song, "March of the Volunteers," with lyrics by Tian Han and music by Nie Er, exploded with the force of thunder and later became the national anthem of the People's Republic of China. This landmark work of the Left-wing film movement not only established the aesthetic paradigm for Chinese realist cinema but also elevated the political expression of art to the dimension of the national spirit.On the theatrical stage, Xu Xingzhi became a banner of experimental spirit and public enlightenment. His adaptation of Lu Xun's classic "The True Story of Ah Q" not only preserved the original's profound examination of human nature but also incorporated elements from Lu Xun's "Kong Yiji" and "Medicine." Through the form of tragicomedy, he created a highly critical and satirical theatrical style. Since its premiere in the 1930s, the play has caused a sensation in every performance, exerting widespread influence across different eras and achieving a historical connection between theatrical innovation and popular aesthetics.This versatile artist, skilled in fine arts, film, theater, and literature, was not only a pioneering practitioner of artistic creation but also a researcher, writer, and disseminator of literary theory. He made outstanding contributions to the development of art history and theory in New China and to the cultivation of painting talents. From the China Art University to the Central Academy of Fine Arts, Xu Xingzhi devoted more than half a century to teaching. Through translations, he introduced modern art theory to China, wrote literary and artistic treatises with a sharp pen, and transformed the concept of "art for the people" into concrete teaching practices, cultivating numerous literary and artistic warriors who integrated artistic ideals with social responsibility.The forms and colors of fine arts, the camera lens of film, the stage space of theater, and the words and sentences of literature all intertwined in Xu Xingzhi's hands to form a harmonious chorus of a transforming era. This cross-disciplinary creative practice not only shaped the aesthetic standards of Left-wing literature and art but also reveals to us that true artistic innovation stems from a profound observation of reality and represents the mutual illumination of the individual and the times.
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: The "Academic Symposium on Xu Xingzhi's Artistic Scholarly Achievements" is about to be held

2025-09-19

Academic Symposium on Xu Xingzhi's Artistic Scholarly AchievementsConference TimeFriday, September 19, 2025, 9:00-16:30VenueElectronic Teaching and Academic Lecture Hall, Building 5, CAFAAcademic ChairsCao Qinghui Zhang PengConvenerXu Guoqing◣▏Morning Session: 9:00–11:30▏Moderator: Cao Qinghui (Professor, School of Humanities, Central Academy of Fine Arts) Morning speaking order: 1 ▏Xu Guoqing Introduction of guests2 ▏Jin Jun (Director, CAFA Art Museum) Welcome remarks3 ▏Yu Runsheng (Party Secretary, School of Humanities, CAFA) Welcome remarks4 ▏Zhong Dafeng (Professor of Film History, Beijing Film Academy) Impromptu speech5 ▏Wang Xirong (Former Director, Shanghai Lu Xun Museum) Impromptu speech6 ▏Li Chao (Professor, School of Fine Arts, Shanghai University) "The Ten Shanghai Students: Re-studying the Japanese art resources related to Xu Xingzhi"7 ▏Liu Fuchun (Researcher, Institute of Literature, Chinese Academy of Social Sciences)"Mr. Xu Xingzhi's Poetry Collection"8 ▏Yin Wen (Yangzhou painter, retired professor of Southeast University)"Three Trips to Yangzhou: Thoughts on His Hometown and Affection for the Grand Canal — Mr. Xu Xingzhi and His Canal-themed Paintings"9 ▏Huang Wangli (Professor, School of Film, Shanghai Theatre Academy)"The Theory of Artistic Integration, the Concept of Practical Teaching, and the Method of Comparative Study: Research on Xu Xingzhi's Art Education Philosophy"10 ▏Hu Rong (Associate Editor-in-Chief of Comparative Literature in China, Shanghai International Studies University; Master's Supervisor)"Xu Xingzhi and His Stage Adaptation of 'The True Story of Ah Q'"11 ▏Jiang Tao (Former Director of the Directing Department, Central Academy of Drama; renowned stage director) Impromptu speech◣▏Afternoon Session: 14:00–16:30▏Moderator: Zhang Peng (Director, Editorial Department of Art Research, CAFA) Afternoon speaking order: 1 ▏Gu Yiwen (Librarian, Publicity and Education Department, Memorial Hall of the 4th National Congress of the Communist Party of China; Director, Former Residence of Martyr Li Bai)"Xu Xingzhi and the China Art University: Their Contribution to the Left-wing Literary and Art Movement" 2 ▏Sun Guodong (Former Director, Yancheng New Fourth Army Memorial Hall; Former Director, Yancheng Bureau of Culture)"Xu Xingzhi: Using Poetry as a Weapon" 3 ▏Zang Jie (Director, Qingdao Literature Museum; Former Senior Reporter, Qingdao Daily)"Xu Xingzhi's 'Cross-boundary' Journey" 4 ▏Wei Yao (Ph.D. Candidate, Institute of Drama, Chinese National Academy of Arts)"The Pure Power Amidst the Flames of War: Xu Xingzhi's Creation of Children's Drama During the War of Resistance" 5 ▏Cai Tao (Professor, School of Art and Humanities, Guangzhou Academy of Fine Arts)"From the League of Youth Artists to the China Art University: Two Moments of 'Reorganization' in Xu Xingzhi and the Western Painting Movement" 6 ▏Ding Shanshan (Professor, School of Journalism and Communication, Nanjing University)"(Storm at Sea) and Chinese Cinema in the 1950s" 7 ▏Qu Bo (Deputy Chief Librarian and Professor, Sichuan Fine Arts Institute)"Xu Xingzhi's Cross-Media Thinking and Avant-Garde Experiments: A Case Study of Children of the Storm" 8 ▏Ning Xiajiang (Dean, Shaoxing Culture Research Institute, Shaoguan University, Guangdong)"Xu Xingzhi's Dramatic Activities in Pingshi, Northern Guangdong During the War of Resistance" 9 ▏Open Discussion10 ▏Family Representative of Mr. Xu Xingzhi Words of GratitudeEditor-in-Chief / He YishaEditor / Du Yinzhu
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: CAFAM展览预告 | “雄歌一曲献中华——许幸之艺术成就回顾展”即将启幕

2025-09-16

百年辉煌·中央美术学院艺术名家雄歌一曲献中华——许幸之艺术成就回顾展展览时间：2025年9月18日—10月19日展览地点：中央美术学院美术馆3层B展厅开幕时间：2025年9月18日14:30开幕地点：中央美术学院美术馆报告厅主办单位：中国美术家协会中央美术学院承办单位：中央美术学院党委宣传部中央美术学院校史研究中心中央美术学院美术馆中央美术学院人文学院中央美术学院油画系支持单位：中国人民抗日战争纪念馆中国电影家协会中国电影博物馆2025年9月3日，是中国人民抗日战争暨世界反法西斯战争胜利80周年纪念日，“九一八事变”94周年纪念日也即将到来。在这个对历史深沉回望的9月里，由中国美术家协会和中央美术学院联合主办的“雄歌一曲献中华——许幸之艺术成就回顾展”即将于9月18日在中央美术学院美术馆启幕。艺术家许幸之1935年导演的影片《风云儿女》正是以“九一八事变”为创作背景和叙事起点，以电影为载体，抒发了对日本侵略者的痛恨和对国家命运的担忧，同时也展现了中国人民不屈不挠的抗日精神。它的主题曲——由田汉作词、聂耳作曲的《义勇军进行曲》更是激励着无数中华儿女投身到抗日救亡的伟大事业中，并最终成为中华人民共和国国歌。1935年许幸之导演的抗日救亡故事片《风云儿女》初次上映之后，直到1980年代初期，才又在全国重新上映。图为1980年代复映时的海报1935年2月，许幸之导演电影《风云儿女》现场照片，金石声摄影1935年上海百代唱片公司出品的《义勇军进行曲》原版唱片，只有聂耳作曲的署名，由袁牧之、顾梦鹤等七名男演员演唱许幸之（1904—1991）是我国著名的艺术家、美术史论家、艺术教育家、影剧编导、左翼美术运动先驱、文艺战士、中国美术家协会理事、中央美术学院教授。在20世纪中国艺术变革的激流中，许幸之如同一枚多棱镜，将时代的光谱折射出斑斓的维度。他左手执调色盘解剖时代肌理，右手持摄影机记录民族心跳，以戏剧舞台为思想战场，用文学笔锋刺破精神迷雾。这位左翼文化运动的旗手，在美术、电影、戏剧、文学四重维度上裂变出惊人的创造力，更以文艺理论家和艺术教育家的身份将革命火种播撒进新中国的土壤。本项目是中央美术学院“百年辉煌·艺术名家”系列展览之一，作为迄今为止规模最大、内容最全面的许幸之艺术成就回顾展，本次展览将展出许幸之代表作品及珍贵文献400余件（组），许多为首次展现，将全方位、多维度、深层次地呈现他在绘画、美术史、文学、电影、戏剧等多个领域的卓越成就。邀您一同走进这位20世纪跨界大师的精神世界。通过这些珍贵的展品，感受许幸之永不停息的艺术探索，体悟中国现代艺术发展的精神脉络。1935年１月，许幸之在上海电通影片公司，导演了中国最早的抗日题材故事片《风云儿女》，其电影主题曲《义勇军进行曲》，现已成为中华人民共和国国歌1939年7月底，导演许幸之与饰演阿Q的演员王竹友合影1957年4月，许幸之带领美术理论研究室青年教师们，赴山西大同云岗石窟考察 1978年9月，许幸之在家中创作油画《水晶世界进行曲》与此同时，本次展览的系列活动将于9月18日、19日陆续举办，欢迎您的关注与参与。01许幸之先生铜像揭幕仪式时间：2025年9月18日下午地点：中央美术学院石膏馆西侧02许幸之艺术成就学术研讨会时间：2025年9月19日9:00—18:00地点：中央美术学院5号楼电教报告厅03电影《风云儿女》展映时间：2025年9月19日18:30—20:00地点：中央美术学院美术馆报告厅《晚步——东京街景》 1926年布面油彩 33.5×45.5cm 私人收藏《银色协奏曲》 1962年布面油彩 62.0×76.0cm 私人收藏《油站朝晖》 1962年板面油彩 44.2×61.8cm 中央美术学院美术馆藏《红灯柿》 1978年板面油彩 30.2×40.0cm 中国美术馆藏《水晶世界进行曲》 1977年板面油彩直径127.3cm 中央美术学院美术馆藏许幸之先生是一位从青年时代起就献身人民大众解放事业的革命者，也是一位多才多艺的艺术家。他是一位杰出的画家、诗人、戏剧电影编导、艺术史论家，是一位关注民族命运和国家前途、爱护青年的社会活动家和艺术教育家。他在我国现代美术史上，占有独特的地位。他最早在绘画领域崭露头角而跻身二三十年代文坛，稍后在戏剧、电影等方面作出重要贡献，最后又回到画坛，在美术领域结束自己的艺术生涯。他和绘画创作、美术教育有着不解的缘分。虽然，他在影剧事业上的成就，如作为影片《风云儿女》（由田汉编剧）的导演和作为《铁蹄下的歌女》（由聂耳作曲）的词作者，已使他的名字无愧地载入我国现代文艺史册，但是他在美术领域里的功绩和成就，同样不可忽视、不可埋没。这不仅是因为他在 30 年代曾担任过中国左翼美术家联盟主席，是一位忠诚的左翼文艺战士，在当时的革命美术运动中起过先锋作用，而且还因为他是一位颇有天赋和创造才能的绘画家。他的绘画创造成果是我国现代美术史上一笔宝贵的财富。——邵大箴 1995年10月30日
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I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.

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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.