Exhibitions and Events-News

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

Why Did The Mural Department Of CAFA In This Session Become Popular? | There Are Only Two Days Left Before The Exhibition Closes

2025-05-13

More than 20 graduate students' works from the Mural Department of the Central Academy of Fine Arts have transformed the art gallery into a "flowing mural laboratory". Many different types of creations among them have won the favor of the audience. The exhibition, covering traditional dry murals, tempera, rock paintings, as well as fiber art, relief sculptures, and installations, not only presents the experimental achievements of diverse media, but also takes cultural memory, social structure, life experience and other topics as slices to construct a brand-new path for mural art to intervene in contemporary life.In this issue, some representative mural works are selected for display. There is more wonderfulness waiting for you to explore on site.| Friendly Reminder |The "Graduation Exhibition of Postgraduate Students of the Central Academy of Fine Arts"will close on May 14.Friends who haven't visited the exhibition yet, don't miss it!01The interweaving and symbiosis of energyCAFAM@ 2025作品名称:《云山》系列五联画屏风《云山—扶光》《云山—灵泽》《云山—扶摇》《云山—霹雳》《云山—彼岸》 作者:钟琳作品材质:木板大漆、岩彩、矿物色、绿螺钿、木樨壳、金箔等 导师:唐晖Title of the Work: "Cloudy Mountains" Series, a Five-panel Screen Painting ("Cloudy Mountains—Radiant Light", "Cloudy Mountains—Spiritual Moisture", "Cloudy Mountains—Soaring", "Cloudy Mountains—Thunderclap", "Cloudy Mountains—The Other Shore")Author: Zhong LinMaterials of the Work: Large-lacquered wooden board, rock colors, mineral pigments, green mother-of-pearl inlay, osmanthus shell, gold foil, etc.Tutor: Tang HuiThis group of works originates from Zhong Lin's childhood memories in southern Jiangxi. It is a place where plants grow wildly and mountains and forests crisscross. In her childhood, she witnessed the spread of mountain fires and the sudden arrival of floods, and those moments were deeply ingrained in her memory. Years later, these memories fermented in her imagination and became the spiritual starting point for her to construct the world depicted in her paintings.The entire group of paintings depicts a mythical imagination where a fierce mountain fire collides with the flood at the foot of the mountain, a scene interwoven with destruction and hope, thus extending into a world full of fantasy. The paintings incorporate animal spirits and plant spirits, which together with the author experience a mysterious journey. Taking intangible natural elements such as the sun, rain, wind, thunder, and tears as the main thread, the work starts from the Bodhi tree in full bloom of the Buddha's hand, with the rising sun in the sky symbolizing the beginning of life, and gradually progresses to the other shore where the Manjusaka flower is in full bloom, symbolizing the end of life, thus forming a long narrative scroll about life, death, and reincarnation.In terms of the language of images, based on the legends of "fire" in the Chinese mythological system, a visual narrative about the outbreak of natural forces has been constructed. Decorative patterns symbolizing fire in traditional East Asian paintings have been incorporated into the paintings to strengthen the spirituality and sense of ritual of fire. In the creative process, the formal language of the shapes of fire in famous works such as the 12th-century painted scroll "Hell Scrolls" has also been borrowed, and these have been reconstructed and integrated with natural images such as plants and mountains, further expressing the interweaving and symbiosis of natural energy and the spiritual world.02Memory and disillusionment, pursuit and returnCAFAM@ 2025Title of the Work: Like a Man Whose Axe-Handle Turned to Rot upon Returning to His HometownAuthor: Hu RongSize of the Work: 360*200 cmMaterial of the Work: Loess, Sand, Mineral PigmentsTutor: Li YangReturning to My Hometown and Feeling Like the Man with the Rotten Axe Handle" comes from Liu Yuxi's poem "Presented to Bai Juyi at a Banquet upon My Return to Yangzhou". The allusion of "the rotten axe handle" is from "Records of the Unusual". It tells the story that in the Jin Dynasty, a woodcutter watched immortals playing chess in the mountains. Without realizing it, hundreds of years had passed. The handle of the axe in his hand had long rotted away, and everything in his hometown had changed completely. The author Hu Rong mentioned that during his childhood Chinese class, he only understood the lines "By the sunken boat a thousand sails glide past; before the sickly tree ten thousand saplings thrive". Now, he suddenly realizes that he has become "the man with the rotten axe handle".The work is composed of three mud slabs, with a total length of 3.6 meters and a height of 2 meters. Employing the traditional technique of dry mural painting in ancient China, it makes use of loess, sand, gelatin, ink, and mineral pigments. The painting is created by sketching with ink and layering colors. It took eight months to finally complete.The picture depicts a fisherman who, on his way back after fishing, rescues a sea turtle from a child and releases it back into the sea. A dragon princess, out of gratitude, invites him to take a tour of the underwater Dragon Palace and treats him warmly. They have a happy time together. One day, the fisherman decides to return to his hometown. The dragon princess gives him an exquisite treasure box and warns him not to open it no matter what. When he comes ashore, he finds that time has passed, his familiar hometown is no longer there, and his relatives and friends are nowhere to be found. Overwhelmed by helplessness and despair, he can't help but open the treasure box. A wisp of white smoke gushes out, and the fisherman instantly turns into an old man with white hair. This is the legend of Urashima Tarō written by the Japanese Sinologist poet Ma Yang.The legend of Urashima Tarō has been significantly influenced by ancient Chinese civilization. Plot elements such as a mortal visiting the Dragon Palace, a dragon princess repaying a kindness, and a temporal dislocation are also found in works like "Annotations to the Waterways Classic", "Sequel to Records of the Supernatural", "The Story of the Dragon Princess", and "The Story of Liu Yi" among the supernatural tales. Hu Rong chose this story as the source of inspiration. It is not simply a reproduction of a foreign-themed story. Instead, through this fable and cross-cultural narrative symbols, Hu Rong expresses his own life experiences of studying in Beijing and going through family changes, explores the fluidity of individual memory and identity, demonstrates the subtle and profound connection between the individual and the world, and presents an inner journey about memory and disillusionment, pursuit and return.03Explore the answers to lifeCAFAM@ 2025Title of the Work: "Mayflies Gazing at the Clear Sky"Author: Wang JinyuSize of the Work: 220*195 cmMaterial of the Work: Oil Painting, WoodcarvingTutor: Ma GangThe author conducts a deep-level dialogue with the world through the work "Mayflies Gazing at the Clear Sky". In the form of a diary of the era, using "I" as the carrier and taking the real-life events heard and felt as samples, the author ponders over the current era and reveals the pain at the individual spiritual level. In the "amusement park", everyone rushes to the wishing pool with an "admission ticket" (gold coin). The wishing pool in the central position carries people's expectations for the future and their endless desires. The flowing water implies that the wishes seem to be never fulfilled. People wander in this amusement park, floating, enjoying, getting lost, and undergoing changes in the whirlpool of desire.The moment when new life peers out from the river water resembling amniotic fluid in the lower left corner, life and death achieve an eerie reconciliation visually. In the lower right corner, there is death and burial. It seems that people are unable to escape the impermanence of fate. In the world within the turtle's enclosure, there are seven strange people on the ship of fools, a giant whose wisdom has been stolen, a maiden who has buried her own soul, an "ant" that wishes to soar into the sky, a mermaid who has been petrified after believing in love, a woman trapped by upbringing, lovers who embrace but hurt each other, dancers surrounding the building, a frog in the well being pulled out and tortured, a frogman who has won the hunt but can no longer move, a bird that refuses to be a tool of differentiation, a discarded book, a scholar who has shed his long gown... Each distorted entity is a slice of the real-life illness. In this amusement park, some people dance with shackles on, while others dismantle their shackles and are reborn. Here, there is both life and death, as well as struggle and hope.The gold foil mirror in the center of the woodcarving incorporates the viewer into the closed loop of the narrative, reflecting the projection of the mayfly of oneself and the real world. The shape of the sun represents the courage to face fate and embrace life in the face of death, and it is the sudden enlightenment after "seeing the clear sky". There is no complete image of a mayfly in the painting, but the "mayfly" can be found everywhere in the painting, and every viewer in front of the painting is also a "mayfly". This is a discussion about me seeking the answers to life, and it is also a path for every soul to find self-reconciliation.04A Healing Space for Inner PeaceCAFAM@ 2025Title of the Work: "Maimu"Author: Cai WanzhenSize of the Work: 330*330 cmMaterial of the Work: Watercolor, AcrylicTutor: Cao Wei"Maimu" takes inspiration from the gentle rain described as "moistening all things without making a sound" in The Book of Songs. It uses watercolor and acrylic to create flowing pinkish-purple lines. The colors naturally blend along the watermarks, and the overlapping light and shadow transform the hazy rain imagery in classical poetry into a contemporary art language.In the current situation full of anxiety, through the changes of light and shadow and colors, a healing space is constructed for the audience, where they can feel at peace and relax both physically and mentally.05Social metaphorCAFAM@ 2025Title of the Work: "uncanny"Author: Li JinyangSize of the Work: 200x300 cmMaterial of the Work: Oil Painting on CanvasTutor: Li Yang"Uncanny" is a feeling that is both familiar and strange, and is unsettling. It is also a social structure and a social metaphor. It revolves around the core image similar to an insect. All parts of the image are closely connected through the limbs of the insect, forming a structure that establishes connections between the images and creating a logical spatial narrative.At the center of the picture is the body of an insect. The source of its life or motivation comes from hunger and thirst. A person is drinking horse milk. In short, the horse is constantly in a state of physical strength depletion. There is a green display screen on the horse's head. This green color keeps stimulating the horse to keep running until the end of its life. This kind of motivation keeps the entire structure in operation.06The contradiction between the individual and social disciplineCAFAM@ 2025Title of the Work: "Urgent! Don't Be Hasty."Author: Wu JianghongSize of the Work: 290x300 cm (variable)Material of the Work: Wax, Quartz Sand, Clay, Oil PaintingTutor: Li Chen"Urgent! Don't Be Hasty." constructs a stage play-style scene, exploring the contradiction between the individual and social discipline from the anxious, impatient and involutionary state of the current young people. A theater is originally a performance designed by humans. It can create contradictions and oppositions to divert people's attention, causing us to overlook the structural problems.The swing sways gently back and forth with the change of air pressure, much like our current state. Everyone is caught up in this environment and is forced to be anxious, impatient and involved in the involution. The fast-paced life makes us ignore the true essence. Just like the stars in the sky, they are artificially defined as romantic and beautiful. Once we truly understand them, we will be disenchanted and sigh with emotion: So that's how it is.07Reconciliation between Reason and DesireCAFAM@ 2025Title of the Works: "The Death of the Swan" I, II, III, IVAuthor: Hou ShuyiSizes of the Works: 120x120 cm; 60x80 cm; 30x40 cm x 2Tutor: Liu XiaohuiThe swan imprisons the spark of Prometheus. The genuine desires are disciplined into institutionalized shoals of fish. The soul is weathered by the sound of clocking in and out into a steel blade of symbols, which eventually stabs into the swan's chest. When the swan dies, the clock of reason stops. The herds trample on the reflection of the curtain wall, and the ancient tide of blood easily overflows the high walls of rational civilization. The soul wanders in the crevice between the iron jungle and the blood-colored wasteland. In the left hand is a pale specimen of alienation, and in the right hand is a chaotic totem of revelry. What fills the chest is nothing but the rusted moonlight.The "The Death of the Swan" series is a work created by the author based on his own life experiences and reflections. In this work, following in the artistic footsteps of Blake, he attempts to establish another universe parallel to the real world to reflect the living conditions of people in the real world.Through the interweaving of elements such as fish, swans, bodies, herds of beasts, and flames, the work expresses the relationship between human desires, rationality, the physical body, and the spirit. It also attempts to embody the theme that "desire is the dialectical unity of scarcity and excess". Among them, the swan is the embodiment of rationality. Its elegance disciplines the primitive desires like flames, and desires turn into institutionalized shoals of fish. However, when the swan loses control over the management of desires, the primitive desires will break through the dam of civilization, transforming into herds of beasts and sharp swords that bring about the death of the swan and ideals, plunging the spirit and soul into a whirlpool of confusion and entanglement. Only by allowing imagination to serve as wings, accepting desires, and promoting the reconciliation between rationality and desire can the soul break free from the whirlpool of confusion and attain true freedom.09Find your own lightCAFAM@ 2025Title of the Work: "Notice of Searching for Light"Author: Gao ChenxiSize of the Main Work: 130×170 cmMaterial of the Work: Oil Painting on CanvasTutor: Ye JianqingIn ancient China, deer often symbolize longevity, wealth and freedom, and they are also symbols of spirituality, kindness and purity. In the West, due to their liveliness, sensitivity and ability to run quickly, deer also carry the meaning of "guide". Therefore, I have chosen the deer as the main image. It serves as the carrier of kind and pure souls. Even if it is lost in confusion at the moment, as a guide, the deer can ultimately find its way in the dense forest.The flowers surrounding the deer are Star of Bethlehem. Their flower language represents pursuit, cherishing, hope and purity, forming a quiet magnetic field around the kind little deer. The circular water patterns and the fish with various postures swimming in the water convey the message that life goes on in a cycle. Life and death are not simply the beginning and the end, but rather a continuous cycle.The keys in the corner of the painting, one above the other, represent countless possibilities and dreams. Everyone will find their own key and unlock the final lock.10Pure formal languageCAFAM@ 2025Title of the Works: "The Ocean", "Fireworks", "Composition of Red, Yellow and Blue", "Gesture Form: Topology of the Heart Symbol" (6 pieces)Author: Yang XiaoyuTutor: Qi PengThe three works below, "The Ocean", "Fireworks", and "Composition of Red, Yellow and Blue", generate dynamic line trajectories through programming algorithms. After freezing these trajectories into two-dimensional images, 3D modeling technology is used to transform the planar paths into three-dimensional relief structures. Taking the line movement data as the framework, the creator constructs multi-dimensional depth through spatial imagination, materializing the traces of time into an interlaced physical space structure. The creation focuses on the pure formal language – reconstructing dynamic traces with minimalist geometry, and simulating the techniques of gestural painting. By ensuring the mathematical order of the structure with numerical control precision, the random rhythm derived from the algorithm is also retained. The sense of mechanical precision and organic fluidity reach a balance on the surface of the relief, ultimately presenting a mechanical poetic quality where rational codes and physical forms permeate each other.The group of works titled "Gesture Form: Topology of the Heart Symbol" (6 pieces) above the on-site pictures is an expansion and extension of the three works below, expressing concern for contemporary society and the psychological state of people. Through the combination of organic gestural forms with highly symbolized abstract expressions, the works capture the psychological landscape of contemporary society, solidifying emotional states into topological visual symbols of the heart."The wall serves as a boundary, but also as a bridge." As Tang Hui, Director of the Department of Mural Painting at the Central Academy of Fine Arts, said, "We read civilization in ancient murals and seek expressions in diverse media. What murals offer us is not just the precipitation of techniques, but also the broadening of our horizons and the enrichment of our souls. We draw strength from history and also cast light towards the future."These works that have "broken out of the circle" prove that murals are no longer just decorations on walls, but a way of thinking about the world. This artistic experiment that has grown out of the Central Academy of Fine Arts may quietly reshape the creative dimensions of contemporary Chinese mural painting.Chief Editor / He Yisha  Editor / Du Yinzhu
More

“研究生会堂”成长叙事会 |2025毕业季 KOL进校园系列活动

2025-05-12

“研究生会堂”成长叙事会 2025毕业季 KOL进校园系列活动主题:逐光而行——美术毕业生的职业选择活动内容:集结毕业生与美院教师、美术馆负责人、策展人、艺术博主、画廊主理人、收藏家等,从创作体系建构、大众传播破圈、作品进入市场等具体方式多重维度,探讨美院毕业生择业、教学与社会互动性、艺术价值生产、传播与转化机制等问题。参与方式:请购买美术馆当日门票,自行前往。欢迎参与。第三场时间:5月 13日 14:00-16:00场地:中央美术学院大学生活动中心(一号楼水景池)|嘉宾 |  第四场时间:5月 14日 14:00-16:00场地:中央美术学院美术馆会议室|嘉宾 |  总顾问:林茂学术顾问:苏新平学术主持:葛玉君策 划:吴啸海活动主持:齐鹏 主办:中央美术学院研究生院协办:中央美术学院美术馆承办:中央美术学院研究生院研学中心主编 / 何一沙责编 / 杜隐珠编辑 / 丰凯梓奇
More

Artistic Tribute on Mother's Day —— Special Feature of "Maternal Narrative" during the Graduation Season of the Central Academy of Fine Arts

2025-05-10

When the fragrance of carnations fills the May wind, an artistic confession at the graduation season of the Central Academy of Fine Arts, which delves into the origin of life, the bonds of growth, and the emotional connections, is quietly taking shape in the exhibition hall. Several young artists, through painting, sculpture, and video, have constructed a dialogue on life. They have distilled the eternal themes of "mother", "maternal love", and "maternal nature" into a visual poem. On the occasion of Mother's Day, they present this artistic gift rich in emotion and warmth to the audience.01See the Weight of TimeCAFAM@ 2025Author: Miao RunzeWork Title: "The Mother of the Mother of the Mother"Tutors: Ning Ying, Feng XinThe graduation work "The Mother of the Mother of the Mother" by Miao Runze from the School of Urban Design of the Central Academy of Fine Arts portrays the humorous and resilient life state of a 98-year-old woman through the records and interviews of his great-grandmother's daily life. With the images that blend documentary and poetic elements, it depicts the tenacious and abundant life background of a mother and a woman.When conceiving the topic for his graduation project, Miao Runze hoped that his work could break out of the framework of traditional family documentaries. He aimed to use humorous and vivid language to tell the story of his great-grandmother, looking back on her past life. It not only shows her positive attitude towards life but also expresses her insights into life experiences and her contemplations on life.02The Initial Gaze of LifeCAFAM@ 2025Author: Yang SongranWork Title: "Traces"Tutor: Mu BaiyanMaterial: Vegetable-tanned CowhideWhen the fingers caress the traces and stitches retained on these sculptures, what one touches is not merely the soft leather. It is the whispers of stretch marks around the waist after a mother gives birth, the murmur of sagging breasts after breastfeeding, and the painful memories of the girdle digging into the flesh. "Traces", created by Yang Songran from the Sculpture Department of the Central Academy of Fine Arts, combines sculpture with vegetable-tanned leather materials. By presenting these "practical" artifacts in a public space, the traumas of mothers that have been deliberately downplayed by society have nowhere to hide. Every stitch is a trajectory of a woman's self-reconstruction.She believes that this is not a display of beauty, but an anatomy of the resilience of a woman's life. Their strength does not lie in being flawless, but in choosing to conceive, struggle and grow despite the scars! This is precisely the greatness of every mother.03The Bonds and Awakening of GrowthCAFAM@ 2025Work Title: Seeing the Letter Feels Like Meeting YouAuthor: Bai RuoxuanTutor Team: Wang Liming, Jin Jun, Feng Mengbo, Liu DejianResearch Direction: Immersive Experience and Game DesignThe immersive interactive video work "Seeing the Letter Feels Like Meeting You" by Bai Ruoxuan from the School of Design of the Central Academy of Fine Arts, through the means of writing and reading letters, narrates the process of the author experiencing and overcoming anxiety. During this process, the mother provided unconditional support. Each concerned letter is filled with warmth. In this dialogue, maternal love always maintains an appropriate distance, silently illuminating the next part of the journey every time the author stumbles.Bai Ruoxuan also wrote a reply to her mother: "As someone who is being a mother for the first time, you have been extremely successful! You have given me a very happy life and a cheerful personality! From now on, I hope you can get rid of the words'mom' and'mother', be a bit selfish, and I hope you can reserve all the best things for yourself in the days to come!" It is believed that this is also the sincere voice of all sons and daughters.The scene of the audience interaction exhibition04The Taste of Reconstructed MemoriesCAFAM@ 2025Work Title: Three MealsAuthor: Huang LiTutor Team: Chen Zhuo, Jin Jun, Wang Liming, Isabel Herguera (External Expert)Research Direction: Research on Video Narrative"Three Meals" is derived from the emotions and experiences of Huang Li, a graduate of the School of Design of the Central Academy of Fine Arts. She said, "In 2024, my mother passed away. The pain of losing a loved one made it difficult for me to express my emotions. My longing for my mother was finally attached to the food she loved during her lifetime." Her creation takes food as the thread of the entire film. By collecting and obtaining the daily dining situations of different families as the foundation, and using the simple form of three-screen juxtaposition, the proposition of "parting" is interpreted as life itself.She hopes to prove that eternal parting is not a dramatic farewell, but the continuation of life that is passing by in every moment of life. Using these ordinary records and ordinary meals as a medium for a dialogue about life, the memory of taste is preserved in the camera.When the lights in the exhibition hall gradually turn on, the wrinkles frozen on the sculptures, the hugs captured in the images, and the exhortations sealed in the letters will all turn into gentle touchpoints. They might be childhood memories hidden beneath the busyness, words of gratitude that one is too shy to express, or an epiphany about the inheritance of life. Here, art is no longer a one-way viewing experience but an emotional resonance with a synchronized heartbeat.Finally, may every mother be able to hold onto her own light through the baptism of time, and may every person who stops by be able to find their own emotional anchor point. Let the love that has not been spoken continue within the texture of art.Chief Editor / He Yisha  Editor / Du Yinzhu
More

Yukie Kamiya: Artistic Exploration as a Catalyst Connecting Local History and theWorld- Case Studies from Hiroshima and New York | 2025 CAFAM Academic Series

2025-05-10

日本东京国立新美术馆首席策展人 神谷幸江「Yukie Kamiya draws on her curatorial experiences at the Hiroshima City Museum of Contemporary Art and The Japanese Society in New York to examine how artinstitutions create platforms for cross-cultural dialogue, striking a dialectical balancebetween local communities and the global. In Hiroshima, the museum channels thetrauma of the atomic bombing into a universal subject through healing-focusedartworks, transforming regional memory into a shared human concern. In contrast, theJapanese Society in New York emphasises a cultural interplay between Japan and theUnited States, using innovative narratives to foster reinterpretation globally. Kamiyanotes that contemporary art museums must root themselves in local contexts, openconversations, and construct new narratives. In doing so, they become catalystsconnecting different times, places, and cultures. Her perspective aligns with CAFA'sbroader forum discussions on how digital technology facilitates the coexistence of virtualand physical museum spaces, together pointing to a shared mission in the age ofglobalisation: to deepen cultural understanding and create further artistic valueinternationally through pluralistic collaboration and technological integration.」1.Personal Background and Core Research FocusBefore assuming her current role at the National Art Center, Tokyo, Yukie Kamiya heldlead curatorial positions at both the Hiroshima City of Contemporary Art and TheJapanese Society Gallery in New York. Drawing on her work from both places, sheutilised two culturally and geographically distinct institutions to investigate how art canremain rooted in local culture while also continuing to blend with global history andcontemporary contexts. Her research consisted of how museums can serve asplatforms for transregional dialogue that fosters mutual cultural understanding andrespect.2.Art Institution's Globalisation Mission and Strategic PracticeKamiya emphasises that, in a global context, institutions must protect local culturalidentities while promoting cross-regional cooperation. Local art practices should berefined into a common theme that appeals to all people. She conveys that artinstitutions, such as museums, should act as a bridge to connect different cultures andhistorical backgrounds, encouraging global dialogue through the power of art.The Hiroshima Contemporary Art Museum focuses on collective memory and thetransmission of trauma, as well as the role of Japanese society in cultural exchange.Although differing in approach, both demonstrate the unity of local and global vision.This requires a deep engagement with local history and culture while also necessitatinga breakthrough in geographic boundaries. Through curatorial strategies, they canpromote cross-cultural understanding and collaboration, ultimately achieving an organicintegration of historical narratives with contemporary relevance.3.Specific CasesAnalysis and Practiceⅰ. Hiroshima modern art museum: posttraumatic memory and global reconstructionAccording to Yukie Kamiya, the Hiroshima City Museum of Contemporary Art,founded in 1989, has a central mission: to reconstruct the historical trauma of the1945 atomic bombing through the language of art, transforming it into a culturalbridge between the past and the future. The collection not only documents thedestructive moment of the bombing but also seeks to convey both individual andcollective memory.She cites several examples: Tatsuo Miyajima's digital installation, "Death of Time," utilises the repetitive cycle of numbers from 1 to 9 to symbolise the "suspension of time" at the moment of the bombing, transforming an abstract concept into a visual witness. Yayoi Kusama's "Resurrected Soul" employs layered thread to symbolise, metaphorically, the lives lost, evoking profound reflection on wartime casualties. Yoshitomo Nara's paintings feature a recurring image of a little girl, characterised by a dual gaze: one eye reflecting the atomic mushroom cloud, the other gazing at the blue sky, capturing the intertwining of traumatic memories and hope for the future.The museum's practices utilise cross-cultural collaboration to further foster globalisation. For instance, British sculptor Henry Moore's atomic-themed sculptures are juxtaposed with traditional Japanese drama masks. At the same time, artist Simon Starling collaborated with Noh master Yasuo Miichito to create works that feature fractured Noh faces- symbols of fragmented identity. These projects interpret traditional forms as vehicles for addressing international concerns.Yukie Kamiya emphasizes that such practices must carefully balance the atomic bombing memories held by Hiroshima's residents with the outsider perspectives of international visitors. The goal is to construct a platform for" collective memory"- one that avoids reducing complex history into a single narrative. Through processes of artistic healing and memory reconstruction, the Hiroshima City Museum of Contemporary Art not only affirms regional identity but also elevates local trauma into a universal human concern, bridging the gap between local and global dialogue.ⅱ. Japan Society in New York: Dynamic Narratives in Multicultural Contexts The Japanese Society in New York centres on fostering U.S.-Japan cultural exchange through a curatorial approach of "decentralization"- moving beyond a single point of perspective to focus on dynamic multicultural intersections. By juxtaposing architecture and art, it captures Japan's postwar evolution from reconstruction to a post-industrial society.For instance, Kenzo Tange's 1964 Yoyogi National Gymnasium blends tradition with modernity, symbolizing Japan's postwar recovery. In contrast, Kengo Kuma's 2020 stadium utilises wood and nature to reflect on sustainability and post-Fukushimapost-Fukushima ecological concerns. In art, exhibitions like "Radicalism in the Wilderness" Spotlight Japan's 1960s avant-garde, aligning with global experimental movements. The fusion of rural art and global contributions highlights collaborative innovation.The society also disrupts traditional exhibition formats, combining archives, models, and videos to depict Tokyo's shifts, inviting critical reflection and fostering the global reconstruction of perspectives on Japanese culture.4.Curational paradigms: Contrasts and future missionsThe Hiroshima and New York cases reveal two distinct narrative approaches. Hiroshima centres on atomic trauma, fostering an identity that resonates emotionally and provides an immersive experience. In contrast, New York frames cultural hybridity and emphasizes knowledge transmission and critical reflection on socio-economic changes. Together, they form a balanced global dynamic- Hiroshima fosters a general inquiry into humanity while New York reinterprets Japanese narratives globally through a multicultural lens.Yukie Kamiya concludes three key missions for contemporary art institutions: First, to be locally rooted and to engage deeply in the history and cultural identity of the region to ensure authentic and meaningful narratives; Second, to foster open dialogue through cross-regional collaboration and diverse perspectives; Third, to innovate storytelling-transforming static history into dynamic experiences through technology, space, and curatorial strategies that inspire multidimensional experiences on the past, present, and future.The Hiroshima and New York cases clearly demonstrate the profound and innovative role of art—not merely as a witness to history but as a powerful catalyst that bridges different periods, regions, and groups of people. Through curatorial practices, local stories transcend the geographical barriers to become vital threads in global cultural dialogue. This cross-cultural exchange fosters the transmission of tradition and rebirth, allowing art's influence to be recognised and amplified on a broader and more meaningful scale.Speaker introduction-                                                        Yukie KamiyaYukie Kamiya is an acclaimed curator, formerly Director of the Japan Society Gallery (New York), Chief Curator at the Hiroshima Museum of Contemporary Art, and Associate curator at the New Museum. In April 2025, she will become Chief Curator at the National Art Center, Tokyo. She co-curated the 12th Shanghai Biennale (2018) and advises the Shigeko Kubota Foundation, and is a member of AICA. Her key publications include Hiroshima Sugimoto: Gates of Paradise (2017), Art in Times of Conflict (2014), and Creamier (2010).∨ Chief Editor / He YishaExecutive Editor / Du YinzhuPhotography / He YifeiEditor / Feng KaiziqiTranslator / Mia
More

打破AI焦虑、“做”出来的央美雕塑 | 2025中央美院毕业季

2025-05-10

在人工智能刷新创作效率的今天,当算法生成的“完美”雕塑模型充斥屏幕时,中央美术学院雕塑系的研究生们选择用多种媒介,在展厅中铺开一场沉默的宣言:香樟木、树脂、PU、金属、石膏、陶瓷、影像等——这些作品以回归本源的创作姿态,重新确认着手工劳作与身体经验在艺术中的不可替代性。几十件凝结温度的作品向人们证明:艺术最珍贵的部分,永远无法被算法计算。  “很高兴,呈现一台没被‘AI焦虑’所困扰的雕塑展,在此,雕塑依然是被“做”出来的。身体、现场、情感、甚至是缺憾,是雕塑不可替代的专业硬核”,中央美术学院雕塑系直属党支部书记孙璐如是说,“同时,作为毕业展的亲历者,具身在美术馆这个文化道场,体会着身心的物性呈现,这美妙的心理体验和高度的仪式感,将会成为每位同学的永恒”,当中央美术学院美术馆的天光洒进展厅,金属上的斑斑锈迹,木材的膨胀张力,石膏固化的余温……这些物质的“语言”,才是雕塑最本真的叙事。在这里,没有AI焦虑的阴影,只有一群年轻人用最动人的方式,追逐着思想之光。01展览现场CAFAM@ 202502展出作品CAFAM @ 2025
More

浇不熄的艺术热情 | 央美毕业季中的版画作品释放全新生命力

2025-05-09

More

活动招募 | 跟随导览漫步“冉冉晨城”,参与首都图书馆创意工坊

2025-05-08

“冉冉晨城——中央美术学院美术馆藏北京主题作品展”正在首都图书馆(华威桥馆)B座第二展厅展出。本周末将有两场活动招募公众参与,欢迎预约报名。在书香画意中,感受城市的冉冉晨曦和艺术的跃动光芒。漫步“冉冉晨城”——跟随艺术家和策展人一同看展时间:2025年5月10日周六,10:00-11:00地点:首都图书馆(华威桥馆)B座第二展厅北京中轴印象——立体书制作儿童工作坊时间:2025年5月10日周六,14:00-16:00地点:首都图书馆(华威桥馆)B座第二展厅*活动需报名预约,具体参与方式详见下方活动介绍01.漫步“冉冉晨城”——跟随艺术家和策展人一同看展“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,系统性梳理中央美术学院美术馆典藏的北京题材艺术作品。展览以“晨起”“蓬勃”“更新”“择中”四个板块为叙事线索,精选60件艺术作品,呈现了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轨迹。本周末,此次展览的参展艺术家周吉荣教授,策展团队高高、易玥,将与观众一起漫步“冉冉晨城”。在观看精彩展品的同时,聊叙不同历史时期艺术创作对城市面貌与社会语境的关注。| 导览嘉宾 |周吉荣中央美术学院二级教授,博士生导师,中央美术学院学术委员会委员,国际学院版画研究院副院长。中国美术家协会会员。作品曾参加国内、国外多项重要展览,获奖十余次项。出版画集、画册10余种。曾多次在国内外举办个人画展。作品被多家重要博物馆、美术馆收藏。高高中央美术学院美术馆副馆长。2010年进入中央美院美术馆工作,主要负责美术馆国际展览项目的组织、策划与实施,以项目负责人的身份主持完成了多个国际艺术展览。| 主持人 |易玥中央美术学院美术馆策划研究部副主任,曾参与策划多个国内外现当代艺术展览,侧重于展览史、展览策划与视觉传播的研究。| 线下导览时间 |2025年5月10日(周六)10:00-11:009:50在展厅签到集合| 线下导览地点 |首都图书馆(华威桥馆)B座第二展厅| 线下参与方式 |识别下方二维码预约活动活动适合成人和15岁以上的未成年人限40人,约满即止*报名后如不能参加请及时取消,否则将可能影响您预约首图其他活动活动须知1.活动开始前30分钟可持预约码签到入场,一人一码,敬请谅解。2.活动开始后30分钟将停止签到,预约成功如无法按时参加,最迟请于活动开始前30分钟取消预约,否则将影响您预约其他活动。3.为保护知识产权,导览过程中未经授权,禁止录音和录像,请勿使用闪光灯或专业摄影设备。4.请勿将食品饮料带入活动场地,场内请勿饮食。5.主办方会对导览进行全程摄录,读者到达现场即视同接受群像、特写等拍摄及传播。6.导览中主讲人和活动嘉宾的观点不代表本馆立场。7.活动内容视具体情况调整,如有变化会及时通知。本次导览为公众安排了导览直播请关注以下线上直播时间与平台| 线上直播时间 |2025年5月11日(周日)17:00-18:00| 线上直播平台 |中央美术学院美术馆官方平台抖音平台@中央美术学院美术馆小红书平台@中央美术学院美术馆首都图书馆官方平台02.北京中轴印象——立体书制作儿童工作坊小朋友们,在北京这座充满古韵与魅力的城市中,藏着一条神秘的 “魔法线”—— 北京中轴线。它宛如城市的脊梁,默默串联起众多闻名遐迩的建筑,见证着北京从古至今的历史变迁。时光回溯至 700 多年前的元朝,皇帝欲打造一座宏伟都城,聪慧的建筑师们灵机一动,规划出一条笔直的轴线,让重要建筑沿此依次排列,北京中轴线由此诞生。宋红雨,《北京胜境全景》,1992年,199.5cm×199.5cm,布面油彩,中央美术学院美术馆藏张桂林,《记忆之四》,2008年,45.5cm×67.5cm,丝网套色,中央美术学院美术馆藏正在展出的“冉冉晨城——中央美术学院美术馆藏北京主题作品展”,呈现了艺术家们围绕中轴线建筑所创作的艺术作品。在随课程导师浏览展览作品和中轴线上的建筑后,小朋友们将亲手制作中轴线上的建筑立体书,并搭建一个属于自己印象中的“中轴建筑”哦!工作坊主题北京中轴印象——立体书制作| 工作坊策划 |肖宝珍中央美术学院美术馆公共教育部主任| 课程导师 |张伊驰中央美术学院2024级建筑专业研究生,从本科到硕士,七年扎根央美建筑系,在空间美学与结构逻辑的探索中,始终怀揣着对美育的热忱。五年间,张伊驰将专业所学转化为美育实践,参与央美“高参小”项目,陪伴孩子打开艺术世界。本次工坊将带领孩子们用彩纸、木料等材料,将天马行空的想象变为立体书、皮影戏道具。美育不仅是技巧的传授,更是创造力的唤醒。| 工作坊时间 |2025年5月10日(周六)14:00-16:0013:50在展厅签到集合 | 工作坊地点 |首都图书馆(华威桥馆)B座第二展厅 | 参与方式 |识别下方二维码预约活动活动适合8-12岁儿童,限20人,约满即止*报名后如不能参加请及时取消,否则将可能影响您预约首图其他活动活动须知1.活动开始前30分钟可持预约码签到入场,一人一码,敬请谅解。2.活动开始后30分钟将停止签到,预约成功如无法按时参加,最迟请于活动开始前30分钟取消预约,否则将影响您预约其他活动。3.请勿将食品饮料带入活动场地,场内请勿饮食。4.主办方会对活动进行全程摄录,读者到达现场即视同接受群像、特写等拍摄及传播。5.活动内容视具体情况调整,如有变化会及时通知。| 关于北京文化艺术基金 |北京文化艺术基金是由北京市文化和旅游局发起设立的公益性基金,重点围绕舞台艺术创作、文化传播交流和艺术人才培养三大领域开展资助。基金面向社会接受申报、资助过程受社会监督、资助成果由社会共享,最大限度调动社会参与文化建设积极性,搭建了一个开放平等、公开透明的艺术资助体系,充分发挥全国文化中心的示范引领作用。| 展览信息 |北京文化艺术基金2024年度资助项目冉冉晨城:中央美术学院美术馆藏北京主题作品展 展览时间:4月18日-5月18日展览地点:首都图书馆(华威桥馆)B座第二展厅 主办:中央美术学院协办:中央美术学院美术馆 首都图书馆支持:中央美术学院科研处主编 / 何一沙责编  / 杜隐珠编辑 / 丰凯梓奇现场图 / 贺伊飞
More

Xin Youren | Comparison As A Method: Decolonizing Art History In The Global South, Critical Restoration, And Issues Of Representation |2025CAFAM Academic Series

2025-05-06

Xin Youren, Director of Curatorial, Research and Exhibitions at the National Gallery Singapore「Recently, at the "Cultural Engine - CAFA International Museum Summit Manual", Eugene Tan, Director of Curatorial, Research and Exhibitions at the National Gallery Singapore, delivered a speech titled Comparison as a Method: Decolonizing Art History in the Global South, Critical Recovery, and Issues of Representation. In his talk, he explored how to establish a more equal and inclusive art narrative, as well as evaluation criteria for the artistic values of multiple modernities, in an era of cultural pluralism and symbiosis. In the future, this curatorial methodology based on critical thinking and a comparative perspective may become an important approach for art museums to address cultural complexities.」1.ReflexivityThe Conceptual Construction of MuseumsAs a young institution established in 2015, the National Gallery Singapore has provided an important non-Western perspective for art museums worldwide through its unique cultural positioning and curatorial philosophy. The museum transformed two historical buildings, the former City Hall and Supreme Court, into art spaces. This physical vessel itself symbolizes the transformation of a power domain into a public cultural space. With the core concepts of a "reflective museum" and a "museum of people," the art museum is committed to building an art dialogue network between Singapore and Southeast Asia, as well as between Southeast Asia and the world. This positioning goes beyond the display function of traditional art museums, shaping itself into a dynamic field for cultural identity construction and knowledge production.2.Critical RestorationGender Equalityand DecolonizationReconstruction of Art HistoryThe museum's core curatorial approach, "critical restoration," represents a systematic re-examination of Southeast Asian art history. A gender analysis of its 8,500-piece collection reveals that works by male artists account for as high as 80%, while those by female artists make up only 10%. This data lays bare the structural inequalities in the writing of art history. Through ongoing research on its collections and exhibition planning, the museum seeks to deconstruct the patriarchal narratives formed during the colonial period. For example, it re-examines the plant atlases created by British colonial artists in the 19th century—while these works appear as scientific records on the surface, they are in fact visual representations of colonial power's discipline over nature and culture.In permanent exhibitions such as Who Are You, the museum continuously challenges existing historical narrative frameworks. The critical display of colonial visual materials like travel posters exposes how the Orientalist perspective shaped stereotypes of Southeast Asia. This restoration is not merely historical revision but also a claim to cultural sovereignty: by reinterpreting art archives, it establishes indigenous interpretive authority.3.Comparative MethodologyArt Dialogue in the Global SouthTropical: A Comparative Exhibition of Southeast Asian and Latin American Art (2024) embodies the museum's innovative curatorial approach. The exhibition challenges the monolithic Western-centric imagination of "tropicality" by juxtaposing the works of Brazilian architect Oscar Niemeyer with Southeast Asian art, constructing a knowledge framework for South-South dialogue. This comparative methodology is not a simple formal contrast but a cultural decoding of geographical concepts—transforming " tropical" from an exotic spectacle through a Western lens into a site of plural modernities.The exhibition pays special attention to the recontextualization of Gauguin's works, examining them within the creative context of Pacific artists to deconstruct the myth of modernist masterpieces. This curatorial practice echoes Homi Bhabha's "Third Space" theory, creating new possibilities for meaning at the intersection of cultures. By establishing a dialogue between the works of Southeast Asian and Latin American artists, the museum constructs a decentered narrative network of art history.Faced with the scarcity of documentation on female artists, the museum has developed a unique archival research methodology. By excavating early art school records, exhibition archives, and private collections, it reconstructs the creative genealogy of women artists obscured by mainstream narratives. Research has revealed that female artists during the colonial period were often dismissed as "weekend painters," with their professional achievements systematically overlooked. Through thematic exhibitions such as Sunday Studios, the museum not only showcases their works but also presents the gendered mechanisms of artistic production. This research extends to interdisciplinary practices, focusing on the intersections of theater, music, and visual arts. The inclusion of diverse art forms challenges the traditional museum's collection system centered on easel painting, embodying a more democratic standard of artistic value judgment.4.Institutional Practicesand Cultural PoliticsThe curatorial strategy of the art museum has a clear cultural and political orientation: First, through the "consciousness of position in global art history", it both participates in international dialogue and maintains cultural subjectivity; Second, it adopts the method of "flexible reconstruction" to make the art history of Singapore a continuously updated open text; Finally, it establishes a wide-ranging international partnership network to expand research horizons through exchanges.This practice faces threefold challenges: how to balance local care and international vision, how to handle historical heritage and contemporary demands, and how to conduct in-depth research under limited resources. The art museum responds to these challenges through a "multiple modernities" framework, which not only acknowledges diverse influences such as Chinese ink painting and the Russian avant-garde but also emphasizes the modernity trajectory of Southeast Asia itself.5.The Enlightenmentof the Venice Biennaleand Curatorial EthicsCase studies of the Venice Biennale reveal the complexity of the politics of representation. The art museum proposes the concept of "deep curation," opposing tokenistic cultural displays and emphasizing that curation should go beyond superficial exoticism to touch the deep structures of artistic production. Such ethical considerations point to core questions: For whom does the art museum exist? And for whom does knowledge production serve?The practice of the National Gallery Singapore demonstrates that contemporary art museums are not merely custodians of artworks but also producers of cultural discourse. Through critical recovery and comparative methods, it has constructed a decolonized knowledge system, providing a paradigmatic reference for art museums in the Global South. Its experience reveals that the innovation of art museums lies not only in display forms but also in the transformation of cognitive frameworks; it concerns not just the rewriting of art history but also the redistribution of cultural power. The value of this practice transcends geographical limitations and holds universal significance for art museums worldwide: in an era of cultural pluralism and symbiosis, how can we establish a more equal and inclusive art narrative? The exploration of the National Gallery Singapore offers an inspiring approach to this proposition. In the future, this curatorial methodology based on critical thinking and comparative perspectives may become a vital path for art museums to address cultural complexities.Introduction to the Guest Speaker                                                                                          Xin YourenIn 2024, he was appointed as the Director of Curatorial, Research and Exhibitions at the National Gallery Singapore. Prior to this, he held the positions of Senior Curator and Deputy Director (in charge of curation and research). Currently, he serves as a lecturer for the minor program in art history at the National University of Singapore. He obtained his doctoral degree from the University of Melbourne in 2019. His research focuses on exploring regional art history (primarily Southeast Asian art) through the lenses of diaspora, migration, and cultural mobility. He is currently a board member of CIMAM (International Committee for Museums and Collections of Modern Art, an affiliate of ICOM - International Council of Museums) and a board member of OH! Open House, an independent art institution in Singapore. He has curated numerous exhibitions on modern and contemporary Asian art and has published extensively on Asian art history, exhibition history, and the history of art collectives.Chief Editor / He YishaEditor / Du YinzhuText Collation / Cao YuchenOn-site Photographs / He Yifei
More

展览导读 | “冉冉晨城”艺览:穿越时空的北京艺术叙事

2025-05-06

“冉冉晨城:中央美术学院美术馆藏北京主题作品展”正在首都图书馆(华威桥馆)B座第二展厅展出。本次展览聚焦中国现当代美术史中北京城市形象的艺术叙事,通过系统性梳理中央美术学院美术馆典藏的北京题材艺术作品,深入探讨不同历史时期艺术创作与社会语境的互动关系。展览以“晨起”“蓬勃”“更新”“择中”四个板块为叙事线索,精选60件艺术作品,呈现了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轨迹。本文带领大家走进展览,解读作品背后的艺术故事,诚邀观众亲临首都图书馆展厅,在书香画意中感受艺术魅力,共赴这场艺术与人文的对话。 艾中信,《紫禁城残雪》,1947年,38cm×70cm,木板油彩,中央美术学院美术馆藏1947年冬,青年画家艾中信踏雪登高,在凛冽寒风中完成了此件写生油画作品《紫禁城残雪》。画布之上,皑皑残雪覆盖的紫禁城宛如沉睡的巨龙,沿中轴线次第展开的三大殿(太和、中和、保和)与后三宫(乾清、交泰、坤宁)构成规整宏大的建筑群。画家以横向延展的全景式构图,将这座昔日皇城从容纳入画框。前景虬曲的柏树枝干如墨色波涛,深郁的冷色调中跳跃着斑驳亮色,巧妙营造出树冠与中景的空间纵深感。远景朱墙金顶在澄碧苍穹下渐次浮现,与天际浅橙的云霞遥相呼应,恰似在冰封的历史记忆中透出春意萌动的生机。艾中信是20世纪中国第二代油画家的杰出代表之一,尤其致力于推进写实主义油画创作。早年师从徐悲鸿,1940年留校后又受徐悲鸿之邀在北平艺专教学,解放后历任中央美术学院教授、油画系主任、副院长。邵声朗,《北京风景之二:西城朝晖》《北京风景之八:景山秋雨》,1961年,65cm×34cm,纸本设色,中央美术学院美术馆藏邵声朗在1961年创作的一套八件中国画作品《北京风景》,将传统“燕京八景”转化为具有新中国气息的城市景观。无论是对“风景”的选择,亦或是“风景”的形式与语言,艺术家意在以“新国画”构建起新中国山水画的美学范式。八景均是以俯瞰视角呈现北京城廓,西式焦点透视替代了传统山水“三远法”,并与水墨皴擦奇妙共生。画家巧妙运用屋脊的纵深排列、道路的线性延伸,营造出立体空间感,使观者仿佛置身高处俯瞰“风景”。与此同时,光感也成为这组作品着力表现的重点,特别是在《北京风景之二:西城朝晖》中可以清晰的识别出沐浴在橘红色的城市是处在清晨的特定时间段。八幅风景犹如打开的折叠城市,在收放之间凝固了古都向现代首都蜕变的决定性瞬间。邵声朗于1956年夏考入中央美术学院中国画系,师承于叶浅予、蒋兆和、李可染、李苦禅等大师门下,1961年至湖北艺术学院(现湖北美术学院)美术系任教,被誉为誉为湖北画坛学院派的代表。历任湖北艺术学院美术系副主任、副教授,湖北美术学院教授、研究生导师、湖北书画院副院长等。王琦,《大街上的旋律组画之立体交叉》《“大街上的旋律”组画之平地青云》,1987年,40.2cm×28cm,木版单色,中央美术学院美术馆藏在改革开放的浪潮中,80年代的中国城市涌动着现代性觉醒的脉搏。王琦于此时创作的系列版画《大街上的旋律》,以黑白木刻的独特语言,强烈地表现了城市走向未来的现代气息与活力:纵横的直线构筑建筑纲领,崛起的高楼与交错的街道构成视觉五线谱,往来汽车、行人与门户犹如跃动的音符。其中,《立体交叉》以现代桥梁的曲直线条分割画面,画面下方嵌入了1981年北京地铁开创的中国首条城市轨道交通。当《立体交叉》登上大英博物馆馆刊首页时,世界不仅注视着中国版画的艺术突破,更见证了改革开放时代中国城市化进程的蓬勃生命力。王琦的刻刀犹如时间之梭,既保持了木刻艺术的筋骨之力,又暗合现代都市速度感的审美特质。王琦是中央美术学院教授、著名版画艺术家、美术理论家,历任中国美术家协会副主席、分党组书记、顾问,曾任中国版画家协会主席,在美术创作、研究和组织工作上取得了卓越成就,影响深远 。瞿广慈,《王府井》,1994年,40cm×35cm×118cm、50cm×65cm×116cm、50cm×43cm×106cm,玻璃钢着色,中央美术学院美术馆藏瞿广慈创作于上世纪90年代的雕塑《王府井》,塑造了三位不同的对象,即手握小旗、维持秩序的老年妇女、大步奔走的青年女子和伫立等待的青年男子,共同构成了公交车站附近的市民百态缩影。作品以独特的现实主义视角凝固了朝气活跃的市井图景,将北京最具活力的商业街解构为充满哲学隐喻的视觉剧场,使市井百态升华为转型期社会的集体精神肖像,在个体叙事中折射出城市化进程中的文化张力,延续了央美雕塑学派对社会现实的敏锐观察。瞿广慈是中国当代著名雕塑家,1997年毕业于中央美院雕塑系,获硕士学位。《王府井》是瞿广慈于1994年完成的本科毕业创作,并获得第八届全国美展大奖。缪晓春,《立》,2007年,253cm×444cm,收藏级艺术微喷,中央美术学院美术馆藏缪晓春自进入新世纪后便开始关注城市的加速更新,用相机记录北京新形象的建立过程。缪晓春于2007年完成的摄影作品《立》是此阶段的代表作之一,它以独特视角重构了北京奥运时代的城市生长史。艺术家持续追踪鸟巢、水立方等标志性建筑的施工进程,经长达数月的定点拍摄,并通过精密计算的光影衔接,将不同时间维度的建设影像拼合成单幅作品——脚手架林立的工地与渐显轮廓的奥运场馆共处同一画面,形成现实与超现实交织的视觉档案。有别于传统摄影的瞬间定格,《立》刻意模糊了时间的线性逻辑。画面中既有地基开挖的原始场景,也有钢结构焊接的火花飞溅,甚至捕捉到穹顶收尾时工人如蚁的细节。这种时空叠合手法打破了摄影的瞬时性,使建设过程本身成为叙事主体。缪晓春现为中央美术学院设计学院教授,作品包括摄影、绘画和基于软件创作的三维电脑动画,算法绘画和雕塑,并在国际上广泛展出。周吉荣,《景观——鼓楼》,2013年,60cm×75cm,丝网套色,中央美术学院美术馆藏周吉荣的《景观》系列版画以独特的视觉考古学视角,解构了北京中轴线的时空密码。艺术家选取了中轴线上的12座典型建筑,包括永定门、祈年殿、箭楼、天安门、太和殿、乾清宫、鼓楼、钟楼、景山和鸟巢,从南向北推移的顺序进行表现,通过180度多角度拍摄获取上千张素材,经数字合成与25层以上丝网套印,使凝固的建筑在画面上产生时间性的虚像叠变。这种"层"的美学建构,既是技术革新更是观念突破。每增加一个印刷层,建筑的实体轮廓便向历史纵深退隐一分,最终呈现的虚像恰如城市记忆的显影。艺术家通过综合版画的复数性特质,将中轴线从地理坐标升华为文明演进的视觉年轮。周吉荣现为中央美术学院二级教授,硕士生、博士生导师,国际版画研究院第一副院长,国际学院版画联盟秘书长,中国美术家协会会员。| 关于北京文化艺术基金 |北京文化艺术基金是由北京市文化和旅游局发起设立的公益性基金,重点围绕舞台艺术创作、文化传播交流和艺术人才培养三大领域开展资助。基金面向社会接受申报、资助过程受社会监督、资助成果由社会共享,最大限度调动社会参与文化建设积极性,搭建了一个开放平等、公开透明的艺术资助体系,充分发挥全国文化中心的示范引领作用。| 展览信息 |北京文化艺术基金2024年度资助项目冉冉晨城:中央美术学院美术馆藏北京主题作品展 展览时间:4月18日-5月18日展览地点:首都图书馆(华威桥馆)B座第二展厅 主办:中央美术学院协办:中央美术学院美术馆 首都图书馆支持:中央美术学院科研处主编 / 何一沙责编  / 吴靖编辑 / 丰凯梓奇现场图 / 贺伊飞识别二维码,关注我们微信公众号官方网站官方微博官方抖音官方小红书哔哩哔哩点赞分享推荐
More

今日立夏

2025-05-05

今日立夏
More

Child Public Education Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Adult Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Sumbit

Group Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Event Booking Form

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
Quick loginAccount login
  • Mobile phone number will be your login ID
  •  
Use Artron membership to login