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.

: CAFAM Techne Triennial 2020 | Topologies of the Real & Art in Motion Initiates

2019-11-04

CAFA Art Museum (CAFAM) will hold the large-scale media art exhibition "Topologies of the Real" from February 20 to March 29, together with ZKM's tour exhibition "Art in Motion: Masterpieces with and through Media", and initiated the first "CAFAM Techne Triennial".
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: Fan Di’an: Welcome to Explore the Secret Echoes of the Spirit of Anish Kapoor’s Art | Exhibition is Open to the Public on October 26

2019-10-22

Anish Kapoor solo exhibition in China CAFA Art Museum & Taimiao Art Museum CAFA Art Museum 2019/10/26 - 2020/1/1 Taimiao Art Museum 2019/11/11 - 12/28Mr. Anish Kapoor is a representative of contemporary Western art and also a renowned artist in the international contemporary art world. His works have been highlighted frequently in international art exhibitions, particularly those large-scale works towering in the urban public spaces, exerting a significant influence as a trans-century wonder of art. In Autumn 2019, his first large-scale retrospective art exhibition in China will be held simultaneously at CAFA Art Museum and the Taimiao Art Museum, which could be regarded as a spectacular journey of Kapoor’s art in China.Anish Kapoor, DestierroEarth, pigment and mechanical diggerDimensions variable©Anish Kapoor, 2019In the changing trend of Western art and culture at the end of 20th century, Kapoor’s art emerged with its ideas and forms showing both individuality and publicity. The interlacing of his rigorous thinking, mysterious fantasy and free imagination render his art beyond previous patterns, bursting out a luster of fresh perceptions, and becoming a cultural representation with multiple implications and abundant energy. Kapoor’s creation is rooted in ancient Indian philosophy. He integrates the spiritual core of Eastern culture with the modern symbolism of Western culture and establishes a unique relationship between material media and cultural metaphor, self-sufficient pattern and ecological environment. He advocates that color is baptism and belief, space is mind and soul, and material is in spiritual possession, which makes his works invite mysterious and powerful resonance force in the binary compound languages such as the material and immaterial, existence and transcendence, essence and extension. In the 1980s, Kapoor had become one of the representative artists of the “New British Sculpture”, and won the “Turner Prize” that manifests the spirit of western innovation and exploration. As his ideas correspond to and reflect the new cultural reality and cultural psychological signs in the global context, his art is widely accepted globally, resulting in a broad influence in cross-cultural communications.Anish Kapoor, Symphony for a Beloved Sun, 2013Stainless steel, wax, conveyer beltsPhoto credit: Dave Morgan ©Anish Kapoor, 2019The capability of the artists lies in the realization of a complex concept into a simple visual form and the application of the pure visual form in prompting the metaphysical implication. Kapoor is a master in grasping the relationship between purity and polysemy. He is good at using the space where the works are placed to create the site of generation of the works, producing illusive impressions and offering viewers with immersive perceptions. Some of the language signs belong to his specialities, such as the applying of red - a symbol of life origin, the powder that embodies the idea of “emptiness” and the “descension” that looks like a whirlpool, a cavern or a blackhole. The material and form he’s best at is his installation work of stainless-steel structure. This kind of works are extremely pure, always featuring a curved surface, thus making the bright and clean surface not only a shiny object itself but also a carrier of the surrounding landscape, while the phenomenon of refraction and reflection leads to a series of conversion from “ordinary” to “extraordinary”, producing a stunning “mirror image”.Anish Kapoor, Cloud Gate, 2001-2004Stainless steel25 x 15 x 12mMillennium Park, Chicago©Anish Kapoor, 2019Anish Kapoor, Non-Object (Spire), 2007Stainless steel302.3 x 300 x 300cmPhoto credit: Tim Mitchell©Anish Kapoor, 2019Anish Kapoor, C-Curve, 2007Stainless steel2.2m x 7.7m x 3mPhoto credit: Dave Morgan©Anish Kapoor, 2019Sky Mirror, 2006Stainless steelDiameter: 10 mPhoto credit: Tim Mitchell©Anish Kapoor, 2019Tsunami, 2018Stainless steelPhoto credit: Dave Morgan©Anish Kapoor, 2019Mr. Kapoor attaches great importance to the journey of his art in China, and planned and prepared for the show together with my colleagues, who are the show’s host. We both hope that the exhibition could academically present Kapoor’s main artistic achievements to date, and also build a site for direct experience of his large-scale works. Contemporary Chinese art, while basing itself on domestic innovation and development, still needs to keep an eye on the world, carry out extensive exchanges and form a profound cultural dialogue. Kapoor’s art is so intelligently responsive to the complexity of today’s world, and so wonderfully makes spectators perceive the metaphysical secret echoes of its spirit. This Autumn, in response to Kapoor’s wish to “invite people to explore”, let’s immerse ourselves in his grand art scene and have a free discussion.Fan Di’anDirector of Central Academy of Fine ArtsPresident of Chinese Artists AssociationOctober 2019Anish Kapoor, Sectional Body preparing for Monadic Singularity, 2015PVC and steel730 x 730 x 730 cmPhoto credit: Tadzio©Anish Kapoor, 2019Anish Kapoor, My Red Homeland, 2003Wax and oil-based paint, steel arm and motorDiameter: 12 m©Anish Kapoor, 2019Anish Kapoor, To Reflect an Intimate Part of the Red, 1981Mixed materials, color powder200 x 800 x 800cmPhoto credit: Andrew Penketh©Anish Kapoor, 2019 About the Exhibition Academic Consultant: Fan Di'an Artistic Director: Su Xinping Curatorial Advisor: Hans Ulrich ObristChief Curator: Zhang Zikang Curators: Wang Chunchen Yue Jieqiong Organizers: Central Academy of Fine Arts, Beijing Municipal Federation Trade Unions Co-Organizers: CAFA Art Museum, Taimiao Art Museum Chief Supporting Organization: Zhonghong Chuangyi (Beijing) Culture Development Co, Ltd.Supporting Organizations: Lisson Gallery, Galleria Continua and the British Council CAFA Art Museum | Time | 2019/10/25 - 2020/1/1Open to the public on 10/26| Opening Hours |Tuesday to Sunday 9:30-17:30（Last admission 17:00）/ Closed on Monday Taimiao Art Museum | Time | 2019/11/11-12/28| Opening Hours |9:00-17:00 daily（Last ticket purchase 16:30） Ticketing Information * All kinds of ticket can be used throughout the exhibition starting 10/26.Scan the QR code to purchase ticketEarly-bird Ticket：90 yuan（Available from 2019/10/10-10/25）Adult ticket: 120 yuanDiscount ticket: 60 yuan（Please refer to discount ticket use policy below for eligibility）Family ticket: 260 yuan（2 adults and 1 child above 120 cm）*Group ticket: Groups of 10 or more may enjoy 20% discount off original price.Visitors with union membership card may enjoy 20% discount off original price.（Group ticket only available at the CAFAM front desk）For inquiries please call: 010-64771575 | Notes | * The ticket of Anish Kapoor exhibition at CAFA Art Museum is 120 yuan. Visitors with union membership card may enjoy 20% discount off original price, and visit the Anish Kapoor exhibition at the Taimiao Art Museum for free. Visitors to Taimiao without card could buy the bell exhibition ticket for 15 yuan, and enjoy the Anish Kapoor exhibition for free. The east and west side halls of Xiang Dian are open for free. Visitors may enter with 2-yuan palace ticket.* Teachers and students of CAFA, children under 120cm (adult company is required, and the adult needs to purchase ticket), elderlies above 60, military service men and disabled people may visit the exhibition for free.* Students above 120cm (graduates students included), visitors with CAFA Alumni Card, CAFAM VIP Card, CAFAM Membership Card and Museum Association Membership Card, museum employees may purchase discount ticket.Note: Free ticket and discount ticket can be purchased and verified upon showing credentials. CAFAM reserves the right for final explanation.
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: Gu Yuan Art Exhibition Opens on October 16

2019-10-16

Gu Yuan (1919-1996) is a famous artist Chinese artist and art educator. He was the director of the Central Academy of Fine Arts, deputy president of the China Artists Association, and deputy president of the China Printmaking Artists Association. In his art life that lasted for nearly half a century, Mr. Gu’s works clearly reflected his time, and sang praise of the modern Chinese printmaking development and New China’s art blossoming.In 1938, Mr. Gu Yuan left Guangzhou for Yan’an amid the flame of the War of Resistance against Japanese Aggression, with full-hearted enthusiasm for revolution and art. Using paint brush and burin, he rendered the heroic stories of Chinese soldiers and people’s fight against invasion. In 1939, he completed his first wood-engraving work, Marching of the Guerilla Force. He then began his creative practice under the oil lamp in the cave dwelling. He stuck to his position in northern Shaanxi Province, rooting his art creation deeply in the soil of the working people. He lived among and learnt from the working people, absorbing the truest nutrition. During his time at the Luxun Academy of Fine Arts, he created a great number of popular wood-engraving works, including “Chopping Grass”, “Studying in Winter”, “Suing for Divorce” and “Brother’s Vacation”. These works have become classic works of modern Chinese printmaking history today, and opened up a new chapter for Chinese modern printmaking. In 1942, after visiting the National Wood Engraving Exhibition, Xu Beihong wrote passionately: “I discovered a genius in the Chinese art circle, that is the big master Gu Yuan of the Chinese Communist Party.”After New China was founded, Gu Yuan rendered the magnificent natural landscape of China, the spiritual life of the people and the new look of China with broad vision, lyric touch and modest artistic language. He created a new visual form of New China, delivered a new aesthetic value, and became an important icon of the visual language of New China. The combination of reality, nationality and lyricism characteristic of his work has great influence on future generations. He is an outstanding realistic art master of the 20th century.The exhibition is titled after the title of Mr. Gu Yuan’s first exhibition in 1980s, which is handwritten by himself. In the 108 traditional style newspaper billboards, over 300 of Mr. Gu’s works are presented. The gallery’s theme color, Yan’an red, conveys Mr. Gu's modest and easy-going disposition, and brings the audience to his time. The curation tries to present the interactive relationship between the artist’s creation and the society, bringing the audience closer to “Gu Yuan” while inspiring their reflection on today's artistic development. Like Xu Bing wrote in his article Understand Gu Yuan: Do we have the clear concept and goal as what Gu Yuan and his generation did in their time? Do we have their sincerity for art?Mr. Gu Yuan's Former ResidenceMr. Gu Yuan's Former ResidenceSupport: China Federation of Literary and Art CirclesPresenter: Central Academy of Fine Arts｜China Artists AssociationCo-presenter: Gu Yuan Museum of Art｜Hunan Fine Arts Publishing HouseOrganizer: CAFA Party Committee | CAFA Art Museum | Department of Printmaking, School of Plastic Arts, CAFATime: 2019/10/16-11/26Place: Gallery 2B, CAFA Art Museum
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: Anish Kapoor’s First Solo Museum Exhibition in China Opens in October

2019-10-12

Anish Kapoor CAFA Art Museum & Taimiao Art Museum CAFA Art Museum (CAFAM) 2019/10/25 - 2020/1/1Preview Day: 10/25Public Opening: 10/26 Taimiao Art Museum 2019/11/11 - 2019/12/28Public Opening: 11/11Internationally celebrated British artist Anish Kapoor will open a major solo exhibition in Beijing this October. As Kapoor’s first solo museum show in China, the exhibition will present some of the artist’s most significant and celebrated works of his last 35 years. The exhibition at CAFA Art Museum will open on October 25, featuring the artist’s powerful, self-generated installations; the exhibition that will open on November 11 at Taimiao Art Museum of Imperial Ancestral Temple will show his sensorial, geometrical sculptures.Fan Di’an, President of China Artists Association and Director of the Central Academy of Fine Arts (CAFA), is the academic supervisor of the exhibition. Deputy Director of CAFA Su Xinping is the art director, CAFAM Director Zhang Zikang the chief curator, and CAFAM Deputy Director Wang Chunchen and Executive Director of Taimiao Art Museum Yue Jieqiong the curators. The exhibition also invites artistic director of the Serpentine Galleries, London, Hans-Ulrich Obrist to be its curatorial consultant. The exhibition is a deep exploration of Kapoor’s visual art language, as well as an important witness of China-UK cultural exchange.Anish Kapoor, Symphony for a Beloved Sun, 2013Stainless steel, wax, conveyer beltsPhoto credit: Dave Morgan ©Anish Kapoor, 2019The exhibition at the contemporary architecture CAFA Art Museum will present the dramatic and performative properties of Kapoor’s work, and focus on four of the most important works of the artist’s. The 2013 work Symphony for a Beloved Sun, exhibited at Martin-Gropius Bau in Berlin, will meet the public with a new look at the museum lobby. On the third floor gallery, there will display Kapoor’s debut exhibit at the Palace of Versailles in 2015, Sectional Body preparing for Monadic Singularity. The neighboring space will show Destierro, the industrial landscape work he showed in 2017 at Argentina’s Parque de la Memoria, or Memory Park, which features a lonely, ultramarine bulldozer in contrast with hundreds of tons of red earth. On the fourth floor of the museum, the automatic installation work My Red Homeland (2003) will be exhibited.Anish Kapoor, Sectional Body preparing for Monadic Singularity, 2015PVC and steel730 x 730 x 730 cmPhoto credit: Tadzio©Anish Kapoor, 2019Anish Kapoor, DestierroEarth, pigment and mechanical diggerDimensions variable©Anish Kapoor, 2019Anish Kapoor, My Red Homeland, 2003Wax and oil-based paint, steel arm and motorDiameter: 12 m©Anish Kapoor, 2019Except for these large-scale installation works, Kapoor will also exhibit models of the important public sculptures of his decades-long art practice, including the Cloud Gate (2004), Orbit (2010), Scheme for South Bank Centre (2001), Subway Stations, Monte Sant'Angelo, Naples (1999-2002), and the 56 Leonard Street sculpture model to be exhibited in New York this October.Sky Mirror, 2006Stainless steelDiameter: 10 mPhoto credit: Tim Mitchell©Anish Kapoor, 2019Tsunami, 2018Stainless steelPhoto credit: Dave Morgan©Anish Kapoor, 2019The other part of the solo exhibition will take place at the Taimiao Art Museum of Imperial Ancestral Temple, which belongs to the Forbidden City architecture group. The 600-year-old Taimiao is composed of buildings and courtyards of large volume. By reflecting and refracting the space using a series of stainless steel and pigment sculptures, Kapoor is having an unprecedented dialogue with the magnificent architecture and the history. His most impactful, interactive pair of works, S-Curve (2006) and C-Curve (2007) will be placed in the mid-court of Taimiao. “S-Curve” is a S-shaped sculpture formed by two seamlessly connected stainless steels. “C-Curve” is one large piece of curved stainless steel. The two art works, respectively in convex and concave shapes, directly reflects and retracts landscape around them. Located around these works is another group of important stainless steel sculptures by Kapoor, including Non-Object (Spire) (2008), and Non-Object (Door) (2008). These works show its environment up-side-down, make the audience immerse in the surrounding architecture and environment, and challenge the audience’s conceptive experience.Anish Kapoor, Svayambhu, 2007Wax and oil-based paintDimensions variablePhoto credit: Dave Morgan©Anish Kapoor, 2019Pigment sculptures will be exhibited in the two side halls of Taimiao Art Museum’s Xiang Dian. Kapoor’s use of pigment is the foundation of many of his original works. He quickly rose to fame with the 1000 Names series (1979-1982) due to its innovative use of pigment. Other pigment sculptures that ensued, including the Angel (1990) in blue and the To Reflect an Intimate Part of the Red (1981) in a variety of colors and shapes, will appear in this exhibition. The varied art works will fill the ancient architecture space. All kinds of shapes will put the audience in a daze.Leviathan, 2011PVC33.6 x 99.89 x 72.23 mExhibited at Grand Palais during the Monumenta, 2011Photo credit: Dave Morgan©Anish Kapoor, 2019The exhibition is co-organized by Central Academy of Fine Arts and the Beijing Municipal Federation Trade Unions, and co-hosted by the CAFA Art Museum and the Taimiao Art Museum. We would like to extend special thanks to our chief supporting organization Zhonghong Chuangyi (Beijing) Culture Development Co, Ltd., and other supporting organizations Lisson Gallery, Galleria Continua and the British Council. About the Artist Anish KapoorPhoto credit: Jillian EdelsteinAnish Kapoor was born in Mumbai, India in 1954 and lives and works in London. He studied at Hornsey College of Art, London, UK (1973–77) followed by postgraduate studies at Chelsea School of Art, London, UK (1977–78). Recent solo exhibitions include CorpArtes, Santiago, Chile (2019); Pitzhanger Manor and Gallery, London, UK (2019); Serralves Museum, Porto, Portugal (2018); 'Descension’' at Public Art Fund, Brooklyn Bridge Park Pier 1, New York, NY, USA (2017); Parque de la Memoria, Buenos Aires, Argentina (2017); MAST Foundation,Bologna, Italy (2017); Museo Universitario Arte Contemporáneo (MUAC), Mexico City, Mexico (2016); Couvent de la Tourette, Eveux, France (2015); Château de Versailles, France (2015) and The Jewish Museum and Tolerance Center, Moscow, Russia (2015). He represented Britain at the 44th Venice Biennale in 1990 with Void Field (1989), for which he was awarded the Premio Duemila for Best Young Artist. Kapoor won the Turner Prize in 1991 and has honorary fellowships from the University of Wolverhampton, UK (1999), the Royal Institute of British Architecture, London, UK (2001) and an honorary doctorate from the University of Oxford, UK (2014). Anish Kapoor was awarded a CBE in 2003 and a Knighthood in 2013 for services to visual arts. Large scale public projects include Cloud Gate (2004) in Millennium Park, Chicago, USA and ArcelorMittal Orbit (2012) in the Queen Elizabeth Olympic Park, London, UK. About the Organizers ╱CAFA Art MuseumThe history of the CAFA Art Museum can be traced back to the early 1950s. Originally called the Central Academy of Fine Arts Gallery, it was located on Wangfujing, Beijing. Designed by the noted architect Zhang Kaiji, the Gallery was the first professional art museum built after the establishment of the People’s Republic of China. In 1998, the Gallery changed its name to the CAFA Art Museum. In October 2008, the museum moved to the No. 8 Huajiadi South Street in Beijing’s Chaoyang District, with a new building designed by the noted Japanese architect Arata Isozaki. In the end of 2010, the CAFA Art Museum was selected to be one of the firsts to be listed as the Key National Museums. The CAFA Art Museum is a professional and international modern art museum that conducts academic research, presents exhibitions, restores artworks and provides art education. The museum upholds the philosophy of open-mindedness and is rooted in the concept of using knowledge to serve society. It aims to bridge the past and the future through presenting great artistic and cultural accomplishments of our humanity, and share the culture of our times with all quarters of society.╱Taimiao Art MuseumThe Taimiao Art Museum is located in the Forbidden City architecture group, China’s highest-ranking architecture group that has lasted for 600 years. It is a combination of magnificent building, rich history, profound background and spirit of the era, an artistic and cultural palace of the new time against the ancient royal architectural background established in the Ming and Qing dynasties.The Taimiao Art Museum is co-operated by the Beijing Municipal Federation Trade, the Beijing Working People’s Cultural Palace and the Central Academy of Fine Arts. It has functions including exhibition, collection, research, public education and domestic and international cultural exchange, and keeps improving its operation mechanism and organization structures with high standard of sociability, professionalism and social benefits. About the Exhibition Academic Consultant: Fan Di'an Artistic Director: Su Xinping Curatorial Advisor: Hans Ulrich ObristChief Curator: Zhang Zikang Curators: Wang Chunchen Yue Jieqiong Organizers: Central Academy of Fine Arts, Beijing Municipal Federation Trade Unions Co-Organizers: CAFA Art Museum, Taimiao Art Museum Chief Supporting Organization: Zhonghong Chuangyi (Beijing) Culture Development Co, Ltd.Supporting Organizations: Lisson Gallery, Galleria Continua and the British Council CAFA Art Museum | Time | 2019/10/25 - 2020/1/1Open to the public on 10/26| Opening Hours |Tuesday to Sunday 9:30-17:30（Last admission 17:00）/ Closed on Monday Taimiao Art Museum | Time | 2019/11/11-12/28| Opening Hours |9:00-17:00 daily（Last ticket purchase 16:30） Ticketing Information * All kinds of ticket can be used throughout the exhibition starting 10/26.Scan the QR code to purchase ticketEarly-bird Ticket：90 yuan（Available from 2019/10/10-10/25）Adult ticket: 120 yuanDiscount ticket: 60 yuan（Please refer to discount ticket use policy below for eligibility）Family ticket: 260 yuan（2 adults and 1 child above 120 cm）*Group ticket: Groups of 10 or more may enjoy 20% discount off original price.Visitors with union membership card may enjoy 20% discount off original price.（Group ticket only available at the CAFAM front desk）For inquiries please call: 010-64771575 | Notes | * The ticket of Anish Kapoor exhibition at CAFA Art Museum is 120 yuan. Visitors with union membership card may enjoy 20% discount off original price, and visit the Anish Kapoor exhibition at the Taimiao Art Museum for free. Visitors to Taimiao without card could buy the bell exhibition ticket for 15 yuan, and enjoy the Anish Kapoor exhibition for free. The east and west side halls of Xiang Dian are open for free. Visitors may enter with 2-yuan palace ticket.* Teachers and students of CAFA, children under 120cm (adult company is required, and the adult needs to purchase ticket), elderlies above 60, military service men and disabled people may visit the exhibition for free.* Students above 120cm (graduates students included), visitors with CAFA Alumni Card, CAFAM VIP Card, CAFAM Membership Card and Museum Association Membership Card, museum employees may purchase discount ticket.Note: Free ticket and discount ticket can be purchased and verified upon showing credentials. CAFAM reserves the right for final explanation.
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: CAFAM Public Education Events (July - October 2019)

2019-07-11

Public Education Series Events for "Leandro Erlich: The Confines of the Great Void" Exhibition
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: CAFAM Upcoming Exhibitions (July - September 2019)

2019-07-10

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: Closing Notice (Jun 26 - Jul 10 2019)

2019-06-25

CAFAM will be temporarily closed from Jun 26 to Jul 10. The new exhibition "Leandro Erlich: The Confines of the Great Void" will open on Jul 11.
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: Early Bird Ticket | Leandro Erlich: The Confines of the Great Void

2019-06-25

On July 11, an illusionary, deconstructed, subversive world of visual art will unfold in front of you.
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: “Pioneering: Chinese Artists Abroad in France and Chinese Modern Art (1911-1949)” Exhibition Tour Opens at Long Museum Chongqing

2019-06-25

The exhibition tour of “Pioneering: Chinese Artists Abroad in France and Chinese Modern Art (1911-1949)” opened at Long Museum Chongqing on June 18, 2019.
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: “Four Stanzas on Aspiration: Traces of Li Hu’s Art” Exhibition Tour Opens in Hebei

2019-06-18

The exhibition tour of “Four Stanzas on Aspiration: Traces of Li Hu’s Art”, hosted by Central Academy of Fine Arts (CAFA) and Shijiazhuang Art Museum, opened in Hebei Province on June 14 as scheduled after months of careful preparation. Mr. Li Hu was an artist as well as an art educator who had made great contributions to the innovation of Chinese painting after Xu Beihong and Jiang Zhaohe. He “uses Western painting skills to sketch with Chinese ink on rice paper” in an earlier time. On the one hand, he followed Xu Beihong and advocated his artistic concept of integration of Chinese and Western paintings; on the other hand, he took the plunge to seek innovation and practiced the modern transformation from the tradition, being a practitioner and pioneer in the process of exploring new ways and forms of Chinese painting.Wang Chunchen, Deputy Director of CAFA Art Museum; Han Feng, Vice Chairman of Hebei Art Association; Jin Rui, Professor of Chinese Painting College of CAFA; Wang Fuming, Director of the School of Design of Hebei Normal University; Cao Qinghui, Professor of CAFA and curator of this exhibition; Li Yaochen, Director of the Department of Collections at the CAFA Art Museum; Nie Shufa, Director of School of Art of Hebei University of Economics and Business; Mr. Li Hu’s children (Li Fan, Li Rong, Li Yun), and other guests attended the opening ceremony. Wang Chunchen, Deputy Director of CAFA Art Museum, was delivering a speechWang Chunchen, Deputy Director of CAFA Art Museum, talked about in his speech the deep friendship between CAFA Art Museum and Shijiazhuang Art Museum, and mentioned that Li Hu was a practitioner, pioneer and educator of Chinese figure painting creation and innovation in the history of Chinese modern art. Due to his untimely death, he was ignored by the public, yet through sorting out and presenting Li Hu’s artworks, the public can have some understanding of his achievements. At the same time, the research and discussion on Li Hu also enable us to re-recognize or re-think Chinese painting today, particularly the creation process of figure painting. Drawing nutrition from the tradition and taking an original road should be the only way and also the inevitable trend for the development of Chinese painting.Zhao Zhitian, member of China Artists Association and national first-class artist of Beijing Fine Art Academy, was giving a speech Han Feng, Vice Chairman of Hebei Art Association, was giving a speechFu Yixin, Professor of Tianjin Academy of Fine Arts, Professor of the Institute of Literature and Art at the Minzu University of China, member of China Artists Association and Chinese Calligraphers Association, was giving a speech Li Fan was giving a speech on behalf of Li Hu’s familyBai Liansheng, Representative of Hebei alumni of CAFA, was giving a speechCao Fengxiang, Deputy Director of Shijiazhuang Art Museum, served as the hostLi Hu was born in Sichuan on September 20, 1919, and died in Beijing on November 10, 1975, at the age of 56. During his fifty-six years alive, he not only had lived through bitter years when the Chinese nation was struggling to save the nation at the most dangerous time but also the passionate years when the Chinese people made great efforts to build an independent socialist country at a price under the leadership of the Communist Party. The fifty-six years of his life were exactly overlapping the half a century of Chinese society in the turbulent currents of the 20th century, with which his life path and artistic career rose and fell, leaving behind thousands of paintings for later generations. This exhibition presents more than 100 works and literature to comprehensively show Mr. Li Hu’s life and artistic aspiration, which will have profound practical significant for us to study and carry forward Mr. Li Hu’s artistic spirit of advocating both virtue and skills, and also bring new enlightenment for us to think about the teaching and reform of Chinese painting.The exhibition runs until July 3.Translated from the Chinese text edited by Wu Jing Photos by Li BiaoExhibition site| Exhibition Photos || Exhibition Information |Dates: June 14 – July 3, 2019Venue: Gallery 1 & 2 & 3, Shijiazhuang Art Museum
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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.

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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.