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 Academic Series

2025-03-31

中央美术学院美术馆学术季一系列重磅活动于2025年3月30日拉开帷幕。作为学术季第一阶段的启幕，经过美术馆的深度策划和广泛召集，包括“中央美术学院美术馆藏陈列”开幕、文化引擎——中央美术学院国际美术馆高峰论坛和全国高校艺术博物馆联盟会议在内的一系列学术活动，将汇聚来自全球顶尖艺术机构的专家学者、策展人和艺术博物馆管理者的前瞻性思考，带来高浓度的信息量和权威的美术馆行业研讨及洞察。
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: The number of slots has increased! | This Art Event At CAFA Art Museum Brings A High Concentration Of Information!

2025-03-30

∨A series of significant events of the Academic Season of CAFA Art Museum are about to kick off on March 30, 2025. As the opening of the first stage of the Academic Season, through in-depth planning and extensive solicitation by the art museum, a series of academic activities, including the opening of the "Collection of CAFA Art Museum", the Cultural Engine - CAFA International Art Museum Summit, and the Conference of the Alliance of Art Museums in National Universities, will bring together the forward-looking thinking of experts, scholars, curators, and art museum administrators from top art institutions around the world. These activities will offer a high concentration of information and authoritative discussions and insights into the art museum industry.01\「 As an important part of the 2025 CAFAM Academic Season, the "Cultural Engine - CAFA International Art Museum Summit " will be held at the Art Museum of the Central Academy of Fine Arts in the afternoon of March 30, 2025. As a gathering place and display window for culture, art museums not only undertake the functions of displaying and collecting artworks, but also actively participate in shaping the vitality of the social economy. As an important carrier of culture, by hosting high-level art exhibitions and activities, art museums continuously inject impetus into the inheritance and development of culture. Art museums are the drivers of cultural innovation, the hubs of cultural dialogue, and the experimental fields for future innovation. This summit hopes to take "Cultural Engine" as the theme and focus on three major topics: "Diversified Curating and Knowledge Renewal", "Regional Dialogue and Global Collaboration", and "Technology Empowerment and Innovation Strategies", so as to discuss the development opportunities and challenges faced by art museums in the new era.」Cultural Engine -- CAFA International Art Museum SummitMarch 30, 2025 (Sunday) 1:30 p.m. - 6:30 p.m.Academic Lecture Hall, CAFA Art MuseumTo meet the needs of the audience,We specially increase the number of participation quotas for the summit forum.Scan the QR code to make an appointment for registration.The number of quotas is limited. First come, first served.Keynote Speeches: Art Museums as Cultural Engines Pan Yikui, National Art Museum of China | Cultural Collaboration in International Exhibitions of the National Art Museum of ChinaFrancesco Stocchi, MAXXI - National Museum of 21st Century Arts, Italy | MAXXI, A Dynamic MuseumWang Shaoqiang, Guangdong Museum of Art | Building on the Past and Embracing the Future: The Construction of Art Museums and Urban Development in the New EraMa Lin, China Art Museum & Art Museum of Shanghai Academy of Fine Arts, Shanghai University | Cross-border Integration and Academic Innovation of Art Museums in the New EraShim Sangryong, Museum of Seoul National University | Muein —— The Concave Lens in My HeartJin Jun, Art Museum of the Central Academy of Fine Arts | In the Post-digital Era, the Integration and Symbiotic Development of the Virtual and Real in Art MuseumsHost of This Session | Gao Gao (Art Museum of the Central Academy of Fine Arts)Topic 1: Diversified Curating and Knowledge Renewal Du Pengfei, Art Museum of Tsinghua University | Sprouting with the Passage of Time, Thriving Continuously: The Concept and Practice of Diversified Curating at the Art Museum of Tsinghua UniversitySim You Ren, National Gallery Singapore | Comparison as a Method: Decolonizing Art History in the Global South, Critical Recovery and the Issue of RepresentationWu Hongliang, Art Museum of Beijing Painting Academy | Empathy Field and Secondary Communication —— New Thoughts in Curatorial PracticeTang Xin, Taikang Art Museum | Becoming a "Professional and Friendly" Art MuseumChen Yongjin, Wuhan Art Museum | Original Creation Power and Innovative Power —— The Updating Code of Wuhan Art MuseumLu Yinghua, Inside-Out Art Museum | Slow Laboratory —— Talking from the Practice of Inside-Out Art MuseumLi Feng, Beijing Minsheng Art Museum | Planning to Bridge the Ancient and the Modern —— Taking the "The Ringing of Camel Bells: The Grand Exhibition of Silk Road Art" as an Example to Discuss Exhibition Planning and Museum InnovationHost of This Session | Wang Huangsheng (Research Center for Museology of the Art Museum of Guangzhou Academy of Fine Arts)Topic 2: Regional Dialogue and Global Collaboration Isabelle Bertolotti, Museum of Contemporary Art of Lyon | Launching Local and International Cross-cultural Collaborations at MacLYONTian Shaodeng, Hunan Art Museum | Regional Leadership and Multiple Practices: The Innovative Development Path of Hunan Art MuseumSun Li, Chengdu A4 Art Museum | Art Museums as Practitioners of Dynamic ConnectionsYukie Kamiya, The National Art Center, Tokyo | Artistic Exploration as a Catalyst Connecting Local History and the World: Case Studies of Hiroshima and New YorkChen Xiaoyang, Art Museum of Guangzhou Academy of Fine Arts | The Oceanic Turn in Curatorial Research: South China and Contemporary Art in Southeast Asia as NeighborsXiao Feige, Chengdu Art Museum | From Exhibition Venue to Magnetic Field: The Construction of Urban Cultural Attraction by International Art ProjectsHost of This Session | Ji Shaofeng (Hubei Art Museum)Topic 3: Technology Empowerment and Innovation StrategiesChen Junyu, Guan Shanyue Art Museum in Shenzhen | Systematic Innovation: Exploration of the Guan Shanyue Research Model for the Professional Construction of Art MuseumsCrystal Bauer, Ars Electronica Festival Linz | From Bystander to Co-creator —— The Participatory and Media Practices of the Ars Electronica CenterYing Jinfei, Zhejiang Art Museum | Aesthetics Is the Primary Productivity in the Digital AgeWang Fa, Jiangsu Art Museum | Innovative Practices of Art Museums Empowered by Digital and Intelligent TechnologiesYan Weixin, Shenzhen Museum of Contemporary Art and Urban Planning | Practices of Reconstructing the Publicness of Art Museums Driven by Data: Taking the Shenzhen Museum of Contemporary Art and Urban Planning as an ExampleWang Xiao, Shaanxi Art Museum | Reconstructing Tradition with Innovation and Empowering the Future with Technology —— Practical Strategies of Shaanxi Art MuseumZhang Chunyan, China Academy of Art, China International Design Museum | Curating and Knowledge Production in Art Museums in the Era of Artificial IntelligenceHost of This Session | Hai Jun (CAFA Art Museum) ∨Chief Editor / He Yisha Editor / Du Yinzhu
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: Limited Time Of 8 Hours! The Genuine Paintings Of The Song Dynasty Are Being Exhibited For The First Time At CAFA Art Museum. Come And Check It Out!

2025-03-29

"Collection of CAFA Art Museum" will be grandly launched at CAFA Art Museum on March 30. This exhibition of the museum's collection includes the sections of "Ancient Chinese Art" and "Modern Chinese Fine Arts", both of which will make their debuts. More than 500 pieces of the museum's collection will be presented together.Most notably, there will be a special event on the opening day. The original painting Magpie and Loquat from the Song Dynasty in the museum's collection will be exhibited for a limited time (the original is in poor condition and is currently under restoration, and a reproduction is usually on display). This painting will also make its first public appearance since the establishment of the new building of the Art Museum of the Central Academy of Fine Arts. Paintings from the Song Dynasty, with their exquisite techniques, profound artistic conceptions, and rich themes, have become a peak in the history of Chinese fine arts. It is hoped that through this work, the audience can experience the vividness and expressiveness of flower-and-bird paintings from the Song Dynasty.Some beauty can only be appreciated when seen with one's own eyesWhen the brushstrokes and ink that have endured for a thousand years seem to breathe right before your eyesYou will understand that true art never goes out of styleThe original painting of “Magpie and Loquat” will only be exhibited for one day.Friends who are fond of paintings from the Song Dynasty,On March 30,Don't miss it for anything!请在小程序预约购票佚名山鹊枇杷图绢本设色宋纵30厘米横31厘米中央美术学院美术馆藏《山鹊枇杷图》被收入在《中国古代书画目录》第一册、《中国古代书画图目》第一卷、《宋画全集》第五卷第一册、《意趣与机杼——明清绘画透析国际研讨会图录》、《中央美术学院中国画精品收藏》、《中央美术学院美术馆藏精品大系·中国古代书画卷》中。《山鹊枇杷图》局部此幅作品描绘了枇杷初熟、鸟雀栖止的情景。邱才桢谈到：“画面自左至右画折枝枇杷，果实累累；两山鹊于枝头相对而立，而姿态各异，与左右数枚枇杷形成一种视觉上的平衡。山鹊腹、背的颜色与绿叶黄果笼罩在一种古雅、静谧的氛围中。风格上与常见的宋人花鸟画接近 ”。《山鹊枇杷图》局部其中，主枝枇杷描绘最为细致，果实有的尚带绿意，有的带有啄食的痕迹，叶片结构准确，勾线富于笔趣，整体果实累累，翠叶繁茂，写出了“大叶耸长耳，一梢堪满盘”的气势。除了真迹展示，开幕当天还有一系列学术活动诚邀您参与。3月30日下午，将在美术馆报告厅召开“文化引擎——2025中央美术学院国际美术馆高峰论坛”，此次论坛希望围绕“美术馆的文化引擎作用”展开深入探讨，研讨在时代和科技遽变的背景下，美术馆的发展机遇和挑战。预约直播间观看“文化引擎”高峰论坛抖音平台@中央美术学院美术馆小红书平台@中央美术学院美术馆哔哩哔哩平台@中央美术学院美术馆▏中央美术学院美术馆藏陈列——古代中国艺术展览时间：长期陈列展览地点：中央美术学院美术馆2层A展厅主编 / 何一沙责编 / 杜隐珠
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: 春日美术馆探秘进行时 | 美术馆运营与展览策划春季课程招生即将截止！

2025-03-28

春日来美术馆上课啦！“中华美育行——美术馆运营与展览策划短期研修课程”依托于中央美术学院美术馆多年的机构管理与运营经验及丰富多样的展览学术资源。通过精心的课程设置，致力于培养艺术机构运营领域学术与实践能力兼备的综合性人才，通过展览背后故事的讲述、实际工作经验的分享，让学员全面、深入了解美术馆的实际运营以及展览的组织策划。穿梭于展厅与后台深入美术馆的日常工作用专业让每束光、每幅画、每颗心精准共鸣以往展览现场01 课程优势在国家级美术馆中学习l 零距离接触美术馆核心运营：推开美术馆的“隐形门”，从展览策划到藏品管理，全方位了解美术馆工作的实际运营。l 探索顶级展览，直面策展人对话：参观精彩纷呈，类型丰富的精品展览，与策展人、艺术家面对面深度交流，深度体验艺术的独特魅力聆听展览背后的艺术故事l理论与实践结合，学以致用：上午汲取前沿理论知识，下午亲临展览现场，边学边实践，快速掌握美术馆运营的核心逻辑。l 独享展厅，沉浸式学习：在专属学习时段，享受宁静的展览空间，零干扰体验艺术氛围，沉浸式提升策展与运营能力。成为2025央美毕业季沉浸式体验官l 直击一年一度京城艺术嘉年华：观摩近千位未来艺术家作品的初次亮相，深入毕业展筹备一线，见证艺术诞生。l 对话新生代创作者，探询灵感之源：对话新生代创作者，探询灵感之源，感受最前沿的青年艺术思潮。02 课程主持靳军中央美术学院美术馆馆长师资力量注：中央美术学院继续教育学院有权根据实际情况，在同等条件下对授课教师进行微调03 学习安排周末班集中班(项目负责人有权根据实际情况，在同等条件下对课程进行微调)04 专属福利｜官方认证 • 专业背书学习期满、考核合格，即可获得《“中华美育行”社会美育证明书》，助力职业发展，提升专业认可度。｜精品教材 • 深度学习赠送一本精心编撰的课程教材，助你系统掌握美术馆运营与展览策划的核心知识｜独家展览出版物 & VIP导览体验获得美术馆权威出版的专业展览书籍，并尊享VIP级展览导览服务，深入理解策展背后的艺术逻辑。｜美术馆咖啡厅专属优惠学习之余，在艺术氛围浓厚的美术馆咖啡厅，享受专属学员折扣，沉浸式体验美育之旅。课程信息：1. 授课时间：2025年4-5月，共48个课时。（具体授课时间请咨询课程负责老师）2. 报名截止日期：周末班2025年4月5日、集中班2025年5月15日。3. 授课地点：中央美术学院美术馆4. 招生人数：15人/期5. 课程费用：2万元/期/人联系我们，了解更多课程相关事宜：拨打电话或加微信咨询课程负责金老师15957702868/微信同号中央美术学院继续教育学院CAFA SCE“中华美育行”社会美育行动计划中央美术学院继续教育学院积极践行美育服务大众精神，以习近平总书记在文化传承发展座谈会的核心精神为引领，充分发挥部属院校的专业优势和人才优势，为践行中央美术学院“中华美育行”提供可持续的高质量发展方案。中央美术学院继续教育学院“中华美育行”社会美育行动计划由中央美术学院专家、学者共同参与，为央美美育精神的传播和推广贡献智慧和力量。中央美术学院美术馆中央美术学院美术馆是集合学术研究、展览陈列、典藏修复和公共教育等功能的专业性、国际化的现代美术馆。它的历史可以追溯至20世纪50年代初，是中华人民共和国成立后建造的第一座专业美术展览馆，也是国家首批重点美术馆之一。秉承“兼容并蓄、继古开今”的学术理念，中央美术学院美术馆用“智识”服务于社会，致力于当代公共文化空间的建设，以全新的视野向广大公众呈现人类的艺术文明，与社会各界分享时代文化。主编 / 何一沙责编 / 杜隐珠编辑 / 丰凯梓奇
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: The Art Storm of the Central Academy of Fine Arts is Coming! Sign Up Now! | Nearly 30 Directors of Domestic and Foreign Art Museums Gather to Jointly Explore the Driving Force of the "Cultural Engine"

2025-03-27

∨A series of significant activities of the Academic Season of the Art Museum of the Central Academy of Fine Arts are about to kick off on March 30, 2025. As the opening of the first stage of the Academic Season, through the in-depth planning and extensive recruitment of the art museum, a series of academic activities, including the opening of the "Collection of CAFA Art Museum", the "Cultural Engine" - International Art Museum Summit Forum of the Central Academy of Fine Arts, and the Meeting of the Alliance of Art Museums in National Universities, will gather the forward-looking thoughts of experts, scholars, curators, and art museum administrators from the world's top art institutions. These activities will bring a high concentration of information, as well as authoritative discussions and insights in the art museum industry. 01 ╲As an important part of the 2025 CAFAM Academic Series, the "Cultural Engine - CAFA International Art Museum Summit" will be held at tCAFA Art Museum in the afternoon of March 30, 2025. As a gathering place and display window for culture, the art museum not only undertakes the functions of displaying and collecting artworks, but also actively participates in shaping the vitality of the social economy. As an important carrier of culture, by holding high-level art exhibitions and activities, it continuously injects impetus into the inheritance and development of culture. The art museum is a promoter of cultural innovation, a hub for cultural dialogue, and an experimental ground for future innovation. This summit forum hopes to take "Cultural Engine" as the theme and focus on three major topics: "Diversified Curating and Knowledge Renewal", "Regional Dialogue and Global Collaboration", and "Technology Empowerment and Innovation Strategies", to discuss the development opportunities and challenges of art museums in the new era.Cultural Engine—— CAFA International Art Museum SummitMarch 30, 2025 (Sunday), 1:30 p.m. - 6:30 p.m.Academic Lecture Hall, CAFA Art MuseumScan the QR code to make a reservation and sign upLimited in quantity, available on a first-come, first-served basisKeynote Speech: Art Museums as Cultural EnginesPan Yikui, National Art Museum of China | Cultural Collaboration of International Exhibitions at the National Art Museum of ChinaFrancesco Stocchi, MAXXI - National Museum of 21st Century Arts, Italy | MAXXI, A Dynamic MuseumWang Shaoqiang, Guangdong Museum of Art | Building on Past Achievements and Forging Ahead: The Construction of Art Museums and Urban Development in the New EraMa Lin, China Art Museum & Art Museum of Shanghai Academy of Fine Arts, Shanghai University | Cross-disciplinary Integration and Academic Innovation of Art Museums in the New EraShim Sang-yong, Museum of Seoul National University | Muein——The Concave Lens in My HeartJin Jun, Art Museum of the Central Academy of Fine Arts | In the Post-digital Era, the Integration and Symbiotic Development of the Virtual and Real in Art MuseumsHost of this Session | Gao Gao (CAFA Art Museum)Topic 1: Diverse Curating and Knowledge UpdatingDu Pengfei, Art Museum of Tsinghua University | Sprouting with the Passage of Time and Flourishing Continuously: The Diverse Curatorial Concepts and Practices of the Art Museum of Tsinghua UniversitySim You Ren, National Gallery Singapore | Comparison as a Method: Decolonizing Art History in the Global South, Critical Restoration, and Issues of RepresentationWu Hongliang, Art Museum of Beijing Painting Academy | The Empathetic Field and Secondary Dissemination —— New Reflections in Curatorial PracticeTang Xin, Taikang Art Museum | Becoming a "Professional and Friendly" Art MuseumChen Yongjin, Wuhan Art Museum | Original Creative Power and Power towards the New —— The Updating Code of Wuhan Art MuseumLu Yinghua, Inside-Out Art Museum | The Slow Laboratory —— Talking about It from the Practice of the Inside-Out Art MuseumLi Feng, Beijing Minsheng Art Museum | Planning to Bridge the Ancient and the Modern —— Taking the "The Ringing of Camel Bells: The Grand Exhibition of Silk Road Art" as an Example to Discuss Exhibition Planning and Museum InnovationHost of this Session | Wang Huangsheng (Research Center for Art Museum Studies, Guangzhou Academy of Fine Arts)Topic 2: Regional Dialogues and Global CollaborationsIsabelle Bertolotti, Musée d'art contemporain de Lyon | Local and International Intercultural Collaborations at MacLYONTian Shaodeng, Hunan Art Museum | Regional Leadership and Multiple Practices: The Innovative Development Path of Hunan Art MuseumSun Li, A4 Art Museum in Chengdu | Art Museums as Practitioners of Dynamic ConnectionsYukie Kamiya, The National Art Center, Tokyo | Artistic Exploration as a Catalyst Connecting Local History and the World: Case Studies of Hiroshima and New YorkChen Xiaoyang, Art Museum of Guangzhou Academy of Fine Arts | The Ocean Turn in Curatorial Research: Contemporary Art in South China and Southeast Asia as NeighborsXiao Feige, Chengdu Art Museum | From Exhibition Venue to Magnetic Field: The Construction of the Urban Cultural Attraction by International Art ProjectsHost of this Session | Ji Shaofeng (Hubei Art Museum)Topic 3: Empowerment by Technology and Innovation StrategiesChen Junyu, Guan Shanyue Art Museum in Shenzhen | Systematic Innovation: Exploring the Research Model of Guan Shanyue in the Professional Construction of Art MuseumsCrystal Bauer, Ars Electronica Festival Linz | From Spectators to Co-creators —— The Participatory and Media Practices of the Ars Electronica Center LinzYing Jinfei, Zhejiang Art Museum | Aesthetics Is the Primary Productivity in the Digital AgeWang Fa, Jiangsu Art Museum | Innovative Practices of Art Museums Empowered by Digital and Intelligent TechnologiesYan Weixin, Shenzhen Museum of Contemporary Art and Urban Planning | Practices of Reconstructing the Publicness of Art Museums Driven by Data: Taking the Shenzhen Museum of Contemporary Art and Urban Planning as an ExampleWang Xiao, Shaanxi Art Museum | Reconstructing Tradition through Innovation and Empowering the Future with Technology —— The Practical Strategies of Shaanxi Art MuseumZhang Chunyan, China International Design Museum of China Academy of Art | Curating and Knowledge Production in Art Museums in the Era of Artificial IntelligenceHost of this Session | Hai Jun (Art Museum of the Central Academy of Fine Arts)∨Chief Editor / He Yisha Editor / Du Yinzhu
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: Three major themed activities kick off the CAFAM Academic Season | The opening of the "Collection Of CAFA Art Museum" and the grand opening of the "Cultural Engine" CAFA International Art Museum Summit Forum and the Conference of the National Alliance of University Art Museums

2025-03-26

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: CAFAM圆桌派 · 第一期 | 王鲁湘、丘挺、吴洪亮、杭春晓对谈“思古求新”

2025-03-24

CAFAM圆桌派 · 第一期思古求新传移模写《CAFAM圆桌派》是由中央美术学院美术馆媒体部主导策划的文化类脱口秀节目，节目以多人对谈的形式展开，第一期即将启幕。在全球化与数字技术重塑文化形态的当下，“传移模写”这一源自中国画传统的创作方法论，正以新的姿态叩击着当代文化创新的命题。本期圆桌派特邀四位专家学者王鲁湘、丘挺、吴洪亮、杭春晓，以深厚学养与风趣谈锋，围绕艺术创作中的“思古求新”展开跨界对话，与观众共赴古今交融的文化之约。What's on the table?CAFAM圆桌派主编 / 何一沙责编 / 杜隐珠
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: 从民间出发，以山海为喻｜“颅海见山：楔子”如期开幕

2025-03-24

“颅海见山：楔子”展览现场（图片致谢策展团队）3月20日，春分日中，广角°青年实验项目空间第三期第五个展览“颅海见山：楔子”在美术馆启幕。展览由冯雪副教授、王子琪副教授、韩佳彤、刘则芊、王楠、郑淏文组成的师生团队进行策划，蔡山海、杜昆、杜英奇、观潮KwanTeo、古务运动发展小组、顾适、黄洋、绘川、李沁洋、钱彬、社实SPL、沈靖皓、盛文强、邬建安、夏海瑜共15 位艺术家或团体参展。“颅海见山”关注个体及群体的际遇，聚焦“现实”在脑海中投射、演化和改造后的模样。本次展览从民间出发，将那些游离的颅海世界显化至山川之间。内心的风景背后尽是过去的记忆和古老的智慧，山成为情感的寄托，恒久的信仰，欢悦、素朴或虔诚的执念。因山阻隔，外人望不穿个体丰富的精神世界；有山而立，个体得以在时代洪流中稳固自身。本次展览分为“莓苔见履痕”“横看成岭侧成峰”“连山接海隅”三幕，在峰峦与潮汐的交叠中，寻找个体锚定与群体共振的微光。“楔子”既引出即将于展览期间展开的对谈、共读与分享会，又暗示未来将发生于展览空间外的在地实践。一系列事件将远抛片石，共落颅海，我们期待这激起的圈圈“涟漪”能够从波动中漫延开来，连接起相隔的山，也呼唤回离散的人。“颅海见山：楔子”开幕式嘉宾合照出席开幕式的嘉宾有：中央美术学院美术馆副馆长高高；中央美术学院艺术管理与教育学院艺术管理学系系主任刘礼宾教授；中法艺术与设计管理学院原副院长、中法学院教授委员会副主任黄建成教授；中央美术学院艺术管理与教育学院周青副教授、冯雪副教授、王子琪副教授、张瀚予副教授、办公室主任王倩、陈哩尔老师；展览策展团队成员刘则芊、郑淏文；参展艺术家夏海瑜、杜昆、张云帆、古务运动发展小组成员葛康岚等。中央美术学院美术馆策划研究部副主任易玥担任主持人。中央美术学院美术馆副馆长高高致辞高高副馆长代表美术馆首先对展览的开幕表示祝贺，简要介绍“广角°青年实验项目空间”的基本情况，并表示本次展览突破传统艺术载体，汇聚雕塑、实验艺术、绘画、影像等多元形式，并首次将出版物纳入作品体系，以“书籍”为媒介延展展览的文化维度。特别值得一提的是，展览联动多地艺术家共创，凸显开放性与实验精神，展现了青年艺术生态的丰富面貌。中央美术学院艺术管理与教育学院艺术管理学系系主任刘礼宾教授致辞刘礼宾教授在致辞中谈到，展览聚焦“万物有灵”这一当代艺术领域的前沿议题，而策展团队敏锐捕捉到该趋势的学术价值，呼应邬建安、杜英奇、黄洋等艺术家创作中隐含的灵性特质，首次将其作为独立主题系统性呈现。展览亦通过中央美术学院美术馆独特的空间语境，赋予这一现象新的阐释维度。展览策展团队代表刘则芊致辞策展人刘则芊代表策展团队发言，她首先感谢中央美术学院美术馆及“广角°青年实验空间项目”为展览提供的创作土壤与灵感，使构想得以落地生长；同时特别感谢15位参展艺术家或团体，通过丰富的感官体验汇聚成“颅海见山”中的多个面向，以跨学科、多地域的多元表达诠释中国传统文化的当代生命力；最后她向指导老师冯雪副教授、王子琪副教授、策展团队及美术馆工作人员表示感谢，“颅海见山”这场展览与三层同期的“传移模写”临摹展恰好形成了一种对话，以游离于主流之外的民间视角将情感与记忆、信仰与迷惘显化为可穿行的风景，在此借春分开幕契机，邀观众共赴这场“行山观海”的旅程。美术馆策划研究部副主任易玥担任主持人本次展览将持续至4月20日。开幕式嘉宾观展（图片致谢策展团队）策展人刘则芊为观众进行导览（图片致谢策展团队）参展艺术家夏海瑜为观众进行导览（图片致谢策展团队）参展艺术家杜昆为观众进行导览（图片致谢策展团队）参展艺术家张云帆为观众进行导览（图片致谢策展团队）“颅海见山：楔子”展览现场（图片致谢策展团队）●●○重峦叠嶂处，山重水复；柳暗花明时，声声唤归。颅海见山：楔子主办单位：中央美术学院美术馆展览时间：2025年3月18日-4月20日展览地点：中央美术学院美术馆2层C展厅策展团队：冯雪王子琪韩佳彤刘则芊王楠郑淏文艺术家：蔡山海杜昆杜英奇观潮KwanTeo 古务运动发展小组顾适黄洋绘川李沁洋钱彬社实SPL 沈靖皓盛文强邬建安夏海瑜展览助理：刘昭佚视觉设计：edit by Edit.er空间设计：赵哲文展览协调：易玥设计统筹：纪玉洁展览管理：宿世存荆鹏于雨鑫王新言媒体宣传：何一沙吴靖贺伊飞杜隐珠丁怡公共教育：肖宝珍耿菁华王军姚轶群梁雯西华伟财经事务：杨柳门婧蔻蕾发展推广：孙炜伊义刘星伶金简如行政支持：蒋思妤岳君瑶张倩郭旭后勤安保：陈小华吕智发特别鸣谢：周江南特别支持：ART CONTAINER 四川汇宇制药股份有限公司主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞
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: Today Is The Spring Equinox

2025-03-20

Today is the Spring Equinox.
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: 跨越太平洋 | 早期粤籍留美艺术家研究展（巡展）即将启幕

2025-03-18

文化和旅游部2022年全国美术馆馆藏精品展出季项目跨越太平洋早期粤籍留美艺术家研究展（巡展）Across the PacificEarly Cantonese Artists Abroad in North America主办单位：中央美术学院美术馆广州美术学院美术馆展览时间：2025.03.18—04.20展览地点：中央美术学院美术馆四层展厅前言▂▂▂▂▂▂对中国的近现代美术史及中国美术现代进程的研究，一直以来，比较注重于中西文化的交流历史与发展状况，这其中，很重要的一大版块就是关于中国美术留学问题的史料挖掘与分析研究，往往这样的留学历史与现象涉及时间的维度与地理空间、经济政治的关系等等。早期的一条重要留学路径是留欧，特别是重点落在留法，旁及德国、比利时、英国等，欧洲作为西方文化的主流典型代表，留欧也成为了接受西方与现代性文化正果的不二途径。因此，留欧归来，无论学到的是经典的、老套的，还是现代的、时髦的，无论是公派的、官助的，还是自费的、民助的，归国后都可能成为一个时代文化前沿的代表或主力，在时代与历史中占据重要的位置，发挥着较主流的影响。因此，对留欧，特别是留法的研究也成为了一直被关注的艺术史研究课题。而另一路留学的路径是经由日本向西方学习，这与地理和文化有着密切的关系，而通过这样的一个特殊桥梁，在特定的历史时期，为中国向西方学习打开了一扇重要的大门，这样的学习路径也为中国早期现代美术体制、教育机制等的引入提供了直接的借鉴。这方面的研究多年来也成为了一门显学。再有，由于意识形态与政治阵营的关系，向苏俄学习，留苏并引入苏联艺术体制，也成为了20世纪中叶中国向世界文化主流体系靠拢的主要途径，影响之大，至今一直被研究与论述中。但是，曾经发生在 20 世纪初期甚至更早的向西方美术学习，留（游）学北美的艺术史、社会史现象，却一直少有关注，更谈不上较有系统的研究和资料发掘，这其中的原因应该是比较复杂的。也正因为其复杂，为我们的挖掘与探讨带来了特别的可能性与丰富性。其实，中国最早的官费到外国学习现代文化技术与广东有直接关系，被誉为“中国留学生之父”的容闳就是广东香山人，而他首倡、策划、促成和领导的近代中国第一代官费留美学生派遣，其中也多为广东籍的“学童”，如后来影响中国近现代历史的重要人物詹天佑、唐绍仪、吴仰曾等；同期，发生在19世纪后期到20世纪初期前往北美学习美术的现象，其人员构成也以广东、闽南沿海区域为多，像李铁夫 1885 年就前往北美，并学习了油画，也被誉为“中国留学油画第一人”，而后有冯钢百、余本、关墨园、朱沅芷等。早期粤人留美学习艺术的社会与时代的背景有其特殊性，这与当时的华工、移民、家族以及地缘、经济、文化等有着一定的关系，也可能构成了与华侨史、社会人类学等相关的重大文化课题。因此，这一现象也与留欧、留日、留苏等的文化背景、学习过程、遭遇状态，以及艺术经历与方式等，都差异性很大。但是，令人遗憾和可惜的是，由于对这样的留学历史及群体关注与研究的严重不足，使得一方面，对他们远涉重洋求艺他乡的经历了解缺失，其与特殊的留学背景包括家族、华侨等的文化关系远未挖掘；而另一方面，他们后来或回国或旅居当地，对中国现代美术事业或当地的艺术作为也不甚明了，他们游走东西之间所形成的独特艺术创造更是未能引起足够的重视，因此，他们中的不少艺术家成了中西艺术史与文化史书写当中的多重缺席者。正是基于这样的研究现状，广州美术学院美术馆在“文化和旅游部2022年度全国美术馆馆藏精品展出季项目”中开启了这一研究课题，得到了海内外众多研究、收藏机构与学者的支持，在美术馆的年青学人们的共同努力下，打开了一扇对这一课题窥探的窗。2013年我在中央美术学院美术馆时，与曹庆晖教授等开展了“留法艺术家与他们的老师”的专题研究，并与法国的文化机构密切联系，希望做成一个具有深入研究意义的专题展览。同时，也与李垚辰等同仁通过李叔同油画专题而展开对中国早期留日艺术家的介绍、研究及展览。这次，我与广州美术学院同仁初步完成的粤籍早期留学北美的专题研究展览，于2025年带到了中央美术学院美术馆来交流展出，期待得到专家学者们的批评及建议，以使我们进一步深入完善这一研究课题。谢谢大家！王璜生广州美术学院新美术馆学研究中心主任博士生导师部分展出作品▂▂▂▂▂▂▂▂▂▂▂▂▂李铁夫《男侧面像（大学生）》布面油彩 60×48cm 1900—1930 广州美术学院美术馆藏伍泽枢《静物》板上油彩 40.5×51cm 1940樂藝居藏关墨园《古巴国家公园》纸板油彩 28×43cm 1920s关墨园家属藏关金鳌《牧羊》布面油彩 68.5×87.5cm 1961开平市赤坎关族图书馆藏司徒乔《女歌手》布面油彩 75×66.5cm 1930—1940 中央美术学院美术馆藏余本《横躺的裸女》布面油彩 71×91.5cm 年代不详樂藝居藏朱沅芷《自画像Self-portrait》纸板油彩 23.5×18.5cm 1927樂藝居藏王少陵《长岛夕照》纸本水彩 57×75cm 1952 中央美术学院美术馆藏曾景文《港口》纸本水彩 68×50cm 年代不详樂藝居藏李鸿德《春节Chinese New Year》（复制品）纸本水彩 101.6×76.2cm 1959—1960s美国华人历史学会藏 Courtesy of Chinese Historical Society of America陈荫罴《华工的孩子（组画之一）》布面油彩 50×40cm 年代不详樂藝居藏黄玉雪《盘 Plate》铜胎珐琅 14.1×14cm 1971 太石斋藏展览将持续至2025年4月20日，欢迎您前来观展。文化和旅游部2022年全国美术馆馆藏精品展出季项目跨越太平洋早期粤籍留美艺术家研究展（巡展）Across the PacificEarly Cantonese Artists Abroad in North America 主办单位：中央美术学院美术馆广州美术学院美术馆展览时间：2025.03.18—04.20展览地点：中央美术学院美术馆四层展厅学术顾问：王璜生胡斌展览总监：靳军陈晓阳展览统筹：高高洪荣满策展人：杨慧丹李铁军展览协调：李垚辰李捷设计统筹：纪玉洁展览设计：谭达徽支持机构：广东美术馆开平市美术馆开平市赤坎关族图书馆香港艺术馆旧金山亚洲艺术博物馆斯坦福大学坎特艺术中心美国华人历史学会伊利诺伊大学香槟分校克兰纳特艺术博物馆洛杉矶郡立艺术博物馆美国华人博物馆罗伯特 · 亨利美术馆鸣谢：梁慈恩女士（冯钢百家属）琥珂先生（陈锡君家族友人）关夏敏先生（关墨园家属）余锦森先生（余本家属）朱礼银女士（朱沅芷家属）胡始康先生（胡意秋家属）张光铎先生关询维先生主编 / 何一沙责编 / 杜隐珠
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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.

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.