Exhibitions and Events-News

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

你那里下雪了吗?邀你来央美看一场独一无二的 “雪”

2025-12-15

这里的“雪”,不会因气温而消融,它们凝固在宣纸之上,流淌于油彩之间,铭刻于布面之中,承载着美学的精神,也映照出艺术家们对自然、历史与人文的深切感知。我们邀请你暂别室外的寒风,步入这座艺术殿堂,一同寻觅那些独一无二的“雪景”。1956年,中苏联合登山队成功登顶海拔7509米的慕士塔格峰,创下了当时的世界纪录。这一壮举极大地鼓舞了全国人民的士气。当时的靳尚谊先生正在前苏联专家马克西莫夫主持的“马训班”学习,他深受感动,决定用画笔记录这一历史瞬间。《登上慕士塔格峰》正是他的毕业创作,这不仅是对历史事件的回应,也是靳尚谊先生对所学油画技艺的一次集中实践和汇报。此幅作品正在“请进来的油画——中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展”中展出,观众可以亲临现场感受这幅融合了时代的召唤与个人的艺术求索的创作。靳尚谊 登上慕士塔格峰 180×270cm 布面油彩 1957年作品巧妙地运用了三次倒三角构图:底部交错的冰裂缝构成基础三角,登山队员奋力向上的身姿形成动态的第二个三角,而远处雄伟的雪峰则构成了稳定画面的第三个三角。这种叠加的、不稳定的三角形结构,极大地增强了画面的动感、险峻感和向上攀登的节奏感,通过仰视角度的运用使观者产生身临其境的紧张氛围。《登上慕士塔格峰》局部靳尚谊先生曾谈到,在马克西莫夫训练班,最大的收获之一是理解了如何“用色彩来思考”,尤其是把握色彩的冷暖关系。在这幅画中,他运用冷暖对比来塑造高海拔的严寒环境与登山者的坚韧生命力。如人物服装的深褐色与雪地的冷灰色形成强烈对比,既符合自然逻辑,也凸显了人物的主体形象。画中对登山装备,如背包、冰镐和绳索的细致描绘,都力求还原历史真实。这些细节不仅增加了画面的可信度,也承载了特定时代的记忆。在靳尚谊先生的艺术年表中,1957年创作的《登上慕塔格峰》无疑是一座醒目的里程碑,是新中国美术史上现实主义油画的典范之作。然而,当我们将目光从画布上那些奋力攀登的身影,移向画布背后那位时年23岁的青年艺术家时,却听到了这样一个清醒而谦逊的声音:
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Starting from the "Maksimov Training Program" | Preview of the First Session of the Series Academic Dialogue (Live Streaming Link Attached)

2025-12-10

Origin and Prism:Realism, Modernism and Contemporary PaintingTime: 15:30-17:30 on December 11, 2025Venue: Academic Lecture Hall, CAFA Art MuseumThis dialogue aims to discuss the "Maksimov Oil Painting Training Program" within the context of China's exploration of oil painting modernity. The "Maksimov Oil Painting Training Program" is not only a part of the history of higher art education development but also the starting point of a set of realist aesthetic creation methodologies concerning "how to see," "how to construct," and "how to narrate." It is almost the starting point of academic training for all artists born in the 1970s and 1980s—including both technical aspects and the conceptual level of creative aesthetics. Since then, some artists have moved away from this realist origin and devoted themselves to exploring contemporary image themes and languages; some artists, while facing the contemporary era, have "returned" to the broader context of modernist experiments—psychologism, abstractionism, and a fascination with structure and reality; others have used methods and tools from the realist heritage—sketching, social presence, actions, etc.—to open up new painting dimensions belonging to the contemporary era. All these are personal expressions that have continuously unfolded with realist aesthetics as the initial origin within China's own social context, opening up the historical prism and evolutionary wormhole of Chinese oil painting and Chinese contemporary painting. This is also the significance of our revisiting the "origin" here and questioning the relationship between today and history.Scan the QR code to make an appointmentParticipate in the eventTo allow a large number of online audiences to participate in this academic dialogue in real-time, we have specially set up an online live streaming channel. At that time, you can watch the entire dialogue synchronously through the live streaming platform and leave messages and ask questions in the interactive section. We sincerely invite you to join us online and participate in this exchange and discussion about the "Maksimov Oil Painting Training Program".Guests in the conversationLiu Shangyingartist, Professor and Deputy Director of the Oil Painting Department at the Central Academy of Fine ArtsLiu Xiaohui,artist, professor at the Central Academy of Fine Arts, and deputy director of the Mural DepartmentHe Jingart critic, curator, and assistant professor at the Academy of Arts & Design, Tsinghua UniversitySong Jiayiartist, Director of the Oil Painting Department, Academy of Fine Arts, Capital Normal UniversityWang Guangleartist, graduated from the First Studio of the Oil Painting Department, Central Academy of Fine Arts Host: Wang Jingcurator, works in the Curatorial Research Department of CAFA Art MuseumRegarding the exhibitionImported Oil Painting-A Retrospective Exhibition Of The Maksimov Oil Painting Trainting Program At CAFA (1955-1957)Exhibition Time: November 15, 2025 — January 3, 2026Exhibition Venue: Exhibition Halls on the 1st Floor / 3A / 4th Floor, CAFA Art MuseumEditor-in-Chief / He YishaResponsible Editor / Du YinzhuEditor / Yan Yuxi
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Li Jiwei: Contemporary Art Is A Life Attitude | Jointly Exploring the Attributes of New Works on 'Location'

2025-12-09

On December 6th, the opening ceremony of the space exploration experimental project"POSITION - Li Jiwei", hosted by the Central Academy of Fine Arts Museum, was held as scheduled. "POSITION" is not only an experimental art of concepts and behaviors, but also a way for the artist Li Jiwei to engage in dialogue with the museum's spatial environment.The guests attending the opening ceremony included: Beate Marold, Counsellor of the Embassy of Germany in China, and his husband Klaus Marold; Katharina Weiner, Counselor of the Embassy of Austria in China; Jin Jun, Director of CAFA Art Museum; Wang Chuan, Director of the Department of International Cooperation and Exchange; Gao Yang, Deputy Dean of the School of Urban Design; Gao Gao, Deputy Director of the Museum; artist Li Jiwei, as well as artists, researchers, and curators active in the contemporary art field. Yi Yue, Deputy Director of the Research and Planning Department of CAFA Art Museum, served as the host.Opening ceremony siteGao Gao, Deputy Director of cafa Art MuseumGao Gao, Deputy Curator of the CAFA Art Museum, stated in her speech that this project marks the second collaboration between the CAFA Art Museum and artist Li Jiwei. As Hai Jun, curator and Deputy Curator of the Art Museum of CAFA, emphasized in the preface, Li Jiwei’s works this time constitute an "effective intervention" in the museum’s space—they not only create new spatial relationships and artistic fields but also stimulate the "productivity of the entire space" of the museum. The process of audiences wandering through the museum and "encountering" the works by chance is the key to participating in and experiencing this new type of relationship. The distinct colors and spatial treatment of the works will inject fresh vitality into the overall visual atmosphere of the museum and activate the perceptual potential of the venue. Beate Marold, Counsellor of the Embassy of the Federal Republic of Germany in China, delivered a speechBeate Marold, Counsellor of the Embassy of the Federal Republic of Germany in Beijing, recalled her first encounter with Li Jiwei in her speech, which gave her a deeper understanding and respect for China’s vibrant artistic field. She emphasized that in the forms, colors and materials of the chairs exhibited this time, she saw the continuity of Li Jiwei’s early works, which confirms his artistic philosophy and his ability to create works that resonate deeply with installation art. "Position" is not only a work of art, but also an interdisciplinary installation that touches on humanity’s basic need for freedom and the right to have a place in the world, prompting audiences to reflect on their own positions in both concrete and abstract senses.Gao Yang, Vice Dean of the School of City Design at the Central Academy of Fine Arts , delivered a speechGao Yang, Vice Dean of the School of City Design at the Central Academy of Fine Arts , expressed twofold surprises in his speech: first, meeting Mr. Li Jiwei—whom he had long heard of—in person for the first time; second, discovering that Li Jiwei’s installation works have constructed a new relationship between artwork and product in the museum space, building a bridge between life and art through a unique display method. He specifically mentioned that through the ingenious arrangement and color application in different spaces, the works endow every corner with implicit layering and invite audiences to experience such surprises through their own exploration.Artist Li Jiwei delivered a speechArtist Li Jiwei expressed his gratitude to the project team of CAFA Art Museum for their efforts throughout the entire process of "Position" from planning to the implementation of details, as well as to all distinguished guests present, including representatives from the Embassy of the Federal Republic of Germany in China and the Embassy of Austria in China. Regarding his artistic views, Li Jiwei holds that contemporary art is a life attitude, which is not only about visual forms but also about concepts and ideas; after a work is exhibited, it should leave room for audiences to interpret freely rather than convey a certain absolute answer. Chairs have served as the carrier of his long-term exploration—from production thirty years ago and design twenty years ago to the current expression through painting—continuously reflecting his thinking on forms and media. As for the theme of this project, "Position", he has attempted to find a spatial attribute of "between presence and absence" for art, but also frankly stated that art does not require excessive interpretation, inviting audiences to experience the exhibition on their own.Jin Jun, Director of CAFA Art Museum, delivered a concluding speech and lit up the opening installationJin Jun, Director of the Art Museum of the Central Academy of Fine Arts, delivered a concluding speech and lit up the opening installation on behalf of the museum. He emphasized that this project combines a new form of artwork with the museum space, aiming to let the works find their "new positions", and expressed the expectation that audiences can stimulate more imagination in this environment and discover new positions and relationships.Exhibition siteYi Yue, Deputy Director of the Curatorial and Research Department of CAFA Art Museum, served as the hostGroup photo of distinguished guestsvisiting site"Position" has created a field for the art museum to re-examine thoughts and emotions, and we expect these wonderful works of art to bring audiences a brand-new exhibition experience.This exhibition will run until February 2026.Selected exhibited worksAcrylic , 63 x 87 x 125cmAcrylic , 63 x 87 x 125cmAcrylic , 63 x 87 x 125cmAcrylic , 63 x 87 x 125cmAbout the ArtistLi Jiwei1980-1984: Studied at the Department of Chinese Painting, Central Academy of Fine Arts, and obtained a Bachelor of Arts degree;1984-1988: Taught at the Department of Fine Arts, Beijing Film Academy; 1990-1993: Studied in Professor Markus Prachensky’s "Master Class of Abstract Painting" at the Academy of Fine Arts Vienna, Austria, and was awarded the "Fugger" Gold Medal and a Master of Arts degree; 1994: Joined the Austrian Association of Professional Artists; 1999-2001: Studied Multimedia at the University of the Arts Berlin, Germany; Since 1996: Has lived and worked in Berlin and Beijing. Recent Exhibitions: Group exhibition "Sharks and Humans" at the National Museum of China, Beijing; Group exhibition "Sharks and Humans" at the Parkview Museum Singapore, Singapore; Group exhibition "Sharks and Humans" at the Australian National Maritime Museum, Australia; Solo exhibition "Mozart - Gene" at CAFA Art Museum, Beijing; Group exhibition "Unfettered Vistas: Works by Chinese Artists Based in Germany" at the National Centre for the Performing Arts (NCPA) in Beijing, West Bund Art Museum in Qingdao, and Changzhou Art Museum; Solo exhibition "Detour" at the Parkview Green Art Gallery, Beijing; etc.POSITIONExhibition Dates: December 6, 2025 - February 2026Exhibition Venue: 1st Floor Exhibition Hall, CAFA Art MuseumOrganizer: Art Museum of the Central Academy of Fine Arts (CAFA)Exhibition Planning: Jin Jun, Han Wenchao, Gao GaoCurator: Hai JunExhibition Execution: Jing Peng, Zhang Ying, Feng QinanMedia Promotion: He Yisha, Wu Jing, He Yifei, Du Yinzhu, Ding YiProduction: SumeiChief Editor / He Yisha Responsible Editor / Du YinzhuOn-site Photographs / He Yifei, Zhang Shuhao
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"POSITION" is about to launch——Li Jiwei's Interdisciplinary Installation Expression

2025-12-07

POSITIONExhibition time: December 6, 2015 - February 2026Opening time: 16:00 on December 6, 2015Exhibition venue: Exhibition Hall on the First Floor, CAFA Art MuseumHost: CAFA Art Museum"Position" is an experimental art of concepts and behaviors,Li Jiwei employs diverse crafts, technologies, materials science, and moreto create a medium object that expresses thoughts and emotions—the "chair".It is an interdisciplinary installation workthat symbolizes people’s right to free existence and their place in the world.Through abstract concepts and visual language, create an asymmetrical seat form that transcends practical design. Emphasize subjective logic, utilize transparent materials, color changes and painting textures, to present a unique sensory appeal.Contemporary art is an attitude in life that exists everywhere.The attributes of Li Jiwei's new works in his search for "position" —It is not only a visual form but also a concept.It can exist and be displayed independently at different times and in non-fixed spaces.Some of the exhibited works▃▃▃▃▃▃▃▃▃▃▃▃▃▃Acrylic , 63 x 87 x 125cmAcrylic , 63 x 87 x 125cmAcrylic , 63 x 87 x 125cmAcrylic , 63 x 87 x 125cmAbout Artists▃▃▃▃▃▃Li Jiwei1980-1984, studied at the Department of Traditional Chinese Painting, Central Academy of Fine Arts, and obtained a Bachelor of Arts degree; 1984-1988, taught at the Department of Fine Arts, Beijing Film Academy; 1990-1993, studied in Professor Markus Prachensky's "Master Class in Abstract Painting" at the Academy of Fine Arts Vienna, Austria, and won the "Fugger" Gold Award and a Master of Arts degree; 1994, joined the Austrian Association of Professional Artists; 1999-2001, studied in the Multimedia major at the University of the Arts Berlin, Germany; since 1996, has been living and working in Berlin and Beijing. Recent exhibitions: "Sharks and Humans" group exhibition at the National Museum of China, Beijing; "Sharks and Humans" group exhibition at the Parkview Museum Singapore, Singapore; "Sharks and Humans" group exhibition at the National Maritime Museum, Australia; "Mozart - Gene" solo exhibition at the CAFA Art Museum, Beijing; "Free Your Vision and Let Your Imagination Roam" exhibition of works by Chinese artists living in Germany at the National Centre for the Performing Arts in Beijing, QingdaoPOSITIONExhibition Duration: December 6, 2015 - February 2026Exhibition Venue: First Floor Exhibition Hall, CAFA Art MuseumHost: CAFA Art MuseumExhibition Planning: Jin Jun, Han Wenchao, Gao GaoCurator: Hai JunExhibition Execution: Jing Peng, Zhang Ying, Feng QinanMedia Publicity: He Yisha, Wu Jing, He Yifei, Du Yinzhu, Ding YiProduction: SumeiChief Editor / He YishaExecutive Editor / Du YinzhuScene Photo / Zhou Shuhao
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Today is Major Snow

2025-12-07

Today is Major Snow
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一件“无需修改”的毕业创作,看68年前“马训班”的《远方来信》

2025-12-05

展览现场《远方来信》(以下简称为《信》)是汪诚一于1957年在“马克西莫夫油画训练班”完成的毕业创作,他与同学詹建俊一同前往北大荒北京青年志愿垦荒队的驻扎地,深入生活三个月进行创作,由此积累了深切的观察与情感体验。此作品正在“请进来的油画——中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展”展出。汪诚一 《远方来信》 144×228cm 布面油彩 1957年 中央美术学院美术馆藏作品描绘了垦荒队在北大荒的生活场景,画面中的垦荒队员都是活生生的、有着不同个性和生活背景的人。这封信超越了通信本身,象征着一代青年的理想、信念与精神寄托,探讨了在物质极其匮乏的条件下,什么是支撑幸福的根本力量,展现了一代青年在艰苦环境中坚守信念、创造幸福的精神特质。《远方来信》局部构图在严谨中蕴含着呼吸感,是其抒情基调的骨架,其采用了经典的三角式构图。主体人物群体形成一个坚实的视觉基础,而阅读信件的中心人物则位于这个视觉结构的顶端,构建了稳固而庄重的画面感。同时,人物姿态的微侧、高低错落与疏密聚散,创造出一种舒缓的内部韵律。人物并未直视画外,而是形成一个向内的、封闭的情感循环,将观者的视线与思绪温柔地拢在“读信”这一静谧的瞬间。人物面容的刻画重在捕捉沉浸于阅读时的专注神情,细节生动,女队员读信时后面的男队员迫切望向信件的定格表情展现了他们对家乡亲人的思念。《远方来信》局部开阔而简练的北大荒背景,以横向延展的笔触处理,与竖向的人物群像形成“横与纵”的对比。这种处理既点明了环境特征,更反衬出人物群体的凝聚感,让“人”作为精神主体从自然环境中凸显出来。汪诚一为《远方来信》画的习作——看信的姑娘汪诚一为《远方来信》画的铅笔头像艺术评论家龚云表曾谈到:“虽然汪诚一接受了‘苏式油画’训练,但在《信》中已难觅其踪迹,代之以中国式写意性油画艺术风格。他追求‘笔简意足’,强调表现对象的气质神态和表达自身情感的体验,画面构图和物象造型极为简约,用色节制,以清淡、素雅的中间色调为主,产生柔润含蓄的抒情效果”。《远方来信》局部《信》摒弃了鲜艳强烈的色彩,确立了沉稳、和谐且极富泥土气息的暖灰色调。这种色调直接呼应了北大荒的土地与黄昏的天光,画中的光源处理非常巧妙。它并非强烈的直射光,而是弥漫在空气中柔和如薄暮时分的暖光。这层光晕均匀地笼罩在人物与环境之上,削弱了明确的投影,强化了整体氛围,使现实场景氤氲出理想化的诗意。在统一的暖灰调中,信件本身的“亮色”并非刺眼,而是在环境色的包裹中显得柔和、圣洁,象征着精神之光与情感寄托。展览现场展览现场,“马训班”学员、中央美术学院原院长靳尚谊先生回忆说,“汪诚一的这幅作品马老师基本没改过”。而在任梦璋的课堂笔记中也记录着:“马老师说,詹建俊、汪诚一选择北京知青下乡插队建功立业的《起家》和《信》十分典型,富于激情气概,又有抒情诗意,是对自然美、劳动美的颂歌” 。可以说,这幅作品是中国现代油画史上将时代精神、个人情感与中国美学意蕴相结合的经典之作。它用充满诗意的油画语言,记录了一代人的青春,也留下了关于理想与幸福的永恒探讨。展览现场展览中还展出多幅汪诚一在北大荒驻地创作的小稿,寥寥几笔便表达了鲜活的人物与场景,富有生活气息,更显动人。感兴趣的观众可到中央美术学院美术馆三层B展厅静静欣赏。本次展览将持续至2026年1月3日。请进来的油画——中央美术学院马克西莫夫油画训练班(1955-1957)教学成绩回顾展展览时间: 2025年11月15日—2026年1月3日展览地点: 中央美术学院美术馆 1层/3A/4层展厅主编 / 何一沙 责编 / 杜隐珠
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移动影像|当影像离开放映厅,进入央美美术馆···

2025-12-04

2025年11月12日至12月28日,展览“场外·移动影像”在中央美术学院美术馆三层B展厅呈现。本次展览由西班牙外交、欧盟与合作部,西班牙国际合作发展署,西班牙驻华大使馆、中央美术学院美术馆与深圳文泽创展文旅发展有限公司联合主办。展览由当代艺术研究员苏珊娜·桑斯策展,汇聚了十二位西班牙艺术家,旨在为西班牙电影与当代艺术提供全新的解读视角。展览现场展览现场动态影像不再依赖黑暗的影厅而存在。影像已逃离放映厅,投射在墙壁上、身体上,以及世界的肌理之上。如今,影像会折叠、会装置自身,并会投射于建筑表面;它成为物体,成为事件。随着这种扩展,“场外”之物也获得新的形式与观众。此次汇集的作品向我们揭示,“场外”不仅是一种技法,更是一种视觉政治:一种让边缘或幽灵得以再现的姿态。032025.11.12-12.28————————————————隐秘身份:移动影像作为宣言“场外”不仅决定了可见之物,也决定影像的建构者与其中的被观看者。第三章中,几位艺术家的作品共同质问了塑造视觉身份叙事的表征机制。帕特里夏·埃斯基维亚斯,《卡尔东·卡迪纳尔》,2020,38’在《卡尔东·卡迪纳尔》(2020)中,帕特里夏·埃斯基维亚斯将档案作为一份既生动又可重构的文献。她将影像编织成随时间展开的口述叙事,在轶事与历史之间交织。她的声音常作为“场外”旁白,成为思考的脉络,解构嵌入社群集体记忆的权力结构。这声音如一种批判直觉,撬开裂隙。叙述者不再只是说明,她与呈现的内容对话并提出质疑。由此,那些历史框架之外的隐匿之物,以一种要求被承认的力量重返现场。卡贝略/卡塞勒,《为埃劳索而发声·跨性别时代的尾声》,2021-2022,4K视频转换为高清格式,双通道视频装置,28’15’自1990年代起,卡贝略/卡塞勒二人组合便质问身体、性别与身份的规范化表征结构。在《为埃劳索而发声·跨性别时代的尾声》(2021-2022)中,动态影像成为重新掌控的舞台:被历史所剥夺的发声,如今得以倍增。他们的视觉政治立场明确:不断变动性别与表征的惯例,直至范式本身不得不承认声音的多元性。卡贝略/卡塞勒因此将“场外”转化为解放工具。伊茨亚尔·巴里奥,《ROBOTA MML》,2023,4K视频,62’展览现场伊茨亚尔·巴里奥关注影像生产的条件:技术、经济与社会如何不仅塑造呈现的内容,更塑造呈现的方式。在《ROBOTA MML》(2019–)中,她结合表演、装置与电影,演绎身体崇拜与机械之间的张力。她的长期项目与多方合作,构建出意义网络,其中每个元素——姿势、声音、屏幕——都是维系可视性系统中的一部分。042025.11.12-12.28——————————————移动影像的未来:影像作为艺术材料当代对“场外”的解读无法回避技术之问。像素与绘画、算法与雕塑的混合共存,已然重塑了影像的构成方式。本次展览的艺术家们从各自立场探讨这种转变,这些立场虽各异却有共通之处。技术并非让我们疏远人类经验,而是重构经验。丹尼尔·卡诺加尔与安普罗·萨尔德正致力于此阈限的工作,影像在此不再仅是表面,而且还化为了实体。丹尼尔·卡诺加尔,《阿马尔加玛·普拉多》,2019,生成式视频投影丹尼尔 ·卡诺加尔,《轨道》,2025,4K屏幕,生成式软件,实时数据展览现场丹尼尔·卡诺加尔将屏幕视作有生命的织物。他的生成性作品如《阿马尔加玛·普拉多》(2019)和《轨道》(2025),是实时变化的光系统,由脉冲与数据驱动。其中的影像如同数字河流般流动、适应并回应环境。卡诺加尔继承了动态艺术、抽象表现主义与装置艺术的传统,使作品与建筑及公共空间互动。屏幕不仅是科技装饰,而是一种有机体,提醒我们数据有躯体,信息亦有脉搏。展览现场安普罗·萨尔德从物质出发,通向数字领域。她的作品游弋于身体与屏幕、手势与编程的边界。在近期项目中,她探索人工智能作为感知扩展的工具,而非人类敏感性的替代品。《触觉自画像》(2021)提出一个核心问题:影像可以被触碰吗?它能感受或被感受吗?萨尔德通过有孔洞的雕塑作答。在她的装置与影像中,空白为主角,每个孔洞都是触感的回声,一种将技术化为肌肤的震颤。画面之外,恰恰在支撑影像:让声音可听的沉默,让光可见的阴影。在本次展览中,每位艺术家都在处理这种张力——在可见与不可见之间、在形态与其延伸之间。作品汇聚,构成当代视觉的图谱:在“场外·移动影像”,电影不再仅是投影的艺术,而是存在的艺术;观众成为居民,影像化作领地。展览在电影、影像艺术与装置之间构建了一场对话,邀请观众思考当代社会中影像的扩展属性:它不再仅仅属于屏幕,更已融入空间、记忆与观者自身。策展人.苏珊娜 · 桑斯拥有马德里康普顿斯大学当代艺术史博士学位,以及北京清华大学艺术学理论硕士学位。她曾在巴黎卢浮宫工作,2010年获ICO基金会奖学金赴北京大学进修,由此开启了在北京长达十年的职业发展历程。在北京期间,她担任塞万提斯学院文化协调员,并兼任中央美术学院客座讲师,讲授西班牙艺术史。自2016年起,她担任马德里西班牙动态影像节艺术总监。2020年,她返回西班牙,加入索菲亚王后国家艺术中心博物馆,担任文化活动协调员。目前她是西班牙文化部博物馆策展团队成员。场外 · 移动影像展览时间:2025年11月12日-12月28日展览地点:中央美术学院美术馆三层B展厅主办机构:西班牙外交、欧盟与合作部西班牙国际合作发展署西班牙驻华大使馆中央美术学院美术馆深圳文泽创展文旅发展有限公司主编 / 何一沙责编 / 杜隐珠编辑 / 晏宇希
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Updated! CAFAM Cultural and Creative Products | 'Horse Training Class' Exhibition Products - There's Sure To Be One You Like!

2025-12-01

Seventy years ago, the opening of the Maxymov Oil Painting Training Class marked an important chapter in the development of Chinese oil painting in the 20th century, nurturing a large number of outstanding talents in Chinese oil art. Today, seventy years later, the Central Academy of Fine Arts holds the exhibition 'Imported Oil Painting - A Retrospective Exhibition of the Maxymov Oil Painting Training Program At CAFA' to look back on this journey, this is not only a tribute to history but also a practice of artistic inheritance.When visitors pause in the exhibition hall and gaze at those paintings and documents steeped in historical memories, we hope that this precious art history will 'step out' of the art museum and become a daily companion that can be touched, used, and cherished. To this end, we specially launch commemorative cultural and creative products for this exhibition. The overall design is positioned in the Sino-Soviet design style of the 1950s. Whether it is the font, color, or pattern, they all embody a strong Soviet aesthetic and are integrated with the design aesthetics of China in the 1950s. All pattern designs are inspired by traditional Sino-Soviet patterns, paired with vibrant colors and gold craftsmanship. They transform the sunny brilliance of that era into tangible daily objects today, combining a sense of historical weight with contemporary aesthetic appeal.Central Academy of Fine Arts Maximov Oil Painting Training Class (1955-1957) Cultural and Creative ProductsDesign keywords: 1950s × Soviet Style × Sunshine × Radiant 主编 / 何一沙 责编 / 杜隐珠供稿 / 伊义
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“图示新探”讲座回顾|曾小凤:“《血衣》内外——王式廓的革命历史画研究”

2025-12-01

2025年11月19日下午2点,在中央美术学院美术馆学术报告厅举办了“图示新探:延安文艺座谈会讲话与现实主义艺术”系列学术讲座第二期第一讲,由中央美术学院国家主题性美术创作研究中心曾小凤副教授讲述“《血衣》内外:王式廓的革命历史画研究”。中央美术学院美术馆直属党支部书记韩文超主持了此次讲座此次讲座由中央美术学院美术馆直属党支部、油画系党总支、研究生院党总支和王式廓艺术基金会、今日美术馆联合主办,是“温故王式廓‘生命刻痕’项目特别策划” 系列活动之一。讲座由中央美术学院美术馆直属党支部书记韩文超主持,同时出席的有王式廓艺术基金会秘书长李蕾、今日美术馆执行馆长晏燕以及中央美术学院研究生院院长葛玉君、美术馆副馆长海军、副馆长高高、油画系直属党支部副书记夏理斌等。此次讲座的对谈环节邀请到了北京工商大学设计与艺术学院副教授、“王式廓艺术扶持计划暨当代青年艺术家提名展”入围艺术家张沐辰。中央美术学院国家主题性美术创作研究中心曾小凤副教授在讲座现场在这次讲座中,曾小凤老师以王式廓历经二十年不断构思和创作的巨作《血衣》为线索,结合中央美术学院内部档案勾勒王式廓的革命历史画创作脉络,认为《血衣》不仅是一件独立作品,更连接着时代、作者生命历程与接受史的多重维度。在“内”和“外”相结合的语境中,讲座重温王式廓,试图去读懂王式廓——不仅是作为一个画家,更作为一个真实的人,一个在历史中思考、在时代中挣扎、在艺术中追求理想的整体的人。王式廓(1911.6-1973.5),是我国20世纪具有独特艺术品格的绘画大师和卓越的美术教育家,解放后任中央美术学院建院领导小组成员之一,历任中央美术学院教授、研究部主任等职,他的《血衣》系列作品开创了新中国社会主义现实主义美术创作的范式。徐悲鸿先生曾高度评价他,称其为‘卓尔不群、成熟之天才’,这不仅是对王式廓艺术才华的肯定,更是对他独特艺术追求和坚定革命信念的赞誉。讲座伊始,曾小凤老师先是为听众简要介绍了王式廓1950至1973年二十余年间相继创作的革命历史画,《血衣》从构思到习作、草图到素描稿、油画稿的创作几乎贯穿了王式廓进行革命历史画创作的始终。提问:我们如何理解王式廓的革命历史画创作?为什么《血衣》至死也画不完?为什么王式廓要不断地修改乃至重画他的那些革命历史题材作品?王式廓倾其生命,在革命历史画中到底探索了什么?1953年,徐悲鸿与同事们最后的合影。第一排:江丰(左一)、王式廓(左二)、徐悲鸿(右二)、戴泽(右一);后排:李宗津,倪贻德,冯法祀,庄子曼,曹思明 (摄影戴泽)1950年王式廓创作油画《参军》王式廓《参军》布面油画 60x92cm 1950年 中国美术馆藏王式廓《井冈山会师》布面油画 1951年(原作已佚)中央美术学院内部档案:《中央美术学院绘画系一九五四年上半年教员及研究生创作计划》,1954年结合中央美术学院内部档案,曾小凤老师细致勾勒出王式廓在徐悲鸿先生去世后的创作状态。指出从1953至1957年,在中央美院“受排斥”的这五年,正是王式廓构思和完成《血衣》第一批素描草图、习作的关键时期。“土改”题材的“血衣(草稿)”是王式廓1954年在中央美术学院绘画系报的个人创作计划,同时报的还有一件“工业模范”题材,主题是“张明山画像”。1956年王式廓在家门口画《血衣》稿子在找到“血衣”这把钥匙后,王式廓并没有一下子打开绘制革命历史画《血衣》的创作之门,这期间他画了一系列现实题材的主题创作《张明山设计反围盘》(油画)、《劝父入社》(素描)、《农业合作社全体会议》(素描),还给很多革命文学读物如《把一切献给党》、《地下的战斗》、《渡乌江》等绘制素描封面和插图,同时重画《井冈山会师》参加1957年建军三十周年美展,探索如何在革命历史画中构思形成耐人寻味的意境和形象,以至表达具有重大意义的主题。王式廓《井冈山会师》布面油画 142×210cm 1957年 中央档案馆藏随后,曾小凤老师讲述了在《血衣》构思和草图阶段,王式廓完成的两件具有代表性的作品——从《张明山设计反围盘》到重画《井冈山会师》。1955年王式廓完成油画《张明山设计反围盘》参加了第二届全国美展,这幅画以“夜晚”作为构思的切入点,表现了工业模范张明山深夜在家中设计反围盘的情景。通过合乎绘画逻辑的光的处理,王式廓完成了基于历史真实的艺术形象塑造。而重画的《井冈山会师》则是王式廓在1957年为建军三十周年美展创作的。相较于之前的版本,这次重画在构图的深度、色彩、环境和对人物形象刻画上都有了很大的提升,王式廓通过这一系列的重画实践,深入探索了如何将革命历史题材转化为艺术作品中的主题,以及如何在生活的真实与艺术的形象之间找到恰当的平衡点,这为他最终创作《血衣》奠定了重要的方法论基础。高焰《更高地举起社会主义现实主义的旗帜——读王式廓同志尚未完成的油画“血衣”有感》,《美术》1957年第2期王式廓《血衣》素描 192×345cm 1959年 中国国家博物馆藏在接下来的讲述中,曾小凤老师回到作为“旗帜”的素描《血衣》研究中,指出王式廓1959年完成的素描《血衣》在形象的典型性和人物心灵的探索上达到了新的高峰,它代表着土改斗争图像在语言叙述层面上已完全实体化,形成赋予历史实在以存在形式的“叙述实体”。概括起来,就是如何恰如其分地表现“悲痛——仇恨——胜利”的视觉叙事关系。通过这一将政治思想艺术化的“叙述实体”,王式廓确切地表达出对土改历史的整体性观照和判断,从而实现他“想通过一个独幅的画面,概括这样一个复杂的具有重大历史意义的群众性的革命运动”的艺术叙事空间。中央美术学院内部档案:《王式廓小传》1959年王式廓《“血衣”创作过程中接触到的几个问题》《美术研究》1960年第1期然而,在接下来的十多年时间里,王式廓并没有完成从素描《血衣》迈向油画创作的飞跃,他一直到生命的最后一刻都在不断地进行修改、绘制习作和草图,他在探寻什么?面对这一问题,曾小凤老师从“革命画”和“革命人”这两个维度展开了深入分析。结合首次对外公开的王式廓“地主”出身的内部档案资料,曾老师深入剖析了王式廓作为一个家庭成分为“地主”的艺术家,创作出《血衣》这一歌颂农民反抗地主压迫的经典之作,这背后不仅蕴含着复杂而深刻的社会因素,还包含了他个人情感的驱动和转变。毛主席和延安文艺工作者在一九四二年五月延安文艺座谈会开会期间的合影简平主编《王朝闻全集 第8卷 美学概论》,青岛出版社,2019年第148页王式廓《转战陕北》布面油画 66×113cm 1972-1973年 中国美术馆藏王式廓《血衣》油画稿 100×150.5cm 1972-1973年 中国美术馆藏讲座的最后,曾小凤老师援引詹姆逊(Fredric Jameson)的“寓言”理论阐释王式廓创作《血衣》过程中自我革命化的情感驱动及其深刻的社会历史内涵。詹姆逊认为,个人的文本和叙事往往是社会的寓言,反映着更深层次的社会和历史意义。在王式廓的自我革命化过程中,他的情感驱动并非孤立的个人情感,而是与当时的社会历史紧密相连。从社会层面来看,土改运动是一场深刻的社会变革,它打破了旧有的封建土地制度和阶级结构,让广大农民获得了土地和自由。王式廓通过《血衣》表达出对这一伟大历史变革的支持和歌颂,他的情感驱动是对广大农民苦难的同情和对他们革命精神的赞美。从个人层面来说,特殊的出身背景使王式廓对土改运动有着更为复杂和深刻的体验。他需要克服内心的矛盾和挣扎,完成自我身份的重新定位和价值观念的转变。在这个过程中,他的情感驱动是对自身阶级成分的自省和批判,是对新的社会理想和价值的认同和追求。通过詹姆逊的“寓言”理论,曾小凤老师揭示了王式廓自我革命化过程中情感驱动的双重性,即个人情感与社会历史的相互交织和相互影响。这种情感驱动不仅塑造了王式廓革命历史画的艺术创作风格和主题,也反映了那个时代知识分子画家的精神追求和历史使命。在这个意义上,曾老师提出我们可以将《血衣》的创作,看作是王式廓对作为革命艺术家的“我”的自我实现过程。这幅画贯穿画家后半生的艺术创作,直到去世也没有最终完成。究竟如何才能创造艺术家的“我”?如何践行一个革命艺术家的信仰和职责?这个关于“我”的故事,几乎像是一则寓言,述说了许多像王式廓一样的革命的艺术家的共同命运。北京工商大学设计与艺术学院副教授、“王式廓艺术扶持计划暨当代青年艺术家提名展”入围艺术家张沐辰谈《王式廓精神与当代艺术创作》在讲座环节结束后,紧接着进入了一个充满思想碰撞的“对谈”环节。本次对谈以“共振·共生·赓续——王式廓精神与当代艺术的隔空对话”为主题,邀请了来自北京工商大学设计与艺术学院副教授张沐辰老师上台,与曾小凤老师围绕王式廓的艺术精神和当代艺术的发展趋势展开了深入的交流和探讨。在对谈过程中,现场的听众们也积极参与,提出了许多关于王式廓研究的相关问题。随着对谈环节的结束,中央美术学院美术馆副馆长海军教授作总结发言,对整个活动进行了精辟的总结,为本次讲座画上了一个圆满的句号。讲座合影(右起:中央美院美术馆典藏部主任李垚辰、今日美术馆展览部主任李悠然、中央美院美术馆副馆长海军、中央美院副教授曾小凤、北京工商大学副教授张沐辰、王式廓艺术基金会秘书长李蕾、今日美术馆展览部王一凡)《血衣》内外——王式廓的革命历史画研究时间:2025年11月19日14:00地点:中央美术学院美术馆学术报告厅主办:中央美术学院美术馆直属党支部本期联合主办:中央美术学院油画系党总支、中央美术学院研究生院党总支、王式廓艺术基金会、今日美术馆主编 / 何一沙责编 / 杜隐珠编辑 / 晏宇希
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CAFA Live Lecture Preview | Listening to "The Maksimov Oil Painting Training Class and the Enlightenment of Oil Painting in New China" at the Exhibition Site of "Imported Oil Painting"

2025-11-26

In this live broadcast, professor Cao Qinghui from the School of Humanities at the Central Academy of Fine Arts will give a lecture titled "The Maksimov Oil Painting Training Class and the Enlightenment of Oil Painting in New China". Let's explore together how this "Maksimov Training Class" – which nurtured renowned artists such as Feng Fasi, Dong Xiwen, Hou Yimin, Zhan Jianjun, and Jin Shangyi – laid a solid foundation for the development of oil painting in China.Cao Qinghui●Instructor of the Elective Course on "Special Topics in Modern and Contemporary Chinese Art" for Third-Year Undergraduates (2025—2026 Academic Year) at the School of Humanities, Central Academy of Fine Arts●Curator of the Exhibition "Introduced Oil Painting: A Review of the Teaching Achievements of the Maksimov Oil Painting Training Class (1955—1957) at the Central Academy of Fine Arts"Imported Oil Painting-A Retrospective Exhibiton Of The Makximov Oil Painting Training Program At CAFA(1955-1957)Exhibition Dates: November 15, 2025 – January 3, 2026Exhibition Venue: Galleries on the 1st Floor / 3A Floor / 4th Floor, CAFA Art MuseumChief Editor / He YishaEditor / Du Yinzhu
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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.

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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.

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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.

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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.

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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.

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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.

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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):

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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

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!
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