Exhibitions and Events-News

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

趁热观展 | “中央美院本科生毕业展”终章 今日开启

2025-06-09

中央美术学院本科生毕业展(第二阶段)在炎炎夏日中正式开展。6月8日是开展首日,美术馆外早早排起长队,观众中既有美术专业学生、艺术从业者、艺术爱好者,也有带孩子前来的家庭群体。有观众表示:“在实验艺术展区感受到了科技与艺术的化学反应,让我意识到艺术可以如此‘身临其境’。” 修复学院的展区则吸引了许多文物爱好者,他们驻足观看修复记录,感叹 “每一道裂痕都是历史的指纹”。而绘本专业展区深受小朋友们的喜爱,仿佛让人穿越到绚烂的童话世界……此阶段展出了油画系、壁画系、实验艺术与科技艺术学院、城市设计学院、艺术管理与教育学院、修复学院的毕业生作品,各院系依专业特色创作,以多元创作视角、创新表达形式与互动体验设计,展现了青年学子对艺术的深度思考与时代探索。展览将持续至6月22日,毕业季期间周一不闭馆,期待您来到现场从不同角度解读这些作品的叙事层次。现场直击2025中央美院毕业季CAFAM@ 2025预约通道2025中央美院毕业季CAFAM@ 20252025中央美院毕业季线上预约购票通道已经开启,观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票(购票说明详见官网)。每日观展名额限量约满为止,毕业季期间美术馆周一正常开放。预约时需使用有效证件进行实名预约,每人当天只能预约一次,预约成功后,观众按预约时间到场。毕业季期间,在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞
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CAFAM Lecture Preview | Boundless China: Artistic Methods and Aesthetic Imagination From A Diasporic Perspective

2025-06-08

李爽,《和我结婚,拿中国国籍》,2015图片致谢艺术家TimeJune 10th, 18:30 - 20:30VenueAcademic Lecture Hall of the Art Museum of the Central Academy of Fine ArtsHosted bySchool of Arts Management and Education,  Central Academy of Fine ArtsOrganized byCAFA Art MuseumHostJin Jun (Director of CAFA Art Museum)Co-speakersPi Li (Artistic Director of Tai Kwun Contemporary, Hong Kong)Guo Ying (Senior Curator of Tai Kwun Contemporary, Hong Kong)Liu Qianxi (Curator of UCCA Center for Contemporary Art, Beijing)Scan the code to make an appointment. Limited slots available, first come, first served.Viewers can enter the lecture hall through the west gate of CAFA art museum with their appointment records after 17:30.Students of the Central Academy of Fine Arts do not need to scan the code.This lecture will focus on "China" and "diaspora" as the core, exploring the multiple dimensions of overseas Chinese art in the 20th - 21st centuries. Under the profound influence of globalization, a single cultural identity has been redefined. "China" is regarded as an open methodology rather than a fixed ethnic label. The lecture will start from history, review the evolutionary context of overseas Chinese art, and focus on the latest artistic practices, analyzing how the diaspora experience has become an aesthetic strategy for artistic creation and a source of cultural imagination. Through the analysis of artists' works, it will explore new possibilities of cultural mobility, identity reconstruction, and creativity in the context of globalization.| Host |Jin JunDirector, Professor, and Doctoral Supervisor of CAFA Art Museum; Dean of the School of Design and Art at Beijing Institute of Technology. He has presided over many major design projects, including the design of dynamic sports icons for the 2022 Beijing Winter Olympics. He has also organized and planned over 40 series of art thematic exhibitions titled "Looking Back and Reflecting: Rereading the Classics", including the "Invitation Exhibition of Famous Chinese Painters in the 20th Century". Recently, he has completed the creation and planning of digital immersive art, such as the "Equal Views of Digital Realms: Research Exhibition on Traditional Art and Technology", as well as the planning of the "Immersive Art Design Exhibition of the National Center for the Performing Arts 'Art in Life'" and the "Beijing Media Art Biennale".| Introduction of Guests |Pi LiThe art director of Tai Kwun Contemporary in Hong Kong, he was formerly the senior curator of the Sigg Collection and head of curatorial affairs at the M+ Museum of Visual Culture (2012 - 2023). Prior to that, he taught at the School of Humanities of the Central Academy of Fine Arts (2001 - 2012). The exhibitions curated by Pi Li include one of the opening exhibitions of M+: "From the Great Revolution to Globalization" (M+ Hong Kong, 2021); "Song Huai Gui: Art Pioneer and Fashion Matriarch" (M+ Hong Kong, 2023), "Bruce Nauman" (Tai Kwun Contemporary, Hong Kong, 2024). The books published by Pi Li include: "From Action to Idea" (2015), "Farewell to Moralism" (2018), "M+ Sigg Collection: Forty Years of Chinese Contemporary Art" (2021), "Song Huai Gui: A Lifetime of Art, A Lifetime of Fashion" (2023).Guo YingCurrently a senior curator at Tai Kwun Contemporary, she curated exhibitions as an independent curator from 2013 to 2021. She has collaborated with domestic and international art and cultural institutions, including curating biennials, museum exhibitions, and other partnerships, as well as developing various projects for artists. Her research-based curatorial practice combines different expressions in contemporary visual art, including site-specific commissions, performances, films, and videos. Her past curatorial projects or those where she served as art director include: the 5th Audemars Piguet Art Commission, "The Moon Passes Without a Sound," a solo exhibition by Xu Fanghua; "Peer to Peer: UK/HK 2020"; "Epidemic Metropolis: Far and Near" at Tai Kwun / Wellcome Trust in Hong Kong; and "Yang Jiahui's Disaster Relief Album" at the Hong Kong Pavilion of the 57th Venice Biennale / M+ Museum. From 2006 to 2012, Guo Ying was the curator of the Chinese Arts Centre in Manchester, UK. In 2014, Guo Ying was awarded a grant by the Asian Cultural Council and was also the recipient of the Clore Leadership Programme Hong Kong Scholarship in 2018/19.Liu QianxiA curator and researcher based in Beijing, she is currently the curator of the UCCA Center for Contemporary Art. She is the recipient of the Asian Cultural Council's Individual Fellowship in 2023. From 2017 to 2024, she served as the curator of Taikang Space (now Taikang Art Museum). From 2014 to 2017, she worked at the New York-based magazine ARTFORUM. She has served as a judge and nominator for numerous art awards, such as the nominator for the 2025 Sigg Prize at the M+ Museum in Hong Kong, the preliminary judge for the Huayu Youth Award in 2020 and 2021, and the nominator for the Jimei x Arles Discovery Award in 2018. She has participated in editing multiple publications and has published critical articles in magazines such as ARTFORUM, LEAP, ArtAsiaPacific, and FLASH ART.Editor-in-Chief / He Yisha Editor / Du Yinzhu
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On The Eve Of The Opening | The Final Sprint Of The Second Phase Of The "Undergraduate Graduation Exhibition Of The Central Academy Of Fine Arts"

2025-06-07

There are less than 2 days left until the official opening of the Undergraduate Graduation Exhibition (Phase 2) of the Central Academy of Fine Arts on June 8th, and the exhibition layout has entered the final sprint stage. This exhibition showcases the graduation works of the Department of Oil Painting, the Department of Mural Painting, the School of Experimental Art and Technological Art, the School of Urban Design, the School of Arts Management and Education, the (China-France) School of Arts and Design Management, the School of Conservation and Restoration, and the School of Continuing Education. Today, we offer an exclusive preview, unlocking some exhibits from eight departments for you. More wonderful experiences await you on-site.Reservation channel2025 CAFA Graduation SeasonCAFAM@ 2025Visitors can make reservation and purchase tickets through the mini-program, WeChat official account or official website of CAFA Art Museum (for details of ticket purchase, please refer to the official website). The daily number of visiting slots is limited and will be closed when full. During the graduation season, the art museum is open as usual on Mondays.When making a reservation, valid identification documents must be used for real - name reservation. Each person can only make one reservation per day. After a successful reservation, visitors should arrive at the appointed time. During the graduation season, visitors can enter the museum by swiping valid identification documents such as ID cards at the special ticket - checking passage at the north gate of the Central Academy of Fine Arts.Chief Editor / He Yisha Editor / Du YinzhuOn-site Photos / He Yifei
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Today Is The Grain In Ear

2025-06-05

Today Is The Grain In Ear.
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Temporary Closure Notice | See You on June 8th

2025-06-04

Dear audience friends,Due to the need for exhibition installation and dismantling, our museum will be temporarily closed from June 4 to June 7, 2025, and will resume operations on June 8. At that time, the Second Phase of CAFA Undergraduate Graduation Exhibition will be held, showcasing graduate works from the following departments and schools:CAFA Art MuseumJune 3, 2025Reservation Channel2025 CAFA Graduation SeasonCAFAM@ 2025The online reservation and ticketing channel for the 2025 CAFA Graduation Season is now open. Visitors can make reservations and purchase tickets through the CAFA Art Museum mini-program, WeChat official account, or official website (for ticketing instructions, please refer to the official website). The number of daily visiting slots is limited and will be filled on a first-come, first-served basis. During the graduation season, the museum will be open as usual on Mondays.Valid identification documents must be used for real - name registration when making a reservation. Each person can only make one reservation per day. After the reservation is successful, visitors should arrive at the museum at the reserved time. During the graduation season, visitors can enter the museum by swiping valid identification documents such as ID cards at the special ticket channel at the north gate of the Central Academy of Fine Arts for ticket verification.Chief Editor / He Yisha Editor / Du Yinzhu
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Dragon Boat Festival Meets Children's Day | Come to CAFA and Embark on an "Art Paradise" with Children (3 Days Left Before Exhibition Closes)

2025-06-01

During the CAFA graduation season, a group of graduates has created an "Art Paradise" from a child's perspective, completing a cross-generational narrative of childhood. The most touching "weather" this summer is undoubtedly that pure and vibrant "childlikeness". As the Dragon Boat Festival and Children's Day approach, we sincerely invite all children interested in art and big kids with undiminished childlike innocence to join us at CAFA for this gentle exploration of the world.Wang Jianye's 'Acute Angle'Fiberglass, foamDimensions: 260x280x230 cmThe work Acute Angle explores the profound social proposition of love and pressure in family relationships. Starting from his own family background, Wang Jianye triggers an in-depth reflection on family ties. The five figures in the work adopt curved postures, with outstretched arms and overlapping bodies forming an airtight "human-shaped forest". A blue children's chair placed in front allows viewers, when seated, to intuitively experience a sense of being surrounded and oppressed—thereby deepening their understanding of the complex emotions between parents and children that the work examines. So, what does true care look like through a child's eyes?Author: Guo ChunleiWork Title: MindscapeInstructors: Ma Zhiqiang, Cheng Kemei, Liu XiaoWork Information: VariableWork Material: Mixed MediaGuo Chunlei's Mindscape takes "the vanishing childhood spaces" as its entry point. In the rapidly developing urban environment, the living scenes of childhood often fade away quietly. These spaces not only carry memories but also relate to an individual's emotions and identity. Starting from the word "mindscape", the short film tells how the protagonist hears sounds from the past through a conch shell, enters the inner world of the mind, salvages memories, constructs a childhood residence within the conch, and immerses herself in it, only to be washed back to reality by the waves in the end. She hopes to express the themes of nostalgia and growth through this film, and explore how individuals face loss and seek themselves amid changes.Author: Liu XinyiWork Title: Short NailsInstructors: Cheng Kemei, Xu Tong, Jin JunWork Information: Frame-by-frame hand-drawn 2D animation, 16:9In her animation expression, Liu Xinyi has chosen a warm yet slightly melancholic artistic style to better convey the thematic emotions. Throughout the entire storyline, in addition to the obvious clue of nails, the phrase "like mother" serves as a hidden thread of the story, continuously emphasizing the relationship between the daughter and her mother. The ending of the work is open-ended, as the author hopes to guide the audience to interpret the love, conflicts, growth, and understanding between mothers and daughters from multiple dimensions.Author: Li HangInstructors: Chen Ke, Liu Qing, Shen Hongbiao, Du YingqiWork Material: Wool, Yarn"The Immanence of Self-Nature" refers to the exploration of the potential of one's inner true self, and symbolizes the integrity and richness of the individual mind. In simple terms, just as a seed contains infinite vitality, waiting for the right moment to bloom: the sugar palm appears unreserved and powerful; the blue cowrie shell lies on the ground in a tender, languid posture; the central ginkgo nut is plump and unassuming; the Sterculia foetida presents a shape of tolerance and support... Similarly, for children, each person has different innate natures and potentials, and individuals will unleash unique brilliance and strength. In this endless cycle, we can respect differences, accept ourselves, and let the unique "self-nature" collectively construct a world full of vitality and diversity.Author: Xiao XinyeInstructors: Cheng Kemei, Wang Liming, Ma ZhiqiangWork Title: Tang YingTang Ying is a film with a relatively unique theme. Inspired by the director's childhood experiences of living in their hometown and the dreams they had due to fear of the dark, this experimental 2D narrative film explores how the lack of security among left-behind children—caused by the absence of parental companionship in their original families—can be expressed through an artistic cinematic perspective. In the story, when Xiao Tang is sent to the countryside by her parents, her grievance stems not only from the physical relocation but also from the break of emotional bonds. According to Bowlby's attachment theory, emotional deprivation during childhood can lead to persistent psychological voids. Data from the National Bureau of Statistics in 2023 shows that there are approximately 5.89 million left-behind children in rural China—a huge group in which the emotional complexities of individual cases behind the numbers are rarely seen. The author intends to use the unique metaphorical power of animation to present this "invisible trauma"—like the "shadow" that looms in the dark—and hopes to draw attention to the "invisible wound" of parental absence in original families, allowing the emotions folded within statistical figures to "stand upright and walk again" in the light and shadow.Author: Chen XuanInstructors: Xu Tong, Hai Jun, Zhang MingguanWork Title: Companionship · RockIn the exhibition hall, there are also toy products specially designed for kindergarten children. The author Chen Xuan hopes to help children alleviate the separation anxiety that generally occurs when they first start kindergarten. At the beginning of the design, based on the research results combining online and offline methods, the design integrates artificial intelligence algorithm simulation with children's preferences to create a series of symbolic stress-relief toys that can be used in different scenarios to alleviate separation anxiety. Studies have found that most children enjoy touching rocks and hugging fluffy items, as this gives them a corresponding feeling of warmth and being wrapped. Therefore, the main body of the toy is designed to resemble a rock-climbing column and rock wall. The choice of toy colors is also based on children's developmental characteristics and research results. Small desktop toys are designed based on items familiar and interesting to children, such as clocks, kaleidoscopes, and common foods in life, such as potato and celery root cut surfaces.Dear big friends and little friends,Do you like these works?This Children's Day,We are at the Central Academy of Fine Arts,Protecting all unfinished fairy tales!| Friendly Reminder |The undergraduate graduation exhibition (first phase) of the Central Academy of Fine Arts will close on June 3. Don't miss it if you haven't visited yet!Reservation Channel2025 CAFA Graduation SeasonCAFAM@ 2025The online reservation and ticketing channel for the 2025 CAFA Graduation Season is now open. Visitors can make reservations and purchase tickets through the CAFA Art Museum mini-program, WeChat official account, or official website (for ticketing instructions, please refer to the official website). The number of daily visiting slots is limited and will be filled on a first-come, first-served basis. During the Graduation Season, the museum will be open as usual on Mondays.When making a reservation, valid identification documents must be used for real-name registration. Each person can only make one reservation per day. After successful reservation, visitors should arrive at the specified time. During the Graduation Season, visitors can enter the museum by swiping ID cards at the dedicated ticket-checking channel at the north gate of the Central Academy of Fine Arts.Chief Editor / He Yisha Editor / Du Yinzhu
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毕业季·VIP之夜|从创意到公益:共鉴品牌的艺术使命

2025-05-30

5月22日,值“2025中央美术学院毕业季”系列展览启幕之际,中央美术学院美术馆与金投赏商业创意奖特别策划“从创意到公益:品牌的艺术使命”毕业季VIP之夜沙龙活动。本次活动中,来自Intel、智联招聘、西贝、微软、58同城、雀巢、宏盟集团、李奥贝纳、蓝色光标、180、TOPic & Loong、巨量引擎、可灵、人民网、人民大学、北大光华等品牌企业、代理机构、学术院校的五十余位VIP嘉宾,共同探讨品牌与艺术的融合路径。活动现场活动伊始,在静谧且充满灵感的展厅中,嘉宾们由馆方讲解专员与优秀毕业生共同引导穿梭于“逐光而行”展览现场,近距离感受青年创作者们在艺术语言、材料运用、社会关怀等方面的多样探索。参观现场中央美院美术馆副馆长海军发表热情洋溢欢迎致辞,围绕中央美术学院和美术馆的发展历程、教育使命与美术馆藏品、展览、艺术与品牌、会员与社区等美术馆的可持续化合作发展进行分享。海军指出中央美术学院美术馆不仅是学术成果的展示平台,更是文化传播与社会参与的重要载体。面对新的媒介环境与公众期待,美术馆正积极探索与品牌、企业的跨界合作模式,以“内容+渠道+体验”构建多维艺术美育生态与社区,激发艺术的公共价值与潜能,由“我”到“我们”,在公益合作中实现价值共创。中央美术学院美术馆副馆长海军作主题分享金投赏创始人贺欣浩发表了题为“艺术与品牌的共生之夜”的分享。他以多个品牌跨界合作案例为例,深入剖析艺术在品牌价值塑造、文化资产升级中的独特力量。贺博士指出,真正具备生命力的品牌,其背后往往拥有强有力的文化叙事,而美术馆正是这一叙事的天然策源地。他提出未来企业与艺术机构之间将不再是单向赞助关系,而是共创共融、彼此赋能的合作共同体。金投赏创始人贺欣浩作主题分享在自由交流环节,嘉宾们围绕“如何让艺术走进生活”“艺术机构如何参与品牌共建”“青年创作如何进入市场”等话题展开热烈讨论。来自品牌方代表、策展人、文化投资人等均表示,毕业季VIP之夜不仅带来了高质量的艺术观展体验,更促成了艺术与产业之间的深度交流与互动赋能。夜幕下的对话:共建文化新场域中央美术学院美术馆未来也将持续发力,围绕艺术推广、公共教育拓展、会员与社区建设、文创合作及跨界合作机制,构建面向未来的文化创新网络,推动“美育+品牌”生态的多向生长。主编 / 何一沙责编 / 杜隐珠
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应金飞:数字时代下艺术、教育与美术馆的深度探索 | 2025CAFAM学术季

2025-05-30

浙江美术馆馆长 应金飞浙江美术馆应金飞馆长在“文化引擎——中央美术学院国际美术馆高峰论坛”中以“数字时代审美是第一生产力”为主题,分享了浙江美术馆在数字艺术展览和跨领域对话中的实践,并指出审美教育对人格培养的重要性,呼吁打破教育功利化倾向,通过日常审美活动促进学生全面发展。演讲揭示了数字时代下美术馆在艺术创新与教育融合中的关键角色,为行业提供了虚实共生与人文价值平衡的新思路。1.数字艺术展览的实践与探索在数字艺术展览实践方面,浙江美术馆展现出积极的探索精神。自2016年起,东方智慧系列展览就将中国的传统文化与数字智能相融合,为后续的数字艺术展览积累了经验。2018年启动的“南山138”项目,每年举办四个青年艺术家展览,其中一半以上涉及数字艺术,为青年数字艺术家提供了展示平台,也推动了数字艺术在美术馆展览体系中的发展。2021年的“平板向度”展览更是突破传统绘画观念的束缚。传统绘画多在纸或布上进行,而该展览提出在玻璃等新载体上绘画的概念,拓宽了艺术创作的边界,体现了对数字技术发展下艺术创作新形式的大胆探索。2023年,借助杭州亚运会将电子竞技纳入竞赛项目的契机,美术馆以“博弈”为主题举办数字艺术展。“博弈”蕴含着中国传统哲学中关于人与人、竞争与相容关系的深刻内涵,将这一概念引入数字艺术展,不仅赋予展览文化底蕴,还为观众带来全新的艺术体验,展示了艺术与科技融合的独特魅力。此外,浙江美术馆还针对不同主题的数字技术展开讨论对话。在“平板向度”的讨论中,邀请了浙大潘云鹤教授等来自不同领域的专家,涵盖艺术理论与纯科技领域。尽管在交流过程中发现文化与科技融合存在诸多困境,各领域专家各抒己见,难以达成深度共识,但这种跨领域的交流为后续探索艺术与科技融合的有效路径提供了参考。2.教育中的审美问题与挑战演讲的另一重要部分聚焦于教育中的审美问题。应金飞馆长从对1500年这一特殊时间节点的研究切入,指出其在历史发展中的重要意义,为后续探讨当下教育问题提供了历史背景。当下教育存在诸多问题,在能力培养方面,过于注重解题能力,忽视了学生提出问题的能力,这对学生原创思维的发展极为不利。在教育理念上,实用主义盛行,人们过多关注事物的实用性,而忽视了哲学、思维和思想层面的培养。在教育评价中,考试侧重记忆力考查,对学生想象力的培养和考查不足,同时标准化教育模式抑制了学生的差异化发展。这些教育问题带来了一系列负面影响,如学生心理健康问题凸显。浙江政协会议中提到,浙江高中生抑郁症比例达40%,小学生达10%,这一数据警示我们现行教育模式存在的弊端。应馆长认为,审美不应仅仅局限于增加几门艺术课程,而应是一个系统性的人格建设和培养过程。在孩子三观形成的关键时期,审美教育涵盖了思想建设、日常生活技能培养等多个方面,如教孩子如何得体地穿着、与人有效交流、正确化妆等。这些看似琐碎的日常审美问题,实则对学生的个性化发展至关重要。然而,现实中这些日常审美行为往往受到限制,应馆长主张开放日常审美,鼓励学生在个性化发展中自由探索,培养独立思考和表达的能力。3.美术馆的应对举措与未来展望基于对教育审美问题的深刻认识,浙江美术馆积极探索自身在教育体系中的角色和作用。从去年开始,美术馆引进教育系统,开展一系列与日常生活相关的教育活动,如教人们如何穿衣服、交流等。通过这些活动,美术馆不仅为观众提供了学习生活技能的平台,更重要的是传播了一种审美理念,引导人们关注日常审美,促进个人在思想和认知层面的成长。演讲嘉宾介绍应金飞浙江美术馆馆长,二级教授,博导,获浙江省宣传文化系统“五个一批”人才,省“万人计划”人文社科领军人才,享国务院政府特殊津贴专家。中国民主促进会中央委员,浙江省政协委员,浙江省文史研究馆馆员,浙江省人民代表大会常务委员会咨询专家。中国美术家协会理事,中国博物馆协会美术馆专委会理事,中国美术家协会水彩画艺术委员会副主任,浙江版画院院长。 ∨主编 / 何一沙责编  / 杜隐珠文字整理 / 汪若溪编辑 / 丰凯梓奇
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国家艺术基金2025年度传播交流推广项目 |《新中国设计的诞生:艺术设计作品巡展》启幕

2025-05-30

2025年度国家艺术基金传播交流推广项目“新中国设计的诞生:艺术设计作品巡展”首站于 2025年5月23日下午14:00在鲁迅美术学院(大连校区)艺术博物馆隆重启幕。展览获评为2025年度国家艺术基金“传播交流推广”资助项目。鲁迅美术学院副院长赵璐、中央美术学院院长助理潘承辉,以及国家艺术基金监督专家,两校相关部门、院系负责同志,共同参加开幕式。本次巡展旨在系统梳理20世纪40至50年代新中国设计的发展脉络,聚焦中国现代设计的起源与建构、设计教育体系的历史演进,以及民族风格的形成机制。通过对关键设计作品与历史档案的整理与再现,展览试图推动中国设计史研究的理论建构与话语体系创新。在学术探索之外,展览亦承担重要的公共文化使命:一方面,借助设计实物的呈现激活集体记忆,彰显设计在社会建构与国家发展中的介入性价值;另一方面,通过展览叙事构建公众对话空间,拓展大众对设计文化的认知维度,激发社会共鸣与文化认同。今年正值中国人民抗日战争暨世界反法西斯战争胜利80周年,在这个特殊的时刻,我们尤需回望那段国家艰难起步、人民团结奋进的历史。本次展览聚焦1945至1959年这一建构新中国视觉体系的关键时间节点,精心甄选了二百余件珍贵作品,涵盖了从国徽创意稿、人民大会堂设计图稿到八大重点城市规划图、再到解放牌汽车设计稿与经典书籍装帧等多个领域,完整勾勒出新中国设计从革命语境向建设语境转型的范式演进。这些作品不仅见证了中国社会从动荡走向新生的历史进程,更凝聚了设计师们对国家命运与人民生活的深情投入。张仃、周令钊、张光宇、梁思成、林徽因、常沙娜等一代设计先贤,凭借坚定的信念和卓越的才华,深刻诠释了“设计”作为公共事业的文化价值与时代使命。他们以实际行动告诉我们:设计绝不仅仅关乎形式与技术,更深深植根于民族精神、社会理想与国家建设的伟大事业之中。此次巡展不仅成为一场艺术与设计的盛会,更能成为连接历史与未来、理想与现实的思想平台。期待这批承载着共和国集体记忆的设计档案,在文明互鉴的时代语境中彰显中国设计的现代性价值,激发青年群体的文化认同与时代担当,为中华民族现代文明的建构注入持续的精神动能,为中国设计走向世界贡献坚实而深远的叙事支点。林茂全国政协委员、中央美术学院院长、展览总策划中央美术学院院长助理潘承辉代读林茂院长致辞鲁迅美术学院副院长、展览总监、特邀策展人赵璐谈到,值此延安文艺座谈会召开83周年之际,《新中国设计的诞生》全国巡展在鲁迅美术学院启动,以设计为媒叩问历史与未来的深层对话。展览通过文献、实物与影像的立体呈现,重审设计的社会责任:从国家形象塑造到民生改善,从工业体系建构到文化认同培育,设计始终是嵌入国家治理的实践力量。面对数字化时代的文化重构,如何在传承中创新、在服务中坚守人民性,仍是当代设计教育者与实践者的核心命题。此次与中央美术学院的深度合作,开创了跨地域学术协同的新范式。两校在策展理念、研究方法与资源共享层面的多维联动,不仅成就了展览的学术高度,更拓展了艺术设计教育合作的新路径。期待这场历史与现实的对话,能激发新时代设计工作者对文化使命的再思考,以创新之力续写中国设计的时代篇章。鲁迅美术学院副院长、展览总监、特邀策展人赵璐致辞清华大学人文讲习教授、展览学术顾问杭间表示,作为国家艺术基金资助项目的重要实践,本次巡展具有非同一般的学术价值与社会意义。策展研究系统梳理了1949年以来新中国设计的发展脉络,不仅为审视20世纪中国设计发展史提供了全新视角,更清晰呈现了中国设计与世界设计体系的互动演进关系。策展团队通过系统性文献整理与珍贵原始作品的发掘,构建起兼具学术深度与历史厚度的展览框架,其呈现的诸多首次公开的档案资料与历史实物,为设计史研究提供了关键性的实证支撑。该展览对青年一代的设计教育与实践发展具有重要启示意义,期待其成为激发设计创新、培育文化自觉的学术引擎。清华大学人文讲习教授、展览学术顾问杭间致辞中央美术学院美术馆副馆长、展览执行总监高高提及本次展览源于央美美术馆与设计学院联合开展的专题研究,聚焦1940-1950年代社会巨变背景下,或由国家统筹组织,或由经济需求推动,围绕国家形象塑造、城市规划、生产建设、人民生活等方方面面。从“设计”这一行为在理念和实践层面的种种表现中,可以看到当时的设计工作者是如何从悠久的文化传统中汲取灵感,如何从其它国家的优秀设计成果中借鉴有益经验的。希望通过对新中国设计的初创历史的研究与梳理,能为中国当代设计探索民族化的设计语言,加强中国设计的文化认同,提供学理的和视觉的参考与启发。中央美术学院美术馆副馆长、展览执行总监高高致辞鲁迅美术学院人文学院(大连)院长兼直属党支部书记、艺术博物馆馆长王雄表示,本次展览为鲁迅美术学院与中央美术学院合作的年度学术大展,全景呈现1945-1959年间新中国设计成就。在鲁美大连校区设计专业毕业季开展之际,通过经典作品与青年创作对话,引导学子传承设计服务社会的初心,探寻创新与传统的平衡点。展览既是对设计初心的致敬,亦是以美育赋能社会的实践。鲁迅美术学院人文学院(大连)院长兼直属党支部书记、艺术博物馆馆长王雄致辞中央美术学院美术馆设计部主任/总监,展览项目负责人、策展人纪玉洁表示,在纪念毛泽东《在延安文艺座谈会上的讲话》发表83周年之际,“新中国设计的诞生”全国巡展首站于鲁迅美术学院启幕,意义非凡。这场跨越时空的对话,以1940-1950年代中国社会变革为背景,通过200余件实物、图像与文献,全景展现中国现代设计初创期的多维图景。此次展览不仅是历史回望,更引发学术思辨:通过设计现代性转型、民族风格生成机制等议题,拓展设计史研究维度。同时以鲜活的工业档案与民生设计案例,展现物质匮乏年代设计工作者的文化自信与创造智慧,为当代设计提供历史参照。这场连接鲁艺精神与新时代美学的巡展,既是对设计初心的致敬,亦是以史为鉴探索中国设计主体性的文化实践。中央美术学院美术馆设计部主任/总监,展览项目负责人、策展人纪玉洁本次展览由鲁迅美术学院张儒赫老师担任主持人嘉宾合影开幕导览展览现场第一板块前进前进第二板块视觉革命第三板块积极的工业化第四板块人民的时尚第五板块民族 科学 大众| 展览信息 |国家艺术基金2025年度传播交流推广项目新中国设计的诞生:艺术设计作品巡展(鲁美站)展览时间:2025年5月23日- 6月30日展览地点:鲁迅美术学院艺术博物馆一层展厅主办单位:中央美术学院 联合主办单位:鲁迅美术学院 承办单位:  鲁迅美术学院中英数字媒体(数字媒体)艺术学院  鲁迅美术学院艺术博物馆  鲁迅美术学院人文学院(大连)  鲁迅美术学院图书馆  鲁迅美术学院科研创作处 协办单位:中央美术学院美术馆 支持单位:中央美术学院图书馆  中央美术学院设计学院  中央美术学院人文学院  四川美术学院设计学院  中国美术学院国际设计博物馆 总策划:徐扬、林茂、许金龙特邀顾问:常沙娜学术主持:吕品晶学术顾问:杭间、许平、蒋兴旺 展览总监:赵璐、胡秉文、赵双丽展览执行总监:王雄、靳军,韩文超,海军,高高展览统筹:庄革发、宋喜珍、陈亮、韩立萍、刘红日、林涛、张超、魏强、代刚 项目负责人:纪玉洁策展人:周博、纪玉洁特邀策展人:赵璐联合策展人:张儒赫 展览文献:刘春芽、徐恺、吴炜、杨欣欣、夏晴、孟楠展览联络:姜奕彤、宋广欣、王抒婧、刘璐、张思梅、方美乔展览助理:谢书旖、凌晨、于明慧、黄心仪、许梦伊、陈珊珊、王轩逸、王思冬、党贝贝、林峥琪、巩孝天、朱晨菲、李怡欣、贾茜茜、王艺臻巡展策展助理:张倩媛、张良铭、陈家怡主编 / 何一沙责编 / 杜隐珠编辑 / 丰凯梓奇
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这个端午,在央美,“粽”享毕业季 | 国画创作特辑

2025-05-29

当石青赭石在宣纸上苏醒,当水墨氤氲浸染端午诗情,央美中国画学院的毕业生在千年文脉的长河中划出笔墨语言的涟漪。“意”是中国画之根本,象生于言,意生于象,立象以尽意,得意而忘象。这个端午不打烊,我们邀您走进展厅,在言——象——意的递进与互动中,探求中国画的生息源泉,看传统丹青如何包裹"与粽不同"的时代新意。
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Child Public Education Reservation Form

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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.

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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