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.

: 活动招募 | 跟随导览漫步“冉冉晨城”，参与首都图书馆创意工坊

2025-05-08

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

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

2025-05-06

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

: 展览导读 | “冉冉晨城”艺览：穿越时空的北京艺术叙事

2025-05-06

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

: 今日立夏

2025-05-05

今日立夏
More

: 无疗愈，不艺术｜央美毕业季的观看指南

2025-05-05

今天恰逢五四青年节的到来，此篇推送将通过2025中央美术学院研究生毕业展的多幅作品，展示当代青年多维度的精神图景——这里没有标准答案式的治愈鸡汤，而是构筑起一个充满共情与诗意的窗口。从旧的“玩具小象”对于“希望”的重新赋予，到“理想之地”的具象化表达；从可触摸可“躺平”的软雕塑到用家人旧照片为媒介创作的花丝镶嵌；从探讨生命、记忆虚幻本质的泡沫雕塑装置到万物皆流、一瞬永恒的时空叙事。这些作品不是高高在上的艺术宣言，也不是轻飘飘的情绪安慰剂，而是用跨学科的创作、沉浸式的互动与细腻的表达，为人们营造了一个“艺术疗愈”空间。01回望与希望“希望”是人类精神世界最微妙也最强大的存在之一，这幅作品将“希望”与“陈旧玩具”联结，当旧玩具被从垃圾桶或阁楼重新拾起时，它的“复活”隐喻着希望的韧性——破败的外表下，仍有被重新赋予意义的可能。这组雕塑描绘的并非是现实中真实的牧场景象，更像是一种作者对“理想之地”的具象化表达。在“静地之上”，万物平等，各自为生，互不打扰。这些小动物们不是工具，也不是点缀，它们有名字、有情绪、有姿态，在那个地方，关系被重组，万物不再按功能与归属被分类，而只是平等地存在着，自由地活着。02感受与重塑在作者塑造的白银世界中，一生不被衰老和生计所扰，得以一直保持孩童般的无忧无虑。有时候会感觉生活突然变得矛盾，而大家都在矛盾中重复着一些东西，重复渐渐成了规矩，并且无法摆脱。作品表现了一成不变的“生”和挥之不去的阴影的“活”结合在身体和心理上的感受。尝试触摸它、拥抱它，会有不同的心灵体验。作者在家中发现了很多照片，它们自然带着时代的滤镜，诉说不同的人物在各个时期的故事。而花丝镶嵌工艺制作的首饰或器物中都是蕴含叙事性的，纹样符号的隐喻叙事、丝型结构的空间叙事再到题材故事。填丝的过程是治愈的过程，也是和遗憾和解的过程。03虚幻与瞬间此雕塑作品以材料的脆弱性与短暂性为核心，探讨了生命、记忆的虚幻本质。泡沫易逝的形态隐喻存在的无常，而透明质感则暗示表象与真实的矛盾。观众可介入触碰或观察其光影变化，从而参与对“消亡与创造”的思考——在美丽与崩塌的临界点，揭示永恒与瞬息的辩证关系。此雕塑作品以材料的脆弱性与短暂性为核心，探讨了生命、记忆的虚幻本质。泡沫易逝的形态隐喻存在的无常，而透明质感则暗示表象与真实的矛盾。观众可介入触碰或观察其光影变化，从而参与对“消亡与创造”的思考——在美丽与崩塌的临界点，揭示永恒与瞬息的辩证关系。2025年的中央美院毕业季还有很多精彩的作品等你探索，它们没有故作深沉的宏大叙事，只有对生命皱褶的温柔注视。当艺术成为普通观众触手可及的自愈工具，这场展览本身便成为一代青年人的精神镜像：我们或许易碎，但拥有重新拼凑自我的勇气。当然，真正的疗愈永远始于观展后走出美术馆大门的那一刻——当你带着修复过的自己重新走进生活中，那才是艺术开始生效的瞬间。主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞部分图片来源于网络
More

: Wang Shaoqiang: The Multidimensional Interaction between Art Museum Construction and Urban Development in the New Era - Reflections Based on a Decade of Practice at the Guangdong Art Museum 2025 CAFAM Academic Series

2025-05-04

Wang Shaoqiang, Director of Guangdong Art Museum「Recently, at the "Cultural Engine — International Art Museum Forum of the Central Academy of Fine Arts," Wang Shaoqiang, Director of the Guangdong Art Museum, delivered a keynote speech titled "Carrying Forward the Past and Forging the Future: Art Museum Construction and Urban Development in the New Era." In his speech, he summarized the decade-long journey of the Guangdong Art Museum—transforming from a professional collection institution into a public cultural platform, and from an art exhibition space into a living room for urban ideas —condensing the transformative trajectory of China's art museum cause.」01.The Era Mission of Art Museums as Cultural HubsIn his speech, Director Wang Shaoqiang weaves a decade of professional experience to outline the magnificent landscape of China's art museum development. The opening of his speech is not merely a retrospective of his personal career but also a reflection of the collective journey of Chinese art museums transforming from professional institutions to public cultural platforms. As a cultural witness at the forefront of China's reform and opening-up, the practice of the Guangdong Museum of Art holds typical significance—from its historical birth in 1997 alongside the Guan Shanyue Art Museum and He Xiangning Art Museum to its leapfrog development with the completion of a 90,000-square-meter new venue in 2023. Its experiences provide a rich case study for exploring how art museums can respond to contemporary needs and drive urban cultural upgrading.02.Continuation in Historical Dimension:Combing and Reconstructing Academic ContextsThe decade-long practice of the Guangdong Art Museum begins with a deep excavation of Chinese art history in the 20th century. The Director particularly emphasized research on the transformative period of Chinese painting (1920s-1930s), and this academic positioning is by no means accidental. In the development history of public art museums, the systematic collation of local art traditions constitutes the foundation of institutional legitimacy. Through a series of projects such as the century-long combing of "From Embroidery to Guangzhou Fine Arts" and the thematic research on "Chinese-Style Landscape," the museum has constructed an academic framework connecting regional characteristics with national narratives. This strengthening of historical consciousness has formed a unique cultural identity in the globalized context and also provided a reference system for subsequent contemporary art practices.The application of case study methods is particularly noteworthy. The thematic exploration of photographic media and the systematic collation of annual artists reflect the museum's micro-level grasp of the art ecosystem. This research approach of "gaining insight from subtle clues" avoids the emptiness of grand narratives while revealing the internal laws of art development through specific artistic phenomena. In the digital wave, the Guangdong Museum of Art's research on the conservation and activation of traditional materials such as calligraphy and painting on paper and bronze media further embodies contemporary thinking about material cultural heritage.03.Exploration of Institutional Innovation:The Biennial Model and Spatial ExperimentsInnovative practices in large-scale exhibition mechanisms constitute a highlight of the Guangdong Art Museum's experience. The biennial exhibition system, which originated in Sanyuanli, Guangzhou, has built a public influence reaching 600,000 to 800,000 visitors through three to four editions of continuous exploration. This internationally recognized exhibition model has been reinvigorated within the local context: on the one hand, it maintains academic intensity through a "three-month exhibition period" to control pacing; on the other hand, it leverages diverse entry points such as technology, culture, and social phenomena to transform exhibitions into platforms for intellectual discourse. What is particularly commendable is that each biennial exhibition emphasizes the curatorial philosophy of "raising questions," enabling the exhibitions to transcend the mere display of artworks and evolve into collective reflections on the present and future.The innovation in spatial concepts is equally striking. Guided by the practical philosophy of "static architecture, flowing space," the museum continuously creates "defamiliarization" experiences through means such as lighting design and exhibition innovation. This dynamic spatial narrative breaks the static impression of traditional art museums, transforming the exhibition-viewing process into a journey full of discovery. In the planning of the 90,000-square-meter new venue, spatial experiments will gain a larger stage, and how to balance architectural scale with humanistic dimensions will become a crucial topic testing the museum's wisdom.04.Practice of Functional Expansion:From Restoration and ConservationThe trend of diversified functions is fully demonstrated in the Guangdong Art Museum. Beyond regular exhibitions, its hidden restoration system meets national standards, and the introduction of interdisciplinary knowledge such as materials science and energy management reflects the expansion of professional depth. The achievements in public education are equally remarkable: the regular holding of international forums has made the museum a node for knowledge production and dissemination. These "invisible efforts" precisely form the cornerstone of the museum's professionalism and are also the key features that distinguish it from ordinary exhibition spaces.The digital transformation strategy demonstrates forward-looking vision. The standardization and digitalization of the collection system not only enhance management efficiency but also activate collection resources through means such as digital exhibittions. Guided by the concept of "activation," cultural relics conservation and contemporary display form a virtuous cycle, providing a paradigm for the creative transformation of traditional cultural resources.05.Deepening UrbanInteraction:Museum-City Symbiosis in the Context of the Greater Bay AreaThe completion of the new venue marks the Guangdong Museum of Art’s entry into a brand-new development phase. With a total area of 90,000 square meters, it not only achieves a leap in scale but also confronts the epochal proposition of constructing the Guangdong-Hong Kong-Macao Greater Bay Area. The Director’s reflections touch on the essence of the relationship between art museums and cities: In the strategy of regional coordinated development, how can cultural facilities transcend geographical boundaries to form a radiation effect? Especially in less-developed regions, the establishment of an art museum not only embodies cultural inclusiveness but also requires vigilance against the risk of creating a "cultural enclave."The "Guangdong-Guangxi positioning" of the Guangdong Art Museum demonstrates the wisdom of regional linkage. Through six years of continuous cross-provincial cooperation projects, the museum has broken down administrative barriers and established a culturally complementary resource network. This experience holds reference value for the construction of the Greater Bay Area—under the framework of "one country, two systems," how can art museums maintain academic independence while also serving as a catalyst for cultural identity?06.Challenges and ProspectsThe Theoretical Construction of MuseologyThe intention of "museology research" revealed in the speech points to the deep-seated needs of the industry's development. While China's art museum cause is thriving in practice, there is an urgent need to establish a localized theoretical system. The Guangdong Art Museum continuous improvement of its management system and research on the characteristics of art museums both reflect this sense of consciousness. In future development, how to balance academic pursuits with public needs, the guardianship of tradition with innovative drive, and local stance with international vision still requires sustained exploration.Talent strategy is another key point. Having experienced the transition from academia to art museum management, the Director particularly emphasizes the importance of interdisciplinary approaches and professional development. As the functions of art museums become increasingly complex today, building a team of interdisciplinary talent will serve as a guarantee for the institution's sustainable development.The decade-long journey of the Guangdong Art Museum encapsulates the transformative trajectory of China's art museum undertakings. From a professional collection institution to a public cultural platform, and from an art exhibition space to an urban "living room for ideas," its evolving role echoes the cultural needs of social development. The inauguration of the new venue not only bears witness to its phased achievements but also marks the beginning of future challenges. Under the vision of symbiosis and shared prosperity between art museums and cities, there is a need for more practitioners like the speaker—those who examine the present with a historical perspective and pioneer the future with an innovative spirit, so that art museums can truly become cultural beacons illuminating the urban spirit.Introduction to the Guest Speaker Wang ShaoqiangDirector of the Guangdong Museum of Art, Professor, Researcher at the second-level position in cultural relics and museology, PhD supervisor, and expert enjoying the special allowance from the State Council. He also serves as a Professor and PhD supervisor at the Chinese National Academy of Arts, a Council Member of the China Artists Association, President of the Guangdong Museum Association, and Vice Chairman of the Guangdong Artists Association.He has been selected for talent projects such as the "Guangdong Special Support Program" for leading talents in propaganda, ideology, and culture, and the cultivation target of Guangdong's "Ten-Hundred-Thousand" Project. He has been consecutively listed twice on the "China Art Power List," named a "Person of the Year" by National Art magazine, awarded the Artist Prize of the 22nd Naples Cultural Classic Award, the 14th Global Chinese Golden Star Award - Annual Focus Figure Award in 2023, and Italy's 2023 4th "Artistic Career Award." He served as the Chief Curator of the 2023 Chengdu Biennale, was named a "Lingnan Culture International Communication Envoy" in 2023, and was selected into the "Guangdong Literary and Art Masters Studio" of the Guangdong Federation of Literary and Art Circles in 2024.∨Chief Editor / He Yisha Editor / Du YinzhuText Compilation / Cao YuchenPhotography / He Yifei
More

: 春日喜讯 | “中央美术学院美术馆藏陈列——现代中国美术”荣获文旅部2024年度全国美术馆优秀展览项目

2025-04-29

近日，文化和旅游部发布了“文化和旅游部办公厅关于开展2024年度全国美术馆优秀项目评选工作的通知”，共评选出10个“2024年度优秀展览项目”，其中，我馆策划展出的“中央美术学院美术馆藏陈列——现代中国美术（1900-2000）”展览入选优秀展览项目名单。展览概况陈列现场长期陈列的推出，既是中央美术学院美术馆对经典馆藏探索、活化的重要探索，是对收藏研究工作的阶段性总结，也是对习总书记提出中国的美术馆要在高质量收藏、高水平利用、高品质服务上下功夫的指示的积极响应，更是对新时代美术馆核心价值的展示，是丰富与建构中国新时代的美术史研究物质呈现的努力。陈列现场“中央美术学院美术馆藏长期陈列”的呈现不仅是久远恢宏的艺术史的生动书写，更是学院教学实践的重要资源，承载着百年美院艺为人民的学术积淀，见证了中国美术教育筚路蓝缕的发展历程。陈列现场011900-1949021950-1976
More

: Whose Artistic DNA Is Stirred Again Upon Seeing This "Apple" In The 2025 CAFA Graduation Season? (Including Benefits)

2025-04-29

When the main visual image of the 2025 graduation season of the Central Academy of Fine Arts was released – a warm-colored apple surrounded by halos suspended in the void, this visually striking symbol instantly awakened the viewers' artistic memories. The theme of this year's graduation season at the Central Academy of Fine Arts is "Moving Forward in Pursuit of the Light". This imagery, which is both classical and modern, precisely expresses an inquiry into and reconstruction of the essence of art.The main image of this graduation season takes the object that every art student first comes into contact with as the carrier. Through the flow and smudging of the illuminated surface on the white plane, it implies that light is the foundation and prerequisite for all our observations and creations. The overall visual style is delicate and elegant, emphasizing that at a moment like the graduation season, the path we have traveled should illuminate the path ahead, and the continuous pursuit of art is always hidden in that beam of light attached to the object. This not only tears open the surface narrative of visual art but also metaphorically represents the spiritual core of contemporary art education.In an era where 1.7 trillion digital images are generated every second, the main visual of the 2025 CAFA graduation season, in a gesture of returning to simplicity, reconstructs the most basic modeling elements into a visual declaration full of a sense of the future. When viewers gaze at this luminous object suspended in the void – those eternal propositions about light and shadow, form, and concept are giving birth to new strength amidst a gentle ambiance.At the same time, many audiences have also expressed their opinions and unique insights into art on various self-media platforms. This interactivity has also reconstructed the social interpretation space of the image of this graduation season.Well,After seeing this shining apple,Whose artistic DNA has been stirred again?Leave your thoughts in the comment section.The comments from the top 10 viewers who receive the most likesWill each be awarded a ticket to the graduation season during the May Day holiday.Let's get close to the light, follow the light, and become the light.The 2025 CAFA graduation seasonIs waiting for your arrival!Chief Editor / He Yisha Editor / Du Yinzhu
More

: Official spoiler! More than 3,000 postgraduate works are gathered in the graduation season of CAFA

2025-04-28

In late April at the Central Academy of Fine Arts, the fragments of flower catkins float in the spring breeze. In the exhibition hall of the CAFA Art Museum, a group of young graduates are carefully infusing their passion, confusion, and expectations into their paintings bit by bit, shaping them into sculptures, and integrating them into the code. This graduation season of CAFA, titled "Marching Towards the Light", is quietly brewing like a silent storm at the end of spring.The artistic context, created by more than 500 master's and doctoral students, takes emotions, philosophy, and humanistic care as its foundation, deconstructing "Marching Towards the Light" into an artistic language that transcends time and space. Today, on the second day of the works' move-in, let's go deep into the front line of exhibition arrangement and unveil some spoilers of this mysterious event...Light serves as both a medium and a carrier of memory. When 532 graduates choose light as their vessel, this exhibition ceases to be an endpoint; instead, it becomes the first draft of countless possibilities. In 2025, we look forward to you "Marching Towards the Light" with us.Visitors can make reservations and purchase tickets through the WeChat mini-program, WeChat official account, or official website of the CAFA Art Museum (for detailed ticketing instructions, please refer to the official website). The daily number of visiting spots is limited and will be closed once fully booked. During the graduation season, the museum is 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 a successful reservation, visitors should arrive at the venue at the reserved time. During the graduation season, visitors can enter the museum through the special ticket access at the north gate of CAFA by swiping valid identification documents such as ID cards for ticket verification.Chief Editor / He Yisha Editor / Du YinzhuSome pictures are provided by students
More

: Jin Jun: The Integration Of The Virtual And The Real And Symbiotic Development Of Art Museums In The Post-digital Era | 2025 CAFAM Academic Series

2025-04-27

Jin Jun, Director of CAFA Art Museum「In today's era, the rapid development of technology is profoundly transforming every aspect of our lives, and the field of art is no exception. Recently, at the "Cultural Engine —— International Art Museum Summit Forum of the Central Academy of Fine Arts", Jin Jun, the director of CAFA Art Museum, delivered a keynote speech. With the theme of "The Integration and Symbiotic Development of the Virtual and the Real in Art Museums in the Post-digital Era", he deeply explored how art museums can achieve the integration of tradition and modernity, as well as the integration of the physical and the virtual under the impetus of the wave of technology. He also discussed the far-reaching impact of such integration on the development of art and the public's art experience.」01.Empowered by TechnologyTraditional and Classic ArtJin Jun first pointed out that traditional art museums, as spaces for the collection and display of art treasures, provide the public with an important venue to be influenced by art and understand different cultures. However, in the development of the art field, there are differences in the development speed among different regions and fields. The advancement of technology, especially the emergence of new media technology, has brought new possibilities for the display of traditional artworks, enabling them to break through the limitations of time and space and present themselves to the public in a brand-new look.The presentation of traditional art in an immersive digital virtual way is a typical practice of technology empowering traditional art. Through immersive digital means, audiences can experience artworks in the environment of a specific art museum in different places and feel the overall scale and details of the artworks in space. This new way of presentation not only gives the audience a more intuitive understanding of the artworks but also endows traditional art with new vitality. For example, with regard to the painting Listening to the Qin by the Song Dynasty in China, through the digital virtual method, the audience can interactively feel the humanistic thoughts and the humanistic spirit based on nature at that time, thus obtaining a deeper new experience. In addition, the re-creation of Chinese traditional artworks in a digital way has also been an important direction of exploration in recent years. This kind of re-creation incorporates modern cognitive understanding. Taking some traditional Chinese landscape paintings as examples, the presentation in a digital dynamic way makes these ancient paintings radiate new vitality and brings the audience a brand-new visual enjoyment.02.Digital Art under the Support of TechnologyNew FormsWith the continuous development of technology, new art forms are constantly emerging. Jin Jun mentioned that digitalization, the transformation of pixelated forms, colors, and new interpretations of tradition are all directions for the exploration of new art forms. For example, the digital dynamic sculptures created by Turkish artists, through digital means, enable the sculptures to show their unique charm in motion and bring new changes to the daily space. This digital dynamic art form not only presents a new look in the space of art museums but also plays an important role in public spaces.The advancement of technology has also brought new ways to interpret art forms. For example, by combining traditional machinery with digital sensing technology, novel art forms such as human-machine dance have been created. In the Beijing Media Art Biennale once held at CAFA Art Museum, European artists transformed human nerve commands through programming, enabling machinery to drive the human body into a dancing state. This unique artistic experience has given the audience a deeper understanding of the integration of art and technology.In addition, the integration of technology and art is also reflected in the combination of biological themes and dynamic art. In the Media Art Biennale in 2023, works related to ecological integration demonstrated the combination of technology and art through dynamic techniques, triggering people's ethical reflections on technological progress. At the same time, artists are also exploring participatory interactions between technology and traditional art, real-time rendering, and the construction of online exhibitions of traditional ancient art, etc., enabling the audience to appreciate the charm of traditional art through online platforms.03.From the Physical Space to the Digital Ecological EntityJin Jun further elaborated on the transformation trend of art museums from physical spaces to digital ecological entities. The development of digital technology has made it possible for a global art network to take shape. For example, the National Portrait Gallery in Washington presents the appearance of its museum through digital means, and Google Arts & Culture has created digital exhibition halls, allowing audiences to appreciate artworks from all over the world via the Internet. The construction of this digital ecological entity not only breaks the limitations of the physical space of traditional art museums but also provides a broader platform for the dissemination and exchange of art.Jin Jun further elaborated on the transformation trend of art museums from physical spaces to digital ecological entities. The development of digital technology has made it possible for a global art network to take shape. For example, the National Portrait Gallery in Washington presents the appearance of its museum through digital means, and Google Arts & Culture has created digital exhibition halls, allowing audiences to appreciate artworks from all over the world via the Internet. The construction of this digital ecological entity not only breaks the limitations of the physical space of traditional art museums but also provides a broader platform for the dissemination and exchange of art.In addition, digital technology is also used to enhance the audience's experience. For example, the application of VR technology enables the audience to experience artworks in a brand-new way. Director Jin Jun is leading the disciplinary team to cooperate with multiple institutions to explore how to use new spatial methods to construct a digital twin art museum space. This digital twin art museum space will take the physical art museum as the carrier and create a virtual space corresponding to the physical art museum through digital means, bringing the audience an art experience of the integration and symbiosis of online and offline.04. The Integration of the Virtual and the RealThe Present and the Future Finally, Jin Jun emphasized the importance of the integration of the virtual and the real. He mentioned that the integrated development of the original artworks and dynamic video works in the exhibition space of "Dreams in the Mortal World" is a typical case of the integration of the virtual and the real. In addition, in the VR display in the 798 Art Zone, visitors can walk around the zone while wearing VR glasses and experience the appearance of the digital space. This way of integrating the virtual and the real not only provides the audience with more options when appreciating artworks but also offers new ideas for the future development of art museums.In the post-digital era, the integration of technology and art has become an irreversible trend. Technology not only provides new means for the display and dissemination of traditional art but also gives birth to new art forms and artistic experiences. The transformation from the physical space to the digital ecological entity, as well as the direction of the integration of the virtual and the real, all paint a beautiful blueprint for the future development of art museums. We have every reason to believe that with the help of technology, art museums will be able to better fulfill their functions of cultural dissemination and art education, enabling more members of the public to appreciate the charm of art and feel the profound cultural heritage.Introduction of the Guest Speaker●●●●●●●●●●●●Jin JunDirector of CAFA Art Museum, Professor, Doctoral Supervisor; Dean of the School of Design and Arts, Beijing Institute of Technology. He has presided over a number of major design projects, including the design of the dynamic sports icons for the 2022 Beijing Winter Olympics. He has organized and planned more than 40 series of special art exhibitions under the theme of "Looking Back and Reflecting · Rereading the Classics", including the "Invitation Exhibition of Famous Chinese Painters in the 20th Century", etc. Recently, he has completed the creation and planning of digital immersive artworks, such as the "Equal Views in the Digital Realm: Exhibition on Traditional Art and Technological Research", as well as the planning of the "Immersive Art Design Exhibition of the National Centre for the Performing Arts: Art in Life" and the "Beijing Media Art Biennale", etc.∨Chief Editor / He Yisha Editor / Du YinzhuText Arrangement / Xu XiOn-site Photos / He Yifei
More

Child Public Education Reservation Form

*
Event name
*
Event time
*
Gender
Male

Female
*
*
*
*
*
*
Do you need any accessibility service?
Wheelchair service

Volunteer service

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

Submit

Adult Public Education Event Reservation Form

*
Event name
*
Event time
*
*
Gender
Male

Female
*
*
*
*
*
Do you need any accessibility service?
Wheelchair service

Volunteer service

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

Sumbit

Group Public Education Event Reservation Form

*
Event name
*
Event time
*
Group type
University

Institution

Group
*
*
*
*
Participating group type
Children

Youth

Adult

Seniors
*
*
Wheelchair service

Volunteer service

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

Submit

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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.