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.

: 请进来的油画——中央美术学院马克西莫夫油画训练班（1955-1957）教学成绩回顾展即将亮相！

2025-11-13

请进来的油画中央美术学院马克西莫夫油画训练班（1955-1957）教学成绩回顾展展览时间： 2025年11月15日—2026年1月3日展览地点：中央美术学院美术馆1层/3A/4层展厅主办单位：中央美术学院承办单位：中央美术学院美术馆作为20世纪中国油画发展历程中的重要篇章，马克西莫夫油画训练班（1955-1957）为中国油画艺术培养了一大批杰出人才，有力推动了油画艺术在中国的传播与发展，其影响深远，绵延至今。马克西莫夫在中国（中央美术学院档案室存）2025年恰逢“马克西莫夫油画训练班”开班70周年，为系统梳理并全面呈现这一历史事件的教学成果与学术价值，中央美术学院美术馆将于2025年11月15日至2026年1月3日举办“马克西莫夫油画训练班（1955-1957）教学成绩回顾展”。此次展览通过270余幅作品、100余幅文献与历史资料有机结合的展示，重现那段充满理想与探索精神的艺术岁月，彰显其历久弥新的文化意义。1955年油画训练班在京郊农村作外光作业1955年，油画训练班学员下乡出发（靳尚谊存）1955年底，马克西莫夫在指导作品（中央美术学院档案室存）康斯坦丁·麦法琪叶维奇·马克西莫夫（K.M.Максимов，1913－1993）1955年至1957年期间作为当时文化部特邀顾问，在中央美术学院设立油画培训班（简称“马训班”或“油训班”），自1955年4月5日开班，至1957年7月结业，期间共有21名学员入学，19名学员正式结业。所教授课程由马克西莫夫根据彼时苏联美术教育经验进行组织，从结构、外光等油画基础启蒙到表现现实生活和情感的主题油画创作。两年多的努力之下，学员创作面貌焕然一新，诞生了冯法祀《刘胡兰就义》、侯一民《青年地下工作者》、詹建俊《起家》、靳尚谊《登上慕士塔格峰》等一批影响广泛的毕业创作，标记了以人为本的现实主义油画创作在新中国发生发展的成果，既是中央美术学院油画教学的动人篇章，也是中国现代油画发展的关键一环。1957年，马老师在课上看汪诚一的毕业创作《信》（汪诚一存）1957年，毕业旅行写生途中在船上观摩马克西莫夫写生（中央美术学院档案室存）此次展览将以务求完整的宗旨，全面回顾“马训班”为期2年半的过程中师生教与学的历程和创作的成果，以此关照现实主义油画如何在新中国高等美术教育和创作领域迈开第一步，在新时代百舸争流之际，追溯中国油画的现实主义表达的源流，希望能够对深入思考中国油画创作与教学的当下问题与未来可能有所助益。马克西莫夫风景 69×49cm 布面油彩 1957年中央美术学院美术馆藏侯一民地下工作者 210×176cm 布面油彩 1957年中央美术学院美术馆藏詹建俊起家 140×348cm 布面油彩 1957年中央美术学院美术馆藏靳尚谊登上慕士塔格峰 180×270cm 布面油彩 1957年魏传义油画速写（出海） 49×65cm 布面油彩 1955年中央美术学院美术馆藏汪诚一远方来信 144×228cm 布面油彩 1957年中央美术学院美术馆藏袁浩长江黎明 154×283cm 布面油彩 1957年中央美术学院美术馆藏任梦璋摘苹果（三联之一） 120×75cm 布面油彩 1957年中央美术学院美术馆藏任梦璋摘苹果（三联之二） 120×75cm 布面油彩 1957年中央美术学院美术馆藏任梦璋摘苹果（三联之三） 120×115.5cm 布面油彩 1957年中央美术学院美术馆藏靳尚谊拄棍的老人王大爷 76.1×61.3cm 纸上铅笔 1955年中央美术学院美术馆藏何孔德人物侧面(局部） 17.7x12.4cm 1955年何孔德速写 17.7x12.4cm 1955年请进来的油画——中央美术学院马克西莫夫油画训练班（1955-1957）教学成绩回顾展展览时间： 2025年11月15日—2026年1月3日展览地点：中央美术学院美术馆 1层/3A/4层展厅主办单位：中央美术学院承办单位：中央美术学院美术馆总顾问：徐扬学术主持：林茂统筹指导：王晓琳吕品晶吴强潘承辉策展人：靳军曹庆晖策划总监：韩文超策展主持：高高海军策展执行：李垚辰王静设计总监：纪玉洁鸣谢：谌北新、靳尚谊、古安村、冯世光、高天雄、蔡国强、谌河、侯珊瑚、林琳、罗群毅、任绘、宋贤珍、田晓东、王雪青、魏星涛、武小川、武永凡、徐涤华、杨毅、张帆、詹滢、懋源泓斋文化、重庆华人当代美术馆主编 / 何一沙责编 / 杜隐珠现场图 / 张书豪
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: “场外 · 移动影像”即将开展 | 12位西班牙艺术家构建的视觉对话

2025-11-13

场外 · 移动影像展览时间：2025年11月14日-12月28日展览地点：中央美术学院美术馆三层B展厅主办机构：西班牙外交、欧盟与合作部西班牙国际合作发展署西班牙驻华大使馆中央美术学院美术馆深圳文泽创展文旅发展有限公司2025年11月14日，《场外 · 移动影像》展览将于中央美术学院美术馆三层B展厅开展。本次展览由西班牙外交、欧盟与合作部，西班牙国际合作发展署，西班牙驻华大使馆、中央美术学院美术馆，以及深圳文泽创展文旅发展有限公司联合主办；由当代艺术研究员苏珊娜·桑斯策展，汇聚了十二位西班牙艺术家，旨在为西班牙电影与当代艺术提供全新的解读视角。"场外"这一标题指向电影创作中的一种手法：画面之外的元素，反而决定了视觉体验的走向。展览通过四大主题板块，引领观众穿越西班牙视听艺术的历史与当代实践。从奠定西班牙先锋传统的重要电影导演——路易斯·布努埃尔、卡洛斯·绍拉、佩德罗·阿尔莫多瓦和维克多·埃里斯，到当今西班牙艺术与电影领域最具国际影响力的代表人物——阿尔伯特·塞拉、伊萨基·拉库埃斯塔、洛伊斯·帕蒂尼奥、卡贝略/卡塞勒、伊茨亚尔·巴里奥和帕特里夏·埃斯基维亚斯，再到运用新技术与人工智能进行实验性创作的艺术家——丹尼尔·卡诺加尔和安普罗·萨尔德。最终，展览在电影、影像艺术与装置之间构建了一场对话，邀请观众思考当代社会中影像的扩展属性：它不再仅仅属于屏幕，更已融入空间、记忆与观者自身。展览将持续至12月28日。展览活动预告本次展览邀请展览策展人、西班牙艺术家和中国的影像艺术家和学者们，围绕本次展出的精彩作品，展开关于中西影像艺术的对话。时间：11月14日（周五），下午2点地点：中央美术学院美术馆3层B展厅参与方式：请扫描下方二维码预约“ 部分参展作品ALBERT SERRA / 阿尔伯特 · 塞拉Bullfighting《斗牛术》202514’ISAKI LACUESTA / 伊萨基 · 拉库埃斯塔Strokes《笔触》20074’LOIS PATIÑO / 洛伊斯 · 帕蒂尼奥Metallic Shadow in the Dream《梦中的金属阴影》201822’ITZIAR BARRIO / 伊茨亚尔 · 巴里奥Robota MML《ROBOTA MML》202317’16’’CABELLO/CARCELLER / 卡贝略/卡塞勒A voice for Erauso .Epilogue for a Trans Time《为埃劳索而发声 · 跨性别时代的尾声》2021-2228’15’’PATRICIA ESQUIVIAS / 帕特里夏 · 埃斯基维亚斯Cardinal Cactus《卡尔东 · 卡迪纳尔》202038’AMPARO SARD / 安普罗 · 萨尔德Haptic Self-Portrait《触觉自画像》2021DANIELCANOGAR / 丹尼尔·卡诺加尔Orbital《轨道》2025场外 · 移动影像展览时间：2025年11月14日-12月28日展览地点：中央美术学院美术馆三层B展厅主办机构：西班牙外交、欧盟与合作部西班牙国际合作发展署西班牙驻华大使馆中央美术学院美术馆深圳文泽创展文旅发展有限公司策展人：苏珊娜 · 桑斯参展艺术家：佩德罗 · 阿尔莫多瓦、伊茨亚尔·巴里奥、路易斯·布努埃尔、卡贝略/卡塞勒、丹尼尔·卡诺加尔、维克多 · 埃里斯、帕特里夏·埃斯基维亚斯、伊萨基·拉库埃斯塔、洛伊斯·帕蒂尼奥、卡洛斯·绍拉、阿尔伯特·塞拉、安普罗·萨尔德主编 / 何一沙责编 / 杜隐珠
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: “馆藏大家谈”讲座回顾｜邵亦杨：“记忆的片段——马克·吕布的中国视觉”

2025-11-11

2025年10月30日下午，在中央美术学院美术馆举办了“流动的艺域——中央美术学院美术馆藏国际艺术交流研究展”系列学术活动“馆藏大家谈”的第三期：由中央美术学院人文学院副院长邵亦杨教授带来《记忆的片段：马克·吕布的中国视觉》（The Visions of China）。讲座由中央美术学院美术馆副馆长高高主持，同时出席的有中央美术学院美术馆策划研究部主任刘希言。“流动的艺域”展览联合策展人胡晓岚博士策划并参与了此次活动。此次讲座活动得到了中央美术学院研究生院的大力支持，也是中央美术学院研究生院“艺术与文化”系列讲座的一部分。中央美术学院美术馆副馆长高高主持了此次活动在这次讲座中，邵亦杨教授以马克·吕布（Marc Riboud，1923-2016）在中国拍摄的代表作为核心，探讨他如何在作品中构建自己眼中的中国视觉，并运用罗兰·巴特（Roland Barthes）的理论分析了其摄影作品中的“刺点”（punctum）。中央美术学院人文学院副院长邵亦杨教授在讲座现场法国著名摄影师马克·吕布的作品以人文关怀、敏锐的观察力和富有诗意的镜头语言著称，其摄影风格兼具纪实与抒情，善于捕捉日常瞬间中的情感与张力。马克·吕布于1953年加入玛格南图片社，他不仅是20世纪50年代首位获准进入中国拍摄的西方摄影师，还由此为20世纪中叶的中国留下了一组极具美学价值与历史意义的照片。讲座伊始，邵亦杨教授先是为听众简要介绍了摄影师马克·吕布，表明其在来到中国之前就享有国际声誉，作品不仅具有极高的艺术性，更以呈现充满政治色彩的时刻而闻名，比如越南战争和20世纪60年代美国的抗议活动等。图1，埃菲尔铁塔上的油漆工，法国，巴黎，马克·吕布，1953年，60×50cm，明胶银盐照片，中央美术学院美术馆藏图2，战神广场：红色铁塔，罗伯特·德劳内，1911年，160.7×128.6cm，布面油画，芝加哥艺术博物馆藏接着，邵亦杨教授从《埃菲尔铁塔上的油漆工》（Zazou Painting the Tower，1953，图1）这件摄影名作出发，阐释这件作品捕捉了一名油漆工在埃菲尔铁塔上进行高空作业的瞬间——他姿态轻盈、动作舒展，仿佛并非在工作，而是在歌唱或舞蹈。在这一被马克·吕布所定格的自然瞬间，油漆工呈现出近乎女性化的柔美舞姿。在埃菲尔铁塔这一现代地标建筑的映衬下，他展现了个人如何在高度规范化的工业结构中表达自身。这件摄影作品非常受欢迎，不仅被刊登在《生活》（Life）杂志上，还成为轩尼诗干邑（Hennessy cognac）的广告。邵亦杨教授结合巴特的摄影理论指出，摄影不仅是对现实的记录，更是一种艺术性的表达，或者说一种既定语言结构之外的自我言说。摄影作品中的埃菲尔铁塔作为一种“零度”（zero）建筑，以其裸露的铁架结构和穿透历史的视觉力量重塑了巴黎的天际线，也重构了人与城市之间的关系。与此同时，油漆工正是在埃菲尔铁塔这一既定框架之内实现了身体与情感的双重释放，就像巴特所说，“从埃菲尔铁塔上看到的全景，是一个既具有智识又令人狂喜的行动：它解放了身体”。而马克·吕布作品中油漆工的姿态所呈现的正是一个获得身心解放的人在不经意的瞬间所获得的自由喜悦的感受。邵亦杨教授在此还比较了法国抽象艺术家罗伯特·德劳内（Robert Delaunay）的《战神广场：红色铁塔》（Champs de Mars: The Red Tower，1911，图2），并表明这幅绘画与马克·吕布的摄影作品都象征着现代力量的崛起。图3，枪炮与鲜花，美国，华盛顿特区，马克·吕布，1967年，50×60cm，明胶银盐照片，中央美术学院美术馆藏另外，邵亦杨教授还关注到了《枪炮与鲜花》（Young Girl Holding a Flower，1967，图3）这件摄影作品，马克·吕布捕捉到了一位反越战游行中的一个重要的历史瞬间。照片中，一位手持鲜花的女孩挡住了一排手持刺刀的士兵。在这一刻，权力关系似乎发生了颠倒——女孩并不惧怕刺刀，而手持刺刀的士兵却似乎在女孩坚定的信念前感到了恐惧。这个女孩名叫简·罗丝（Jan Rose），尽管只有16岁，她却相信自己可以改变世界。在这件作品中，鲜花与刺刀形成了强烈的对比，情感张力达到极致。图4，广州1956，马克·吕布，1956年，60×50cm，明胶银盐照片，中央美术学院美术馆藏图5，延安1965，马克·吕布，1965年，40×50cm，明胶银盐照片，中央美术学院美术馆藏在讲述20世纪50年代马克·吕布的中国之行时，邵亦杨教授先是表明这位摄影师的动机早已超越了单纯对异国他乡的猎奇心理，而是像让-保罗·萨特（Jean-Paul Sartre）那一代左翼知识分子一样，看到“从一个中国到另一个中国”（D’Une Chine a L’Autre）的变化，他们认为，“我们都是相同的，都处于人类共有的状态之中”。在《广州1956》（图4）中，摄影师说他看到了一位来自中国乡村的女人所流露出的文化底蕴，而在《延安1965》（图5），摄影师则通过用近乎抽象的极简形式表现了毛泽东主席在延安的床，为观者呈现了这位政治人物所推崇的意识形态给世界所带来的乌托邦想象。图6，北京1957，马克·吕布，1957年，40×50cm，明胶银盐照片，中央美术学院美术馆藏图7，上海1957，马克·吕布，1957年，50×40cm，明胶银盐照片，中央美术学院美术馆藏随后，邵亦杨教授讲解了多件出自“北京1957”和“上海1957”两个系列的摄影作品，并表明这一时期马克·吕布的镜头主要聚焦于新中国空间政治和社会形态的转型，具体涉及到了故宫、央美雕塑课、文明标语和日常生活等题题材。在“北京1957”系列的一件作品（图6）中，马克·吕布拍摄了故宫雪景中伫立的解放军——故宫从只属于帝王将相的场所变为了普通人可以进入的公共场所。与之相对应，“上海1957”系列的一件作品（图7）中所呈现人头涌动的拥挤场景，和“人人养成不随地吐痰的好习惯”标语则既表明了劳动阶层在社会空间中崛起，又记录了新中国试图通过文明规训试图消灭阶级差异这一重大实践。图8，北京 1957，马克·吕布，1957年，50×40cm，明胶银盐照片，中央美术学院美术馆藏在接下来的讲授中，邵亦杨教授再次借用了巴特在《明室：关于摄影的沉思》（Camera Lucida: Reflections on Photography, 1980）所提出的“认知点”（studium）和“刺点”（punctum）两个概念，前者指的是摄影作品所表现和传达的信息，后者则强调个人的情感体验。就巴特自身而言，他在母亲儿时的照片《冬季花园》（Winter Garden）中所感受到的是一种只属于自己的、无法消除的个人情感，因此每当看到这张照片时，他都会反复感到情感的刺痛，仿佛受了内伤。邵亦杨教授通过“北京1957”系列中的一件摄影作品（图8）讲述有关个人的“刺点”，因为照片中所呈现出的三个孩子的童年状态勾连起了她自身关于匮乏年代的私人记忆和情感。图9，各种证件，马克·吕布，1955-1966年，出自《中国的旅程》（四川美术出版社，2024年6月第1版）第21页。图10，梅尔兹，库尔特·施维特斯，1920年，18.4×14.9cm，纸张拼贴，耶鲁大学艺术画廊藏。图11，南京1965，马克·吕布，1965年。图12，资产阶级的巨大垃圾，阿尔芒，1958年，65.5×40×8cm，玻璃箱内的生活垃圾，收藏地不详。在分析马克·吕布1965年重访中国的摄影实践时，邵亦杨教授指出，摄影师的镜头在高度统一的公共政治表象下，捕捉了个体存在与制度性框架之间的微妙张力。邵亦杨教授将马克·吕布对于自己证件照的拍摄（图9）和达达主义（Dadaism）艺术家库尔特·施维特斯（Kurt Schwitters）的《梅尔兹》（Merz，1920，图10）的作品进行了对比，摄影师通过相似的方式将大量的行政证件转化为具有诗意的图像，隐喻现实中行政权力对个体的规训，以及个人在艺术中诗意逃逸。与此同时，马克·吕布也并未放弃对社会现实的深入观察，他在“南京1965”系列中的一件作品（图11）用镜头拍摄了南京宿舍中体现“忆苦思甜”政策的简陋物品。邵亦杨教授将这件作品与欧洲的贫穷艺术（Arte Povera）家阿尔芒（Arman）的《资产阶级的巨大垃圾》（Grands Déchets Bourgeois，1958，图12）进行了比较，分析了它们在时空呼应。图13，上海 1971，马克·吕布，1971年，50×40cm，明胶银盐照片，中央美术学院美术馆藏。图14，黄山1980，马克·吕布，1980年。图15，故乡，赵无极，1957年，60×92.5cm，布面油画，收藏地不详。在邵亦杨教授看来，马克·吕布自20世纪70年代至21世纪初的中国摄影则始终以其敏锐的视角感知中国人的内心情感和社会现实：他在20世纪70年代通过“上海1971”系列的一件作品（图13）捕捉到了集体主义叙事下女性个体情感和梦想的流露；20世纪80年代拍摄的《黄山1980》（图14）与赵无极的《故乡》（Mon Pays，1957，图15）相呼应，映射出社会开放背景下中西文化的交融；20世纪90年代后则通过“深圳1992”（图16）和“上海2002”（图17）等系列作品聚焦于经济大潮下，社会历史的变迁。图16，深圳1992，马克·吕布，1992年。图17，上海2002，马克·吕布，2002年。讲座的最后，邵亦杨教授通过援引瓦尔特·本雅明（Walter BenJamin）的“星丛”理论和吉尔·德勒兹（Gilles Deleuze）的“情动”理论总结马克·吕布的摄影创作的历史意义。在她看来，马克·吕布的摄影作品以片段式方式呈现了历史。真实的历史并非存在于线性发展宏大叙述之中，而是闪现于记忆的星丛之中。马克·吕布的镜头所传达的不仅是视觉信息，更是可以被感受的情感经验，这种经验使我们能够与历史产生一种真实的对话。讲授环节告一段落之后，活动进入了互动交流环节。来自美院的同学和校外的听众纷纷提出了具有艺术思辨性的问题，并由邵亦杨教授一一作答解惑。此次讲座活动是展览“流动的艺域——中央美术学院美术馆藏国际艺术交流研究展”系列学术活动“馆藏大家谈”的第三期，欢迎观众朋友继续参加后续的延展学术活动……文/张瀚相关展览文化和旅游部“2025年全国美术馆馆藏精品展出季”项目流动的艺域——中央美术学院美术馆藏国际艺术交流研究展主办：中央美术学院美术馆展览时间：2025年10月30日14：00-16：00展览地点：中央美术学院美术馆 3A和3B展厅主编 / 何一沙责编 / 杜隐珠编辑 / 晏宇希
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2025-11-06

>>>>当金黄的银杏叶开始悄然飘落，我们总会感叹：一入秋，北京就变成了北平。这不仅仅是一种诗意的错觉，更是一种深植于城市记忆中的集体回望。秋日的北京，展现了一种醇厚、温润、质朴的人间烟火气，而想要真切的触摸到这份烟火气，莫过于走进李宗津创作于1940年代的《平民食堂》。此幅作品正在“中央美术学院美术馆藏陈列——现代中国美术”第二期中展出，从国画、油画再到版画的作品集结，不仅是艺术家的个体表达，更凝聚着在历史激流中的求索与变革，以现代的形式与语言，回应时代。《平民食堂》 1947年李宗津布面油彩 63×80cm 中央美术学院美术馆藏在李宗津写实而深情的笔触下，《平民食堂》真实展现了20世纪40年代北平街头的平民生活的生动景象，观者可以从前、中、后三个层次对作品进行观看。《平民食堂》局部前景处一位头秃、微胖的中年厨师正在灶台前烹制食物；中景处，穿着不同民国男性服饰的食客动作各异，或是伫立等待，或已端起碗进食；远景处则是北平的普通民居与特色建筑。这幅作品不仅反映了现实生活，而且从画面的三角形构图和对人物形象的描绘，可看出艺术家所追求的“创作性”。作者对于光线和空气的表现极为到位，很好地描绘出北平的蒙蒙晨雾之景。《平民食堂》局部《平民食堂》完成于1947年，李宗津从国立北平艺专被调往清华大学营造系。此幅作品为中央美术学院油画家刘小东、喻红夫妇于2012年捐赠中央美术学院美术馆。>>>>中央美术学院美术馆藏陈列——现代中国美术（第二期）展览时间：2025年7月1日起展览地点：中央美术学院美术馆2层A展厅主编 / 何一沙责编 / 杜隐珠
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: Lecture Recap: "A Dialogue on the Collection" – Li Xiaonan On Roman Signer's Art

2025-11-06

On the afternoon of October 24, 2025, the second session of "Collection Insights" — a series of academic activities under the "Interflowing Artscape: CAFAM International Exchange Research Exhibition from the Collection" — was successfully held in the conference room of CAFA Art Museum. This lecture was delivered by Professor Li Xiaonan, Director of the Art Studies Department at the School of Arts, Renmin University of China, with the theme "The Process History of Matter: The Art of Roman Signer and Beyond". It was hosted by Gao Gao, Deputy Director of CAFA Art Museum, and planned and participated in by Dr. Hu Xiaolan, co-curator of the "Interflowing Artscapes" exhibition.Gao Gao, Deputy Director of CAFA Art Museum, hosted this lectureThe lecture began with Professor Li Xiaonan's memory of her first encounter with Signer's works—at Signer's solo exhibition held at CAFA Art Museum in 2014. She mentioned that the resonance sparked by pure interest allowed her to instantly perceive the unique humor, poetry, and profundity in Signer's art. In this lecture, she specifically started from the overall impression brought by Signer's works, hoping that the audience could also feel the most direct visual charm and creative interest in Signer's works.Exhibition Poster for "Roman Signer: Videos and Films 1975–1989 and Now" Held at CAFA Art Museum in 2014The speaker, Professor Li XiaonanStarting with an introduction to Roman Signer's works in the collection of CAFA Art Museum, Professor Li Xiaonan traced the origins from the perspective of art history research, reviewed Signer's creative process, and further discussed the unique value of Signer's art in the development of contemporary art.Unfolding, Roman Signer, 2014, 1 minute 42 seconds, VideoCollection of CAFA Art Museum西格纳的创作最突出的特点，在于他始终利用自然力与物质运动的规则来展开实践，这些看似关于“失败“的作品，实则构成了一种对作者或大师作品的反对。回到西格纳观念与方法论的形成初期，自20世纪70年代开始系统性创作以来，西格纳的作品始终围绕物质、力与时间的关系展开，虽尚未形成后期成熟风格，但已可见其基本取向。其中，对物质性的重视源自当时雕塑领域极少主义及后极少主义启发，而对物理原理与作用力的独特运用，则更多源于他个人的兴趣与经历。同时，他也受到瑞士本土的活动雕塑家丁格力的影响，将时间维度纳入到创作中。我的体重重力与下落高度的描绘 1972在这一阶段，“重力”成为他最早关注并持续探索的作用力。《我的体重》将与自己体重相等的铁块压在泡沫上，形态随时间的推移而缓慢变化；而《重力与下落高度的描绘》则直接记录了身体重量在软泥上留下的印记。从这些作品也能看出过程性与观念性思想对其创作的影响。《力》 1977 木板、橡皮筋《疲劳》橡皮筋铁 1978此外，西格纳对不同作用力的痴迷，同样体现在《力》与《疲劳》等以橡皮筋为媒介的作品中。这些作品通过材料自身的弹性疲乏，探讨了“弹力在时间中的缓慢消散”这一物理过程。沙梯 1973而在以沙、水等流体为材料的创作中，他进一步展示了同一重力原理下形态的无限可能。《沙柱》可被视为“力在时间中的显形”，记录了下落过程中重力的瞬时痕迹。《沙体》水桶、沙、橡皮筋 1979《沙体》则通过沙桶下落与橡皮筋收紧之间的力学联动，建构出作用力的悖论，令人联想到超现实主义画家玛格丽特绘画中反复出现的关于肯定形式与否定形式的悖论。1971 《水梯》《水与冰》1976《水梯》中，水流在重力牵引下仿佛具有了自主的“生命感”；《水与冰》则通过悬挂于树干的塑料袋，记录水体从液态到固态的转变。西格纳称自己的作品为“时间雕塑”，也是对这类早期作品颇为贴切的形容。进入20世纪80至90年代的创作高峰，西格纳逐渐摆脱了早期极少主义的形式束缚，转而将日常生活中的寻常物件纳入其艺术语言。“爆破”成为西格纳最广为人知的创作标签，也是他更为激进的组织时间与变化的方式。爆破本质上是一个持续施加力直至突破临界点、引发突变的过程。在《box1》和《高台、桌子》中，爆破穿越物体的不同形态，带来看似幽默实则暴力的结局。在《下沉》等作品中，他的探索从重力延伸至浮力，他让不可能浮起的桌子漂浮，又或是记录冰面逐步碎裂、人最终落水的瞬间，展现了自然力作用下的危险与幽默；《Briefcase》中一个被绳索系住的手提箱，被重物拽坠入河中，则捕捉了状态突然改变的戏剧性瞬间。Tics mit Raketen,1993西格纳还创作出一系列在火箭推动下而运动的物体，《Tics mit Raketen》在推进器作用下腾空而起的椅子，在极短时间内产生出预料之外的种种姿态，成为复杂的“瞬间雕塑”。Stool 1982/1983而在行为性更强的《Stool》中，西格纳亲自坐在一把装有火箭的椅子上，以身体的重量与点燃的推进器相抗衡，用肉身阻止了椅子的腾空。最终，火箭的动能只在地面留下四圈燃烧后的焦痕。这一行动不仅是对物理规则的直接对抗，更因艺术家身体的介入，强化了作品中的抵抗意味。李笑男教授进而指出，西格纳的作品之所以令人印象深刻，正在于其中承载着强烈的生命能量。若借用艺术史家阿比·瓦尔堡的观点，人类生命能量的传递总是在沉静与骚动这两极之间摆动，而西格纳正是通过象征性的方式，将这种极性的生命能量置换为视觉形式。西格纳作品中那些在升腾与坠落、静与动之间的物体姿态带给人们的感动，恰恰是情念形式的当代体现。李笑男教授也着重分析了西格纳创作中的时间性。她指出，这种张力与极性的游戏必须在时间中展开。西格纳并非简单地记录事件，他对控制、记录和剪辑的极度重视，使影像本身成为独立的、完整的作品。他的作品因此包含了三个时间层次：物质过程真实发生的“现场时间”、经剪辑重构的“影像时间”，以及观众携自身经验介入的“观看时间”。这三层时间在动态中碰撞，使图像意义具备多元决定的开放性。在论及作品的审美特质时，李笑男教授强调，幽默与诗意在西格纳的作品中是一体共生的。无论是《Burostuhl》中办公室椅子随火箭的原地旋转，还是《安全帽》的突然发射，都令人莞尔。她指出，这种幽默并非浅层戏谑，而是源于对日常物的重新激活，其艺术不在于对物体的迷恋，而在于激活它们的内在生命。他的许多作品，如椅子最终坠落、烟花必然熄灭，都被视为一种“关于失败的诗学”，在短暂的升腾后回归宿命，这种在失败中展现的优雅，构成了其诗意的重要部分。讲座活动现场最后，李笑男教授将西格纳置于更广阔的艺术图景中审视，他与80年代后西方主流艺术运动，如激进行为艺术、新表现主义绘画或关系美学等，始终保持一种疏离。他的作品不依赖社会性叙事，亦抗拒符号化的过度阐释，其力量来源于对物质世界最本真、最直接的互动与观察。讲座还以几位中国当代艺术家的实践为参照，在跨文化的对话中，进一步凸显了西格纳艺术创作的独特性与其普适的启发意义。本次讲座通过系统性地梳理其创作脉络，揭示了罗曼·西格纳如何以其独特的“物质的过程史”，在当代艺术中构建了一个既严谨又充满童趣、既深刻又愉悦的独立世界。宗文天/文讲座信息文化和旅游部“2025年全国美术馆馆藏精品展出季”项目流动的艺域——中央美术学院美术馆藏国际艺术交流研究展主办：中央美术学院美术馆讲座时间：2025年10月24日 14:00-15:30展览地点：中央美术学院美术馆会议室主编 / 何一沙责编 /杜隐珠编辑 / 晏宇希
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: 社会美育的在地实践 | “时空图层——中央美术学院美术馆藏毕业作品特展”在艺术旌阳启幕

2025-11-03

2025年10月25日，“时空图层——中央美术学院美术馆藏毕业作品特展”在四川省德阳市旌阳区文德湖中央公园西区启幕，艺术走出“白盒子”，融入公园的草木，与市民的日常。艺术旌阳以“美育经济”为路径，探索公共空间的美学焕新，让文化在融合中生长出产业活力，让消费在艺术浸润中释放潜能。这是一场生活与艺术的双向奔赴，更是一座城市以文化人、向美而生的生动实践。
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: Xu Xingzhi's Dramatic Art | This exhibition will Close On October 31st

2025-10-31

"A Majestic Ode to China--Xu Xingzhi's Artistic Achievement"Exhibition SitePromotional Video for “A Heroic Ode ToChina – Xu Xingzhi's Artistic Achievements”Xu Xingzhi is an important figure that cannot be overlooked in the development of modern Chinese drama. Having received professional training in fine arts, he made achievements in multiple fields such as drama, film, fine arts, and poetry, demonstrating his cross-media artistic talents. With a firm left-wing stance, he participated in the modern drama movement, was active in groups like the Shanghai Art Troupe, and personally witnessed and promoted the birth and development of modern Chinese drama.In terms of drama theory, he proposed that drama should possess both "inner" and "outer" dimensions, and emphasized a comprehensive theory of the integration of performance and viewing. The former emphasizes that drama integrates various art forms, while the latter highlights the interactive relationship among the audience, the theater, and the actors. He forward-lookingly emphasized the importance of theatricality and the interaction between the audience and the performers.In terms of creation, he had both screenwriting and directing talents. His representative works include Eternal Love adapted from a world classic, The Last Christmas Eve which depicts the lives of people after the fall of Hong Kong, and the six-act play The True Story of Ah Q, which was polished and revised over many years with his painstaking efforts. All these works reflect his concern for reality and his exploration of artistic forms.He integrated his literary accomplishment, fine arts skills and theatrical practice, endowing the stage with profound humanistic spirit and artistic appeal. He was truly a versatile dramatist. His thoughts and works still hold inspiring significance to this day.——Ding LuonanProfessor, Shanghai Theatre AcademyThis exhibition is by far the largest and most comprehensive retrospective of Xu Xingzhi's artistic achievements. Through more than 400 representative works as well as precious documents, it presents the artist's outstanding accomplishments in multiple fields—including painting, art history, literature, film, and drama—to the audience in an all-round, multi-dimensional, and in-depth manner. The exhibition will close on October 31st; audiences who are interested should not miss it!The First Page of Xu Xingzhi's Anti-Japanese Children's Drama Script The Bell of the Ancient Temple (1936)The First Page of Xu Xingzhi's Anti-Japanese Children's Drama Script The Last Lesson (1936)In February 1937, the anti-Japanese children's drama The Bell of the Ancient Temple (cover), written by Xu Xingzhi, was published by Shanghai Xinzhi Bookstore. According to Beyond the Great Wall by Mrs. Snow (Nym Wales), this children's drama was staged in Yan'an shortly afterwards.Stage Photo of Thunderstorm, a play by Cao Yu, Directed by Xu Xingzhi and Performed by the Blue Bird Drama Troupe, December 1937In 1937, Xu Xingzhi adapted Lu Xun's classic work into a six-act drama The True Story of Ah Q for the first time. The script of this drama was serialized in the 10th issue of the 2nd volume of the semi-monthly magazine Brightness. Soon after, the drama was staged by the "Chinese People's Anti-Japanese Drama Troupe" in Yan'an, and it was watched by the leaders of the Communist Party of China (CPC) as well as the military and civilians in Yan'an. The picture shows the cover of this issue.In 1939, an American female journalist published Beyond the Great Wall. In Chapter 3, "The Mobile Troupe", she recorded that Xu Xingzhi's plays The True Story of Ah Q and The Bell of the Ancient Temple were staged in Yan'an.Cover of the stage play script The True Story of Ah Q, adapted from Lu Xun's famous work by Xu Xingzhi, compiled and printed by the Shanghai Drama Art Research Association, August 1939In 1939, Xu Xingzhi adapted Lu Xun's work into the script of a six-act drama The True Story of Ah Q for the second time. The script was published by Guangming Bookstore in 1940 and went through its 10th printing in 1953.In July 1939, after Xu Xingzhi adapted the six-act drama The True Story of Ah Q for the second time, he personally directed the Sino-French Drama Troupe in a performance run that lasted for half a month. This caused a great sensation at that time. The picture shows the printed performance script compiled and published back then.At the end of July 1939, director Xu Xingzhi posed for a group photo with Wang Zhuyou, the actor who played Ah Q.After the fall of Shanghai in 1938, Xu Xingzhi actively participated in the progressive drama movement in the concession areas and directed a number of stage plays. This is a group photo of him with the actors after he directed Romain Rolland's The Struggle Between Love and Death.In February 1940, Xu Xingzhi directed Xia Yan's drama The Wedding Night, which was staged by the Dazhong Drama Troupe at the Shanghai Russian Art Theatre.In October 1956, to commemorate the 20th anniversary of Lu Xun's death, a number of theater troupes across the country re-staged the six-act drama The True Story of Ah Q adapted by Xu Xingzhi. The picture shows a stage photo from the performance by the Shenyang Drama Troupe.| Artist Profile |Xu Xingzhi (1904–1991) was a renowned Chinese artist, art historian and theorist, art educator, film and drama director and screenwriter, pioneer of the Left-wing Art Movement, literary and art warrior, member of the Council of the Chinese Artists Association, and professor at the Central Academy of Fine Arts. In his early years, he graduated from the Shanghai Academy of Fine Arts and the Tokyo School of Fine Arts in Japan. In 1930, he participated in initiating and organizing the "Shidai Art Society" (Times Art Society), a Left-wing art group, and was elected as the first chairman of the Chinese Left-wing Artists League.In the field of literature, Xu Xingzhi was an important poet of China’s 1930s Left-wing Literature Movement, creating representative poems such as Pastoral Song, The Blood Seller, Daban Well, and The Rose on the Spearhead.In the film industry, he directed films including Children of Troubled Times, Long Live China, and Storm at Sea, and wrote theoretical articles such as On Film Direction and A History of the Development of Film Art. In the drama field, Xu actively engaged in the Left-wing Drama Movement and was the first creator to adapt Lu Xun’s The True Story of Ah Q for the drama stage.In 1954, Xu was transferred to work at the Central Academy of Fine Arts, where he founded and served as the director of the Art Theory Research Office, laying the foundation for the establishment of China’s art history discipline. In 1959, he was transferred to the Third Studio of the Oil Painting Department, where he collaborated with Professor Dong Xiwen in guiding painting teaching.Xu Xingzhi was an all-round talent in the literary and art circle. He was not only a pioneering practitioner of artistic creation, but also a researcher, writer, and disseminator of literary and art theories. He made outstanding contributions to the cause of New China’s art history and theory, as well as the cultivation of painting art talents.A Century of Glory · Art Masters of the Central Academy of Fine Arts A Heroic Ode ToChina – Xu Xingzhi's Artistic AchievementsExhibition Period: September 18 – October 31, 2025Exhibition Venue: Hall B, 3rd Floor, Art Museum of the Central Academy of Fine ArtsOrganizers: Chinese Artists Association, Central Academy of Fine ArtsCo-organizers: Publicity Department of the Party Committee of the Central Academy of Fine Arts, School History Research Center of the Central Academy of Fine Arts, Art Museum of the Central Academy of Fine Arts, School of Humanities of the Central Academy of Fine Arts, Oil Painting Department of the Central Academy of Fine ArtsSupporting Units: National Memorial Museum of the Chinese People's War of Resistance Against Japanese Aggression, China Film Association, China National Film MuseumAcknowledgements: National Art Museum of China, Long Museum, Taikang Insurance Group Inc., Zhiyi Foundation, Wang Wei, Shi Junzhao, Huang Jun, Dong RuiChief Editor / He YishaAssociate Editor / Du Yinzhu
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: The Melody Persists -- CAFA’s Exhibition on the Inheritance of Teaching (2nd Edition)" Opens as Scheduled | "One Mentor, One Protégé" Gathers to Celebrate the Double Ninth Festival

2025-10-30

Savor the Warmth Between Teachers and StudentsEmbrace the Original Aspiration of Aesthetic EducationWish the Elder Artists Evergreen Artistic VitalityMay the Torch of Art Be Passed Down from Generation to GenerationMembers of the Academy of Fine Arts are accustomed to respectfully addressing their beloved teachers as "Xiansheng" . Among them, "Senior Xiansheng" are revered as idols by all members of the academy. Through their patient guidance and earnest teachings, these mentors continuously lead the younger generation into the profound mysteries of art. In turn, the younger generation’s diligent pursuit of art and adherence to their teachers’ instructions ensure that the mentors’ legacy never fades from the classrooms and campus. As time flows on, the younger generation gradually grows into the "Xiansheng," inheriting the glorious traditions and carrying forward the academy’s century-old academic heritage.Senior teachers, senior professors, senior cadres, and senior staff members of the Central Academy of Fine Arts , along with President Lin Mao, Deputy Party Secretary Wang Xiaolin, Vice President Lü Pinjing, Deputy Party Secretary and Secretary of the Disciplinary Inspection Commission Wu Qiang, as well as heads of relevant departments and colleges, attended the event.On the morning of October 28, 2025, the opening ceremony of "The Melody Persists - CAFA’s Exhibition on the Inheritance of Teaching (2nd Edition)" and the 2025 Double Ninth Festival Blessing & School Update Briefing were held at the Central Academy of Fine Arts. Senior teachers, senior professors, senior cadres, and senior staff members of CAFA gathered at the academy to jointly celebrate the Double Ninth Festival.Mr. Jin Shangyi, the former president of the Central Academy of Fine Arts, announced the opening of "The Melody Persists - CAFA’s Exhibition on the Inheritance of Teaching (2nd Edition)"President Lin Mao gave a briefing on the school's developments to the senior teachersDeputy Party Secretary Wang Xiaolin presided over the eventZhou Hongbing, the school-level Party building liaison officer, delivered a work report on the Elderly Committee for Caring for the Next Generation and the Department of Retirement Services.Professor Wang Wei from the Department of Sculpture spoke as the representative of young and middle-aged teachers at the exhibition, and affectionately recalled the precious memories of having "heart-to-heart conversations" with several senior Xiansheng since he joined the Central Academy of Fine Arts As a new chapter of the "Senior Artists · New Era" exhibition series, "The Melody Persists - CAFA’s Exhibition on the Inheritance of Teaching" is a vivid embodiment of our efforts to build on CAFA’s century-old academic heritage, reflect on the practice of aesthetic education, inherit the ideal of aesthetic education, and carry forward the spirit of aesthetic education. Adopting an intertextual "one mentor, one protégé" approach, the exhibition narrates the stories of teacher-student inheritance respectively from the School of Chinese Painting, School of Calligraphy, Department of Oil Painting, Department of Printmaking, Department of Sculpture, Department of Mural Painting, and the Fundamental Department of Plastic Arts. It strives to outline a clear academic vein and vivid mentor-protégé relationships, thereby comprehensively presenting the aesthetic education panorama co-created by "what the mentors impart" and "what the younger generation learns".Editor-in-Chief / He YishaAssociate Editor / Du YinzhuOn-Site Photographs / He Yifei
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: Wonderful Review | "Energy and Civilization - Science & Art · Fusion Future”Popular Science Exhibition Concludes Successfully

2025-10-28

On October 13, 2025, the large-scale science popularization exhibition titled "Energy and Civilization - Science & Art · Fusion Future", which lasted for nearly a month, successfully concluded at the Art Museum of the Central Academy of Fine Arts. As China's first museum-level science and art exhibition themed on "controllable nuclear fusion", it was co-sponsored by the Central Academy of Fine Arts, the Energy Research Institute of Hefei Comprehensive National Science Center, and the People's Government of Hefei Municipality, and jointly undertaken by Big Sun (Hefei) Culture and Technology Co., Ltd. and the Science and Art Joint Laboratory of the Energy Research Institute of Hefei Comprehensive National Science Center. Since its opening on September 14, the exhibition has attracted widespread attention from the fields of science, art and education, and become a brilliant highlight among the series of events of the 2025 National Science Popularization Month, Beijing International Design Week and China (Hefei) International Science and Art Week.With "energy iteration and civilization evolution" as its context, the exhibition focuses on controllable nuclear fusion, a cutting-edge technology. Through the in-depth integration of historical documents, scientific devices and contemporary art creations, it builds a bridge connecting rational science and perceptual aesthetics. In the immersive experience, visitors can not only review the magnificent course of human civilization driven by energy in front of the document wall, but also intuitively feel the infinite potential of nuclear fusion energy through interactive devices. A number of large-scale science and art installations transform abstract concepts such as plasma and magnetic confinement into perceivable light, shadow and dynamic forms, realizing the two-way inspiration between science and art.Installation Work LightningTesla Coil, Provided by Steel Sun (Hefei) Culture and Technology Co., Ltd.The exhibition site presented a number of large-scale scientific installation works, such as Lightning, Artificial Sun and Wave-Making. These works effectively broke down the disciplinary barriers between science and art, transformed the abstract principles of nuclear fusion into intuitive sensory experiences, and further guided the audience to think deeply about the intrinsic connection between human beings and energy."Scientific Device for Controlled Nuclear Fusion"Providers: Neutron Technology Application Research Center, Energy Research Institute of Hefei Comprehensive National Science Center Institute of Plasma Physics, Chinese Academy of Sciences (Hefei Institutes of Physical Science) Neutral Beam Injection Research Laboratory (Laboratory 13)"Scientific Device for Tokamak"Provider: School of Nuclear Science and Technology, University of Science and Technology of ChinaThe exhibition also featured a special display of several cultural relics related to nuclear fusion science, showcasing the precision and mysteries of the physical world. These items include China's Tokamak device KT-5 and the Experimental Advanced Superconducting Tokamak (EAST); both the physical objects and models document key historical milestones in China's nuclear fusion research. Since the 1960s, China has launched research on magnetic confinement fusion, with Tokamak becoming the main research path.Video Work The Song of the Distant SunAGI Video: 19 minutes and 8 seconds, 50 frames per second, 4K high-definition video (3840x2160),16:9 aspect ratio, color, stereo sound, LED screen installationProvided by Tianyu ARTECH x Energy Research Institute Science & Art Joint LaboratoryThe exhibition also presented an AI-generated video work The Song of the Distant Sun. The film interprets the historical records of solar cultural symbols and the technical vision of controlled nuclear fusion's "artificial sun", showing different "sun-creating" practices spanning time and space. Both the vision of an energy utopia and technical reflections exist in this algorithm-shaped video. When unlimited energy becomes a reality and the human world returns to a human-centered ideal state, what kind of brand-new solar chronicle will we write with controlled nuclear fusion?Literature Wall "Energy and Civilization"The Literature Wall in the exhibition is divided into distinct historical periods—including the Bronze Age, the Iron Age, the Industrial Age, and the Nuclear Energy Age—based on the evolution of energy use types. Along this timeline, it demonstrates the progression of humanity’s approaches to energy utilization. Embedded throughout is a core thread: the continuous enhancement of temperature control capabilities. From merely harnessing the ordinary temperature of fire in the Stone Age to achieving an electron temperature of 160 million degrees Celsius in the Nuclear Energy Age, this progression reflects the remarkable improvement in humanity’s ability to master energy as the times advance.During the exhibition, the organizers held a series of high-quality linked events that successfully sparked public discussions on "the future of energy" and "controlled nuclear fusion". This was not only a feast for the eyes and the mind, but also an energy enlightenment journey oriented toward the future.Photos of the Opening Ceremony SiteOn the morning of September 14th, the large-scale popular science exhibition "Energy and Civilization - Science & Art · Fusion Future" grandly opened at the CAFA Art Museum. The opening ceremony was attended by a distinguished gathering: leaders of the organizer and co-organizer, experts and scholars from the scientific and art circles, as well as invited guests from all walks of life gathered together to witness the launch of this interdisciplinary grand event. At the scene, children lit up the stage with a futuristic performance. Their pure perspective and the theme of nuclear fusion (which symbolizes humanity’s ultimate energy source) complemented each other, injecting vigorous vitality and hope into this interdisciplinary celebration.Photos of the Opening Ceremony Performance SiteOn the afternoon of the opening ceremony, a themed forum with the same name was held in the lecture hall of the CAFA art museum. Following the thread of the evolutionary relationship between human civilization and energy technology, the forum focused on "controlled nuclear fusion"—an ultimate energy source crucial to the future. Experts and scholars from multiple fields including energy, art, popular science, and science fiction were invited to conduct three roundtable discussions around the core topic of "Energy and Civilization". The roundtables were as follows: Roundtable 1: Energy · Electricity · Science Fiction – The Dominance of Narrative in Future Civilization; Roundtable 2: Science · Public Education · Communication – The New Wave of Popular Science Education in China; Roundtable 3: Science · Art · Resonance – When Humanity Possesses the Ability to Create Stars.On the morning of September 18th, the lecture series of the "Energy and Civilization - Science & Art · Fusion Future" exhibition grandly invited Academician Li Jiangang to deliver a popular science lecture. Academician Li holds multiple positions, including Member of the Chinese Academy of Engineering, Chief Scientist of the Energy Research Institute, and Researcher at the Institute of Plasma Physics. The lecture, titled Holding Up the Sun of Tomorrow: Current Status and Future Prospects of Magnetic Confinement Fusion, was a themed popular science sharing session. Xu Yang, Secretary of the Party Committee of the Central Academy of Fine Arts, and Lin Mao, President of the Central Academy of Fine Arts, attended the exhibition event.Starting from the historical evolution of humanity’s energy utilization, Academician Li Jiangang systematically expounded on the important significance and technical paths of developing fusion energy. Combining his own scientific research experience, he vividly introduced the development process of China’s independently designed and constructed fully superconducting tokamak nuclear fusion experimental device (EAST), elaborated in detail on China’s "three-step" development strategy for nuclear fusion energy research, and made a professional outlook on the application prospects of fusion energy in multiple fields beyond power generation. This event not only built a high-quality interdisciplinary exchange platform for scientific researchers, art practitioners, university teachers and students, and the public, but also effectively enhanced the public’s understanding of energy technology and civilization development through a new perspective of science and art, winning unanimous praise from the participants.Site of Academician Li Jiangang's Popular Science LectureOn September 20, 2025, the salon series of "Energy and Civilization - Science & Art · Fusion Future" was held at the Central Academy of Fine Arts. With the theme "How Does the Scientific Community Shape the Narrative of the Future?", this session was hosted by curator Shen Cong.The event invited Hu Yilin (Ph.D. in Philosophy from Peking University, former Associate Professor of the Department of History of Science at Tsinghua University), Bao Yuhan (Lecturer at the School of International Organizations of Beijing Foreign Studies University), and Gao Rencheng (Industry Representative, Co-founder and CEO of Gene Creation) to engage in a dialogue. They jointly explored how the scientific community, through interactions with fields such as policy, capital, and art, constructs society’s collective imagination of the technological future and promotes public participation in envisioning the future.Site of the Salon Series Event "How Does the Scientific Community Shape the Narrative of the Future?"On the afternoon of October 7th, a unique "Scientists VS Artists Salon" will be held in the museum. Top scientists in the fields of controlled nuclear fusion and artificial intelligence will engage in interdisciplinary dialogues with curators and artists, presenting a brainstorming session on future energy to the public.With the theme "A Brainstorm Between Scientists and Artists", this salon aims to break down disciplinary barriers and build a public platform for in-depth communication. The event specially invites Dr. Dong Shan recommended speaker for national touring popular science lectures, Dr. Kong Defeng Director/Chief Scientist of the Fusion Industry Center, and Dr. Wang Lishi Assistant Researcher at the Energy Research Institute to discuss together with exhibition curators—including Zhang Zhaohong, the teacher and Chief Curator of the Sculpture Department of the Central Academy of Fine Arts —and curator/scholar Su Lei. Guided by the host and curator Geng Jinghua, the two sides will focus on cutting-edge topics such as energy, nuclear fusion, artificial intelligence, and artistic intervention. From the dual perspectives of rational logic and emotional creation, they will explore how science and technology shape civilization, and how art injects humanistic imagination into science.Site of the Salon Forum Event "A Brainstorm Between Scientists and Artists"On the afternoon of October 7th, Mr. Jin Shangyi, former president of the Central Academy of Fine Arts, visited the exhibition site. The in-depth integration of science and art received Mr. Jin’s full recognition and high praise. After the visit, Mr. Jin Shangyi, still eager to share more insights, conducted a brainstorming session and discussion with the curatorial team, encouraging everyone to continue exploring and practicing the integration of science and art.10月8日下午，系列沙龙活动《后碳未来：冰与火的文明记忆》在美术馆报告厅成功举办。活动聚焦能源转型中文明层次与节奏的变化，呼应展览中可控核聚变所呈现的未来文明想象。本活动也是《后碳：光与热的政治经济学》系列放映及论坛的收官之作。“后碳”系列曾在北京、上海、广州等多地呈现，回应太阳能与南方热浪对地景、技术及视觉文化的影响。本次由策展人陈娱、蔡艺璇主持与策划，论坛邀请了瑞士艺术家Christoph Oeschger，并放映他的影片《在冰中，一切都会留下痕迹》，同时邀请科学文化作家郑军，以及人民大学哲学教授刘永谋，从艺术、科幻与哲学三个维度，共同探讨能源转型后的未来社会与文明形态。系列沙龙“后碳未来：冰与火的文明记忆”论坛活动现场展览系列沙龙活动的“能源与文明——科学、艺术与人工智能的未来探索”学术论坛于10月10日在北京理工大学良乡校区举行。论坛由设计与艺术学院副院长张帆主持，论坛汇聚能源科学、人工智能、量子科技、数字艺术等多领域专家，包括合肥能源研究院渠承明副研究员、山东大学刘健教授、北理工物理学院张博副教授、北理工光电学院翁冬冬教授、北理工姜可教授等学者，以及展览总策划吴征、策展人沈星逸等策展团队代表。与会嘉宾从核聚变研究进展、AI赋能科学探索，到超写实数字人技术、虚拟仿真在文化遗产中的创新应用，共同探讨了能源变革与文明演进的多重可能性。此次论坛作为“能源与文明”科学艺术展览的延伸活动，旨在推动学科融合，激发公众对未来能源形态的想象与思考。系列沙龙“能源与文明——科学、艺术与人工智能的未来探索”论坛活动现场10月13日下午，中国著名雕塑家、中央美术学院雕塑系前系主任隋建国先生莅临观展。在科学与艺术的大装置展项前，隋建国先生仔细聆听策展团队成员的详细介绍，并提出能源与文明的相关拓展性话题进行深度交流。著名雕塑艺术家隋建国先生莅临观展10月13日晚，由中央美术学院校团委、中央美术学院美术馆与合肥综合性国家科学中心能源研究院联合主办，大太阳（合肥）文化科技有限公司及合肥综合性国家科学中心能源研究院科学艺术联合实验室联合承办的“聚变电音——能源艺术电子音乐会”在中央美术学院美术馆正门震撼演出。本次活动不仅是电子音乐与能源科技的一次跨界实验，更是科学艺术联合领域的创新实践。据悉，此次电子音乐会吸引了近千名观众现场参与，线上直播覆盖数万人，获得业内与公众的广泛好评。它成功打破了艺术展示与科技体验的界限，让观众在电光火石中感受到能量转换的美学价值，也为未来艺术与科技的深度融合提供了全新尝试。“聚变电音——能源艺术电子音乐会”活动现场展期内，展览的公教团队聚焦“可控核聚变”核心主题，以“100个科学幻想”为创意载体，推出系列趣味工作坊，吸引北京数千名中小学生踊跃参与，打造了沉浸式科普新场景。工作坊摒弃传统理论灌输模式，围绕100个脑洞大开的科学幻想展开——从“核动力直升机”到“行星发动机”，通过故事引导、创意绘画、简易模型搭建等多元形式，将抽象的可控核聚变原理转化为小朋友易懂的趣味知识。孩子们在幻想与实践中，初步理解可控核聚变的核心逻辑与能源价值，既感受科学的神奇，又释放创新想象力。此次活动意义深远。它打破了学科壁垒，将严谨的科学知识置于充满美感的美术馆空间中，以一种跨学科、沉浸式的方式，为青少年们呈现了一部生动立体的“能源文明发展史”。同学们不仅通过展览了解了能源如何驱动人类文明进程，更通过亲手实践和与专家对话，深刻认识到能源问题的紧迫性与可持续未来的重要性。
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Child Public Education Reservation Form

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Group Visit Agreement
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CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.