Exhibitions and Events-News- CAFA Art Museum

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

: “地表之下，流动之上”即将开展 | 第三届全国大学生虚拟策展大赛CAFAM赛道特等奖

2025-07-03

第三届全球大学生虚拟策展大赛指导单位全国普通高校毕业生文旅艺术行业就业创业指导委员会主办单位中央美术学院中共北京市东城区委宣传部承办单位中央美术学院艺术管理与教育学院中央美术学院创新创业教育中心中央美术学院美术馆北京画院青年艺术100组委会执行单位中央美术学院美术博物馆虚拟策展与美育课程虚拟教研室为贯彻落实中共中央办公厅、国务院办公厅印发的《关于全面加强和改进新时代学校美育工作的意见》，推进社会主义文化强国建设的决策部署，激发艺术创新动力，推动艺术成果传播，中央美术学院自2022年起策划举办“大学生虚拟策展大赛”品牌赛事。大赛以“以策展助力美育，为美育而策展”为宗旨，意在鼓励大学生们将人文艺术、前沿技术与美育传播有机结合，通过还原度高、操作性强的虚拟策展实验平台，创作出优质的虚拟展览方案，将成果推向公众，延伸出社会美育的多重可能。「CAFAM赛道」是大赛组委会联合中央美术学院美术馆（简称CAFAM）共同设立的命题赛道，本赛道要求参赛者自主选择艺术作品，在中央美术学院美术馆项目空间场地进行展览策划，打造具有实验性和在地性的特色展览。获得赛道特等奖的项目最终落地中央美术学院美术馆（简称CAFAM）“广角——青年实验项目空间”场地，为大学生的想象力提供具有实验性与在地性兼具的施展空间。< CAFAM赛道特等奖方案展览 >地表之下，流动之上开幕时间2025年7月4日14:00展览时间2025年7月10日—8月24日展览地点中央美术学院美术馆3层C展厅河流从未止步于地表——它在沉积中潜行，在蒸发与回响中改写地貌。“当‘水’成为紧张的资源，流动不再被轻易允诺，我们希望在干裂的河床与城市边缘之间，聆听那些迟缓却未曾中断的叙述。本次展览以“湿本体论”为方法论，将古称“无定”的永定河视为一条“隐形水系”，通过现场装置、影像与摄影作品，回溯河流、工业与身体在过去半个世纪中的渗透与断裂。展览空间采用廊道—节点—密室的节奏，模拟河流在不同段落的开敞与收缩，使观众的行进轨迹与“无定水势”呼应，邀请观众在流动体验中重新感知“水与煤、身份与地貌、记忆与边界”彼此牵连的肌理，倾听“地表之下、流动之上”那些缓慢却未曾中断的叙述。艺术家与作品介绍永定河的历史变迁与水文流经区域，成为一条地貌表层的流动线索，串联起内蒙古、山西、河北与北京，也映射出华北不同区域工业化与城市化进程中所积累的层层张力。以永定河为探源，本次展览汇聚了返祖现象团队、赵亿、崔叶子、琴嘎、李晴与蒋宏波六位艺术家的作品。试图撬动山西、内蒙古、河北和北京等地的不同区域之间彼此嵌合的链条。返祖现象团队的装置《血，宗族，人工智能》以北京焦化厂遗址为线索，在烟雾与光影构成的多层界面中，重建流动人口在时代裂缝中的身份断点；北京焦化厂的拍摄地，在城市版图中早已成为“废弃之地”，却仍储存着的能量与情绪沉积。血，宗族，人工智能，2023-2024, 返祖现象团队, 亚克力，透明投影膜，立体声，彩色动态影像，3"14'艺术家赵亿无数次漫游于永定河畔，拍摄了系列摄影作品，见证了永定河一系列历史性的变化。从干涸到复流，再到洪水退去后的再度沉寂，数次轮回间，河流在水文与记忆之间反复循环，既象征自然的节律，也映射着艺术家观察到的个体在时代变迁中的成长与迷失。永定无定，2020-2023, 赵亿, 艺术微喷, 20×20 cm在琴嘎的作品《一刹那》中，在曾经通达北京古都、如今被遗忘的温榆河成为“剩余地带”，艺术家以身体为媒介进入这片历史地理的褶皱，在水流与触觉中重建与地景的联结。时间在此被拉长、稀释，转化为漂浮的知觉经验：一种不能被语言捕捉、却真实可感的湿性存在。一刹那，2016，琴嘎，行为影像， 8'，中央美术学院美术馆藏在北京学习生活与家乡山西之间辗转的李晴，在《被黑簇拥的蓝》作品将一辆父亲留下的运煤卡车改造成泳池，蓝与黑在瓷砖与锈迹中交错沉积，水和煤炭的物质交织召唤出家庭史、资源转译与地貌记忆的复合脉络。被黑簇拥的蓝，2024, 李晴, 三屏影像装置, 3'52''×3 鄂尔多斯降水稀少、蒸发强烈，而地下水超采严重，农业最先承压，而工业经济发展进一步加剧了水资源供需矛盾。艺术家崔叶子在《地图》中让鄂尔多斯的碱性水渍自行蒸发结晶，生成一幅由盐、时间与偶然构成的地理浮雕，地图被从测量之物转化为感知之物，成为这一区域地貌写作的湿性载体，回应着永定河流域上游区域中水资源的紧张现实与生态感知。地图，2025, 崔叶子, 艺术微喷, 95×58 cm与此同时，艺术家蒋宏波在山西矿区的生活4年经验见证了“煤炭”如何嵌入了更宏大的人与自然生态的关系中。数字影像《山水》运用计算机图像（CG) 技术，试图重构中国传统山水画的图像语言。矿区景观悄然渗入画面，水体以蒸汽、留白或反复的空镜形式存在，隐喻着流动地形与生态系统的漂移与松动。《景观》则艺术家通过对水面“不自然”状态的描绘，探讨了“人工自然”的概念，引导人们景观反映出人类与自然之间复杂而双向的关系。山水，2023，蒋宏波，数字影像，W3840×H2160; 3'16''他们的实践路径虽媒介各异，却在水的物性与象征之间达成共鸣。这些作品共同回应着永定河流经之地的历史残响与地貌伤痕，它们如不同节点上的回音，在展览空间中被重新连接，唤起一种更具触觉性的生态书写。当河流不再只是流域经济的工具性背脊，而成为情绪、权力与生态交叠的动态边界，展览试图共同勾勒出一个属于“地表之下，流动之上”的知识谱系，重新激活我们与自然之间既亲密又不断变形的复杂关联。系列主题公教活动将在展览开幕后推出，详细安排敬请关注后续推文。关于策展团队戴友毅北京印刷学院数字媒体专业在读对于多媒介的艺术实践抱有强烈热情，尝试将数字艺术与空间叙事融入展览之中，时常将基础自然元素作为研究及创作的对象。徐子涵现就读于爱丁堡大学现代到当代艺术历史、策展、批评专业。目前的研究兴趣侧重于全球和地方视角下的地方艺术表达以及人文地理视角下的地方性、身份、归属感等话题。姜雨辰悉尼大学艺术策展专业硕士。目前工作聚焦于公共艺术机制、城市空间生产与文化政治的交叉领域。>>>>第三届全国大学生虚拟策展大赛CAFAM赛道地表之下，流动之上展览时间：2024年7月4日—8月24日展览地点：中央美术学院美术馆3层C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支持单位：美术博物馆虚拟策展与美育课程虚拟教研室主编 / 何一沙责编 / 杜隐珠
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: 54 Treasures Per Set Renewed | First Look at Collection Of CAFA Art Museum Scene

2025-07-03

The second phase of the "Collections Of CAFA Art Museum" officially opened on July 1st, updating and displaying a total of 54 pieces/sets of fine collections. Among them, 32 sets of newly exhibited works in the calligraphy and painting exhibition area of "Ancient Chinese Art" have attracted much attention for their brushwork and artistic conception. The "treasures of the museum" such as Portrait of Hengyun Mountain People Begging by Ren Bonian and Lotus Painting by Bada Shanren are presented in this stage, along with important works like Portrait of Female Immortal, Pine and Pigeon Painting, and Snowscape Landscape meeting the audience. In the part of "Modern Chinese Fine Arts", 22 new works ranging from traditional Chinese paintings, oil paintings to prints are not only individual expressions of artists, but also embody the pursuit and reform in the historical torrent, responding to the era with modern forms and languages.The renewal of the collection exhibition at CAFA Art Museum is a profound artistic invitation that integrates ancient and modern elements. Through the dialogue between ancient patterns and modern compositions, and the collision between traditional charm and contemporary spirit, it is hoped that the audience can experience the vitality of Chinese artistic civilization.
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: 馆藏古代书画“上新”啦！看看这次换谁“营业”？

2025-06-29

各位观众朋友们，久等了！从7月1日起，我馆恢复开放。同时，馆藏长期陈列的古代书画部分，迎来首次更新！从传神的人物画，到灵动的花鸟画，再到苍茫的山水画，乃至笔走龙蛇的书法墨宝，全部焕然一新！以前展出的书画 “老朋友们”，这次暂时回到库房 “休息” 啦！您可能会好奇，为什么古画要定期 “休假”？其实，这些历经百年甚至千年的书画作品，会受到光线、温度、湿度的变化影响，长时间暴露在外，纸张会慢慢变脆，颜料也会褪色。所以，为了让这些珍贵的艺术瑰宝 “延年益寿”，它们每展出一段时间，就要 “回家” 调养。而这次换上的 “新面孔”，同样都是馆藏中的 “宝藏”！人物画展区，不仅能看到“镇馆之宝”任伯年的《横云山民行乞图》，还能看到题材特殊的《洗象图》，是古人用以静心、参悟的寄托；《女仙图》中坐在鹿车上的女仙，尽显形态娇柔，车以老藤制成，车顶满覆繁花。花鸟画展区，八大山人的《荷花图》构图简洁新颖，寄寓着他的人格理想。山水画更是精彩！《雪景山水》描绘了冬季雪景，在长达四米半的横卷上绘重山复水，意境荒寒。书法展区也有惊喜，从行书到楷书，每一笔都藏着书法家的 “情绪表达”，值得细细品味。此外，我们还将在暑期安排特别活动！无论您是书画爱好者，还是想带孩子感受传统文化魅力的家长，都能在这里找到乐趣！"新朋友"已准备好与您相见！7月1日，来中央美院美术馆，开启这场跨越千年的艺术对话！01人物画吴彬洗象图轴纸本设色纵123厘米横45厘米1592年中央美术学院美术馆藏任伯年横云山民行乞图轴纸本设色纵147厘米横42厘米1868年中央美术学院美术馆藏袁镜蓉女仙图轴纸本设色纵102厘米横48厘米清中央美术学院美术馆藏任伯年人物故事四条屏泥金笺本设色各纵205厘米横43厘米1891年中央美术学院美术馆藏02花鸟画主编 / 何一沙责编 / 杜隐珠
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: 中央美术学院美术馆“小导览员”公益课程报名通知

2025-06-28

暑期即将来临，中央美术学院美术馆诚挚邀请热爱艺术的小朋友们，报名参加“小导览员”公益课程。此次活动旨在培养青少年对艺术的兴趣和热情，提升他们的沟通表达能力和公众演讲技巧，同时让更多的孩子们了解并传播艺术。以下是具体报名通知：课程安排课程时间7月10日、11日9：30-12：00考核时间7月13日9：30-12：00特别提示：7月10日至13日开馆时间，小导览员均可在美术馆学习、练习。课程设置本次课程共设三次课每次3课时第一次课：展览内容讲授展览、展品相关知识，了解美术馆的展览背景和主要展品的艺术价值。第二次课：导览技巧讲授导览要领并进行实际练习，帮助小导览员们掌握有效的沟通和表达技巧。第三次课：考核对前两次课的学习内容进行考核，确保每位小导览员都能独立完成导览任务。报名信息报名对象：年龄在10-15岁之间的青少年儿童招募人数：20人考核、上岗与证书：考核通过并实际导览2场以上的同学，将获得由中央美术学院美术馆颁发的“小导览员”证书。发证日期：7月15日（具体时间另行通知）发证地点：中央美术学院美术馆会议室报名方式请填写报名表发送至cafamedu@cafa.edu.cn，报名成功会收到邮件回复。报名截止日期：7月3日扫描二维码下载报名表报名表请百度网盘下载，链接：https://pan.baidu.com/s/1VkE-DVAwikz9byBINz8Wvw?pwd=2AYq 提取码：2AYq课程安排· 通过专业培训，提升孩子们的艺术素养，培养他们对美术的兴趣和热爱。· 锻炼孩子们的公众演讲能力和沟通技巧，增强自信心和语言表达能力。·通过实际导览活动，让孩子们在实践中成长，积累宝贵的社会服务经验。期待看到更多热爱艺术的小朋友们积极参与到本次“小导览员”公益课程中来，让我们一起在艺术的世界里成长、进步！2024年“小导览员”活动现场主编 / 何一沙责编 / 杜隐珠
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: 暑期开馆公告

2025-06-28

尊敬的观众朋友：暑期将至，盛夏流光。我馆将于7月1日面向公众开放。“古代中国艺术——中央美术学院美术馆藏陈列”及“现代中国美术——中央美术学院美术馆藏陈列”将以全新的面貌同期开展。暑假期间还有多个精彩展览呈现：“流动的艺域——中央美术学院美术馆藏国际艺术交流研究展”“矶崎新：一个世界公民眼中的中国”“中央美术学院建筑青年创作展”“美好的明天——第十届“我爱颜色——小天才绘画大赛”优秀作品展”等。具体展览资讯请关注后续预告，欢迎大家前来观展！中央美术学院美术馆2025年6月27日预约通道CAFAM@ 2025预约购票通道开启，观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票（购票说明详见官网）。每日开放时间为9:30-17:30，每周一闭馆。60 周岁及以上老年参观者、6 周岁以以下儿童请购买“老人、儿童0元票”；中国博物馆协会个人会员、现役军人、国家综合性消防救援人员及残疾人士凭相关证件购买“特殊人群0元票”。预约时需使用有效证件进行实名预约，每人当天只能预约一次，预约成功后，观众按预约时间到场，在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。主编 / 何一沙责编 / 杜隐珠
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: Announcement Of The List | 35 Graduation Works Permanently Collected By The CAFA Art Museum

2025-06-26

The 2025 CAFA Graduation Season has successfully concluded. This is not only a showcase of artistic achievements but also a fruitful harvest for the CAFA Art Museum's collection. We are delighted to announce that a total of 35 artworks from this year's graduation season have been added to the permanent collection of the CAFA Art Museum. The collection includes 17 postgraduate works and 18 undergraduate works, covering a wide range of categories such as Chinese painting, oil painting, printmaking, sculpture, animation, video art, performance art, picture books, spatial design, and interactive installations. These works inject dynamic and diverse new vitality into the museum's collection.List of Graduate Works Collected in 2025CAFAM@ 2025冷文球体1号 150×197cm 收藏级艺术微喷定制装裱 2018-2024 研究生院徐娜星空无界（1/28） 260×180cm 木口木刻 2025 研究生院邹葳铁栏与黑网 220×180cm 布面油彩、铜箔 2025 研究生院苏昱铭躺着的男孩 150×110 纸本丙烯、特种铅笔 2025 研究生院张渊跨年夜 150×200cm 布面油彩 2024 油画系张女尧了烦世界 49×38cm×4 纸本勾线笔 1件4幅 2024 版画系张思琪明日的海（二） 45×60cm 水印木刻 2025 版画系彭楚月生生 264×200cm 纸本水墨 2025 中国画王祚元吗喽（一） 15×20×60cm 树脂着色 2025 雕塑系杨发展一把椅子 90×120×65cm 陶土、木屑、树脂、纸纤维、铁丝、502胶水、纱布、棉片、超轻粘土、水彩颜料、2025 雕塑系颜汶浩空像 2分35秒视频 2025 雕塑系权玥月乐园、遗址、圆明园 8分56秒动画视频 2025 设计学院徐钰童 21世纪艺术展 10分钟×5 数字影像 2025 设计学院管天淇理念世界 8分51秒影像 2025 设计学院陈家欣城市幻象 100×100cm 收藏级艺术微喷 2025 设计学院何心仪生生 4分二维动画 2022 设计学院李湘宜双城记 14分40秒偶戏表演视频 2025 实验艺术
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: Sun Li: Exploration Of The Locality And Internationality of A4 Art Museum | 2025 CAFAM Academic Series

2025-06-25

Sun Li, Director of A4 Art Museum, Chengdu「In Director Sun Li's speech, taking the development process and practical experience of A4 Art Museum as the core, she deeply explored how private art museums can find a balance and development between locality and internationality, providing extremely valuable references and inspirations for the art museum industry.」1.Overview of the Art MuseumAnd Development HistoryAs a private non-profit art museum, A4 Art Museum was founded in 2008. As the founding director, Sun Li has personally experienced and promoted its 17-year development. Since 2000, private art museums in China have entered a stage of rapid development, mostly backed by real estate investment. However, at its inception, A4 Art Museum keenly perceived the structural changes in the art market and ecosystem, committing to exploring a unique museum operation model in Chengdu, a non-first-tier city.The development process of A4 Art Museum is divided into three stages. From 2008 to 2016, the museum focused on the experimental and avant-garde creations of young artists, providing a display platform for emerging artistic forces to help their growth and development. After relocating to the Luhu Art Exhibition Center in 2016, the museum shifted its focus to social and public openness, actively expanding interaction and communication with the public to enhance its social influence. In 2023, the relocation of A4 Art Museum to a new venue marked its entry into a new development stage. It has gradually evolved from a comprehensive museum into four professional institutions: A4 Art Museum, Children's Art Museum, A4 Art Center, and International Residency Art Center, achieving in-depth development and systematic construction of professional capabilities. With its unique development model and professional strength, A4 Art Museum has won the Global Most Beautiful Art Museum Award at Art Basel France, becoming the only Chinese institution to receive this honor, which demonstrates its influence and recognition in the international art field.2.Exploration of the Integration of Locality and InternationalityDirector Sun Li emphasized A4 Art Museum's in-depth exploration in local creative practices. In 2023, the museum launched a urban cultural research project focusing on Chengdu. Through eight different cultural dimensions—including music, poetry, video, visual art, architecture, and lifestyle aesthetics—it deeply analyzed why Chengdu has attracted numerous young people and creators to settle and develop since the reform and opening-up period. The project not only transformed cultural phenomena into visual exhibitions but also promoted cultural understanding and communication between long-time and new Chengdu residents through diverse public education activities and local discussions, attracting a large number of local audiences and expanding the museum's audience base.Furthermore, A4 Art Museum plans to launch the second phase of its urban cultural research exhibition, Chengdu Hip-Hop, on May 30, 2025. Focusing on the influence of street culture and hip-hop on youth subculture, the exhibition will further explore the connotations of local culture and drive the innovative development of indigenous culture and art.In terms of international projects, A4 Art Museum is committed to promoting dialogue and exchange between internationally renowned artists and local audiences. For example, during the Chagall exhibition, the public exhibition "Me and Chagall" was launched simultaneously, collecting more than 3,000 public works which were displayed alongside over 100 original artworks by the artist, enhancing the public's sense of participation and experience in art. In Shinji Ohmaki's solo exhibition "Light of Aura", public education activities such as meditative painting and professional interpretations were carried out to facilitate deep connections between the artist and local audiences. The exhibition "Echoes of the Universe" by Chiharu Shiota was closely integrated with a children's art festival, collecting the wishes of 5,000 children in Sichuan and integrating them with the artist's works, achieving a perfect fusion of international art and local culture, and enabling international projects to truly take root and resonate with local audiences.3.Supporting ArtistsLocal Creationand Public ParticipationA4 Art Museum actively supports the creation and development of local artists in Chengdu, providing them with diversified exhibition and project support. For example, artists such as Feng Li, He Liping, Shuaruo Shizhu, and Zhou Bin have all held solo exhibitions or long-term projects at A4 Art Museum. Through professional curation and resource support, the museum helps local artists improve their creative standards and social influence, promoting the prosperous development of the local art ecosystem.A4 Art Museum focuses on transforming audiences from mere visitors into constructors of culture and art. Through the Community Curator Program, it recruits non-professionals to participate in curatorial practices, enabling them to raise new questions, solve practical problems, and plan related exhibitions and activities through curriculum learning, practical participation, and other means. The program has lasted for five years, achieved good community results, and realized the deep integration and collaborative development between the museum and the community.In addition, the Artist Residency Program of A4 Art Museum also has unique characteristics. Since 2011, it has accepted more than 30 groups of artists from all over the world every year. Despite the large number of applications, the museum carefully selects and provides in-depth creative support for artists. The Artist Residency Program is closely integrated with the community. Through the Super Agent Model, community residents, urban builders, and artists form pairs to jointly participate in creation and community activities, integrating artistic creation into daily community life, and extending the influence of the museum from professional art spaces to a broader public domain.4.Public Education and Community Engagement of the Art MuseumA4 Art Museum attaches great importance to public education. While organizing more than 20 exhibitions each year, its four professional institutions also carry out over 500 public programs and activities. These activities feature rich and diverse content, covering different fields and audience groups. Through these initiatives, the museum not only disseminates art knowledge, but also focuses on stimulating the public's creativity and participation enthusiasm, promoting interaction and communication between the public and art, and enhancing the public's artistic literacy and aesthetic standards.A4 Art Museum is committed to building deep community connections, transforming audiences into participants, and enhancing the public's sense of identity and belonging to the museum. Through the Children's Art Festival project that has lasted for many years, as well as in-depth dialogues and collaborations with various communities, the museum has established close ties and formed a good interactive relationship with the public. Such community connections not only enhance the museum's social influence but also provide a solid social foundation for the dissemination and development of culture and art.5.Future Outlook and Industry InsightsThe speech by Director Sun Li not only reviewed the development history and practical experience of A4 Art Museum, but also looked forward to its future development direction. A4 Art Museum will continue to adhere to the integrated exploration of locality and internationality. Through urban cultural research, international project expansion, support for artists' local creation, public education, community connection and other aspects of work, it will promote the collaborative development of local artistic creation and international expression, and is committed to becoming a super-link platform for people and culture and art, so that the art museum can truly become a cultural and artistic space loved by people.The practices of A4 Art Museum have offered valuable experience and inspirations to the private art museum industry. In non-first-tier cities, art museums can build unique cultural brands and operational models by deeply exploring local cultural resources and integrating international artistic visions. Meanwhile, emphasizing public participation, community engagement, and public education can effectively enhance the social influence and public recognition of art museums, and promote the popularization and development of culture and art. Furthermore, the professional and systematic development of art museums, together with in-depth cooperation with artists, communities, the public, and other stakeholders, constitutes the key to achieving sustainable development.Introduction of Guest Speakers -Sun LiDirector of A4 Art Museum, President of the Public Art Association of Chengdu and the Special Committee on Art Museum Studies, Vice President of the Talent Development Promotion Association of Tianfu New Area, Chengdu, Director of the Cultural and Creative Exhibition Special Committee of the Talent Development Promotion Association of Tianfu New Area, Chengdu, Master of International Business Management from the University of Wales, UK. Currently works and lives in Chengdu.∨Editor-in-Chief / He Yisha Editor / Du YinzhuOn-site Photos / He YifeiText Compilation / Xu Xi
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: Layers of Time and Space | Special Exhibition of Graduation Works from the CAFA Art Museum Collection Opens

2025-06-23

Recently, the exhibition "Layers of Time and Space – Special Exhibition of Graduation Works from the CAFA Art Museum Collection" opened in Zhengzhou, Henan, with Lin Mao, President of the Central Academy of Fine Arts, in attendance at the opening ceremony.Spanning a decade of graduation works collected by CAFA, the exhibition boasts a diverse selection of nearly 80 pieces across a spectrum of mediums. From the traditional elegance of Chinese painting to the bold statements of video art and from the intricate details of printmaking to the immersive experiences of installation art, this exhibition has something for every art enthusiast. Divided into four thematic sections—Resonance, Symbiosis, Growth, and New Currents—the show showcases the remarkable explorations of a significant group of young artists in cultural inheritance, ecological reflection, personal storytelling, and interdisciplinary innovation.In addition to the main gallery, a special display outside the exhibition space presents works by CAFA’s emerging faculty members, tracing their evolution from students to educators. This intergenerational dialogue adds a rich dimension of “learning through teaching” to the exhibition.As a tribute to the 2025 CAFA Graduation Season, the exhibition extends the academy’s educational achievements to the public. It serves as a testament to how art education can stimulate new forms of productivity and foster dynamic interaction between universities and urban culture. By envisioning a future shaped by aesthetic education, local revitalisation, and the creative energy of youth, this exhibition inspires us to appreciate the transformative power of art education.The exhibition is open until August 25th.The grand opening ceremony was a collaborative effort jointly launched by esteemed figures, including Lin Mao, President of the Central Academy of Fine Arts; Li Ming, Vice Chairman of the Henan Federation of Literary and Art Circles and Vice Chairman of the Henan Artists Association; Sun Han, Deputy Party Secretary and Secretary of the Political and Legal Affairs Commission of Guancheng Hui District; Dong Jiwu, Director and Party Secretary of the Henan Art Museum; Li Xiaolei, Standing Committee Member and Minister of Publicity of Guancheng Hui District; Gu Hequn, Party Secretary and Chairman of the Jianzhong Group; and Gao Gao, Deputy Director of the CAFA Art Museum. Their presence added a sense of prestige and importance to the event, making everyone feel part of this significant moment in the art world.Leaders from relevant departments at CAFA, along with representatives from the Guancheng Hui District Committee of Zhengzhou, the Henan Federation of Literary and Art Circles, Henan Art Museum, Henan Artists Association, Henan Photographers Association, Henan Arts and Crafts Association, as well as faculty from peer institutions and members of the arts community, attended the opening ceremony.Following the ceremony, Zhang Yanmin, Party Secretary of Guancheng Hui District, accompanied President Lin Mao on a visit to the Fuminli Cultural Block.Exhibition viewing展览现场Section One: ResonanceThis section weaves together two thematic layers—New Perspectives on History and Modern Construction—to build a platform between tradition and the present. Young artists draw deeply from the cultural heritage, finding inspiration in the elegance of bronze inscriptions, the charm of ink-wash painting, and the philosophical depth of classical texts. Their contemporary interpretations of Dunhuang art and ancient literature reflect a strong sense of cultural confidence and resonance. At the same time, they engage sharply with the spirit of the times, transforming themes like “the grand celebration of nation-building,” “vivid scenes of rural revitalization,” and “the awe of deep-sea exploration” into rich artistic expressions. Through the lens of youthful sincerity and creative insight, they bridge historical depth and contemporary relevance—writing a new chapter in the story of CAFA’s emerging generation.Liu Hongchao, Star-Making, 2023, Oil on wood, 100 × 135 cm, Collection of CAFA Art Museum苗菁菁《折叠公园》2022年，硬纸本水墨，180×91.25cm×4（2幅），中央美术学院美术馆藏李罗《丝路系列之景德镇·多年父子成兄弟》2023年，布面油彩，126.5×193.5cm，中央美术学院美术馆藏孙宇《“大世界”系列之四》2015年，数码彩喷，80×55cm，中央美术学院美术馆藏祈庆龄《记忆系列 · 昂琴那沁》2020年，纸本设色，50×50cm，中央美术学院美术馆藏王海迪《北冥——百圾碎》2020年，水印木刻，90×90cm，中央美术学院美术馆藏夏理佳《摆渡人——彼岸》2023年，石膏、铁、铜、木、麻绳、麻布、树脂、金箔，180×60×230cm，中央美术学院美术馆藏詹佶昂《竹林七贤》2020年，绢本设色，200×240cm，中央美术学院美术馆藏Section Two: SymbiosisThis section unfolds across Cultural Landscapes, Imagined Landscapes, and Natural Forms, reflecting the harmony between humans and nature. Some artists draw from ancient aesthetics—such as Guo Xi’s spatial philosophy, seasonal rhythms, and Tao Yuanming’s utopias—reviving dialogues with nature through works inspired by classics like The Plum Blossom Spirits Manual. Others reimagine nature from a creator’s view, infusing mountains, forests, and stone formations with personal emotion and aesthetic vision, transforming them into poetic inner landscapes. Through a blend of reflection and imagination, they offer vivid interpretations of coexistence—where nature is not just observed but deeply felt.Wang Chenxu, Emerging Mountains, 2017, Oil on canvas, 60 × 260 cm, Collection of CAFA Art Museum何佩璇《植物园》综合材料（有色卡纸，丙烯），60×50cm，2019年，中央美术学院美术馆藏傅旭航《“拾”物——盆栽》2023年，石膏，75×70×5cm，中央美术学院美术馆藏叶娉婷《Ode · Fox》2024年，羊皮、铜版、水彩，130×90cm，中央美术学院美术馆藏周宏博《隐秘的风景》2023年，铜版，100×150cm，中央美术学院美术馆藏郭玉龙《石·林》2022年，木板丙烯，100×100cm，中央美术学院美术馆藏王相洁《201801》2018年，绢本水墨，220×200cm，中央美术学院美术馆藏Section Three: GrowthThis section explores the intersection of Poetic Fantasy and Emotional Memory, forming an intimate dialogue between dreams and lived experience.Artists move fluidly between myth and reality, crafting imaginative worlds from fairy tales, inner monologues, and sci-fi musings. Others delve into personal histories and quiet emotions, using fragmented, nonlinear narratives to evoke the texture and emotional depth of memory.In these works, growth becomes a gentle thread—woven through fantasy, memory, and introspection—delicate yet resonant.Zhang Yi, With What Can I Hold You Back, 2021, Tempera on wood, 152 × 224 cm, Collection of CAFA Art Museum刘启光《旅人之一》2018年，石版画，60×40cm，中央美术学院美术馆藏王启凡《“星图系列”No.1》2020年，木版水印，72×105cm，中央美术学院美术馆藏邹达闻《他们22》2015年，尺寸不一，中央美术学院美术馆藏孟佳宝《五光十相》2021年，纸本油彩、木框丙烯，尺寸不一，中央美术学院美术馆藏朱玄玄《PSUCHE》2023年，木版水印，76×56cm×7，中央美术学院美术馆藏孙玛侬《THE TOOTH FAIRY》2019年，综合材料，210×150cm，中央美术学院美术馆藏Section Four: New CurrentsThis section unfolds through Material Innovation and Intelligent Innovation, highlighting breakthroughs in physical media and digital interaction. Some artists treat materials as gateways to new ideas—working boldly with meteorites, seaweed, and industrial components to expand the boundaries of art. Others explore cutting-edge themes, such as AI, the metaverse, and biotechnology, presenting works that merge aesthetic vision with technological inquiry. Their practices reimagine the role of materials and reshape artistic paradigms in a world driven by digital revolutions—defining what the next era of art might become.Liu Jintao, Falling Star Pact, 2024，Meteorite, stainless steel, variable dimensions，Collection of CAFA Art Museum江芷盈《海藻革命之购物袋》2023年，浒苔、石花菜，尺寸不一，中央美术学院美术馆藏冉华明《基于基因行为的雕塑》2023年，3D打印铸铜着色，90×60×90cm，中央美术学院美术馆藏杜雪《茧》2016年，综合材料，45×45cm ，中央美术学院美术馆藏薛文静《拆一根销、解得一件家具》2017年，北美黑胡桃、黄铜、亚克力，172×32×155 cm，中央美术学院美术馆藏陈戈霖《聚 · 散》2023年，纤维，134×194cm，中央美术学院美术馆藏王志浩《冇》2016年，纸、木板，72×72cm，中央美术学院美术馆藏特邀中央美术学院教师作品柳青《G4472·新世界》综合材料，750×225×235cm，2014-2025年，艺术家自藏卢征远《开合》镜面不锈钢，尺寸可变，2016年，艺术家自藏陈明强《盆景》旧铁栅栏、不锈钢电焊条、水泥铁精粉、磁铁矿石、电焊渣，50×70×150cm，2018年，艺术家自藏刘巍《此在》不锈钢生铁，85×50×85cm×2，2012年，艺术家自藏杜英奇《我的戈多》树脂、枕木、钢筋、石头，230×140×220cm，2013年，艺术家自藏王川《炻·迹》天然原石，47×47×67cm、45×46×25cm、50×38×38cm、60×36×42cm，2024年，艺术家自藏邹达闻《根之角》木、色彩，300×140×140cm ，2024年，艺术家自藏Exhibition InfoLayers of Time and Space -– Special Exhibition of Graduation Works from the CAFA Art Museum CollectionAcademic Advisor: Central Academy of Fine ArtsOrganizers: People’s Government of Guancheng Hui District, Zhengzhou Publicity Department of CAFA CAFA Art MuseumHosted by: Zhengzhou Jianzhong Shangcheng Cultural Tourism Development Co., Ltd.Supported by: Henan Yifeng Art CenterExhibition Period: May 1 – August 25, 2025Venue: Art Center, Fuminli Cultural Block, Shangdu, Guancheng Hui District, ZhengzhouCompiled by the Publicity DepartmentChief Editor / He YishaExecutive Editor / Du YinzhuTranslator / Mia
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: 毕业季最后一天！一群宝藏毕业生在央美“玩”木头?

2025-06-23

6月22日，为期近2个月的“2025中央美院毕业季”即将在闭馆后画上圆满的句点！这场以“逐光而行”为主题的毕业季自开展以来，观众络绎不绝。这不仅是千余毕业生学习生涯的阶段性呈现，更是艺术之路的崭新起点。毕业生在展厅驻场讲解，观众的热情聆听与共情，是对他们艺术成果的最高褒奖。我们在此共同见证了新一代艺术力量的崛起，感谢所有观众的关注与支持。此篇推送分享“木艺工作室”的毕业创作。木头，古老而沉默，也常被囿于“传统”“工艺”的固有印象。但在央美木艺工作室的青年毕业生手中，木头被赋予了全新的灵魂。他们以独特的艺术视角和实验精神，让“木”不再是材料，而是思想的载体，看他们如何拓展木艺艺术的边界和可能性。作品名称《鳞境漫游》姓名：詹雯婷指导教师：郑韬凯、王通《鳞境漫游》以清代图谱《海错图》为灵感，探索从观察到想象再到重构的造型路径，书中融合了写实记录、主观审美与民间幻想，其图像逻辑启发我建立属于自己的幻想生物体系，并在传统意象的基础上延展造型设计，于真实与虚构之间开辟一片独特的想象空间。材料选用上，詹雯婷有意保留木材的裂痕、虫眼疤结，使其成为造型的一部分，这些自然痕迹承载着时间与生命的质感，也赋予作品独特的叙事张力。这是一次从图谱出发的造物尝试，也是一场有关"错"与"美"的重新想象。《浮相》姓名：向业晴指导教师：郑韬凯王通向业晴在网上无意中浏览到一款悬浮磁吸灯，灯具悬浮的状态吸引到了她，便想以此状态为基础设计毕设。悬浮的状态表现了失重感和根基的丧失，而气球的膨胀和飘飘然则作为了形象的载体。由于普通木头很重，为了减轻重量，作者用了最轻的木头巴沙木，先用整木削出肚子的整圆，再雕刻出头部和四肢，进行组装上色，最后安上鱼线组装在圆盘上。在价值快速更迭的时代，个体常常陷入自我认知的“膨胀”之中，自信与自大的界限逐渐模糊，轻盈的虚浮逐渐取代了沉稳的重量。在这些背景下，气球人由此诞生。传统二十四节气守护神兽制作过程动物盲盒《木隐天时·廿四兽律——基于中式幻想二十四节气动物森林的叙事木作》姓名：解璐倩指导教师：郑韬凯王通《木隐天时·廿四兽律》以《礼记·月令》物候观测为哲学基底，通过细木镶嵌工艺构建节气符号系统、整雕技法塑造动物生存姿态、多层板立体绘本演绎生态互动，构建森林动物在二十四节气中的森林剧场。暗合《考工记》中“天有时，地有气，材有美，工有巧”的造物法则，将动物行为(如惊蛰蛇启蛰、冬至麋角解)转化为可触的木构系统，探讨传统工艺在当代艺术中的转译可能。作品最终指向对“非遗活化”的反思——如赵熊在《廿四节气印存》中的诘问:“其喜讯耶?挽歌耶?”它既是对农耕文明的诗意回望，亦是对生态危机的当代回应，最终在木纹裂变与兽群呼吸间，完成了一场关于时间、生命与自然的终极对话。作品中动物盲盒IP形象将拥有深厚历史积淀与精湛技艺的细木镶嵌，应用于承载当代情感与流行文化的IP形象创作中，不仅能为传统工艺注入鲜活的时代生命力更能为IP形象赋予独特的物质载体与高附加值的艺术质感，能在切实可行的路径上将这一融合探索持续深化下去。《木韵·阿尔卡纳》姓名：刘若童指导教师：郑韬凯王通《木韵·阿尔卡纳》以塔罗牌的22张大阿尔卡那（Major Arcana）为蓝本，通过木制圆雕展现了神秘符号与自然纹理的和谐共存。选用的木材包括椴木、黑胡桃、枣木、花梨等，雕刻过程中刻意保留了木材的原始裂痕与节疤，象征着生命历程的不完整与再生。主体设计汲取了马赛塔罗的几何图形和伟特塔罗的叙事性符号，每件作品均是对塔罗牌深层含义的独特解读。在色彩运用上，通过木材固有的色泽差异，创造出具有层次的视觉体验，将塔罗牌的象征意义与木材的自然质感相融合。本创作不仅是对传统塔罗牌艺术的现代诠释，更是对自然与神秘主义之间深刻对话的体现。《虫洞的第♾️次融化》姓名：徐雅婧指导教师：郑韬凯王通《虫洞的第♾️次融化》由两个微缩变形娃娃屋和后面墙面的窗帘挂画组成。从挂画到娃娃屋的屋体再到内部家具都是形态扭曲的，意在呈现一个关于宇宙、时间与物质不稳定性的多维梦境，房屋和家具不再受制于重力，比例和逻辑，不断扭曲变形。“虫洞”代表着时空的坍缩融合，“第♾️次”象征时间的循环和无解。作品中添加的童话元素又中和掉了这一超现实感，更加吸引观者和容易被接受，将视角着重于梦境。两座房子分别是兔子的家和熊的面包店，日常的场景加上扭曲的造型更具有奇幻的感觉。从精微的雕刻细节到有趣的空间装置，从静谧的木质温润到强烈的视觉冲击，这些作品凝练成独特的木艺语言。|温馨提示|中央美院毕业季于6月22日17:30闭展请未观展的朋友合理安排时间预约通道2025中央美院毕业季CAFAM@ 20252025中央美院毕业季线上预约购票通道开启，观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票（购票说明详见官网）。每日观展名额限量约满为止，毕业季期间美术馆周一正常开放。预约时需使用有效证件进行实名预约，每人当天只能预约一次，预约成功后，观众按预约时间到场。毕业季期间，在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。主编 / 何一沙责编 / 杜隐珠
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: "I Repair Cultural Relics at the Central Academy of Fine Arts": The First Undergraduate Graduation Works of the Restoration College Debut Stunningly | 1 Day Countdown to Graduation Season

2025-06-22

Under the lights, the exhibition hall is filled with tranquility. Frames of paintings that were once dim and mottled now radiate new brilliance; fragmented patterns on murals are ingeniously continued; ink marks blurred by time in Chinese paintings regain their vitality; and the dusty splendor on oil paintings is carefully awakened. After four years of dedicated study, the Restoration College finally welcomes its first batch of 21 undergraduate graduates. With ingenuity and skill, they present the first "graduation thesis" for the construction of the restoration discipline at the Central Academy of Fine Arts. These works may be immature, but they are imbued with the power to break through the soil, witnessing the footprints of young restorers and the fledgling college growing together.CAFA Graduation Season is coming to an end on June 22. Friends who haven't visited the exhibition yet, don't miss it!Mural Restoration StudioCAFAM@ 2025Eight graduates from the Mural Restoration Studio jointly completed the "A Glimpse of a Millennium — Replication of Mogao Grotto 285". Carved during the Datong period of the Western Wei Dynasty, Mogao Grotto 285 is the earliest grotto in the Dunhuang Grottoes with a confirmed excavation date. The main chamber is a bucket-shaped ceiling grotto with a square plane, a relatively large meditation grotto. Its architectural form directly originates from India, similar to the Ajanta Caves in India, belonging to the early form of meditation grottoes in Mogao Grottoes. The work is replicated at a scale of 1:0.7, currently 4.4 meters wide, 4.51 meters deep, with a wall height of 2.44 meters and a ceiling height of 3.37 meters. It adopts a wooden keel structure and traditional mud-based groundwork painting, divided into three sections: ⅠGroundwork Production: The east wall serves as a display area for the layered production of groundwork. ⅡCurrent-State Copying: The north and south walls, as well as the sloping ceiling, are copied in their current state, reproducing the mural's current condition with traditional techniques. Ⅲ Restorative Copying: The west wall is for restorative copying. Based on historical documents, image comparison, and combined with the principles of traditional mural painting, it restores the original appearance of the murals, constructing a complete grotto view in different areas to form a temporal section, intuitively comparing and displaying the mural states in different historical stages. On-site, traditional materials and tools are used to present the groundwork layer and painting layer. The production, copying process, and disease simulation of the groundwork are recorded through videos. Combined with imaging technology, the dynamic process from groundwork production to painting completion is presented outside the grotto, allowing viewers to deepen their understanding of traditional craftsmanship through physical touch with the artifacts.On-site Photo of the Restorative Copying on the Western WallOn-site Photo of the Current-State Copying on the Southern WallLin Yiming, Detail of Current-State Copying on the Southern WallWen Chen, Detail of Current-State Copying on the Southern WallLian Renjie, Detail of Current-State Copying on the Southern WallXu Erzhi, Detail of Current-State Copying on the Southern WallOn-site Photo of the Current-State Copying on the Northern WallLiu Shiming, Detail of Current-State Copying on the Northern WallMa Yue, Detail of Current-State Copying on the Northern WallHu Jing, Detail of Current-State Copying on the Northern WallWang Xueying, Detail of Current-State Copying on the Northern WallCurrent-State Copying of the Four-Slope Caisson CeilingChinese Painting Restoration StudioCAFAM@ 2025Strive for loftiness and seek brilliancePan Xingyu, Restoration Case of "Late Qing Scrolls"The Late Qing Scrolls are heavy-color meticulous figure paintings on silk, with three pieces currently extant. Each measures 20cm × 70cm. The works are privately collected, and the author is unknown. Before restoration, all three paintings showed damages such as loosening, stains, fractures, wrinkles, mildew, insect damage, and losses. For the painting cores, this restoration adopted traditional methods to flatten the surface, reinforce colors, clean stains, remove the old backing paper, patch new silk, and mount them as framed works after color matching, so as to present the original appearance to the greatest extent.Before RestorationDuring RestorationAfter RestorationLin Zhenghan, Restoration Case of Plum Blossom and Bamboo PaintingPlum Blossom and Bamboo Painting is a freehand flower-and-bird painting with colors on paper. The author, Chen Wenjin, also known as Yunjin, styled as Xianshang and titled as Xiaosheng, was a native of Haining, Zhejiang. He was a calligrapher and painter during the Qianlong period of the Qing Dynasty, serving as an official in Sichuan Prefecture. Specializing in flower painting under the influence of Chen Chun, he excelled in color application. This work is in private collection. Before restoration, the painting surface had numerous horizontal creases, with severe fractures at the crease positions, serious insect damage, and phenomena of paint layer detachment and hollowing. It had undergone multiple improper restorations previously. This restoration adopted traditional techniques for ancient calligraphy and painting to re-restore it, making the painting core and mounting layer return to flatness, removing old restoration traces, patching holes and tears, smoothing creases, and completing structural restoration. Then color matching was carried out to supplement the painting meaning completely. The original decoration format was removed, and a vertical scroll mounting style with two-color mounting was re-designed to maximize the reproduction of the original artistic effect and extend the lifespan of the work.Comparison Before and After Color MatchingComparison of Restoration Details Before and AfterComparison Before and After Restoration Zhang Yufeng, Restoration Case of Peacock Painting in Archaic BrushworkPeacock Painting in Archaic Brushwork has no definite author information, and its date can be traced back to the Qing Dynasty. According to existing information and image observation, the painting has undergone at least one re-mounting and restoration, with multiple improper restorations and secondary damages occurring during the mounting process. The current preservation condition of the painting is poor: the overall picture appears dark brown, with severe curling and cracking; there are insect holes around the edges; large sections of pigments have fallen off. The painting as a whole has multiple paper creases and fractures, and the main body of the picture is contaminated by large ink stains. In many parts of the painting core, there are inappropriate paper patches that do not match the material or the artistic conception of the painting.Restoration ProcessBefore RestorationAfter RestorationOil Painting Restoration StudioCAFAM@ 2025Guo Yinglin, Restoration Case of Still Life, an Oil Painting on CanvasThis work is a sketch oil painting by Guo Yinglin, one of the first batch of Chinese artists to study in France, painted in 1956. Two still-life works of this series are currently extant, both privately collected by the artist's family. In 2022, they entrusted the Collection Department of the Art Museum of the Central Academy of Fine Arts to carry out restoration. The support canvas of the work has aged, lost its elasticity, and has multiple penetrating scars; the pigment layer in the upper half of the picture has overall pulverized, with local warping and peeling conditions. The restoration goal is to restore the structural stability of each layer. It is necessary to comprehensively reinforce the pigment layer, restore the adhesion to the underlying painting ground, and complete the missing colors.The pigment layer of Guo Yinglin's oil painting Still Life has large-area pulverization and peeling, and has water-sensitive characteristics, requiring overall reinforcement. The restoration difficulties of this work are how to reinforce the loose, pulverized, and water-sensitive pigment layer; and what kind of temporary reinforcement material to choose can achieve good adaptability with subsequent operations such as overall back reinforcement and surface cleaning.修复前修复后韦启美布面油画《女人体习作》修复案例此作品画布长期无内框支撑，棉质画布已无法支撑开裂的绘画层，需通过背面整体衬托的措施承担画布平面应力。但画布背面存在内容为作者名字的落款，需通过实验设计力求在结构稳定的同时最大程度保留文字信息的可读性。作者通过以下两点展开修复过程：一、加固颜料层、平整并衬托画布，解决作品颜料层碗状变形、画布平面变形的结构问题，通过衬托新的支撑材料承载平面结构力量，并绷于内框上使内部应力保持平衡。同时尽可能最大化保留背面手写字迹。2、画面表面清洁并填补颜料层缺失，以达到审美和谐和视觉可读。临时贴面加固不稳定的颜料层局部封护字迹并整体涂刷Beva371粘合剂加固加湿并压重，平整画布变形背面涂刷Beva371粘合剂，并绷上聚酯丝网蒸馏水清洗颜料层表面尘垢填补缺失的基底层修复后赵懿 Chas Russell 布面油画《Sitting Lady》修复案例《Sitting Lady》创作于1880年是一幅典型的新古典主义肖像画。画作存在多维度病害:支撑物呈现角波纹及内框印痕等平面变形，局部伴有裂口与破洞，其背面附着大量浮尘。画面基底层与颜料层存在局部缺失且边缘残留外框黏附的金漆。最为明显的是人物头部右侧光油层存在明显泛白现象。修复过程画布背面除菌吸尘（对比）裂口/破洞处临时贴面+压重平整裂口/破洞处支撑物使用Ph6.5的水性清洗试剂清理表面尘垢使用Ph6.5的水性清洗试剂清理表面尘垢修复前修复后These young people are both students and pathfinders. They "hold technology in one hand and inherit ancient methods in the other"—the interdisciplinary integration of art and technology shines as a distinctive trait of this new generation of restorers. From a cross-cultural perspective, they continuously raise reflections on the ethics of contemporary cultural heritage restoration. Behind each work lies a three-dimensional interpretation of the word "restoration": it is the physical mending, but more importantly, the reconstruction of historical logic; it is the inheritance of craftsmanship, and even more, the rebirth of cultural values.Reservation Channel2025 CAFA Graduation SeasonCAFAM@ 2025The online reservation and ticketing channel for the 2025 CAFA Graduation Season is now open. Visitors can make reservations and purchase tickets through the mini-program of the CAFAM, WeChat official account, or 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 normally open 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 scheduled time. During the graduation season, please enter the museum through the dedicated ticket channel at the north gate of CAFA by swiping valid documents such as an ID card for verification.Chief Editor / He YishaEditor / Du YinzhuPart of the text and images are sourced from the Restoration College of CAFA
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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.

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

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

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

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

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

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.

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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.

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(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.

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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.

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CAFA Art Museum Event Safety Disclaimer

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

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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.