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.

: CAFAM Recruitment | CAFAM's "Little Docent" Public Benefit Program will start soon!

2024-08-17

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。课程安排课程时间： 8月22日9：30-12：008月23日 9：30-12：00考核时间： 8月27日9：30-12：00特别提示：8月23日至8月27日开馆时间（周一闭馆），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9-15岁之间的青少年儿童招募人数：20人报名截止日期：8月20日报名方式：请填写报名表发送至wangjun@cafa.edu.cn，报名成功会收到邮件回复。报名表百度网盘下载链接：https://pan.baidu.com/s/1VkE-DVAwikz9byBINz8Wvw?pwd=2AYq 提取码：2AYq考核与上岗：考核通过并实际导览2天的同学，将获得由中央美术学院美术馆颁发的“小导览员”证书。课程意义· 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。我们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，一起在艺术的世界里成长、进步！主编 / 何一沙责编 / 杜隐珠
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: "Sailing: Invitational Exhibition of Graduates' Works of the Central Academy of Fine Arts Opens at Beijing City Library

2024-08-15

8月13日上午，“启航——中央美术学院毕业生作品邀请展”在北京市城市图书馆B1展厅开幕。本次展览由中央美术学院主办，首都图书馆承办。中央美术学院副院长吕品晶、首都图书馆馆长毛雅君、中央美术学院美术馆馆长靳军、中央美术学院美术馆直属党支部书记韩文超、中央美术学院美术馆副馆长高高等领导出席活动。首都图书馆副馆长刘朝主持活动开幕式。开幕式致辞中，中央美术学院副院长吕品晶表示，这次展览是中央美术学院与首都图书馆携手合作的成果，展现了双方对艺术与文化事业的共同热爱和追求，并对首都图书馆为央美学子提供的支持表达了感谢。首都图书馆馆长毛雅君表示，展览得以成功举办，得益于中央美术学院和首都图书馆的共同努力和精诚合作，并表达了双方携手，共同推动北京市公共图书馆文化艺术事业蓬勃发展的美好祝愿。中央美术学院副院长吕品晶首都图书馆馆长毛雅君首都图书馆副馆长刘朝随后，首都图书馆与中央美术学院签订了战略合作协议，以期结合双方资源优势，开展多方位的艺术交流合作，共同构建艺术交流合作展示的平台，推动首都文化服务的不断进步。签约仪式结束后，中央美术学院美术馆馆长靳军宣布展览开幕。首都图书馆与中央美术学院签订战略合作协议中央美术学院美术馆馆长靳军展览分为“交互·共感”“媒介·变奏”“影画·交织”和“绘声·绘色”四个板块，以集中展示中央美术学院2024届优秀毕业生创作成果，参展的近50件优秀作品形式多元、互动性强，呈现出中央美术学院毕业生在艺术创作上的多样性和独特视角，展现青年一代艺术创作者蓬勃的创造力。观众通过与作品的互动，可以深入理解艺术家的创作理念和情感表达，激发自身对艺术的兴趣和思考。“交互·共感”板块关注观众与艺术作品之间的互动关系。在该板块中，艺术家通过利用现代科技和互动设计，创造了能够与观众进行实时互动的艺术作品。通过传感器、触摸屏、AR/VR技术等手段，艺术作品能够实时响应观众的指令，在为观众提供沉浸式体验之余，也使观众的主动参与，成为艺术作品的一部分，从而打破了传统艺术中观众与艺术家的界限。“媒介·变奏”板块着重于艺术家对不同媒介和材料的创新使用。艺术家们使用非传统的材料（如回收物品、自然元素等），探讨这些材料在艺术创作中的表现力和意义。运用3D打印等技术扩展艺术创作的边界，创造出新的艺术语言和表现形式。“影画·交织”板块中，动画创作作为一个重要的展示领域，结合绘画与动态影像，探索静态绘画与动态影像之间的融合，展示如何通过动画这一艺术形式实现传统与现代的交融。毕业生们在动画创作中应用多种艺术风格，包括传统的手绘风格、数字化绘画风格、以及实验性的视觉效果。“绘声·绘色”板块则集中呈现中央美术学院毕业生绘本创作的优秀作品，绘本作为艺术创作形式之一，将图像和文字融合在一起，创造了一种独特的叙事形式。置入图书馆这样的文化空间之中，在视觉艺术和文学创作之间架起了一座桥梁。首都图书馆是城市记忆的保护与传承机构，中央美术学院具备广泛而活跃的艺术创造力，通过“阅读+艺术”的形式，必将为公众提供更丰富、可感知的艺术体验，推动首都文化事业的创新发展。主编 / 何一沙责编 /杜隐珠
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: CAFAM Exhibition ｜ Starting from "Imagination": How Do Artists Express A Sense of The Future?

2024-08-14

以下文章来源于中央美院艺讯网，作者CAFA ART INFO在日前开幕于中央美术学院美术馆的“蓝图生产力——未来感在艺术中的表达”中，展览以关键词提出的方式聚焦艺术对人类文明建设的预见与想象，不同代际艺术家对未来图景的艺术生产方式与成果，以及艺术自身对未知边界和未来世界的感知反馈等议题[1]，尝试将“科技”与“未来感”等当下热议的话题置入艺术史研究与艺术创作表达的脉络之中来观察。有别于以新兴技术手段与当代艺术间的对话为切入点的相关展览呈现，此次展览虽然着眼于艺术创作的未来叙事，但却以一种克制的方式首先进行了历史的引入，由此试图阐明，人类对太空与未来的想象，与自然、机器之间的对抗与博弈，从不只是发生于技术高度迭代的时代。▲ “蓝图生产力——未来感在艺术中的表达”展览现场过往的畅想：“创造地上的天堂”“随着轰然的响声吐出一阵烟云，蟒山上发射的星际火箭凌空直上，烟云散了之后慢慢吐出多年后的十三陵水库，她已具备另一付（按：副）新的面貌。”[2]1958年，耗时37天，田汉所著同名话剧《十三陵水库畅想曲》被改编为电影，原剧本仅一场的二十年后畅想场景在电影中被拉长至近三分之一的篇幅，承载了更为具象的想象空间。火星旅行、原子时代、警惕机器，“既不违反自然规律也不屈从它”……半个多世纪前，这些隐匿于台词及演绎片段间的未来畅想有的在今天已经实现，有的则仍然是当下热议的话题。▲ 电影《十三陵水库畅想曲》（1958）节选，静帧截图在“引序：从畅想开始”中，十三陵水库的修建与对其的文艺想象构成了某种历史的前因。由董希文、艾中信、周令钊等人绘制的十三陵水库规划图，王式阔的《十三陵水库工地3》油画以及金山执导的《十三陵水库畅想曲》的两组片段，共同回溯了这一具有时代烙印的“建设”工程从规划愿景、建设劳动现场以及建成之后对未来二十年的畅想的不同阶段。当规划图被作为某种对未来的蓝图与期许被置于水库建设工地的宣传栏中时，对于参与其中的劳动建设者而言，这种图景所勾勒的美好前景成为了一种莫大的鼓励与动力。对“建设”的热忱和对“新生活”的憧憬是20世纪50年代的中国不可回避的时代母题，其深植于每一个中国人的基因之中。“凭借人间的银河，来创造地上的天堂”[3]，在生存的需求与物质文明的追求过程中，诸多基础设施的建设成为了人们认识自然、征服自然与改造自然的重要途经。▲ 周令钊、李可染、艾中信、董希文、宗其香《十三陵水库远景规划示意图》，收录入《十三陵水库》，十三陵水库修建总指挥部政治部编，北京出版社，1958年▲ 王式廓，《十三陵水库工地 3》，1958年，60cm×120cm，布面油彩，中央美术学院美术馆藏引叙章节并未止步于这一大跃进时期代表性水利工程建设的艺术叙事，接续《十三陵水库畅想曲》中二十年后想象图景的，正是作为“现实”召开的1978年“全国科学大会”，此次会议之中提出的“科学技术是生产力”的著名论断让“科学的春天”就此到来。会议之前，艺术家许彦博接受了为大会设计一套邮票的任务，其初始方案的主体人物是一位跳跃于展开书本的健美少女，周身环绕着电子轨道，背景是广袤无垠的宇宙星河。在许彦博的回忆中，这份设计创作方案“在经过10年的文化禁锢之后的春天，它是第一棵破土而出的新芽”[4]。尽管出于种种考量，最终的邮票方案采用了更具图案性的另一版，但许彦博却将这颗“破土的新芽”从邮票设计稿进一步发展为了木刻版画，并最终在大会闭幕当日刊登于《光明日报》，引发群众热议。▲ 许彦博，《生命奏鸣曲》，1980年，77cm×80cm，木版单色，中央美术学院美术馆藏在展览现场出现的这幅《生命奏鸣曲》正是艺术家在两年以后，以《科学的春天》为蓝本进一步发展而成版画，画面主体依然是健美青春的少女，环绕的飘带之上以图示提示出人类文明的发展进程，而其身后的广袤宇宙之中，一艘飞行器漂浮于右上角，似乎在预示着人类技术与文明对地外世界的探索与征服。据策展人易玥与艺术家的对话称，自小热爱物理的许彦博对科技一直保持着热爱与关注，这艘飞行器的造型与构成也启发于其当时所读的科幻小说——那是一艘集人类生活空间，满足不同作物种植需求，吸收供给能量为一体，具有完整生态系统的飞行器。技术、认知与艺术的合声在此次展览构筑的叙事中，引叙章节一方面回溯了上个世纪以来艺术家借由创作畅想未来的丰富面貌，此种想象并不拘于彼时人们对科学的认知和技术发展的事实，也并不总是依赖于艺术家所处时代的既有图示；另一方面，借由“全国科学大会”与《生命奏鸣曲》的提示，展览正式步入“漫游深空”与“串联机器”两个章节。通过纳入中央美术学院美术馆的历年馆藏与邀请不同代际艺术家以艺术作品共同回应“未来感”的表达，展览进一步聚焦了在当代艺术的创作语境中，艺术家如何在二维平面与三维立体空间中想象未知的深空与不可及的视角，理解并利用机器进行共创，进而创造新的机器。“漫游深空”所呈现的艺术家以不同的媒介与视野关怀人类步入宇宙的探索技术成果，其作品展现出了艺术家的思想表达与科技发展手段之间的协商与嵌合。在《中国天眼——贵州平塘射电望眼》中，于“天眼”工程的主体之外，艺术家亦对工程所处的自然环境予以刻画。由于该工程几乎未对该地区的自然环境进行人为改造，在星空的映照下，贵州喀斯特地貌独特的洼地、山体与群峰与置入其中的“天眼”工程形成了经年累月的原始自然景观与人类科技文明间跨越时空的对话。▲ 周吉荣，《中国天眼——贵州平塘射电望眼》，2019年，80cm×100cm，丝网套色，中央美术学院美术馆藏与《中国天眼》形成展示空间与观看视角上对应的，是张文超的《90分钟的宇宙观》。人类借“天眼”工程仰望星河，探索目力之所不能及的深远，而宇宙航天器的飞行轨迹则让俯瞰反观地球之上的文明印迹和发展脉络成为可能。正是基于其对航天器绕地球飞行一周的时间和轨迹展开联想，借“徐冰艺术卫星创作驻留项目”的契机，《90分钟的宇宙观》“以‘SCA-1号’卫星绕转地球一周的航迹为依据，收集星下点轨迹途经地域的与太空想象相关的文学、神话、历史、地理等文本和图像数据，创建数据集，并结合人工智能算法生成技术，形成了一部由卫星轨迹驱动的数据电影”。[5]在艺术家所收集的这两套数据集中，星下点轨迹的数据采集自现实，构成了作品的基础，其跨越了不同文明与民族的剖面，实现了一条横向的空间轴；而历史的纵轴则由不同地域的人们亘古以来对外太空文明的想象图景所构成，在人类文明的演进过程中，这些想象被转译为神话、图腾、诗歌、谚语等多种形式，而在这两者的相互交织与嵌合过程中，数据集的思维与方法成为了关键路径，其正是艺术家所称的“从数据地层中挖掘艺术线索”[6]的工作方法。▲ 张文超，《90分钟的宇宙观》，2023年至今，90分钟循环，尺寸可变，展览现场▲ 徐娜，《逐梦寰宇问苍天》，2023年，175cm×150cm，木刻，艺术家提供▲ 托马斯·吴，《东方阿波罗7号》，2015年，192cm×110cm，UV打印、铝板、树脂玻璃、墨、拼贴、丝网印刷，中央美术学院美术馆藏在“串联机器”的章节中，孟禄丁的“元速”系列提示出了这一章节的关键讨论，即艺术之感与机器之手二者间的辩证关系。艺术家借助机器的极高运转速度让作画的过程脱离了艺术家的意志与控制，机器的速度与力量在高速旋转的过程中获得了占据画面的主动权，在此，依据自然性的力量，机器充当了将艺术从艺术创作从艺术家手中还给艺术自身的中介。同样是在与机器和技术的协作之中反思技术伦理，青年艺术家李宇辰在作品中借助当下日新月异的生成类人工智能技术，当新技术将一个人类想象中的世界的物质构成与文明体系“生成”出来，那个经由人类意志构造出的文明被另一种语言和系统所编码，创作者与技术手段的身份位置在此微妙地发生了翻转，创作主体开始不自觉地好奇并尝试“破译”新的语言与符号。▲ 孟禄丁，《元速》，2012年，145cm×145cm，布面丙烯，中央美术学院美术馆藏▲ 李宇辰，《EPOCH 2.0 》，2024年，6’00’’ 数字影像，艺术家提供来自未来的“遗迹”自金郑晓的《场、物质波、量子鸟》铜版组画起，展览借三组作品将有关艺术家与机器及技术合作共创的讨论延展至艺术家创造新机器的可能性。借由视觉语言与艺术想象，金郑晓解构并重组了晦涩的理论物理概念：德布罗意波与鸟类运动踪迹相遭遇，自由驰骋于天际的鸟类被赋予瞬间移动的能力，行动自由的限度被无限延展，但看似彼此自由的行动却因本是一个整体而缠绕叠加，其终究受制于人眼不可洞见的客观物质规律之下。▲ 金郑晓，《量子鸟-1》，2023年，40cm×60cm，铜版蚀刻，中央美术学院美术馆藏而苏永健的《虫舱》与甘浩宇的《数沙者》，则先后不约而同地关注到了微小虫类的生存空间与活动方式。《数沙者》中，蚯蚓消化运动的“数沙”过程被仿生机器所模拟，卑微蠕虫吞吐排泄与松动土壤的运动是微弱的，但其在时间的累加之下却有着撼动人类建筑的巨大能量。排泄的土壤成为了烧制仿生腔体的源材料，而借用太阳能聚光技术进行陶瓷烧制让科技时代的人造产物，以一种原始的美学与运动形式回到了自然本身。此次展览呈现的《虫舱》，因为机械设备部件的老化，已经不能再正常运行，但它却如来自未来的某种遗迹，昭示着一个生物之间彼此无序而必然的共存生态系统的停滞。在原始的设计中，巨大的虫舱腔体邀请观众步入，每个小舱中的昆虫生物的活跃度被物联网传感器所捕捉，从而连环触发形成无规律的“声音剧场”，人类精密的机器设计却无法控制与干预各种昆虫的运动与发声规律。▲ 唐晖，《时空一击·续》，1995年，220cm×500cm，布面油彩艺术家提供纵观展览全景，除了借由关键词和章节构建的展览叙事之外，在作品与作品的空间对话中，一条隐形的脉络得以窥见，人类力量、自然力量以及人类之外的其他生态环节的力量，在展览现场形成了某种张力。序章中，十三陵水库的建设与文艺表达作为一个时代的代表，揭示着人类以自身行为介入自然，试图对抗自然力量，改造自然环境，从而获得自我生存的保障与提高。而随着技术的发展与认知的改变，艺术创作作为时代的先声，已经敏锐地开始从有意识的保护并尊重自然环境，到主动关怀人类世界之外的生态与动植物的视角与生活轨迹。这种从人类中心视野出发，到超越人类自身的视野转换，既仰赖于技术的进步带给人类触及更多视角的可能性，也来源于生态系统中其他环节的多元物种带来的警示。1945年，当世界上第一颗原子弹爆炸于广岛上空，那是人类摧毁性力量的具像化展示，也动摇了曾被视作无限光明的现代性前景，我们如何跳出“进步”的故事所构筑的单一未来轨迹，在一个不再稳定的世界中去维系生存？如罗清安的研究所示，微小脆弱如蘑菇，却总是如生命的奇迹一般率先出现于人类文明的各种废墟之上，蘑菇的真菌前身在地表之下展开网状结构，与植物根部和土壤结合，那是无论大小与强弱的生命回归本原的协作与生存方式，它亦启示着叙述文明生态的一种新的视角与方式，即发现并正视那些繁杂纠结、相互调和的开放的生活方式[7]。参考资料：[1]参考展览资料与笔者现场对策展人易玥的采访。[2]田汉《十三陵水库畅想曲》剧本第十三场，1958年。[3]同上，第十场，1958年。[4]许彦博《从“全国科学大会”邮票到版画——科学之春》[J]，《中国集邮》，2000(10):4-5。[5][6]张文超《数据集作为艺术方法——<90分钟的宇宙观>创作札记》，《信睿周报》，2024年第124期。[7]参见罗清安著张晓佳译《末日松茸：资本主义废墟上的生活可能》，上海：华东师范大学出版社，2020年。文 | 周纬萌展览信息：“蓝图生产力——未来感在艺术中的表达”文旅部“2024年全国美术馆青年策展人扶持计划”入选项目展览时间：2024年7月19日至9月1日展览地点：中央美术学院美术馆3层A展厅主编 / 何一沙责编 /杜隐珠
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: Volunteer Guided Tour Arrangement of CAFA Art Museum (August 6-August 11)｜Volunteer Recruitment is Ongoing

2024-08-12

为了艺术更广泛的普及和传播，我馆将为公众提供公益的志愿者定时导览服务。本服务无须预约，请观众按时前往相应展厅入口展览前言墙前，“公益讲解指示牌”处等候即可。美术馆导览志愿者持续招募中，欢迎广大艺术爱好者、讲解爱好者加入！报名方式（1）点击“阅读原文”或访问链接：https://www.cafamuseum.org/gallery/volunteer，点击“加入志愿者”，填写《中央美术学院美术馆志愿者报名表》，报名时请注明申报岗位；（2）报名时间：长期有效；报名咨询时间：每周二至周日上午09：30—12：30 下午13：30—17：30，报名咨询电话：010-64771575；（3）有意愿者通过网络报名等方式，经中央美术学院美术馆审核合格后，统一参加面试，面试择优录用，合格者参加志愿者岗前培训。经培训、考核合格后，将能正式成为中央美术学院美术馆志愿者；（4）志愿者有申请退出志愿服务的权利。申请者应提前一个月告知公共教育部并及时交还志愿者证件。主编 / 何一沙责编 /杜隐珠
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: "Sailing--Invitational Exhibition of Graduates' Works of CAFA to be Held in Beijing City Library

2024-08-12

主编 / 何一沙责编 /杜隐珠
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: CAFAM Collection | Ink Dance and Wind Rush, Painting the Unruly “Standing Horse”

2024-08-09

Xu Beihong was one of the most important artists and art educators in the history of Chinese art in the 20th century, and he devoted his life to saving the country through art and "reviving Chinese art" through realism. This painting "Standing Horse" collected by the Museum of the Central Academy of Fine Arts was created in the beginning of 1947, and the inscriptions on the picture show that "Standing Horse" is a piece of work gifted to a friend, and it is a wonderful piece of work of Xu Beihong in his later years when he matured in the art of horse paintings. His good friend Xu Zhongnian once said that "his standing horse is the most exempt from vulgarity, and perhaps the most representative of the soul of Beihong", and Xu Beihong's horses are all uninhibited horses without saddle or bridle". This work is on display in the exhibition "Central Academy of Fine Arts Museum Collection Display - Modern Chinese Art", interested viewers can visit the site.>>>>Standing Horse Xu Beihong 1947 Ink and wash on paper 109x53.3cm Collection of CAFA Art MuseumXu Beihong's horse draws on the focus perspective, light and shadow of Western painting, as well as the traditional Chinese bone-less technique, skillfully transforming the Western concept of chiaroscuro modeling into the Chinese language of ink and brushwork, which is an important practice of his advocacy of the "Improvement of Chinese Painting". Xu Beihong's bold attempt to integrate the East and the West is also reflected in his meticulous and rigorous and bold ink and brush techniques. Such as painting the horse's nostrils, pectoral muscles, and bone joints, etc., with colorful and rigorous brush, fine hooks and fine dyeing, while painting the wind-blown mane and tail, or some of the contour lines, it is a broad brush, thick brush, point thick ink or ink arbitrarily waved rapidly, full of dynamism and momentum. Xu Beihong's horse, the reason why so angry and moving, it is out of the persistence and pursuit of art. Xu Beihong respected the objective natural sketching, his steed, a ink are from his diligent and serious observation, sketching and refining up to. In order to draw a good horse, xu beihong often follow the carriage, carefully observe the horse running when the look dynamic. Once, he only focus on observation, did not pay attention to the road under the feet, the result of a big fall, full of dust, hands, feet, face are wiped skin, but he hurriedly climbed up, continue to catch up. It was in this observation, practicing and thinking over and over again that he finally accomplished a number of excellent works with horses as the theme.Xu Beihong love horses, paintings of horses, he is a metaphor for talent, not only will the horse and the war current events, and national symbols linked, but also the horse as a chaotic world, the fate of the changing, their own heartfelt friends and emotional support.>>>>Editor-in-Chief / He YishaEditor / Du Yinzhu
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: More than 260 pieces of fine art in the collection--From the perspective of collection, combing the development of "modern Chinese art"

2024-08-06

The twentieth century is a brilliant chapter in the history of Chinese art, and it is also an important period in which the Central Academy of Fine Arts was closely intertwined with the development of modern Chinese art, and the teachers and students of the Academy participated in the creation of a large number of classic works of art. This exhibition, "Modern Chinese Art from the Collection of the Central Academy of Fine Arts", selects more than 260 classic works of 20th century Chinese art from the collection, and divides them into three categories: 1900-1949, 1950-1976, and 1977-2000, with the development of time as the basic main line. Taking the development of time as the basic main line, the exhibition is divided into three sections: 1900-1949, 1950-1976, 1977-2000, and from the perspective of the collection of the Art Museum of the Central Academy of Fine Arts, the exhibition combs through the century-long development of oil painting, Chinese painting, printmaking, sculpture and other plastic arts.
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: Public Guided Tour Arrangement for Central Academy of Fine Arts Museum (Aug. 6-Aug. 11)｜Volunteers Wanted!

2024-08-05

In order to popularize and disseminate art more widely, the museum will provide the public with a volunteer public service of guided tours at regular intervals. Reservation is not required for this service. Visitors are requested to go on time and wait at the "public service guide sign" in front of the exhibition preface wall at the entrance of the corresponding exhibition hall.Recruitment for Museum Guide Volunteers Continues，Art lovers and lecturers are welcome to join！Enrollment Methods （1）Click "Read Original" or visit the link: https://www.cafamuseum.org/gallery/volunteer, click "Join Volunteer", fill out the "Central Academy of Fine Arts Museum of Art Volunteer Application Form", please indicate the position you are applying for when applying;（2）Enrollment: Long-term;Enrollment and consultation time: Tuesday to Sunday 09:30 a.m. - 12:30 p.m. 13:30 p.m. - 17:30 p.m. Enrollment and consultation phone: 010-64771575;（3）Those who are willing to apply through the network and other means, the Central Academy of Fine Arts Museum of Art review qualified, unified to participate in interviews, interviews merit-based recruitment, qualified to participate in the pre-service training of volunteers. After training, assessment and qualified, will be able to officially become the Central Academy of Fine Arts Museum volunteers;（4）Volunteers have the right to apply for withdrawal from volunteer service. Applicants should inform the Ministry of Public Education one month in advance and return the volunteer documents in time.Editor-in-Chief / He YishaEditor / Du Yinzhu
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: CAFAM Children's Education Program Recruitment | Futuristic Art Creation iPad Painting Workshop

2024-08-03

在“蓝图生产力——未来感在艺术中的表达”展览期间，我们邀请您参与一场别开生面的iPad绘画Workshop。本次工坊将引导参与者探索艺术与科技的融合，通过iPad这一现代媒介，表达对未来世界的无限想象。什么是iPad绘画？iPad绘画是一种利用数字设备进行的艺术创作方式，它结合了传统绘画的直观性和数字技术的便捷性。通过iPad，艺术家可以轻松实现色彩、线条、纹理的自由变换，创造出具有未来感的艺术作品。此次工作坊我们做什么？• iPad绘画基础：介绍iPad绘画的基本工具和技巧。• 未来感主题探讨：引导参与者讨论和构思具有未来感的艺术主题。• 创作实践：在导师的指导下，使用iPad完成一幅表达未来感的艺术作品。• 作品分享与讨论：创作者展示自己的作品，并与其他参与者交流创作心得。此次iPad绘画体验带来什么？• 科技与艺术的结合：体验如何使用iPad进行艺术创作，探索科技在艺术表达中的应用。• 未来感的实践：引导参与者思考和表达对未来世界的想象，创作出具有未来感的艺术作品。• 艺术感知的拓展：通过iPad绘画，参与者将对艺术的感知和表达方式有新的认识。工作坊报名工作坊时间：8月4日下午14:00-16:00工作坊地点：中央美术学院美术馆会议室招募对象：8岁以上热爱艺术的儿童（每位儿童限一位家长陪同）招募人数：10人报名方式：请编辑“未来感艺术创作Workshop+参与者姓名+年龄+电话”发送短信至13261936837（梁老师），名额有限，报满为止。报名成功者将会收到短信回复，请勿重复提交报名。参加工作坊需要准备什么？1. 一台安装有绘画应用（procreate）的iPad（建议使用Apple Pencil以获得最佳绘画体验）。2.对未来世界的好奇心和创造力。注：1.工作坊全程免费参与。2.请报名成功的公众于活动当天准时在美术馆一层大厅集合并签到，志愿者将带领大家集体前往展厅及活动地点。3.活动最终解释权归中央美术学院美术馆所有。工作坊导师王冲清华大学美术学院社会美育研究所学术委员，VR&AI绘画艺术家，数字美育研究学者，社会美育推广人，拥有14年艺术教学与教研经验。Editor-in-Chief / He YishaEditor / Du Yinzhu
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: CAFAM Collection Exhibition | Integration and Transformation Focus on Reality：Exploring the Classic Collections from 1900 to 1949

2024-07-31

As one of the national key art museums, CAFA Art Museum adhering to the academic philosophy of "being eclectic, following the past and opening up the present", has made great efforts in the construction of modern public cultural space and art collection, with a view to realizing its unique art history narrative. Over the past 100 years since the founding of the school, the Central Academy of Fine Arts and its affiliated art museums have been continuously and orderly carrying out the collection of classic works of art, and currently have a collection of more than 20,000 pieces of various types of artifacts, which cover the ancient and modern worlds and take into account the Chinese and Western cultures. The official launch of the collection of long-term display, with the collection of classic works of art constitute the presentation of the historical development of Chinese art, is the revitalization of the museum collection of academic exploration, but also for the community to provide a rich cultural and historical outlook, aesthetic education resources, as well as the core value of art teaching and research.The 20th century is an important period in the development of Chinese art, in which the Central Academy of Fine Arts has been involved from the beginning to the present day, playing an active role in promoting and leading, and its teachers and students have been involved in the creation of a large number of classic works, which have had a great impact on the history of art in modern China. This display selects more than 200 pieces of 20th century Chinese art works in the collection, and is divided into three sections, 1900-1949, 1950-1976 and 1977-2000, based on the time as the main line, presenting a hundred years of the development of the plastic arts. Through the exhibition, visitors can experience the artistic pursuit, artistic exploration of different periods as well as the contemporary outlook presented by the works.>>>>Plate I1900-1949At the beginning of the 20th century, against the backdrop of national peril, social upheaval, and the need to save the country, a new type of art gradually emerged as an important means of enlightening the people and seeking national rejuvenation. The following decades were an important period in the transition of Chinese art to modernity and the rise of modern art education in China, which not only absorbed the excellent achievements and scientific methods of world art, but also organized and inherited traditional Chinese art, and at the same time advocated going out into the society, paying attention to the reality, rescuing the country and fighting for its glory, and seeking to create a new kind of art in order to meet the needs of the development of the modern society.1900-1949 was a period of change and innovation in the history of Chinese art. The Art Museum of the Central Academy of Fine Arts invites you to enter the gallery of this history and feel those art echoes across time. Here, every piece of artwork is a story, and every piece of artwork carries the weight of history.>>>>Plate ISome of the works on display《半裸女像》李叔同约1909年布面油彩 90.5×116cm 中央美术学院美术馆藏《男人体正侧面速写》徐悲鸿 1924年纸上油彩 52×44cm 中央美术学院美术馆藏《怒吼吧，中国》李桦 1935年黑白木刻 27.5×18.7cm 中央美术学院美术馆藏《松鹰》（轴）齐白石 1935年纸本水墨 150×63cm 中央美术学院美术馆藏《蒙藏女子歌舞》孙宗慰 1942年布面油彩 82×121cm 中央美术学院美术馆藏《攻城》胡一川 1946年套色木刻 13×17.8cm 中央美术学院美术馆藏《轰炸》滑田友 1946年铸铜 116×90cm 中央美术学院美术馆藏>>>>中央美术学院美术馆藏陈列——现代中国美术展览时间：2024年7月23日起展览地点：中央美术学院美术馆2层B展厅展览专业照明赞助：AKZU（深圳市埃克苏照明系统有限公司）展览空间建筑设计顾问：中国建筑科学研究院主编 / 何一沙责编/ 杜隐珠现场图/ 丁怡
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Child Public Education Reservation Form

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Adult Public Education Event Reservation Form

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Group Public Education Event Reservation Form

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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.