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.

: That's How the Light Gets in | Discover "The Art of Stefan Gierowski (1925-2022)" together!

2024-07-11

On July 10, the exhibition "That's Where the Light Comes In: The Art of Stefan Gierowski (1925-2022)" opened at the Art Museum of the Central Academy of Fine Arts. Stefan Gierowski was one of the most prominent abstract artists in post-war Europe. This exhibition is the first retrospective of the artist's work in China since his death in 2022. 27 works are on display, offering new perspectives on the contemporary viewing of Gierowski's art through the exploration of art history and contemporary issues, as well as the influence of Chinese philosophy.The title of the exhibition, "That's Where the Light Comes In," is taken from the song "Anthem" by singer Leonard Cohen. The exhibition explores the multiple meanings of "light" in Gerofsky's art-from light in a scientific sense, to light in a spiritual sense, to light as a necessary component of painting-in response to Gerofsky's statement that "light creates all things". Light gives birth to all things".At the opening ceremony, Chinese and foreign guests gathered together. Guest representatives from the Polish Embassy side were: Yao Weitao, Director of the Political Office of the Polish Embassy in China, Cai Mengling, Director of the Polish Cultural Center, and Wu Daiya, Deputy Director of the Polish Cultural Center; guest representatives from the Stefan Jerowski Foundation were: Hubert Jerowski, Jerowski's son, Natalia Jerowska, Jerowski's granddaughter, and Victoria Krukowkska, a friend of the Jerowski family. Card; Chinese guest representatives include: Tan Ping, former vice president of the China Academy of Art, former vice president of the Central Academy of Fine Arts and professor of the Central Academy of Fine Arts; Jin Rilong, professor of the Oil Painting Department of the Central Academy of Fine Arts and dean of the Nanhai Academy of Fine Arts of the Haikou School of Economics; Jin Jun, curator of the Museum of Art of the Central Academy of Fine Arts and Wang Chunchen, deputy director of the Museum of Art of the Central Academy of Fine Arts; Teng Fei, head of the Jewelry Program of the Central Academy of Fine Arts and instructor of the jewelry studio; Wang Chunjie, former curator of the Himalayan Museum of Art; and Wang Chunjie, Li Feng, director of Minsheng Art Museum, Zhang Hongmei, director of Jilin Art Institute Art Museum, Wang Xinyou, director of Bias Gallery, as well as Philip Dodd, curator of the exhibition, and Erika Kostamanay, associate curator. Gao Gao, Deputy Director of the Art Museum of the Central Academy of Fine Arts, acted as moderator.波兰驻华大使馆政治处主任姚伟涛致辞 Yao Weitao, Director of the Political Office of the Polish Embassy in China, said in his speech that it is of great significance for the cultural exchanges and relations between Poland and China to be able to display the works of Mr. Stefan Jerowski, the Polish master of abstraction, in the Museum of Art of the Central Academy of Fine Arts. At the same time, it is very helpful and influential to the artistic dialog between two countries and two peoples.波兰文化中心主任蔡梦灵致辞 Cai Mengling, Director of the Polish Cultural Center, said that Stefan Jerowski was one of the most important Polish abstract artists in the 20th century, and that the retrospective exhibition at the Museum of Fine Arts of the Central Academy of Fine Arts is intended to introduce to the Chinese audience a comprehensive overview of Stefan Jerowski's works during his creative period, as well as his contributions to the world's culture of abstractionism. It is believed that this exhibition will enhance the cultural exchange and understanding between the Chinese and Polish peoples.斯特凡·杰罗夫斯基基金会代表娜塔莉亚·杰罗夫斯卡致辞 In her speech, the representative of the Stefan Jerovski Foundation, Natalia Jerovska, thanked the various organizations that have provided great support for the exhibition. She hoped that the audience would be able to further understand how much her grandfather really loved Chinese history and philosophy, which even profoundly influenced Stefan Jerovski's personal thinking and artistic creation. It is as if the paths of the past have finally crossed, as China has always been a place that has always been close to Stefan Jarowski's heart.Speech by Philip Dodd, curator of the exhibition Philip Dodd, the curator of the exhibition, talked about the origins of the exhibition. He said that Jarowsky has benefited a lot from Chinese culture and philosophy, just like Picasso, who for many years lamented the paintings of Qi Baishi. Regardless of where they come from in the world and what cultural background they come from, people's roots are deeply connected to each other. Through this exhibition, he wanted to reveal in a profound way that all people will inevitably move towards each other. This is the ultimate meaning of this exhibition.Speech by Jin Jun, Curator of CAFA Art Museum Jin Jun, director of the Art Museum of the Central Academy of Fine Arts, said that the title of the exhibition is "That's where light comes in". Light has multiple meanings for Jerowski's art. His works form a kind of light shaping that penetrates time and reality, and also brings the audience a world full of color, form and thinking. Light is the theme element in Jerowski's works. Through the subtle contrast between light and dark and the change of transparency, the light and shadow effects of nature are simulated in his paintings. This effect also makes the picture have a certain rhythm of life. Jerowski is one of the most outstanding abstract artists in Europe after World War II. This retrospective exhibition is a tribute to his artistic achievements and an important event of cultural exchange between China and Poland. In this era of globalization, art plays an irreplaceable role as a way of communication across languages. From the light of reality to the light of art, I believe that Jerowski's works and unique spiritual appeal can make audiences from different backgrounds find resonance in them.The Deputy Curator Gao Gao serves as the hostGroup Photo of the guestsThe influence of Chinese culture, particularly the philosophy of Lao Tzu, on Gerofsky's work, which extends to the exploration of spirituality and emptiness and suggests that Chinese culture has been largely involved in the shaping of modern Western thought; and the artist's great explorations of the relationship between light and color through abstract art, which demonstrates the depth and creativity with which art can provide a response to scientific thought and development. response to scientific thought and development.The exhibition runs until September 1st. 《CCCLXXXIX》，1977年 Oil on canvas 109 × 109 cm Photo courtesy of the Stefan Jarowski Foundation 《CCCXCVIII》 1977 Oil on canvas 119 × 100cm Photo courtesy of the Stefan Jarowski Foundation《CLXVII》 1962 Oil on canvas 60 × 50cm Photo courtesy of the Stefan Jarowski Foundation《CDLIX》 1981 Oil on canvas 100 × 100cm Photo courtesy of the Stefan Jarowski Foundation 关于艺术家1990 年，Stefan Gierowski 在华沙的工作室，照片由 Erazm Ciołek拍摄Born in Poland, Stefan Gierowski (1925-2022) is regarded as one of the most prominent abstract artists in post-World War II Europe, and his work has been exhibited widely around the world.In 1959, he participated in the Biennale des Jeunes Artistes de Paris, followed by exhibitions at the Museum of Modern Art in New York in 1961, the Venice Biennale in 1968, and the Museo de Arte Moderna in Mexico in 1975. In addition, Jerowski's work has been exhibited in Belgium, Venezuela, Denmark, Germany, Japan (Tokyo) and Brazil (São Paulo). In his native Poland, Jerowski is an influential teacher and has had a retrospective exhibition at the National Gallery in Warsaw. His work is in the collections of several museums in Poland and around the world, including the Pompidou Center.关于策展人A former director of the Institute of Contemporary Arts (ICA) in London, Philip Dodd has traveled extensively throughout China and Europe over the past two decades. More recently, he has co-curated the Guangzhou Triennial and the Chengdu Biennale. Dodd has curated major solo exhibitions for artists such as Yoko Ono, Sean Scully and Xiao Qin in cities such as London, Beijing, Singapore and Moscow. In addition, he has worked as an executive producer on films with Steve McQueen, Damien Hirst and Edward Said, and has authored several monographs and art books. At the Art Museum of the Central Academy of Fine Arts, Dodd has curated several exhibitions, the most recent of which featured British artist Maggi Hambling.That's How the Light Gets In: The Art of Stefan Gierowski (1925-2022)Exhibition Period: July 10 - September 1, 2024Exhibition Venue: CAFA Art MuseumEditor-in-Chief / He YishaEditor / Du YinzhuPhoto / He Yifei
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: CAFAM Exhibition 丨"Digital Doppelganger" open on schedule

2024-07-11

7月10日下午2点，“数字分身”展览在中央美术学院美术馆2层c展厅开幕。“2023第二届全球大学生虚拟策展大赛”由中央美术学院主办，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、广州美术学院艺术与人文学院承办。大赛设置了艺术策展、设计策展、CAFAM、青年艺术100四条赛道。其中，由中央美术学院美术馆承办的“CAFAM赛道”的特等奖项目获得落地展出的奖励。作为该赛道的特等奖方案“数字分身”，由策展团队王樱桓、黄丽欣、姜肯帝完成。中央美术学院美术馆馆长靳军，美术馆副馆长高高，中央美术学院艺术管理与教育学院党总支副书记、中央美术学院国家级虚拟仿真教研室主任康俐，策展团队指导教师、中法艺术与设计管理学院教师柳棱棱等嘉宾出席开幕式。中央美术学院策划研究部副主任易玥担任主持人。中央美术学院策划研究部副主任易玥介绍到场嘉宾中央美术学院美术馆副馆长高高致辞中央美术学院美术馆副馆长高高在致辞中表示，第二届虚拟策展大赛的范围由第一届的全国拓展到全球，这体现出参赛人群的不断扩展。中央美院美术馆也借由这个项目不断地受到全世界青年人的关注、了解和熟悉，我们非常高兴能够作为一个平台，为策展团队提供在真实空间实施虚拟构思的机会。去年和今年的两次展览都讨论了数字媒介与艺术创作、数字技术与最新科技、以及人类自身与生存世界之间的关系。这反映出当下的大学生最关心和最想讨论的问题，同时也反映出虚拟策展大赛与时代紧密结合，敏锐地把握最前沿话题和最新鲜事物的特点。中央美术学院艺术管理与教育学院党总支副书记、中央美术学院国家级虚拟仿真教研室主任康俐致辞中央美术学院艺术管理与教育学院党总支副书记、中央美术学院国家级虚拟仿真教研室主任康俐谈到，举办全球大学生虚拟策展大赛的初衷，就是着眼于青年大学生的艺术创作和展览策划，以更优质的平台把他们的巧思妙想传播出去，呈现给更多的人。对于“数字分身”这个话题，在全球范围内有不少的艺术家和学者进行过探讨，对后人类理论提出非常多具有开拓性的见解。本次“数字分身”展览当中的诸多作品，也将会给大家带来更多的延伸和思考。策展团队指导教师、中法艺术与设计管理学院教师柳棱棱致辞策展团队指导教师、中法艺术与设计管理学院教师柳棱棱在致辞中提到，作为本次策展团队的指导老师，同学们能够在学习的过程中关注到数字分身这样的一个领域，从人工智能的角度去关注时下的热点问题，并且通过艺术化的方式把这种热点问题通过策展的角度呈现出来，是观察力敏锐的一种反应。把抽象的内容以比较完美的形式落地，是虚拟策展大赛区别于一般大赛的亮点，作为指导老师来讲也是一次鼓舞。“数字分身”策展团队代表王樱桓发言策展团队代表王樱桓在发言中提到，“数字分身”展览的灵感，最初诞生于团队第一次使用虚拟策展平台进行展览策划和设计的尝试时，在多个角度、多种媒介和不同视角下，认识到“数字”技术和现代科技对于生活的极大改变。最终团队将视角聚焦在创新数字艺术作品与AI生成艺术中，探讨“数字身份”的构建与重塑，以及这一过程中技术与人文的交融与冲突。嘉宾合影开幕式结束后，由策展团队代表王樱桓为在场嘉宾与观众进行导览。展览将持续至8月25日。数字分身展览时间：2024年7月10日—8月25日展览地点：中央美术学院美术馆2层C展厅主办单位：中央美术学院承办单位：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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: CAFAM展览预告 | 第二届全球大学生虚拟策展大赛特等奖方案“数字分身”即将启幕

2024-07-08

第二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广州美术学院艺术与人文学院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。关于展览数字分身开幕时间：2024年7月10日14:00展览时间：2024年7月10日—8月25日展览地点：中央美术学院美术馆2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分身，是自古老神话至今诗人与艺术家永恒的主题，是人类来自幼年时长久不衰的梦想，同时也延伸为畅想未来的梦魇母题。借由数字媒介，人类在网络中构建主体的多重身份，智能与肉身的绑定关系开始松动。因此，一个尖锐的问题开始凸显：我是谁？数字分身与人类本体的关系究竟是怎样的？本次展览展出了5件青年艺术家的艺术作品，表达在新的数字科技裹挟之下，崭新一代对人工智能身份和人类自我核心的认知，沿着人工智能初步诞生、自主学习、自我进化的发展脉络，以人与数字人的关系为出发点，以人类未来发展为中心论题，寻求“人”平衡自我认知的途径。展览时间2024年7月10日—8月25日展览地点中央美术学院美术馆2层C展厅展览工作组指导教师：金昕、柳棱棱策展人：王樱桓、黄丽欣、姜肯帝展览统筹：刘希言、易玥、康俐展览协调：徐欣晨、张嘉炜、王若冰设计统筹：纪玉洁主编 / 何一沙责编/ 杜隐珠
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: CAFAM展览预告 | “那是光照进来的地方：斯特凡·杰罗夫斯基的艺术（1925-2022）”即将开展

2024-07-07

那是光照进来的地方：斯特凡·杰罗夫斯基的艺术（1925-2022）这就是光线进入的方式：斯特凡·吉罗夫斯基（1925-2022）的艺术展览时间：2024年7月10日-9月1日展览地点：中央美术学院美术馆四层展厅开幕时间：7月10日（周三）15:00开幕地点：中央美术学院美术馆四层展厅主办单位：中央美术学院美术馆支持单位：斯特凡·杰罗夫斯基基金会、波兰共和国文化和国家遗产部、波兰共和国驻华大使馆、波兰驻华大使馆文化处 17月10日，我馆将举办二战后欧洲最杰出的抽象艺术家之一——斯特凡·杰罗夫斯基（Stefan Gierowski）的回顾展“那是光照进来的地方：斯特凡·杰罗夫斯基的艺术（1925-2022）”。这将是他2022年去世后的首次回顾展。《画作CCCLXXXIX》，1977年布面油画 109 × 109 厘米图片由斯特凡·杰罗夫斯基基金会提供斯特凡·杰罗夫斯基于1925年生于波兰，早至上世纪六十年代即在纽约现代艺术博物馆、威尼斯双年展等展出作品，在长达半个多世纪的艺术生涯中，他的展览出现在世界各地，作品被法国蓬皮杜艺术中心在内的全球重要艺术机构收藏。但作为波兰艺术家，他代表了活跃在欧洲“另一半”的艺术家。杰罗夫斯基对波兰艺术在西方经典中近乎完全缺席的情况有着清醒的认识，认为“波兰前卫艺术演进的路径与西方路径彼此平行，而不是受后者影响的结果”。本次展览即通过对艺术家自二十世纪40年代晚期直至2022年去世为止的艺术生涯的回顾和分析，对“现代艺术乃是西欧/美国的产物”这一正统观念提出挑战，讲述了其实践与成就如何参与了现代艺术史“西方故事”的瓦解。《画作CCCXCVIII》 1977年布面油画 119 × 100 厘米图片由斯特凡·杰罗夫斯基基金会提供展览由英国著名策展人菲利普·多德（Philip Dodd）策展，涵盖了艺术家生涯中最重要的作品，并以三个部分探讨了相应的议题。其中包括：在太空旅行成为全球焦点的当下，杰罗夫斯基的抽象艺术如何回应了太空探索这一主题，并对太空中光的存在以及科学语境中光的意义等问题给出独特的答案；中国文化尤其是老子哲学对杰罗夫斯基的影响，由此延伸而出对精神与虚空的探讨，并提示了中国文化在很大程度上参与了现代西方思想的塑造；以及艺术家通过抽象艺术对光与色的关系所进行的伟大探索，展示了艺术能够以何等富有深度及创造性的方式对科学的思想与发展提供回应。《画作CLXVII》 1962年布面油画 60 × 50 厘米图片由斯特凡·杰罗夫斯基基金会提供正如菲利普·多德所述：“当下，现代艺术的‘西方故事’面临分崩离析，人们重拾对太空探索和旅行的兴趣，科学范式在全球范围内日益居于核心地位，英语世界以外地区抽象艺术的历史得到承认，对于精神性与艺术的讨论重获尊重——以上当代重要趋势和斯特凡·杰罗夫斯基的绘画恰成彼此启发映照之势”。展览标题“那是光照进来的地方”取自歌手莱昂纳德·科恩（Leonard Cohen）的曲目《颂歌》（Anthem）。展览深入探讨了杰罗夫斯基艺术中“光”的多重意义——从科学意义上的光，到精神意义上的光，再到作为绘画必要组成部分的光，以此回应杰罗夫斯基关于“光生万物”的表达。《画作CDLIX》 1981年布面油画 100 × 100 厘米图片由斯特凡·杰罗夫斯基基金会提供艺术家于2022 年去世后，国际艺术界掀起了一股“杰罗夫斯基艺术热潮”。 2023年在罗斯科博物馆举办的个展“斯特凡·杰罗夫斯基：至此永恒”（Stefan Gierowski： From Here to Eternity）中，杰罗夫斯基与马克·罗斯科（Mark Rothko）的作品并列展示，位于意大利的Dep艺术画廊亦在2022年举办了杰罗夫斯基和卢西奥·丰塔纳（Lucio Fontana）的多位艺术家在内的群展“ 空间感，光感”（The Sense of Space，The Sense of Light）。诸多评论家和文化名人对他赞誉备至，包括纽约现代艺术博物馆前策展人乔金·毕沙罗（Joachim Pissarro）、蓬皮杜中心策展人米歇尔·高蒂埃（Michel Gauthier）、罗斯科作品全集主编大卫·安法姆（David Anfam）。此次由中央美术学院美术馆举办的展览“那是光照进来的地方：斯特凡·杰罗夫斯基的艺术（1925-2022）”也通过对多个艺术史和当代议题的探讨，以及对中国哲学影响的挖掘，为杰罗夫斯基艺术在当代的观看提供了全新视角。此次展览将持续至9月1日。
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: 喜讯 | 我馆展览入选文旅部“全国美术馆馆藏精品展出季”

2024-07-06

主编 / 何一沙责编 / 杜隐珠编辑 / 贺伊飞
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: “2024广角°青年实验空间项目”入选方案公布

2024-07-05

“广角°——青年实验空间项目” 由中央美术学院美术馆主办，秉承推动中央美术学院青年教师在策展与创作方面多维探索的共同理念，使其成为中央美术学院青年教师策展与创作的实验田，意在通过多元的展览项目，协助并促进青年师生对跨学科联动、区域文化研究及中国传统文化作出积极回应。取其不规则之空间造型和不设限的展示维度，该项目于2023年正式更名为“广角°”。广角，一则与美术馆一层公共空间的另一策展培育计划“锐角”呼应，将美术馆中的两个空间以青年策展实践为角度相连接，向社会展示学院在策展教育与策展实践方面的最新成果；二则与青年教师在创作与教学中不断拓宽的思想广度相联系，教师们的申报方案中，有不少涉及跨媒介实践和教学方法扩展的项目。在美术馆发展规划的青年教师扶持计划中，广角作为一个起点，以校内艺术教育与社会美育传播为两条延线，展示青年与时代语境的交流，激活青年与传统收藏的链接，催生青年与更广阔可能性的碰撞。2023年底，“广角°——青年实验空间项目”第三期正式对外发布，并面向中央美术学院的青年教职工征集方案。最终收到十余个研究角度各异的方案，体现了多位青年教师对人工智能、传统文化传承、艺术设计、艺术媒材创作等话题的思考。6月27日，围绕征集方案，工作组组织了复评会议。评审组由校内外专家共9位组成。其中，校外评审人员有北京大学艺术学院院长彭锋，北京画院院长吴洪亮，《美术》杂志社社长冀鹏程；校内评审人员为中央美术学院学报编辑部主任、《美术研究》杂志社社长张鹏，中央美术学院科研处处长于洋；活动主办方代表包括美术馆馆长靳军，书记韩文超，副馆长王春辰，副馆长高高。广角项目的工作组团队，包括策划研究部刘希言、易玥、李捷和王若冰共同协调本次评审会议。经过评审组的反复讨论与匿名投票，最终选定3份团体方案与3份个人方案（排名不分先后）：入选团体方案以小组形式围绕一个主题进行的实验性展览策划与实施方案，包含师生团队项目1.异境逃逸录——感觉阈限与编程风景方案团体：黄可一、朱日新、李森、章烟朦、赵欣昕、单俊盛方案概述：展览的概念围绕“感觉阈限”与“编程风景”这两个词汇展开。在这样的视角下，绘画成为一个将承载着个体经验的风景片段进行归档的行为。展览选择了几位青年教师和艺术家近几年的作品，他们在创作中都有意识地使用了类似代码的视觉元素或输入了某种篡改原有程序的指令，经过不同的路径，采用不同的媒介手段对风景进行了重构。2.颅海见山：楔子方案团队：冯雪、王子琪、郑淏文、韩佳彤、王楠、刘则芊、魏羽枫、刘昭佚、Baowen Mai、杜英奇、陈国东、黄洋、李沁洋、朱翌潇、钱彬、陈思亮、周游、郑淏文、邬建安、梁硕、夏海瑜、绘川方案概述：《颅海见山》聚焦中国边缘群体脑海中构建的独特世界。展览关注一种瞬间的固化，由不同艺术事件组成，以多元形式探究与展现这些个体在适应生活后的观念定型，以及在教育、信仰、社会、地理和生活经历等各类壁垒下形成的逻辑自洽。在学术层面，本方案通过实验展览形式不仅探究中国范围内特定边缘群体的精神世界及艺术何为，更从研究与实践角度，探索当代艺术事件范式和艺术创作中的事件性。3.液态乡愁方案团队：王静、邢丹、邱宇、陈抱阳、王歆童、黄恩琦、时子媛、龙盼、徐子奕、唐克扬（文献）、基因组美食中心（文献）方案概述：“乡愁”是记忆也是未来，是弥散在空间中的后人类视角的淡淡愁思。展览通过装置、影像与科技方式展开各自的探索，呈现出对记忆、感知和故土的意识唤醒。乡愁成为一种营养、一种底色，渗透在每个人的作品中，青年艺术家在流转的“乡愁”中探寻未来，记忆与情感千丝万缕的牵连，在时间媒介和生物语言的折叠中，成为面向未来的折射。入选个人方案一位青年教师的新作/近作展览方案，其中需包含另一位/组青年教师作为策展人为其构思的展览策划案1.应物“相”形艺术家：杜英奇策展人：李明威方案概述：本次展览的主题是“应物体、‘相’形”，用“相”替代谢赫六法“应物象形”中的“象”，“相”（四声）作为动词，有观看、选择、提炼之意，如相马、相面。在具象雕塑创作中，杜英奇的造型方法与六法中的“应物象形”有相近之处，但在他的作品中，所呈现的是一种对自然物象的选择、抽离和改造，“相”形的过程，就是将“自然物”转化为“雕塑物”的创作过程。2.万物有灵——贾田雪个人作品展艺术家：贾田雪策展人：张晨、王丹云方案概述：“万物有灵——贾田雪作品展”以贾田雪的工笔与没骨花鸟画作品为样本，试图探讨花鸟画的生活之源，以及在当代社会语境下，人与自然超越主体与客体，自我与他者，内在与外界的复杂精神关联，在展览空间以非二元性的视角思考人与空间、人与自然之间的关系。3.形形色色色色形——周亭的色彩直觉艺术家：周亭策展人：柳青、孙华方案概述：本次展览的作品选择了艺术家周亭过往油画创作中的一些代表作，同时针对色彩研究这一课题全新绘制局部及在日常生活中无处不见的色块组合的阵列式呈现，记录艺术家色彩产生的全部过程，以及对色彩认识起源的点滴，个人化地对颜色无限挖掘和剧烈拓展，从而观察艺术家的色彩行为和意识脉络。
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2024-07-04

主编 / 何一沙责编 / 杜隐珠文 / 黄丽敏图 / 王洲、胡琪莎、李沐晓等多位志愿者编辑 / 姚轶群、梁雯公益导览及服务 / 中央美术学院美术馆志愿者团队
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2024-07-01

第三届虚拟策展大赛7月1日即将再度起航这里有最前沿的策展工具最有力的学术支持最自由的展现舞台无论你是初次接触虚拟策展还是早已在等待机会施展拳脚只要你对策展有探索和创作的热情这里都将提供尽情释放天赋与想象的平台欢迎渴望“策展自由”的你来施展心中创想优胜作品将在各大平台进行传播推广更有机会获得展览落地的机会和津贴抓紧时间报名吧！赛事主旨以策展助力美育，为美育而策展赛事介绍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，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。前两届大赛共收到来自全球340所高校、803组报名方案，参赛者覆盖本、硕、博三个学历阶段，总人数达1854名，在全球高校中引发了热烈反响。基于前两届大赛的影响力，现计划于2024年7月1日启动2024第三届全球大学生虚拟策展大赛，进一步激发艺术创新动力，推动艺术成果传播。赛道设置1东城区钟楼“北京时间”主题赛道：以东城钟楼为现实落地点，融合北京古都独特的历史底蕴与人文特色，可选择北京中轴线的历史演变、传统纹样艺术、胡同肌理复原以及市井生活的再现等主题，与艺术前沿相结合，从时空跨度和文化变迁角度，通过现代科技手段诠释古都风貌的当代表达，打造具有在地性的特色展览。2北京画院“青春之齐白石”赛道：北京画院与中央美术学院美术博物馆虚拟实验室合作，以“青春之齐白石”为主题，在第三届全球大学生虚拟策展大赛中开辟齐白石赛道。希望年轻的策展人以青春的视角，共同来解读齐白石艺术的无限可能。3CAFAM广角项目赛道：可自主选择艺术作品，在中央美术学院美术馆（简称CAFAM）二层半“广角空间”进行展览策划，打造具有实验性和在地性的特色展览。4青年艺术100赛道：聚焦当代青年艺术家、艺术作品的挖掘与推广，从青年艺术100入围作品数据库中选择作品，在青年艺术100赛道限定场地进行展览策划。赛程安排1方案征集（2024.7.1—10.1）：大赛组委会通过主办单位、承办单位及合作媒体发布大赛信息，参赛者可通过报名通道提交信息，并进入赛事交流群获取大赛资料包。参赛者需登录虚拟策展实验平台（vlam.cafa.edu.cn）制作虚拟策展方案，并于10月1日24:00前通过方案提交通道上传参赛材料（通道入口及材料要求详见文末）。未在规定时间内提交材料视为放弃参赛。2教学指导（2024.8.30—10.1）：大赛方案征集阶段将同期举办线上系列讲座，并在赛事交流群中进行实时答疑，对方案策划的各个环节进行教学指导。3初评阶段（2024.10.10-10.15）：大赛评审专家团队对各个赛道的参赛作品进行评分，从所有符合要求的作品中评选出入围方案，每个赛道20个入围名额，共80个方案进入复评。4入围结果公示（2024.10.15-10.20）：入围结果将通过相关组织机构公众号发布并进行公示。5复评阶段（2024.10.20-10.25）：通过分赛道线上答辩的形式组织评审专家对入围方案进行评分，入围成绩与复评成绩共同构成方案的最终成绩。6获奖名单公示（2024.10.25-10.30）：获奖名单将通过相关组织机构公众号发布并进行公示。7颁奖庆典（2024.11.1）：在线上平台举办大赛虚拟颁奖庆典，根据最终成绩颁发每个赛道的奖项，举办获奖展览方案的线上公众导赏活动。奖励机制1 实践激励：四大赛道各设特等奖1名，将获得特别支持将策展方案落地实施或入选指定实践项目，并颁发获奖证书。具体奖项设置如下：1. 东城区钟楼“北京时间”赛道：获得2万元（人民币）布展制作费，将展览方案在东城区地标性古建筑钟楼内部空间落地展出。展览实施的相关事宜皆由主办方工作团队配合获奖者共同执行，策划方案需调整至实操可落地。2. 北京画院“青春之齐白石”赛道：展览方案在北京画院美术馆落地展出，展览实施经费由北京画院美术馆支持。展览实施的相关事宜皆由北京画院工作团队配合获奖者共同执行，策划方案需调整至实操可落地。3. CAFAM赛道：获得2万元（人民币）布展制作费，将展览方案在中央美术学院美术馆二层半“广角空间”落地展出。展览实施的相关事宜皆由中央美术学院美术馆工作团队配合获奖者共同执行，策划方案需调整至实操可落地。4. 青年艺术100赛道：可在下列实践计划中任选一种。a. 在青年艺术100年度展览中资助价值约15万元（人民币）的展位、搭建、媒体推广资源，将展览方案调整及实施。b. 获奖参赛者成为青年艺术100艺术乡建项目“特派策展员”，加入青年艺术100的艺术乡建策划团队，深度参与艺术驻地与展览活动的策划执行工作。2奖金激励：四大赛道各设一等奖2组、二等奖3组、三等奖4组，分别颁发奖金及获奖证书。入围但未获得名次的作品将获得优秀奖，颁发获奖证书。具体奖项设置如下：一等奖10,000元（人民币）二等奖5,000元（人民币）三等奖2,000元（人民币）3 综合激励：1. 入选工作坊：组委会将从获奖参赛者中择优选拔参赛者进入虚拟策展大赛创新工作坊，参与前沿课题，孵化创新成果，具体方案另行通知。2. 实习岗位：组委会将向优秀参赛者提供多个省市级艺术机构的实习岗位，通过实习且符合招聘条件的参赛者可优先获取正式录用通知。3. 专家推荐：优秀参赛者可向组委会申请专家推荐信或推荐评语，在就业申请或学位申请中增加优势。参赛说明1 参与对象：• 面向全球在校大学生征集展览策划方案，专业背景不限，学历层次包含专科、本科、硕士研究生及博士研究生。• 参赛者可选择独立参赛或组队参赛，允许跨校、跨专业组建参赛团队。组队参赛者每组人数不得超过3人，且每位小组成员均为在校大学生。• 每支参赛团队及个人只能选择一个赛道参赛，不得重复提交方案。2注意事项：• 已在往届大赛中获奖得参赛者（包含优秀奖）可以再次报名，但不得使用已获奖方案参赛。• 参赛者需确保个人信息及证件真实有效，提供虚假信息或证件者将取消作品参赛或获奖资格，并向有关部门进行通报。• 所有参赛材料一律不退，请自留底稿。组委会有权对参赛作品进行非商业用途的宣传、出版与展示。•参赛作品必须为参赛者本人原创，不得侵犯他人知识产权和物权。如有抄袭、盗用、提供虚假材料或违反相关法律法规的，一经发现，即可取消参赛相关权利并自负一切法律责任。• 所有参赛人员在方案策划中坚持正确的政治方向，遵守国家法律、法规，不得散布有悖国家法律、法规及路线、方针、政策的言论。违反本规定者将取消参赛或获奖资格，并向有关部门进行通报。报名方式报名步骤第一步扫描上方二维码填写报名信息。第二步加入赛事交流群（QQ群号：562844001），关注最新通知，获取参赛资料。第三步扫描上方二维码提交参赛材料。提交资料由虚拟策展实验平台vlam.cafa.edu.cn制作和生成的虚拟展览链接。20页以内的方案说明。3分钟以内的展览漫游视频，可自行剪辑或配音/字幕。策展人/策展团队简介及成员在校证明材料。赛事组织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组委会学术支持单位中国国家博物馆、广东美术馆、湖北美术馆、湖南美术馆、江西省美术馆、云南美术馆、黑龙江省美术馆、内蒙古美术馆、郑州美术馆、石家庄市美术馆、北京今日美术馆、北京东城文化发展研究院项目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技术支持平台广州市大湾区虚拟现实研究院联系我们联系地址：北京市朝阳区花家地南街8号中央美术学院北区14号楼D202联系电话：+86(0)10-64771910 合作咨询 +86(0)10-64771971 大赛详情及系统操作咨询官方邮箱：vlam@cafa.edu.cn赛事交流QQ群：562844001
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2024-06-28

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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.