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 Forum Preview | "Live - Exhibition As A Perspective for Literary Criticism" To Be Held Soon

2024-11-28

主办：中国文艺评论（中央美术学院）基地、中央美术学院美术馆、中央美术学院文艺评论研究中心总策划：傅怡静、靳军、韩文超、刘礼宾组织：刘希言、沈森、李捷时间：2024年11月29日（周五）9:30-17:00地点：中央美术学院美术馆会议室< 论坛简介 >文艺评论和文艺创作，犹如车之双轮、鸟之双翼，是推动文艺事业繁荣发展的重要力量。习近平总书记强调，要打磨好批评这把“利器”，把好文艺批评的方向盘，运用历史的、人民的、艺术的、美学的观点评判和鉴赏作品，倡导说真话、讲道理，营造开展文艺批评的良好氛围。近年来，中国文艺评论（中央美术学院）基地充分发挥文艺评论引导创作、推出精品、提高审美能力、引领风尚的重要作用，深入文艺创作现场，顺应媒介化和数字化转向的时代趋势，推动传统文化在现代语境中的创造性转化与创新性发展。展览现场在文艺工作座谈会召开10周年之际，中国文艺评论（中央美术学院）基地围绕以中央美术学院和学院美术馆为代表的艺术现场，以各类展览、展览中的文艺创作新情况为观察对象，对其进行分析和评述，尝试通过艺术与思想的碰撞交锋来总结审美经验、归纳时代声音，并以展览评论作为一种独特的文艺评论形式，向公众推荐展览、普及美育，使文艺评论更加紧扣现场、精准有力。回顾艺术发展史，各类艺术展览一直是艺术世界的重要组成部分，它以时代性为基本特征，首先关照时代艺术的普遍现象和特殊现象；并融入对时代性的思辨，以先锋性、批判性的思维评论这些现象，从而以一种综合性的艺术形式进入艺术历史的叙事脉络。换言之，艺术事件、艺术流派、艺术运动、艺术家转型往往是由某个展览所激发或呈现，对展览言之有物的评论和研究，是深入文艺现场的一条重要途径，也是人民群众接受度较高的一种评论形式。展览现场此次论坛从当下展览评论者、展览主体创作者和展览史研究者三个角度，邀请中青年学者针对其撰写评论的经验和思考展开讨论，从而探索建构中国式文艺评论体系的多样性思路、促进当代文艺现场的有效评论生成；优化文艺评论人才队伍、扶持青年评论人才成长，发挥基地培养评论人才的职能作用。此次论坛是中国文艺评论（中央美术学院）基地年度学术活动和中央美术学院美术馆年度专题学术活动的主体部分，将拉开系列研讨、工作坊、出版的序幕。< 论坛日程 >9:30-9:50 开幕致辞傅怡静中国文艺评论（中央美术学院）基地副主任、中央美术学院文艺评论研究中心执行主任韩文超中央美术学院美术馆直属党支部书记10:00-11:40 论坛第一场在场与观察：从展览观察到展览评论简介：此场论坛邀请展览的观察者——作者与编辑，从当代展览评论撰写、当代展览评论汇编观察的角度，展开关于评论观点与艺术现场关系的讨论，重点关注近年来展览评论的发展情况、切入视角，并探寻展览评论存在的问题与解决方案。主持：高高中央美术学院美术馆副馆长评议：刘礼宾中央美术学院教授、中国文艺评论（中央美术学院）基地副主任、中央美术学院文艺评论研究中心副主任主题发言：缑梦媛（中国艺术研究院副研究员、《美术观察》副主编）：展览即评论许柏成（中国互联网新闻中心·艺术中国主编）：媒体时代，展评何为？沙鑫（四川美术学院艺术人文学院西部艺术与中华民族共同体研究院主任）：重返大地：美术馆展览“地质生态”转向下艺术评论的方法实践葛秀支（清华大学艺术博物馆馆员、中国美术批评家年会副秘书长）：走向现代：引领艺术史的展览朱莉（中央美术学院学报编辑部副研究员）：“编辑”艺术：关于展览评论的实践、方法与思考13:30-15:00 论坛第二场立场与创作：从艺术实践到展览策划简介：此场论坛邀请展览的参与者——策展人与艺术家，围绕艺术创作、文艺研究与展览现场展开探讨。论坛将重点关注展览与策划、创作及现场之间的关系，探究展览评论作为实践延伸的功能和意义。主持：刘希言中央美术学院美术馆副研究员、策划与研究部主任评议：冀鹏程《美术》杂志社社长、中国美术家协会策展委员会副秘书长主题发言：林书传（南京艺术学院副研究员、美术馆副馆长）：“行走”——作为一种策展方法卢征远（中央美术学院教授、造型学科基础部副主任）：艺术家与策展人双重角度下的展览差异刘畑（中国美术学院跨媒体艺术学院当代艺术与社会思想研究所执行所长）：策展的批评与自我批评薛良（北京画院美术馆负责人）：何要浮名——以策展方式启示当下艺术创作许崇宝（泰康美术馆研究员）：装束美与现实感：蒋兆和艺术的转型15:10-16:55 论坛第三场展场与历史：从展览史到展览知识生产简介：此场论坛邀请艺术批评与美术史研究学者，从中外展览历史的视角，展开关于展览现场与艺术发展关系的讨论，并重点关注艺术史中的展览现场作为知识生产与文化塑造的作用和机制，揭示展览历史对文艺叙事的重要影响，为当代展览评论提供历史参照与实践思考。主持：沈森广州美术学院副教授、新美术馆学研究中心副主任评议：曹庆晖中央美术学院教授、北京文艺评论家协会副主席主题发言：王志亮（河北大学艺术学院教授）：1977年“图像”展：点燃后现代艺术的时刻李垚辰（中央美术学院美术馆副研究员、典藏部主任）：发现历史的脉搏——中央美术学院建校百年展览史（1918—2018）研究的思考曾小凤（中央美术学院国家主题性美术创作研究中心副研究员）：质与量的飞跃——1955年第二届全国美展与油画“中国化”的肇始吴晶莹（中央美术学院科研处副研究员）：无界，抑或有界？——“大地魔术师”展览与当代艺术批评的全球化转向张晨（中央美术学院人文学院副教授）：作为物的绘画——从展览到艺术史尹冉旭（北京大学社会学系博士后）：物质文化研究与展览史书写16:55-17:10 闭幕总结及致辞刘礼宾中央美术学院教授、中国文艺评论（中央美术学院）基地副主任、中央美术学院文艺评论研究中心副主任靳军中央美术学院教授、中央美术学院美术馆馆长报名方式 >招募人数：20人报名方式：请编辑“论坛听众+参与者姓名+职业+电话”发送短信至19121726339（会务组邹德淑），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。主编 / 何一沙责编 / 杜隐珠
More

: Hai Jun has Taken On The New Position As The Deputy Curator of CAFA Art Museum

2024-11-27

On November 26th, the appointment meeting was held in the academic lecture hall of CAFA Art Museum, it was announced that Hai Jun was appointed as the deputy curator of CAFA Art Museum.Leaders and guests attending the meeting were: Lin Mao, President of the Central Academy of Fine Arts; Lu Yingming, Director of the Organization (United Front Work) Department; Jin Jun, Director of the Museum of Fine Arts; Han Wenchao, Secretary of the Immediate Party Branch of the Museum of Fine Arts; Gao Gao, Vice-Director of the Museum of Fine Arts; Hai Jun, Vice-Director of the Museum of Fine Arts; Wang Chunchen, Former Vice-Director of the Museum of Fine Arts; and comrades from the Organization (United Front Work) Department of the school, the Museum of Fine Arts, and other related comrades. Lu Yingming, Director of the Organization (United Front Work) Department, was entrusted by the Party Committee of the Central Academy of Fine Arts to read out the notice of appointment.Speech by Lin Mao, President of the Central Academy of Fine ArtsLin Mao, president of the Central Academy of Fine Arts, in his speech, on behalf of the school to congratulate Hai Jun on his assumption of duties, and Wang Chunchen's selfless dedication and hard work over the years to send a heartfelt thanks! He said that Wang Chunchen has served in the Museum for many years, has done a lot of work for the Museum, organized and participated in many large-scale activities, and has a relatively wide influence in the art world, and his academic writings also reflect his profound contemporary thinking, which effectively strengthened the Museum's academic strength and management level, and promoted the development of the Museum's career; Comrade Hai Jun is the Central Academy of Fine Arts School of Design early training of doctoral students, long-term persistence in the teaching and research front line of cultivation, has achieved visible results, and widely recognized, I believe that Comrade Hai Jun will soon be able to integrate into the family of the Museum of Fine Arts, together with the team members, and continue to enhance the influence of the Museum of Fine Arts. Finally, President Lin hoped that under the leadership of the Party Committee of the university, all the colleagues of the Museum of Fine Arts would work hard for the implementation of the "New Century" strategy and the construction of the "Double First Class", and paint a new picture for the people of the Museum of Fine Arts in the second half of the "14th Five-Year Plan". In the second half of the "14th Five-Year Plan", we hope that all the colleagues of the Art Museum will work hard for the implementation of the "New Century" strategy and the "Double First Class" construction, and draw a new scroll belonging to the people of the Art Museum!Statement by Wang Chunchen, Former Deputy DirectorWang Chunchen, the former deputy director, thanked the school leaders and the art museum team for supporting his work over the years in his speech. He said that the Art Museum of Central Academy of Fine Arts has developed into a highly reputable and academic art museum at home and abroad through the efforts of several directors. He believes that the museum will do better and better under the new leadership in the future, so that its academic and research systems can exert greater influence.Speech by Jin Jun, Director of the Art Museum of the Central Academy of Fine Arts (CAFA)In his speech, Director Jin Jun thanked Wang Chunchen for his contribution to the construction of the art museum over the years, his support for the work of the leadership team of the art museum, and thanked the party committee of the university for selecting Navy as the deputy director of the art museum. He talked about how Navy, as an outstanding young scholar and professor in the School of Design, has made a lot of achievements in academic research and management, and looked forward to colleagues working together to promote the continuous innovation and development of the art museum.中央美术学院美术馆副馆长海军发言In his speech upon taking office, Deputy Curator Hai Jun expressed his gratitude for the trust and care from the school organization, as well as the support and assistance from his colleagues. He mentioned that as one of the first batch of "National Key Art Museums", the Art Museum of the Central Academy of Fine Arts has gathered a large number of masters and renowned artists here, which has shaped the magnificent history of the museum and also created the pattern and mission of a professional and international modern art museum integrating functions such as academic research, exhibition display, collection restoration and public education. He stated that in his future work, he will, together with his colleagues in the museum, strive wholeheartedly to continuously build the museum's outstanding academic leadership, social influence, industrial integration ability, educational participation ability and cultural inheritance ability from four aspects: emphasizing politics, unity, responsibility and learning.Lu Yingming, the head of the Organization (United Front Work) Department of the Central Academy of Fine Arts, presided over the appointment meeting.Editor-in-Chief / He Yisha Editor / Du Yinzhu
More

: When We Enter The Art Museum, What Can We Gain?

2024-11-27

走进美术馆，我们能收获什么呢？在这样一个日益数字化和后数字化的世界里，美术馆发挥着重要作用，不仅要保护物质文化，而且要使各种各样的公众在展览中重返艺术和历史的现场，探寻其中人性的，情感的，思想的与艺术的痕迹。美术馆将要继续扮演指南针的角色，成为一个能听到许多不同声音且能让不同声音被传达的机构。本年度冬季，中央美术学院继续教育学院“中华美育行”社会美育计划携手中央美术学院美术馆，共同推出“美术馆运营与展览策划短期研修课程（第四期）”。在课程启动之际，我们特别邀请了一批在美术馆运营与展览策划领域有着深厚造诣的导师，他们将分享如何在坚守美术馆美育功能的同时，让艺术之美和价值得以更广泛的传播和传承。靳军中央美术学院美术馆馆长中央美术学院教授，博士生导师教授课程：“数字艺术与美术馆的新质发展”“中央美院美术馆历经了几十年的演变，作为现代美术机构，它从早期就开始收藏和整理艺术精华。最初的中央美院陈列馆的建立，在新中国时期具有重要意义，也为新世纪以来中央美院美术馆的发展奠定了良好基础。现今，推动美术馆的发展依然面临着新挑战，包括社会背景的变化和经济形势都对文化事业有着不同程度的影响，如何进一步发展艺术文化事业需要更多的思考和实践。当前社会对文化、美育和审美的认知以及艺术创新、科技创新融合的大趋势都为我们带来了新机遇。科技的发展和新技术的应用将推动艺术领域取得更好的发展手段与效率。面对挑战和机遇，美术事业同仁需要共同探索，形成更加包容的社会环境和氛围，同时促进文化事业更好地融入社会发展，努力实现新质生产力发展的持续进步。”选自：“靳军：科技探索x艺术融合美院美术馆融入新质发展”《艺讯网》于洋中央美术学院科研处处长中央美术学院教授、博士生导师教授课程：“近现代美术作品展览的策划与解读”“作为一种艺术表现风格，现实主义手法一直以来是美术创作呈现历史与现实，通过观察与反映现实社会生活，关注现实人生、社会与自然的表达方式。如何在今天以造型艺术的方式展现与反思现实，如何在跨学科语境和多元化价值观下，与时俱进地理解文艺创作中现实主义的内涵，如何通过美术作品的呈现，将思考与感受'艺术地'与现实生活相连，成为当下的美术创作者共同面对的课题。在现实主义创作手法的时代演进历程中，面对20世纪中国美术积淀的本土传统与新世纪以来国际化语境下的时尚新潮，今天的美术创作者既不能刻舟求剑，亦不能邯郸学步，唯有在坚守艺术本真的前提下，打开视野，守正创新，以全心投入的真情实感灌注于自身创作，方能以艺术创作召唤真实、贴近现实，以艺术之力介入社会，融入时代。”选自：“于洋：美术创作，如何表达‘真实’”《北京文艺评论》高高中央美术学院美术馆副馆长教授课程：“美术馆的运营与管理”“对于一种少为人知的艺术类型的首次展览，无论在策划时采取怎样的开放态度，它都不可避免地会产生某种“定义”效果。那么，作为艺术家手制书在国内的首次系统亮相，要为观众带来怎样的作品，要给观众在这一艺术领域的视觉经验留下怎样的第一印象，要为观众对于这一艺术领域的理解搭建怎样的基础框架，这是策展中反复斟酌的核心问题。正如两位策展人在展览前言中都提到的，此次展览最为关心的是艺术家手制书能够成为什么样，以及它能够为全球视觉语言的发展发挥怎样的作用，从而展示这种艺术在观念和形态上的多样面貌，以及它与文化传统的深度关联，成为第一届“钻石之叶”展览的主要目标。基于此，展览形成了一个主体展、三个卫星展的结构。”选自：“高高：闪耀着智慧之光的书页——‘钻石之叶：全球艺术家手制书’策展回顾”《画刊》我们诚挚邀请您共同踏上艺术的提升之旅，深入了解美术馆与运营之道与展览背后的策划执行。本次研修班注重“对导师面对面”和“个性化指导”，在经验丰富的导师带领下，只需要你带着一点对艺术的好奇、一点对美术馆的兴趣，在导师的带领下，让对话发生，共同体悟包罗万象的艺术与文化之美。| 温馨提示 |“中华美育行——美术馆运营与展览策划短期研修课程（第四期）”的报名将于12月15日截止，更多招生信息可致电咨询（13957702868），或点击“阅读原文”跳转查看招生简章。中央美术学院继续教育学院CAFA SCE“中华美育行”社会美育行动计划中央美术学院继续教育学院积极践行美育服务大众精神，以习近平总书记在文化传承发展座谈会的核心精神为引领，充分发挥部属院校的专业优势和人才优势，为践行中央美术学院“中华美育行”提供可持续的高质量发展方案。中央美术学院继续教育学院“中华美育行”社会美育行动计划由中央美术学院专家、学者共同参与，为央美美育精神的传播和推广贡献智慧和力量。中央美术学院美术馆中央美术学院美术馆是集合学术研究、展览陈列、典藏修复和公共教育等功能的专业性、国际化的现代美术馆。它的历史可以追溯至20世纪50年代初，是中华人民共和国成立后建造的第一座专业美术展览馆，也是国家首批重点美术馆之一。秉承“兼容并蓄、继古开今”的学术理念，中央美术学院美术馆用“智识”服务于社会，致力于当代公共文化空间的建设，以全新的视野向广大公众呈现人类的艺术文明，与社会各界分享时代文化。主编 / 何一沙责编 / 杜隐珠
More

: CAFAM Workshop Review | 90th Anniversary Of The Sculpture Series - Public Education Programs

2024-11-26

“雕塑大系”90周年背后的故事主办：中央美术学院美术馆协办：中央美术学院雕塑系活动时间：2024年11月14日 14:00-16:00活动地点：中央美术学院美术馆三层展厅导师：杜英奇、夏理佳“雕塑大系”中央美术学院雕塑学科90周年展览自开幕以来得到了广泛关注，展览筹备组的各位老师在完成展览布展、开幕工作以来，承担起为观众进行义务导览的工作，希望能够通过这种方式，让观众能够深入的、全面的了解雕塑学科90年的发展历程。杜英奇、夏理佳老师在现场导览11月14日，中央美术学院美术馆联合雕塑系举办了第一场“雕塑大系90年”系列公教活动，展览物料筹备组的杜英奇、夏理佳老师为观众进行了一场特别的导览——透过展览为观众讲述展览背后的故事。两位老师以具体的词条展板内容为线索，为观众呈现了更多展览以外的物料信息，筹备展览过程中所遇到的问题和解决方案，让观众了解到展览以外雕塑系老师们所做的工作与思考。活动后两位老师也与美术馆的导览志愿者进行了交流，就具体导览中遇到的实际问题进行了解答。“伸手触摸·神兽出没”儿童工作坊&“和合共塑·内美之光”成人工作坊主办：中央美术学院美术馆协办：中央美术学院雕塑系活动时间：2024年11月16日 10：00-12:00/ 14:00-16:00活动地点：中央美术学院美术馆三层B展厅导师：杜英奇、夏理佳助教：郑印雯、董皓泽王合内作品11月16日，“雕塑大系90年”系列公教活动第二场和第三场，分为上午的CAFAM儿童工作坊和下午的CAFAM成人工作坊，从临摹王合内先生的雕塑开始，走进和了解王合内先生的雕塑世界。活动邀请雕塑系的夏理佳老师和杜英奇老师带领各位由网络招募的学员进行临摹、创作实践，雕塑系第二工作室的郑印雯和董皓泽同学为各位学员制作准备了相关雕塑材料，并作为助教参与了本次活动。开始上课前两位老师首先对王合内先生和她的两座雕塑进行介绍和分析，王合内先生艺术创作以动物雕塑见长。在她所有艺术创作中，动物雕塑作品占绝大多数。既有沁透着舔犊之爱的羔羊、小鹿，也有充满阳刚之气的虎、豹。本次活动临摹的就是王合内先生的两件动物雕塑，以浮雕和圆雕两种形式来表现。公教活动现场儿童工作坊主要由夏老师带领以浮雕的形式进行临摹，夏老师介绍活动所用的主要材料—超轻粘土，并且展示了自己平时创作的超轻粘土作品，让同学们对该材料的可能性有一个基本的认知。为了更好的呈现最终效果以及速度的把控，夏老师提供了用kt板裁剪好的整个雕塑的基本外轮廓，建议小朋友们可以先在卡纸上描出雕塑的外轮廓行，接着根据已有的轮廓形进行塑造，小朋友自行选择喜欢的粘土颜色进行混合搭配，最终可呈现彩色的独一无二的作品。夏理佳老师与助教在现场进行指导小雕塑家和他们的作品（横向滚动）成人工作坊以圆雕形式来临摹雕塑。老师们也为课程做了充分的准备，为学员们提供了硬纸板做的支架。雕塑支架是圆雕的基础也是必不可少的重要部分，在两位老师根据材料的需求和简便性等情况协商后，最终选择以硬纸板刻出雕塑外轮廓形，再粘合后作为支架，学员们根据已有的外轮廓形进行填充塑造，这契合了王合内先生雕塑造型中的压缩处理，同时提高了学员们的效率，保证了临摹工作的顺利进行。专注投入的“同学们”通过本次活动，让学员们了解到王合内先生的故事，并通过临摹细致观察了她的作品，并通过亲手触摸雕塑材料，近距离感受到了雕塑造型的美，感受到了塑造的快乐，找到了一种平淡天真的感觉。好像有那么一刻，我们感觉到与王合内先生的距离很近，好像感受到了她作品中的内美之光。合影策划&执行：中央美术学院美术馆公共教育部项目负责：耿菁华姚轶群梁雯项目助理：上午：金彦冰、王紫；下午：陈以琳、周心韵摄影：常蒙恩王子涵主编 / 何一沙责编 / 杜隐珠
More

: It's Light Snow Today

2024-11-22

More

: CAFAM Experimental Theater | Continued ...... "Keep" Sound Concept Project

2024-11-21

CAFAM实验剧场续……《Keep》声音概念项目时间：2024.11.23 19:00-21:00地点：中央美术学院美术馆一层阶梯空间< 报名方式 >请感兴趣的观众转发推文并留言谈谈您所理解的电子音乐我们将挑选其中20位为幸运观众赠送该活动门票一张>>>>traverse 空间< 实验音乐现场概念 >“在21世纪，任何音乐都是环境音，是属于特定场景的配乐。”——电子音乐人Keith Fullerton Whitman1913年，Lugi Russolo在《噪音艺术》宣言中将日常所听的爆破声、汽笛声、尖叫声等传统噪音纳入了音乐体系，并制作出一种噪音生成器“Intonarumori”；John Cage的《4分33秒》纪录台上无人演奏的“Silence”音乐现场，以及台下说话、挪动物品、进进出出产生的杂音；Ryoji Ikeda使用正弦波、白噪音、干扰信号等制作出了装置系统。这些对声音边界进行思考而后拓展了其意义的先锋艺术家们，早已在探索如何让人类更直观、强烈地感知抽象“聆听”。音乐，特别是电子音乐独有的强大的沉浸力量，使它对人的感官刺激尤为强烈。当今，后工业文明时代，声音艺术一直是个抽象概念，多数是录音师与制作人研究的内容。而生活中处处都有声音噪音 …此次现场，艺术家将用音乐方式与环境音结合，让作品释放出想象空间，递增生活感的融合体验。 >>>>< 音乐家介绍 >文亮 WEN LIANG影视/电子音乐制作人，声音艺术家从编曲制作，再到即兴演奏，他的作品一直保持城市与环境的关系。他曾是法国电子乐队Saycet、英国电子音乐人Andy Stott、世界知名德国声音电子厂牌raster-noton的主理人Byetone现场的表演嘉宾，与南非诗人Lethokuhle Msimang、知名的S.A.G声音艺术组有着长期合作，作品参与在TV节目和影视配乐，曾在钓鱼台国宾馆、清醒梦现场、UCCA艺术中心，北京751 莫须有工厂等活动现场表演。2017年与南非诗人Lethokuhle Msimang 在录制作品集< 助演嘉宾 >那林呼 Na LinHu
More

: CAFAM Collection | Li Yong in Wu Zuoren's Writings: Eternal Moments of a Special Labor Hero

2024-11-18

>>>>《特等劳动英雄李永像》吴作人 1950年布面油彩 128×160cm 中央美术学院美术馆藏《特等劳动英雄李永像》创作于1950年，当年中央政务院决定召开表彰全国战斗英雄代表大会、全国工农兵劳动模范代表大会。时任中央美术学院院长的徐悲鸿号召全院师生充分利用造型艺术，来描绘和宣扬英模们的奋斗精神。在此背景下，吴作人创作了这幅作品，这是第一批为劳动英模造像的代表作品。作品中，画家吴作人采用特写的方式，描绘了特等劳动英雄李永驾驶火车机车的工作场景。画面中，李永身着制服驾驶着机车，身体微微探出车窗，左臂支在窗框上，坚定地注视着前进的方向，身后年轻的司炉在紧张忙碌。机车侧面“毛泽东号”的标牌、机车的型号、李永帽子上的帽徽、左胸的徽章、左臂的红色袖标，都体现着李永作为毛泽东号机车长的特殊身份。艺术家用笔肯定、潇洒，造型准确、生动，李永的面部刻画清晰，神情坚毅，展现了劳动英雄的光辉形象。画面中没有突出光影，主要通过机车、人物、服装不同的色彩来营造画面氛围和节奏，透露着一种1950年代特有的清新、朴素的朝气，这些画面元素共同构成了一个具有时代特色的场景，增强了作品的历史感和现实感。>>>>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
More

: Do Brasil à terra | Feeling the power of Sebastião Salgado's images

2024-11-14

On the occasion of the 50th anniversary of the establishment of diplomatic relations between China and Brazil, the exhibition "Brazil, Back to Earth" by Brazilian master photographer Sebastiao Salgado will be presented from November 12 to December 1 at the Art Museum of the Central Academy of Fine Arts. Presented by Chengdu Museum of Contemporary Photography, Wenze Times and the Embassy of the Federative Republic of Brazil in Beijing, the exhibition showcases Salgado's photographs taken in Brazil and around the world over the past four decades, reflecting the master's deep insight into his homeland and the plight of mankind and nature.The guests attending the opening ceremony included: Ambassador of Brazil to China, Paulo Estivallet de Mesquita, and his wife, Ana; Jin Jun, the curator of the Art Museum of the Central Academy of Fine Arts; Zhong Weixing, the founder of the Chengdu Museum of Contemporary Photography and the vice chairman of the China Art Photography Society; Milton Guran, the curator of this exhibition, the founder and director of the Rio de Janeiro International Photography Festival in Brazil, etc. Gao Gao, the deputy curator of the art museum, served as the host.Statement by Marcos Galvão, Ambassador of Brazil to ChinaMarcos Galvão said that this exhibition is a symbol of the close cooperation between China and Brazil in the cultural field. Moreover, through the images of the Amazon scenery and Brazilian indigenous people captured by Sebastião Salgado, it guides the audience to explore Brazil's rich natural landscapes and diverse social structures. He remarked, "It is a great honor to be able to present such a unique Brazil to the Chinese audience. I believe the audience will be deeply touched by the strong call for respect and protection in Sebastião Salgado's works."Speech by Jin Jun, Director of CAFA Art MuseumJin Jun said in his speech that on the occasion of the 50th anniversary of the establishment of diplomatic relations between China and Brazil, this exhibition is not only a fond reminiscence of the deep friendship between the two countries, but also a vivid interpretation of "art without borders". The Central Academy of Fine Arts has been committed to promoting Sino-Brazilian art exchanges, and in-depth to the academic research level of discussion, "Brazil, Back to Earth" will become a powerful exploration of Sino-Brazilian art exchanges in new areas. He also mentioned that Mr. Salgado is a world-renowned photographic artist, who has recorded the diversity and complexity of human society with his unique perspective and profound insight. It is hoped that the exhibition will inspire the public to think deeply about art creation, social progress and the development of human civilization.Founder of Chengdu Contemporary Photography Gallery, Vice Chairman of China Art Photography Society, Mr. Zhong Weixing, delivered a speechZhong Weixing recalled the success of Salgado's solo exhibition in 2019 as the opening exhibition of Chengdu Contemporary Image Museum, and expressed his admiration for the profound humanistic concern and artistic pursuit of Salgado's works. He pointed out that Salgado's works show a unique vision of the relationship between human beings and nature, and are able to transcend the barriers of language and culture to convey the power of universal emotion. He hoped that this exhibition will continue to build a bridge for cultural exchanges between China and Pakistan and inspire more artistic cooperation in the future.Speech by Milton Guerin, curator of the exhibition and founder and director of the International Festival of Photography in Rio de Janeiro, BrazilMilton Gueran began by thanking the exhibition team for their strong support and dedication, and said he was honored to be able to present this exhibition on the occasion of the 50th anniversary of the establishment of diplomatic relations between China and Pakistan. He talked about how Salgado is one of the few photographers whose works cover the globe, and that this exhibition has carefully selected representative works of the artist to show his multi-layered concepts and rich spiritual connotations.Gao Gao, Deputy Director of CAFA Art Museum, acted as the moderatorGroup photo of the guestsAfter the opening ceremony, Milton Guerin conducted a guided tour for guests and visitors, explaining in depth the connotations of Salgado's works and the curatorial ideas of the exhibition, to help the audience understand these photographic works more comprehensively.Born in Brazil in 1944, Sebastiao Salgado has become an important representative of contemporary humanistic and documentary photography. This exhibition features photographs taken by Salgado in Brazil and around the world over the past four decades, reflecting this master of contemporary photography's deep insight into his homeland and the plight of mankind and nature.The exhibition will run until December 1st.Entregadores de madeira para as aldeias da Sierra Madre Oriental, perto de Hualtla de Jimenez, 1980 © Sebastião SalgadoOs subúrbios da Cidade da Guatemala, 1978 © Sebastião SalgadoEstado do Ceará, Nordeste do Brasil © Sebastião SalgadoProtegidos por seus cobertores contra o frio da manhã, refugiados aguardam no campo de Korem, 1984© Sebastião SalgadoDo Brasil à terraExhibition Period: November 12 - December 1, 2024Venue: Central Academy of Fine Arts Art Museum, 4th Floor GalleryArtist：Sebastião SalgadoCurator：Milton Guran ，Jean-Luc MonterossoOrganizer: Chengdu Contemporary Image Museum , Wenze TimesCo-organizer: Embassy of the Federative Republic of Brazil in ChinaAcademic Support: Art Museum of the Central Academy of Fine ArtsSpecial Support: Vale Minerals (China) Co.Support：SPX，SuzanoSpecial Thanks：Lélia Wanick Salgado ，钟Zhong WeixingExhibition Director: Jin Jun, Han WenchaoExhibition Coordinator: Catherine Benainous, Zhao Heiwen, Gao Gao, He XiaobeiExhibition execution: Wang Xiaojingling, Dai Yan, Yi Yue, Zou Deshu Design Coordinator: Ji Yujie Visual Design: Shao Shimin, Dai Yan Exhibition Management: Wu Peng, Su Shicun, Jing Peng, Yu Yuxin Collection Management: Zhong Ruixue, Li Yaochen, Xu Yan, Dou Tianwei, Sun Weilu Media Promotion: Li Yi, Li Wenjing, He Yisha, Wu Jing, He Yifei, Du Yinzhu, Ding Yi Public Education: Li Yi, Shan Jing, Xiao Baozhen, Geng Jinghua, Wang Jun, Yao Yiqun, Liang Wen, Xi Huawei Development and Promotion: Wei Sun, Yi Yi, Xingling Liu Administrative Support: Siyu Jiang, Junyao Yue, Qian Zhang, Xu Guo Logistics and Security: Chen Xiaohua, Lv ZhifaEditor-in-Chief / He Yisha Editor / Du YinzhuOn-site Photos / He Yifei
More

: Wide Angle ° Youth Experimental Project Space | “Everything Is Alive——Jia Tianxue Solo Exhibition” Is About To Start

2024-11-13

广角°青年实验项目空间主办中央美术学院美术馆“广角°青年实验项目空间”于2022年初启动首期，我馆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理念，使美术馆二层半的独立空间，成为青年教师创作研展、展览策划的一块实验田。目前已完成三期方案的征集、评选（现有十八个展览方案入选）。万物有灵——贾田雪个人作品展展览时间：2024年11月14日—12月8日展览地点：中央美术学院美术馆2层C展厅开幕时间：2024年11月19日15：00开幕地点：中央美术学院美术馆2层C展厅“广角°青年实验项目空间”第三期第二个展览：“万物有灵——贾田雪个人作品展”将于11月14日在中央美术学院美术馆2层C展厅开展。本次展览为中央美术学院中国画学院教师贾田雪的个人作品展。展览由中央美术学院教授王春辰担任学术顾问，中央美术学院副教授张晨及在读博士生王丹云担任策展人。展览开幕式将于11月19日（周二）下午15：00在中央美术学院美术馆2层C展厅举办。《微凉》线稿（局部）贾田雪的作品古雅精致，在笔墨之间，生活中的场景变得清雅温润，现实中的花卉、动物、书籍、陈设经由谨合章法的取景与布局生发出古典唯美且具有灵性的意境，游离于传统与现代，熟悉与陌生，平常与高雅之间。这离不开她长期的学院训练和个人对传统美学的体认，她敏感于平常事物中超越日常经验的美感，将其巧妙地置于传统的语境当中，使它们震颤出一种特殊的生命力——既来自当下，又源于古老的时空，正如她作品中的一个片段，茂盛的花枝从古朴的窗格中伸展而出。本次展览以贾田雪的作品为样本探讨工笔与没骨花鸟画的生活之源，在展览中有意展示这些图像的背面，即生成的过程，呈现现实事物如何经过艺术家的感知和经验转化为图像，复现图像背后真实的生命力。《日暮·闲花》（之二）纸本设色 68cm×35cm 2020年安塞姆·弗兰克（Anselm Franke）曾借用英国人类学家爱德华·B·泰勒（Edward B. Tylor）的“万物有灵”概念策划展览，认为原始文化中存在着自然万物拥有自身灵魂和生命力的信仰。在世界各地的文明中，我们均能发现这一对于天地万物的普遍认知，一块石头、一条河流、一只蝴蝶，它们都可能携带独立的记忆、性格、情感和精神。弗兰克以此挑战了西方自然与社会的二分法，邀请观众以新的方式观察和认识世界，重新审视人类、物体和自然之间的关系。而在中国的语境中，自然与人文从来没有明确的二分观念，人与世界始终存在着超越主体与客体、自我与他者、内在与外在的复杂精神关联。基于此，本次展览通过强调工笔花鸟画的创作过程，使观众不仅将画作视为图像，更将其视为艺术家、主体精神世界和自然万物之间持续不断的对话过程，这种根植于中国宇宙观的艺术思考，映射出我们与自然共生共存的独特感知，而绘画本身正扮演了连接内在和外在、生命与非生命之间桥梁的角色。《线的协奏曲》综合材料 240cm×120cm 2024年贾田雪行走在敬畏传统和挺进当代的治学路上，在坚守和弘扬中国画艺术精神的基础上，以当代的文化情怀进一步关照自身的艺术创作，在传统文化的熏养下勤奋耕耘，生长出新的契合当下中国画艺术语言的枝脉与花果。她的花鸟画创作，画之所爱，寄情于物，她理性地将传统花鸟画表现的规范和技法自如地运用到创作实践当中，同时追求画面景物间情感意蕴的自然流露。她在创作中十分注重画面“意境”的营造，以“当代人”的感受方式贴合现实，多角度地切入生活，作品中景与物的关系无论在造型和用色方面都体现出一种相互照应的整体关系，它们之间相互生发，构成一种符合当代文化语境的时代特征和画面表现所需的艺术情境。——杨维民贾田雪美术学博士，中央美术学院中国画学院教师。中国美术家协会会员，北京美术家协会会员，中国工笔画学会会员、青年艺术委员会委员，中国女画家协会会员，天津市青年美术书法家协会会员，李可染画院青年画院画家。作品入选中国美术家协会举办的“万年浦江”全国中国画花鸟作品展、全国大学生美术作品展、“南田风骨”——第三届恽南田全国花鸟画作品展、第五届全国中国画展览、第七届全国青年美术作品展览、第十四届全国美术作品展。作品参加北京靳尚谊艺术基金会第二届青年画家扶持计划暨绘画新锐展、“文质清华”2023年全国高等艺术院校花鸟画教师作品展、第六届“学院·经典”全国高等艺术院校工笔画作品双年展、灼灼其华——《中国美术报》女艺术家学术邀请展、风华正茂——荣宝斋首届青年艺术提名展、2024新时代首都美术展、国家艺术基金2024：后海派艺术作品巡展、她艺术——当代中国女艺术家作品展、步花间·花鸟序——首届中国工笔花鸟画学术邀请展等。策展人简介张晨美术学博士，现任中央美术学院人文学院副教授、硕士研究生导师，研究方向为视觉文化理论、西方艺术史、中外美术比较等。曾赴意大利威尼斯美术学院、法国巴黎艺术史研究中心、哈佛大学意大利文艺复兴研究中心、德国柏林世界文化宫访学交流，在第36届世界艺术史大会（法国里昂，2024）做主题发言。获第九届IAAC国际艺术评论奖（2023）、首届新世纪当代艺术基金会“墨缘”艺术史研究与写作资助计划（2023）等奖项。现主持国家社会科学基金艺术学青年项目、北京市社会科学基金重点项目各1项，完成国家社会科学基金后期资助优秀博士论文出版项目。专著有：《身体·空间·时间——德勒兹艺术理论研究》（中国社会科学出版社，2020），译著有：《印象主义》（人民美术出版社，2014）、《1985年以来的当代艺术理论》（合译，上海人民美术出版社，2018）、《意大利文艺复兴新艺术史》（合译，江苏凤凰美术出版社，2024）等8部，在《文艺研究》《美术研究》《文化研究》等学术期刊发表论文多篇，也从事当代艺术的策展与批评工作。王丹云中央美术学院人文学院博士生。本科、硕士均毕业于中央美术学院人文学院，主要从事西方现当代艺术史、当代艺术理论与批评研究。教育部人文社会科学研究一般项目《1945年以来的当代策展理论研究》课题组成员。参与翻译著作《艺术史》（中信出版社，2023）。发表文章包括《我们在期待什么样的装置艺术》、《自我关切与人间漩涡——评2021年中央美术学院研究生毕业展》、《露西·利帕德与艺术的去物质化——观念艺术的发生与概念回溯》、《被操控的身体——福柯视角下的布鲁斯·瑙曼走廊装置作品研究》等。万物有灵——贾田雪个人作品展展览时间：2024年11月14日—12月8日展览地点：中央美术学院美术馆2层C展厅展览工作组学术顾问：王春辰艺术家：贾田雪策展人：张晨、王丹云展览协调：李捷设计统筹：纪玉洁展览设计：孙彤展览鸣谢：赵绚、刘佳昕主编 / 何一沙责编 / 杜隐珠
More

: CAFAM Lecture Preview | Su Xinping: My Creative Process and Artistic Approach

2024-11-13

“集成——中国当代艺术名家版画展”系列公开讲座讲座主题：苏新平的创作历程和艺术方法讲座时间：2024年11月15日14:00-16:00讲座地点：中央美术学院美术馆学术报告厅讲座主办：中央美术学院美术馆、中央美术学院版画系主讲人：苏新平（中央美术学院学术委员会主任、教授、博士生导师）主持人：靳军（中央美术学院美术馆馆长、教授、博士生导师）名额有限，请扫码预约报名二维码仅用于此讲座嘉宾票使用入馆时间：13:00-16:00 讲座内容概览讲座将对苏新平的创作历程和艺术方法进行全面的回顾和剖析。早年在草原的生活体验以及军队服役的经历使得苏新平对大地、天空与心灵的孤独状态体验深刻。上世纪八、九十年代，苏新平创作了一大批反映这类主题的版画作品，显示了其艺术精神的力度和生命意志的强度。由于敏感地认识到中国社会转型的阵痛，苏新平开始运用油画、素描等直接绘画的手段探讨欲望、精神、思想危机等社会现实问题。随着对自身工作方式理解的逐渐加深，苏新平将自我的反思及传统文化的追问也纳入实践范畴，由此引发对艺术与日常的互文关系、时间与思维的有效同步等理念问题的思考。主讲人
More

Child Public Education Reservation Form

*
Event name
*
Event time
*
Gender
Male

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

Volunteer service

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

Submit

Adult Public Education Event Reservation Form

*
Event name
*
Event time
*
*
Gender
Male

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

Volunteer service

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

Sumbit

Group Public Education Event Reservation Form

*
Event name
*
Event time
*
Group type
University

Institution

Group
*
*
*
*
Participating group type
Children

Youth

Adult

Seniors
*
*
Wheelchair service

Volunteer service

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

Submit

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.