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 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
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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
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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
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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
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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
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Chinese Aesthetic Walk | "Art Museum Operation and Exhibition Planning Course" Is Now Open For Enrollment!

2024-11-12

“中华美育行——美术馆运营与展览策划短期研修课程(第四期)”依托于中央美术学院美术馆多年的机构管理与运营经验,及其丰富多样的展览学术资源。通过精心的课程设置,该项目践行个性化学习、终生学习的精神,致力于培养艺术机构运营领域学术与实践能力兼备的综合性人才,旨在通过展览背后故事的讲述、实际工作经验的分享,让学员全面、深入了解美术馆的实际运营以及展览的组织策划。01 课程优势在国家级美术馆中学习深入美术馆工作现场:从展览策划到藏品管理,从公教服务到媒体运营,全方位了解美术馆的运作。鉴赏精品展览:参观类型各异的精品展览,与策展人面对面交流,感受艺术的独特魅力。01 课程优势在国家级美术馆中学习深入美术馆工作现场:从展览策划到藏品管理,从公教服务到媒体运营,全方位了解美术馆的运作。鉴赏精品展览:参观类型各异的精品展览,与策展人面对面交流,感受艺术的独特魅力。聆听展览背后的艺术故事 理论与实践结合:上午学习理论知识,下午参观展览,理论与实践相结合,让你学以致用。独享展厅空间:在学员活动中,享受宁静的学习环境和独享的展览空间。02 课程主持靳军中央美术学院美术馆馆长师资力量于洋 (中央美术学院教授、科研处处长)邵彦(中央美术学院人文学院教授)王春辰(中央美术学院教授)高高(中央美术学院美术馆副馆长)李垚辰(中央美术学院美术馆典藏部主任)刘希言(中央美术学院美术馆策划研究部主任)纪玉洁(中央美术学院美术馆设计部主任)孙炜(中央美术学院美术馆发展部主任)何一沙(中央美术学院美术馆媒体部主任)肖宝珍(中央美术学院美术馆公共教育部主任)窦天炜(中央美术学院美术馆修复师)易玥(中央美术学院美术馆策划研究部副主任)王静(中央美术学院美术馆策划研究部副主任)马亮(中央美术学院美术馆典藏部馆员)宿世存(中央美术学院美术馆展览部馆员)注:项目负责人有权根据实际情况,在同等条件下对授课教师进行微调。03 学习安排*项目负责人有权根据实际情况,在同等条件下对课程进行微调04 福利待遇1、学习期满,成绩合格,颁发《“中华美育行”—社会美育证明书》。2、课程教材一本。3、美术馆专业展览出版物一份与美术馆VIP展览导览服务。4、在课程期间,学员在美术馆咖啡厅的消费将享受优惠。课程信息授课时间:2024年12月,共48个课时(具体授课时间请咨询课程负责老师)2. 报名截止日期:2024年12月15日3. 授课地点:中央美术学院美术馆4. 招生人数:15人5. 课程费用:2万元/期/人联系我们,了解更多课程相关事宜 拨打电话或加微信咨询课程负责人金老师15957702868/微信同号点击文末“阅读原文”,查看招生简章往期课程回顾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
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CAFAM Exhibition Preview|“Do Brasil à terra -- Sebastião Salgado”Coming Soon

2024-11-11

值此中巴建交50周年之际,巴西摄影大师赛巴斯提奥·萨尔加多(Sebastião Salgado)的展览“巴西,重返大地”将于11月12日至12月1日在中央美术学院美术馆呈现,此次展览由成都当代影像馆、文泽时代和巴西联邦共和国驻华大使馆携手献礼,展出萨尔加多四十多年来在巴西和世界各地拍摄的摄影作品,体现这位现当代摄影大师对故土,以及人类与自然困境的深刻洞察。此次展览由米尔顿·顾然(Milton Guran)和让-吕克·蒙特罗索(Jean-Luc Monterosso)共同策划,通过萨尔加多最具代表性的三十余幅作品,带领观众回顾这位巴西最杰出摄影师的创作生涯,并透过他的镜头,看见人文与纪实摄影所蕴含的人道精神。Entregadores de madeira para as aldeias da Sierra Madre Oriental, perto de Hualtla de Jimenez, 1980 © Sebastião Salgado塞巴斯提奥·萨尔加多在1944年出生于巴西,如今他已成为现当代人文与纪实摄影的重要代表人物。四十多年来,他游历世界,将人类的困境置于创作的核心,关注当代社会的巨大变迁,聚焦因冲突与贫困而受苦的弱势群体。Os subúrbios da Cidade da Guatemala, 1978 © Sebastião Salgado凭借着巴西人的敏锐感知,萨尔加多深入观察环境与生态上的悲剧性滑坡,揭示了它们对这个世界的深刻影响。他得益于自身的经济学背景,对各种情境进行严谨的分析,更以诗意且充满造型美感的影像来表达。Estado do Ceará, Nordeste do Brasil © Sebastião Salgado期待“巴西,重返大地”能为观众呈现当代摄影的杰出之作。▲ ▲ ▲“巴西,重返大地”对谈活动故土的回响:萨尔加多的巴西与人文纪实时间:2024年11月13日(周三)18:30地点:中央美术学院学术报告厅                                                              0学术主持蔡萌(中央美术学院教授、研究员、策展人)对谈嘉宾米尔顿·顾然(策展人、摄影师、巴西里约热内卢国际摄影节创始人、总监)钟维兴(成都当代影像馆创始人、中国艺术摄影学会副主席、法兰西艺术与文学骑士勋章获得者)内容介绍在当代纪实摄影的舞台上,塞巴斯提奥·萨尔加多(Sebastião Salgado)以其深刻的人文关怀与独特的影像语言享誉全球。从20世纪70年代开始,这位出生于巴西的摄影家用镜头关注人类境况的复杂性,其作品聚焦社会剧变、环境危机及因冲突和贫困而受苦的群体。在本次对谈中,萨尔加多的作品将成为核心探讨对象,带领观众深入了解他在影像艺术中的思想与情感表达。对谈嘉宾将结合各自的学术背景与艺术实践,围绕萨尔加多作品中的人文视角、环境意识与纪实之美展开讨论,并将他的创作置于巴西摄影发展的历史全景中加以解析。此次活动将为观众呈现纪实摄影在当代文化语境中的深远意义与多重影响。活动预约二维码校内观众无需预约校外观众请扫码预约入校▲ ▲ ▲  关于艺术家  1944年2月8日出生于巴西米纳斯吉拉斯州的艾莫雷斯,现居法国巴黎。与妻子莱莉娅·瓦尼可·萨尔加多育有两子,膝下还有两孙。1973年,学经济出身的萨尔加多在巴黎开始了职业摄影师生涯,曾与西格玛、伽玛和玛格南等多家世界顶尖图片社合作。1994年,他与妻子莱莉娅·瓦尼可·萨尔加多成立了一家专供自己作品的独立图片社:亚马逊图片社。借由摄影外派工作和长期项目,他去过100多个国家。除了大量新闻出版物上的作品,他的主要作品被收录在一系列图录中,例如:《另一个美洲》(1986)、《萨赫勒,困境中的人类》(1986)、《萨赫勒地带:道路尽头》(1988)、《劳动者》(1993)、《地球》(1997)、《移民》(2000)、《非洲》(2007)、《创世纪》(2013)、《梦的味道》(2015)、《科威特:战火中的荒漠》(2016)。这些书籍的编辑、构想与设计都由莱莉娅·瓦尼可·萨尔加多完成。此外,他的作品迄今已在全世界范围内超过300家博物馆或美术馆完成了巡回展览,并且将持续下去。其中大多数展览活动的组织者都是莱莉娅·瓦尼可·萨尔加多。萨尔加多也成了很多传记作品的主人公。2013年,法国记者兼作家伊莎贝尔·弗朗柯出版了《重回大地》,叙述了这位摄影师的生活与职业生涯。第二年,萨尔加多成了由维姆·文德斯和朱利亚诺·里贝罗·萨尔加多合拍的纪录电影《地球之盐》的主人公。这部送选至很多重量级电影节的纪录片斩获了2014年戛纳电影节“一种关注”特别大奖、2015年法国凯撒奖的最佳纪录片奖。同年,《地球之盐》入围第87届奥斯卡最佳纪录片。塞巴斯提奥·萨尔加多的成就受到了广泛认可。他不仅是联合国儿童基金会亲善大使,还曾在美国马萨诸塞州被授予艺术与科学学院名誉成员称号,并还在世界多所大学获得了荣誉博士学位。他的摄影作品为他赢得了更多知名荣誉,其中包括法国文化部颁发的国家摄影大奖、西班牙的阿斯图里亚斯王子艺术奖、意大利皮奥·曼祖研究中心颁发的意大利共和国总统勋章、巴西里奥布朗库绅士勋章和法国文化部授予的文学艺术勋章。2016年,萨尔加多接替吕西安·克莱格,被选为法兰西艺术学院的终身院士。同年,他被授予法国国家荣誉骑士勋章。2018年,他不仅被摩纳哥公国授予文化成就骑士勋章,还被美国纽约的艺术文学院授予外籍荣誉成员称号。自1990年代开始,莱莉娅和萨尔加多就共同致力于巴西米纳斯吉拉斯州大西洋沿岸部分森林的恢复工作。1998年,在这片土地正式成为自然保护区后,他们成立了泰拉研究所,致力于环境相关的恢复、保护和教育工作。  关于策展人  摄影师、策展人,巴西里约热内卢国际摄影节创始人、总监;社会传播学硕士,人类学博士。巴西里约热内卢联邦大学口述历史及图像实验室研究员,主要研究摄影和人类学领域,发表多篇论文,并出版著作。其作品被巴黎欧洲摄影博物馆、巴西圣保罗艺术博物馆、里约热内卢现代艺术博物馆、巴西里约艺术博物馆等多家公立和私人艺术机构收藏。法兰西艺术院通讯院士、成都当代影像馆馆长。1980年创办“巴黎摄影月”双年展(Mois de la Photo à Paris);1996年创办巴黎欧洲摄影博物馆(Maison Européenne de la Photographie,MEP),并于1996-2018年担任馆长。他曾策划多个展览,并出版多部著作,代表作有:《摄影,一场当代冒险》(1997年度《摄影之眼》最佳外文书),《极端附近》(2011),《法国摄影存在,我曾与之相遇》(2018, Xavier Barral 出版社)等。▲ ▲ ▲巴西,重返大地Do Brasil à terra艺术家塞巴斯提奥·萨尔加多Sebastião Salgado策展人米尔顿·顾然Milton Guran让-吕克·蒙特罗索Jean-Luc Monterosso地点中央美术学院美术馆四层展厅展期2024.11.12 - 2024.12.1主办成都当代影像馆文泽时代协办巴西联邦共和国驻华大使馆学术支持中央美术学院美术馆展览特别支持淡水河谷矿产品(中国)有限公司展览支持SPX书赞桉诺特别鸣谢莱莉娅·瓦尼克·萨尔加多Lélia Wanick Salgado钟维兴主编 / 何一沙 责编 / 杜隐珠
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Unlocking the Unique Creative Techniques of Copper and Silk Screen Prints | "Integration - Chinese Contemporary Artists' Printmaking Exhibition" is now on display

2024-11-10

集成——中国当代艺术名家版画展 展览时间:2024年10月18日—11月24日展览地点:中央美术学院美术馆一层展厅根据版面材料,版画可以分为木版画、铜版画、石版画和丝网版画等多个类型,每种版画类型都有其独特的制作工艺和艺术表现形式。本次展览集聚徐冰、隋建国、张晓刚、苏新平、王华祥、孟禄丁、洪浩、陈琦、冯梦波、邱志杰10位艺术家的50件版画作品,展现了传统艺术门类与当代创作技法的对话。在诸多版画类型中,数码微电压印刷版画代表了现代科技与艺术的巧妙结合,木版画以其悠久的历史和质朴的美感备受推崇,而石版画则因其独特的质感和深邃的色彩表现引人注目。此次展览呈现了徐冰的数码微电压印刷版画,隋建国、王华祥、陈琦的木版画,冯梦波、邱志杰的石版画,张晓刚、苏新平、王华祥、孟禄丁的铜版画,以及洪浩的丝网版画。在传统技法与当代创意的碰撞中,这些作品揭示了多个维度的视觉形象与艺术家的独特感触,从而再现艺术家的个人图示。在上期内容中,我们已经探索了木版画与石版画的精湛制作工艺,这一期,我们将继续深入介绍铜版画与丝网版画的独特制作技巧。铜版画张晓刚“我不把自己当成油画家看待,觉得自己首先是一个艺术家,所以希望通过版画这种媒介,去尝试着传递一些东西。”苏新平“学习版画的过程中很多东西写入了我的基因里,并深入骨髓。而我此后的创作都是在无意识地将版画的基因特性释放在作品里。”王华祥“木刻版画,一刀下去非黑即白,我们要用这两种颜色去表达这万千世界。因为不愿受到黑的束缚,我们就要用白去破坏它。每挑出一个白点,就是获得一份解脱。当把整个画面都挑满的时候,就获得了一种前所未有的自由。”孟禄丁“在我看来,当代艺术中,媒介已经变得不重要了。我既可以画油画,也可以使用水墨、雕塑等其他语言进行创作。版画就是一个很好的尝试,也是一种语言实验。”铜版画技法展示制版,将准备好的菲林图像曝光在感光铜版上,再将曝光的铜版置于显影池中显影,清洗残留显影液,风干定影。贴背胶,清理铜版表面的氧化层,再将铜版置于腐蚀池中。腐蚀完毕后,清理残留酸液。用脱膜液将感光膜从铜版表面脱离,再调墨,将铜版表面均匀刮墨,用纱布将多余油墨擦拭干净,将印版放置于铜版机上准备印刷。在版面上先后覆盖画纸、毛毡,启动机器,印制。印制完成。丝网版画洪浩“当代艺术走到现在,变得越来越程式化、套路化了,我们被理性桎梏了。观念、策略的盘算太多之后,反而缺少了艺术的纯度和大无畏的东西。因此,我们有必要重新看待艺术。”丝网版画技法展示绘制底片,使用不透明颜料,在透明涤纶薄膜上绘制分版的图案,并将绘制好的底片晾干,转移至曝光室,准备曝光。打开曝光机(照明灯),放置底片,再拿出挂好胶膜的丝网框,放置于底片之上。开动气泵,压实丝网框与底片之间的空隙,设定时间,开始曝光(碘镓灯)。曝光结束,将曝光过的丝网框送至水槽冲洗显影,再送入烘干箱烘干后,固定在印刷机头上。调和印刷所需颜料,同时准备好印制工具,如丝网刮板等,抬起丝网框,放入印刷所用纸张,对准套印位置,将颜料均匀倒入网框边缘,用丝网刮板均匀将颜料布满网面,再将网面上的颜料匀速刮到下方纸面上,抬起丝网框,将印好的画纸放置在晾画架上晾干。印制完成。在这一系列丰富而神秘的技法演绎中,我们共同探索了版画艺术的广阔天地。从木版画创作中的油印木刻、水印木刻法,到石版画、铜版画和丝网版画的独特创作技法,见证了版画艺术从构思到成品的每一个细腻环节。期待您来到展厅,让我们在艺术的旅途中相遇。集成——中国当代艺术名家版画展展览时间:2024年10月18日—11月24日展览地点:中央美术学院美术馆一层展厅主办:中央美术学院美术馆主编 / 何一沙责编  / 杜隐珠编辑  / 贺伊飞
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Today is the Beginning of Winter

2024-11-07

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CAFAM Collection Exhibitions | Conveying Power: Entering "Zhao Guilan at the Conference of Heroes" by Lin Gang

2024-11-05

《群英会上的赵桂兰》作品原名《党的好女儿——赵桂兰》,是新中国新年画的代表之作。1950年9月25日,“全国工农兵劳动模范代表会议”和“全国战斗英雄代表会议”在京召开,劳动模范赵桂兰出席会议并得到毛主席的接见。赵桂兰因用身躯保卫国家财产不受损害而导致残疾,其事迹得到了人民的传颂,此时林岗响应学院号召创作了这幅劳模题材的作品。>>>>《群英会上的赵桂兰》 林岗 1951年 绢本设色 138 x 176cm 中央美术学院美术馆藏《群英会上的赵桂兰》是第一次表现国家领导人和人民群众在一起的主题性绘画作品,作品的构图受到达·芬奇《最后的晚餐》等古典主义艺术的影响。无论是横向展开的桌子还是桌子背后的人物组合都表现出这一点。作品上方一排排宫灯的描绘更加深了透视效果。此后类似的“向心式结构”对毛泽东题材的主题创作产生过很大影响。画面中的人物错落有致地排列着,形成了一条弧线,作品以橙红色调为主,营造出温暖的古典氛围。毛主席身着深棕色的中山装,赵桂兰则着画面中最鲜亮的蓝色女式工服,这种搭配增强的画面的视觉效果。林岗在细节处理上非常用心,如画面中的宫灯、地毯、花盆等均有参考资料可查,通过细腻的笔触和色彩表现,使得这些物品富有美感。特别值得一提的是,赵桂兰带着白手套的左手,林岗用白手套艺术性地处理了这一细节,既交代了赵桂兰的英勇事迹,又表达了她对生活的积极乐观态度。整幅作品采用了勾线平涂方式,使得画面更加清晰、明快,易于被观众接受和理解。该作品在第二届全国年画评奖中荣获一等奖,其出版发行在百万份以上,将新年画创作推向了一个时代高峰。>>>>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
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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

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

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.

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