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.

: Mid-Autumn & National Day Holiday Opening Notice | CAFAM Welcomes You!

2026-09-23

Dear Visitors,As the Mid-Autumn Festival and National Day approach, CAFAM will remain open during the Mid-Autumn holiday (September 25–27) and the National Day holiday (October 1–7) to accommodate visitors. The museum will be closed for routine maintenance on Monday, September 28. Daily opening hours: 9:30–17:30 (ticket sales stop at 17:00).A diverse array of exhibitions awaits you, ranging from classic collections and exoplanet-themed science art, to the evolution of Chinese fashion, contemporary visual design, and cross-media artistic explorations. CAFAM looks forward to welcoming you this holiday season!CAFA Art MuseumSeptember 22, 2026On View╱ CAFAM @ 2026Editor-in-Chief / He Yisha Editor / Du Yinzhu
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: 9月22日，走进中央美院美术馆“寻星” | 系外行星主题科普艺术展即将上线

2026-09-22

20世纪90年代第一批太阳系外行星的确认（PSR-B1257+12周围行星和飞马座51），拉开了关于系外行星的系统性探索的序幕。此后，人类不断发现那些隐藏在遥远恒星周围的陌生世界——有的比地球更小，有的围绕两颗恒星运转，有的在星际空间中孤独漂泊。然而，它们绝大多数从未被真正“看见”，科学家只能凭借恒星亮度的微变、引力扰动的痕迹与光谱中稍纵即逝的线索，让一个不可见的世界逐渐显现。这场深空探索中，中国科研力量同样留下了坚实足迹：从“望舒”的发现，到LAMOST等重大设施支撑下对热类海王星、超级地球、流浪行星的系统研究……本次展览有幸获得清华大学天文系的学术支持，将前沿科学成果转化为可感可知的现场。作为中央美术学院美术馆全国科普月的特别项目，本次展览以大型空间装置带您沉浸式体验宇宙的宏大尺度与多样星体环境，更设置了艺术共创环节，邀请您亲手绘制属于自己的系外行星——从“观看者”变为“行星创造者”。从一颗星辰开始，去寻找另一个世界。也许我们最终寻找的，不只是遥远的行星，更是人类理解自身、理解地球与宇宙的一种方式。1992年，人类第一次确认太阳系外存在行星，开启了系外行星研究的新纪元。PSR B1257+12 脉冲星行星系统艺术想象图https://science.nasa.gov/resource/extreme-planets/通过星冕仪或特殊掩星技术遮挡恒星强光，直接拍摄行星自身反射或热辐射的微弱光点。此法适合年轻、距恒星较远的大行星，技术难度极高，却是未来分析宜居世界大气的最直接途径。韦伯望远镜拍摄的HIP 65426 b多波段图迄今发现最接近地球大小和质量的行星之一。TRAPPIST-1 e 3D模型截图https://science.nasa.gov/exoplanet-catalog/trappist-1-e/ 望舒（HD 173416 b）是兴隆 2.16 米望远镜高分辨率光谱发现的第一颗系外行星。2008 年发现团队通过测量恒星视向速度的周期性摆动确认了它的存在，这一发现证明我国望远镜已能参与精密的系外行星搜寻。D 173416 b 3D 模型截图https://science.nasa.gov/exoplanet-catalog/hd-173416-b/ “寻星”现场剧透9.22走进央美美术馆探索“另一个世界”“寻星——系外行星主题科普艺术展”开幕对谈时间：2026年9月23日18：00地点：中央美术学院美术馆一层展厅扫码预约名额有限先到先得请从美术馆西门进入对谈人苟利军（中国科学院国家天文台研究员、中国科学院大学天文学教授）靳军（中央美术学院美术馆馆长、教授、数字艺术家）王雪凇（清华大学天文系副教授、展览科学顾问）汤宇（中央美术学院科研处副处长、副研究员）陈抱阳（数字艺术家、中央美术学院实验艺术与科技艺术学院副教授）刘宇晗（中央美术学院美术馆策划研究部项目主管、展览策展人）林子轩（清华大学学生天文协会十三任会长）主持人：刘希言（中央美术学院美术馆策划研究部主任、展览策展人）特别邀请：北京新艺动社会工作发展中心对谈内容 “寻星”展览的开幕跨界对谈，将从天文科普、艺科融合与公众参与等角度展开。来自天文科学、艺术创作、展览策划和公益机构等领域的嘉宾，将分享系外行星探索的科学历程与探索故事、艺术与科学碰撞所激发的创作实践，以及如何将专业的天文知识转化为可感知、可参与的展览语言，借助美术馆的平台，激发青年对科学探索的兴趣与想象，从而拓展艺术与科学交汇的更多可能。2026年全国科普月系列活动寻星——系外行星主题科普艺术展展览时间：2026年9月22日-11月8日展览地点：中央美术学院美术馆一层展厅展览工作组学术主持：于洋展览总监：靳军、韩文超展览统筹：高高、海军、李垚辰、汤宇科学顾问：王雪凇、王晓锋、白雪宁、祝伟、史静思展览策划：刘宇晗、刘希言主编 / 何一沙责编 / 杜隐珠
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: 修行、思辨与实验的现场｜“无字经变”在中央美术学院美术馆开幕

2026-09-21

2026年9月16日，“广角°——青年实验项目空间”第四期第四个展览“无字经变”在中央美术学院美术馆开幕。作为第四期项目的收官展览，本次展览由中央美术学院副院长吕品晶、中央美术学院壁画系主任唐晖担任学术主持，张倩媛担任策展人，呈现了吕明岳、张汉普、王希民三位艺术家的创作，围绕传统、信仰与科技展开跨越媒介的艺术探索。中央美术学院美术馆直属党支部书记韩文超、人事处副处长刘晶、壁画系主任唐晖教授、策展人张倩媛及三位参展艺术家先后致辞。壁画系直属党支部书记黄可一、副书记王芳，党委宣传部部长徐新立，‌中央美术学院附属中等美术学校党总支书记吴琼，以及相关教学科研单位、行政部门的负责人和师生共同出席开幕式。美术馆副馆长高高担任主持人。中央美术学院美术馆直属党支部书记韩文超致辞中央美术学院美术馆直属党支部书记韩文超代表美术馆向展览开幕表示祝贺，并感谢主创团队及各方支持。他表示，广角°项目是一块鼓励技法探索与思想创新的“实验田”，期待艺术家扎根文化传统、回应当代问题，呈现具有思辨性与学术深度的创作。在他看来，“无字经变”通过不同媒介，将艺术家对天人、物我关系的思考转化为视觉表达；展览中的沉浸式壁画场域，也为这一实验空间增添了新的展陈案例。中央美术学院人事处副处长刘晶致辞中央美术学院人事处副处长刘晶表示，教师工作部始终关注中青年教师的成长。广角°项目自2022年开展以来，持续为教师提供创作与交流的平台，本次展览进一步呈现了教师与学生共同参与、合作探索的成果。她谈到，教师的成长既来自教学与创作，也来自教学相长中的相互启发。在教师节主题月举办此次展览，让师生得以分享创作经验、见证彼此成长，也使艺术探索的成果与更多观众相遇。中央美术学院壁画系主任唐晖教授致辞中央美术学院壁画系主任唐晖感谢学院及主办单位为青年教师提供展示机会。他指出，持续创作是教师更新学识、深化学术研究的重要途径，也为教学带来新的经验与活力。广角°项目为青年教师提供了宝贵的实验平台，使他们在承担教学工作的同时，保持对艺术创作的投入。他同时期待未来进一步拓展展示空间,让更多青年教师充分呈现创作成果，获得施展才华的机会。策展人张倩媛致辞策展人张倩媛从《西游记》中的“无字经”故事出发，阐释展览对文本、符号与概念背后共通经验的关注。她认为，三位艺术家虽采用不同的媒介与方法，却都在各自的实践中回应“求取”的命题：王希民以近乎修行的投入连接土地、传统与当代绘画，张汉普通过思辨追问绘画的当代意义，吕明岳则借助科学实验探讨技术与人的关系。她希望观众通过现场观看与感受，发现作品之间跨越文化、材质的联系，让独特而珍贵的个体经验得到充分重视。参展艺术家致辞（从左至右分别为：吕明岳、张汉普、王希民）吕明岳介绍了此次参展的两件作品：一件以激光与声音传递技术为基础，另一件《救赎之道就在其中》源于他在深圳驻地期间参与的合成生物学合作。后者将与枯草芽孢杆菌及药物生产相关的实验方法引入艺术创作。他希望由此探讨科技与信仰之间的关系，以及技术发展如何改变人们认识、应对现实问题的方式，激发人通过自身行动寻求解决路径的信心。张汉普分享了《河流中的火焰》的创作思考。高更对人类来处、身份与去向的追问，启发他重新审视人工智能、技术变革与世界纷争带来的不确定性。在作品中，河流既孕育文明，也蕴含吞噬与毁灭的力量；火焰既象征智慧、劳动与能量，也指向战争与破坏。他将这两种意象融入绘画，以回应当代人的生存处境，以及传统绘画在今天如何继续展开探索的问题。王希民介绍，自本科阶段起，他便持续研究中国古代壁画材料。此次作品以传统“搜山图”题材为基础进行改编，并结合展厅条件，通过画面的折转与空间组织，形成具有包围感的壁画场域，将对传统材料与图像的研究延伸至展览空间。最后，他代表展览团队感谢美术馆、教师工作部（人事处）及壁画系师生的支持。中央美术学院美术馆副馆长高高担任主持观展现场展览项目团队合影参展作品细节张汉普《河流中的火焰》200×450cm 2026年布面丙烯、玻纤网无字经变展览时间：2026年9月16日—10月25日展览地点：中央美术学院美术馆三层C展厅主办：中央美术学院美术馆、中央美术学院教师工作部（人事处）、中央美术学院教师发展中心支持：中央美术学院壁画系学术主持：吕品晶、唐晖艺术家：王希民、张汉普、吕明岳策展人：张倩媛空间设计：朱亚伟视觉设计：巩毅、王耕雨鸣谢机构：中国科学院深圳先进技术研究院、深圳合成生物学创新研究院戴卓君课题组、拾萬空间“广角°”项目筹备组：总顾问：徐扬、林茂、于洋总策划：靳军、韩文超、杨杰特聘专家：吴洪亮、彭锋、冀鹏程、张鹏统筹：高高、海军、李垚辰、刘京、李晶执行策划：刘希言、易玥、王静、周梓煦、胡晓岚、李捷、刘宇晗主编 / 何一沙责编 / 杜隐珠
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: Through·Yue: Witnessing Chinese Fashion — A Retrospective of Lü Yue's Art and Pedagogy Debuts at the Central Academy of Fine Arts

2026-09-21

On September 16, 2026, Through·Yue: Witnessing Chinese Fashion — A Retrospective of Lü Yue's Art and Pedagogy opened as scheduled at CAFA Art Museum. Centered on the fashion exploration journey of Lü Yue, Professor at the Central Academy of Fine Arts and founder of its Fashion Design program, the exhibition adopts her personal practice as a perspective. Through multi-dimensional presentations including artworks, manuscripts, videos and archival documents, it traces the development of the Fashion Program at the School of Design, Central Academy of Fine Arts, reviews nearly half a century of transformations in Chinese fashion, and envisions the future landscape of Chinese fashion. Hosted by the Central Academy of Fine Arts (CAFA) and China National Silk Museum, the exhibition is organized by the School of Design and CAFA Art Museum. It receives support from the China Fashion Designers Association, the Fashion Art Committee of China Artists Association, the Fashion Art Specialized Committee of China Textile Engineering Society, and the China Garment Culture Research Association.Speech by Lin Mao, President of the Central Academy of Fine ArtsLin Mao, President of the Central Academy of Fine Arts, stated in his speech that fashion is among humanity’s creations closest to daily life. More than mere daily necessities, garments serve as carriers for intellectual expression. The aesthetic tastes, lifestyles and even social ideologies of an era are often uniquely manifested in people’s clothing. He remarked that Professor Lü Yue stands as an important witness and practitioner in the evolution of Chinese fashion. From her studies at the CAFA Affiliated High School, to her participation in establishing CAFA’s Fashion Design program, and her long-term commitment to design education, her personal trajectory has been intertwined with many pivotal stages of Chinese fashion development. The Central Academy of Fine Arts has always focused on the relationship between art, design and social life. Design is never merely about resolving issues of function and form; it is also concerned with human life, social progress and cultural expression. He expressed his hope that through this exhibition, visitors may witness the transformations of an era, trace the explorations and accumulations of Chinese fashion and design over time, and understand the reflections and practices of successive generations of artists, designers and educators advancing Chinese design.Speech by Ji Xiaofen, Director of China National Silk MuseumJi Xiaofen, Director of China National Silk Museum, noted in her speech that the museum has long been committed to the collection, research and exhibition of silk culture, textiles and costumes. As a key founder of fashion design education in China and an active promoter of fashion art, Professor Lü Yue’s artistic practice shares deep roots with silk culture and traditional crafts. Hosted at CAFA Art Museum, this exhibition marks another important initiative of museum-academia collaboration to advance research on fashion culture and design education.Speech by Liu Yuanfeng, Former Chair of the Department of Textile and Fashion Art Design, Central Academy of Arts and Crafts, and Former President of Beijing Institute of Fashion TechnologyLiu Yuanfeng, Former Chair of the Department of Textile and Fashion Art Design, Central Academy of Arts and Crafts, and Former President of Beijing Institute of Fashion Technology, recalled the teacher-student bond he shares with Lü Yue in his address. He recounted that when Lü Yue was studying at the CAFA Affiliated High School, she possessed solid painting skills yet lacked the ability to draw fashion renderings. She therefore went to the Central Academy of Arts and Crafts on her own to seek mentorship, and was referred to him by someone at that time. Later, Lü Yue was formally admitted to the Fashion Design program of the Central Academy of Arts and Crafts, with Liu serving as her homeroom teacher. When he subsequently became Chair of the Department of Textile and Fashion Art Design, Lü Yue continued to study and grow within the program, and eventually stayed on as a faculty member after graduation, turning their teacher-student relationship into that of colleagues. Liu remarked that it is often hard to foresee how far a student will go at the very beginning. Lü Yue’s creative journey transcends the scope of an individual designer’s growth; it is closely intertwined with the developmental trajectory of fashion design and design education in China. In his view, the core value of this exhibition lies in helping future researchers sort out the evolutionary context of Chinese fashion design up to the present day, carrying profound social significance.Speech by Wang Ziyuan, Professor and Secretary of the Party General Branch, School of Design, Central Academy of Fine ArtsWang Ziyuan, Professor and Secretary of the Party General Branch of the School of Design, Central Academy of Fine Arts, stated in his speech that Professor Lü Yue was a founder and academic leader of CAFA’s Fashion Design program. She introduced the concept of “Fashion Art” into China’s fashion design teaching and communication system. Compared with well-established fashion programs at peer art academies across the country, the once fledgling Fashion Design program at CAFA quickly forged its distinctive identity with avant‑garde and artistic characteristics, which it has retained to this day. This exhibition is not merely a retrospective of an outstanding designer’s professional career. Archives are not an endpoint of the past; instead, they can serve as a starting point for us to rethink questions in the present. Today, artificial intelligence, digital media, new materials and virtual spaces are entering the practice of fashion design. Yet the more rapidly technology advances, the more we need to ponder the fundamental questions of design: what do we wish to express through design, and how can we maintain the forward‑looking vision of the discipline? Professor Lü Yue’s successful experiences showcased in the exhibition offer us many inspiring insights.Speech by Lü Yue, Artist and Professor at the Central Academy of Fine ArtsIn her closing remarks, Lü Yue, Artist and Professor at the Central Academy of Fine Arts, extended her sincere gratitude to the co-hosts, curatorial team and all guests present at the event. She noted that as a documentary record embodying her lived experience, this exhibition not only sorts out and presents the intertwined trajectory of her personal creation and the evolution of the times. It demonstrates the complete journey of a creator gradually building a system of self-expression while absorbing relevant global knowledge. More importantly, it invites viewers to conduct in-depth retrospection and reflection on the historical context of Chinese fashion. She emphasized that garments possess both practical everyday functions and the capacity to carry cultural ideas. She hopes this collective memory shared by practitioners in the field can offer lasting inspiration and impetus for the future development of design education and creative practices.Vice Director of CAFA Art Museum, Gao Gao, presided over the eventGroup Photo of GuestsOn-site VisitOn the opening day, the exhibition curatorial team and guests from peer academies, research institutions and other organizations held an academic symposium themed Experiencing Chinese Fashion: Personal Experience and Narrative of the Times. Starting from Lü Yue’s creative practice and teaching career, participating scholars discussed topics including how personal experience can be translated into the narrative of the times, how fashion art engages with design education, and how Chinese fashion can forge cultural subjectivity within a global context. Extending the academic framework of the exhibition, the symposium also offered diverse perspectives for the historical documentation and contemporary practice of Chinese fashion design.Scene of Academic SymposiumTitled Through·Yue, the exhibition carries profound and far-reaching implications. “Through/Wear” refers to the essence of apparel and the cornerstone of design; “Yue/Traverse”, by contrast, signifies crossing the river of time toward a vision of the future. With this title, the exhibition looks back on extraordinary years in the evolution of design, sorts out the origins of Chinese fashion and design education. Taking history as its starting point, rooted in present-day development and looking ahead to future prospects, it seeks the development path for Chinese design in the new era amid the exploration of inheritance and innovation. Breaking the conventional framework of a solo artist exhibition, the exhibition takes Professor Lü Yue’s personal experience, creative achievements and teaching practice as observational samples, extending to a broader social and industrial context, and reflecting the overall transformations of China’s society, economy, public aesthetics, textile industry and art education over nearly half a century. Arranged chronologically, the exhibition is divided into four sections: Memories of Youth, Witness of the Times, Academic Reflections, and Dialogue with the Era. It comprehensively covers multiple dimensions: fashion and art, design and manufacturing, brands and enterprises, communication and market, as well as culture and education. The exhibits include physical garments, original design manuscripts, industrial video archives, traditional pattern-making techniques, mixed-media fashion installations and digital interactive experiences. The exhibition delineates how epochal changes have reshaped the fashion industry and public aesthetics from top to bottom, and demonstrates how Chinese designers, grounded in local culture, promote exchanges and mutual learning between Chinese and foreign civilizations through creative works from bottom to top.Lü Yue, Fashion Work New Interpretation of Ink Art, 2004Lü Yue, Fashion Work Twin Wings, 2017Lü Yue, Madame Butterfly, 2016–2024Lü Yue, Work Women’s Needlework, OngoingArtist BiographyLyu YueLü Yue is Professor, Designer, Curator and Artist. She is the founder of the Fashion Design concentration at the Central Academy of Fine Arts, and a doctoral and postdoctoral supervisor. As a key practitioner in the development of Chinese fashion design and fashion art, she has long been active in the fields of design education, fashion branding and artistic creation. Lü Yue’s practice spans fashion design, design education and contemporary art. Since 2007, she has continuously curated and promoted the staging and exchange of international fashion art exhibitions in China, gradually extending her practice to contemporary art curation and collaborating with art museums and institutions at home and abroad. Her artistic creations are primarily installations. Focusing on the relationship between the spiritual essence of Eastern culture and contemporary artistic language, she often engages in dialogue through Yin-Yang philosophy, Eastern imagery and global cultures. Her representative works include Twin Wings, Madame Butterfly and Cloud Garments. She has received numerous honors, including China Golden Award Designer, China Top Ten Fashion Designer, China Apparel Color Award, Outstanding Person Award, and the Sino-British Cultural Exchange Award for Contributions to Art Education. She has authored and edited more than ten textbooks and publications such as Fashion Art · Design, Fashion Design · Brand, and Graceful Cloud Garments. She has served repeatedly as a judge for international fashion competitions, the National Art Exhibition of China and China International Fashion Week, taking part in fashion art exchanges and professional collaborations both domestically and internationally. Nearly half a century of Lü Yue’s practice constitutes not only the personal trajectory of an artist, designer and educator, but also an important practical document for observing the evolution of Chinese fashion design, design education and fashion culture.Through·Yue: Witnessing Chinese Fashion — A Retrospective of Lü Yue's Art and PedagogyDates: September 17 – October 7, 2026 Venue: Gallery B, 3rd Floor, CAFA Art MuseumOrganizers: Central Academy of Fine Arts, China National Silk Museum Co-organizers: School of Design, Central Academy of Fine Arts; CAFA Art Museum Supporters: China Fashion Designers Association; Fashion Art Committee of China Artists Association; Fashion Art Committee of China Textile Engineering Society; China Garment Culture Research AssociationChief Curators: Xu Yang, Lin Mao Academic Advisors: Li Dangqi, Xu Ping, Keum Ki-sook (Republic of Korea) Academic Hosts: Lü Pinjing, Yu Yang, Ji Xiaofen Curators: Wang Ziyuan, Zhou Bo, Gao Gao Exhibition Directors: Jin Jun, Han Wenchao, Zheng Jiali Artist: Lü Yue Exhibition Coordination: Hai Jun, Li Yaochen, Chen Baichao Visual Design: Liu Zhizhi, Ji Ziyi, Zhang Zuheng Exhibition Design: Wang Donglin Curatorial Execution: Huang Siyun, Wang Donglin, Wang Xinyuan, Gao Na, Chen Yijun Curatorial Team: Xie Mengdi, Yu Yimeng, Luo Jie, Pan Lu, Wang Zhihui, Tong Jiyang, Guo Wu, Xiong Yi, Sun Wenjing, Wu Yating, Wang Meng, Hu Yuqi, Chen Shuo Video Team: Yuan Junjie, Zhang Jinming Exhibition Liaison: Li Jie Exhibition Management: Jing Peng, Su Shicun, Chen Xiaohua, Lü Zhifa, Guo Xu Media & Communications: He Yisha, Wu Jing, He Yifei, Du Yinzhu, Guo Hongmei, Min Zhiyi Public Education: Xiao Baozhen, Geng Jinghua, Wang Jun, Yao Yiqun, Liang Wen, Cai Meng Development & Promotion: Sun Wei, Yi Yi, Wang Jing, Jin Jianru, Kou Lei Finance: Yang Liu, Men Jing Administrative Support: Yue Junyao, Liu Xingling, Zhang Qian, Jiang SiyuSpecial Thanks: Style3D (Zhejiang) Technology Co., Ltd.; Jiangsu Shangjiukai Silk Co., Ltd.; Junkeyuan Brand (Beijing Linding Intelligent Connection Technology Co., Ltd.)Editor-in-Chief: He Yisha Responsible Editor: Du Yinzhu On-site Photographs: He Yifei
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: CAFAM展览预告 | “穿·越：亲历中国时尚——吕越艺术文献展”即将启幕

2026-09-18

穿·越：亲历中国时尚——吕越艺术文献展时间：2026年9月17日—10月7日地点：中央美术学院美术馆三层B展主办单位：中央美术学院、中国丝绸博物馆承办单位：中央美术学院设计学院、中央美术学院美术馆支持单位：中国服装设计师协会、中国美术家协会服装设计艺术委员会、中国纺织工程学会时装艺术专业委员会、中华服饰文化研究会一件衣服，是一段时间的切片。一张照片，是一段被保存的记忆。一份手稿、一段影像，记录着一个人的创作，也记录着一个时代。从青春记忆，到时代见证；从课堂、秀场，到行业与艺术现场。一段关于中国时尚的亲历，将再次回到我们面前。2026年9月17日，“穿·越：亲历中国时尚——吕越艺术文献展”将于中央美术学院美术馆正式启幕。本次展览由中央美术学院、中国丝绸博物馆主办，中央美术学院设计学院、中央美术学院美术馆承办。展览通过服装实物、设计手稿、照片、影像、教学资料及相关文献等多种材料，以吕越教授近半个世纪的时尚探索为线索，回望中国时尚的发展历程。本次吕越艺术文献展，也是一次中央美术学院设计学院服装专业发展历程的文献回望。依托吕越教授丰富的教学遗存与创作成果，展览把服装专业数十载的学科探索具象化呈现：手稿记录教学思路迭代，实物作品见证创作方向演变，影像与教学资料还原课堂实践与学科建设现场。作为央美设计学院服装专业发展的亲历者，吕越的艺术实践与教学深耕，串联起专业从初创探索到多元发展的重要阶段，生动展现学院服装学科立足艺术教育、构建本土时尚设计教学体系的完整历程，折射出专业在人才培养、设计创新、文化研究等维度持续演进的面貌。20世纪80年代以来，中国社会的生活方式与审美观念发生了深刻变化。服装从满足基本生活需求的日常用品，逐渐成为表达个体审美、生活方式与文化观念的重要载体。1980年，吕越进入中央美术学院附中学习，此后从艺术学习走向时装设计，从设计实践走向教育与艺术创作，也亲历了中国时尚从起步、发展到不断走向世界的过程。这既是一场关于个人时尚探索历程的时空对话，也是一段由服装、教育、艺术与行业共同书写的时代实录。吕越担任中国纺织服装展览艺术总监，莫斯科，2001年展览以中国著名服装设计师、中央美术学院时装设计专业方向创建者吕越的“第一人称亲历”为线索，穿行于“青春记忆”“时代见证”“学术思考”“对话时代”四个单元。近半个世纪的个人经历，在这里被重新整理为一枚枚时间切片：从青春时期的艺术训练，到时装设计实践；从课堂中的教学探索，到行业现场的持续实践；从国际时装艺术交流，到当代艺术创作与策展，个人的成长轨迹与中国时尚、设计教育及社会文化的发展不断交汇。本次展览的一大特点，是将“个人文献”作为观察中国时尚发展的一扇窗口。一件服装、一张照片、一份设计稿、一份教学材料，看似只是个人留下的创作与工作记录，当它们重新按照时间聚合，便成为理解一个时代的具体切片。那些曾经被创造、被穿着、被使用和被记录的物件，不只是历史的留痕，也让已经远去的生活经验重新回到今天的观看之中。展品涵盖服装实物、原版设计手稿、行业影像档案、传统制版工艺、综合材料时装装置及时尚交互体验等。不同年代、不同媒介的材料在展厅中重新相遇，也由此呈现吕越在艺术、设计与教育之间不断拓展的实践路径。她始终关注艺术与设计的关系，并在长期的教学与创作中不断思考：中国的时装设计从哪里出发？传统文化如何进入当代？设计又如何回应不断变化的生活？今天，人工智能、数字技术、新材料与新的传播方式正在改变艺术与设计的生产方式。重新回望吕越的实践，并不是为了停留在过去，而是希望从这些真实的创作、教学与行业经验中，重新思考时装、艺术与时代之间的关系。吕越服装作品《墨意新解》，2004年吕越服装作品《比翼》，2017年吕越作品《蝴蝶夫人》，2016—2024年。吕越作品《女红》，持续更新中。从一个人的亲历，走进一个时代的纵深；从一件衣服的故事，走向近半世纪中国时尚的时间长河。“穿·越”，既是“穿着”的“穿”，也是“穿越”的“越”。展览即将启幕，诚邀您一起“穿·越”，回望中央美术学院设计学院服装专业发展历程，亲历中国时尚。艺术家简介吕越吕越，教授、设计师、策展人、艺术家，中央美术学院时装设计专业方向创建人，博士生、博士后导师。作为中国时装设计与时装艺术发展的重要实践者，她长期活跃于设计教育、时装品牌与艺术创作等领域。吕越的实践跨越时装设计、设计教育与当代艺术。自2007年起，她持续策划、推动国际时装艺术展览在中国的举办与交流，并逐步将实践拓展至当代艺术策展，与国内外美术馆及艺术机构展开合作。其艺术创作以装置为主，关注东方文化精神与当代艺术语言的关系，常以阴阳哲思、东方意象与世界文化展开对话，代表作品包括《比翼》《蝴蝶夫人》《云裳》等。曾获中国金榜设计师、中国十佳服装设计师、中国服饰色彩大奖、杰出人物奖、中英文化交流艺术教育贡献奖等荣誉；编著出版《时装艺术·设计》《时装设计·品牌》《悠悠云裳》等教材及著作十余部，并多次担任国际时装赛事、全国美展及中国国际时装周评委，参与国内外时装艺术交流与专业合作。吕越近半个世纪的实践，既是一位艺术家、设计师和教育者的个人轨迹，也构成了观察中国时装设计、设计教育与时尚文化发展的一份重要实践文献。穿·越：亲历中国时尚——吕越艺术文献展时间：2026年9月17日—10月7日地点：中央美术学院美术馆三层B展主办单位：中央美术学院、中国丝绸博物馆承办单位：中央美术学院设计学院、中央美术学院美术馆支持单位：中国服装设计师协会、中国美术家协会服装设计艺术委员会、中国纺织工程学会时装艺术专业委员会、中华服饰文化研究会总策划：徐扬、林茂学术顾问：李当岐、许平、琴基淑（韩国）学术主持：吕品晶、于洋、季晓芬策展人：王子源、周博、高高展览总监：靳军、韩文超、郑嘉利艺术家：吕越主编 / 何一沙责编 / 杜隐珠
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: CAFAM Exhibition Preview | Wordless Sutra in Pictures: Come to the Art Museum and Read a Wordless Scripture

2026-09-15

Young Experiment Project SpaceOrganizerCAFA Art MuseumFaculty Affairs Department of the Party Committee, Central Academy of Fine Arts (Personnel Office)Faculty Development Center, Central Academy of Fine ArtsLaunched in early 2022, the Curate×Expande ° Young Experimental Project Space aims to facilitate multi-dimensional explorations in curation and artistic creation among young faculty members of the Central Academy of Fine Arts. Occupying an independent venue in the 3rd Floor Exhibition Hall C of CAFA Art Museum, the space serves as an experimental field for young teachers to conduct creative research, artistic exhibitions and curatorial practices.Wordless Sutra in PicturesExhibition Dates: September 16 – October 25, 2026 Venue: 3C, CAFA Art MuseumOpening Reception: 15:00, September 16, 2026 Venue: 3C, CAFA Art MuseumThe fourth exhibition of the fourth session of Curate×Expand ° Youth Experimental Project Space, Wordless Sutra in Pictures, will open at Exhibition Hall C, 3rd Floor, CAFA Art Museum on September 16. It is a group exhibition featuring three artists: Wang Ximin, Zhang Hanpu and Lü Mingyue. The academic hosts are Lü Pinjing, Vice President of the Central Academy of Fine Arts, and Tang Hui, Director of the Mural Department of the Central Academy of Fine Arts. Dr. Zhang Qianyuan from the Central Academy of Fine Arts serves as the curator. The opening ceremony will be held at 15:00, September 16, 2026, at Exhibition Hall C, 3rd Floor, CAFA Art Museum.The title Wordless Sutra in Pictures contains an inherent paradox: if it is “wordless”, why name it a “sutra”? If no written scripture exists, what grounds the notion of a “sutra transformation”?The Chinese character Jing first derived from ancient weaving terminology, referring to the vertical, enduring threads that structure a textile. Over time, timeless works capable of ongoing interpretation across eras came to be regarded as Jing (canon or sutra). Works such as The Book of Songs, Buddhist sutras, and the Bible are revered as classics precisely because they embody enduring wisdom that links past and present, the individual and the world.“Sutra transformation” is a visual tradition created to explain sacred texts for ordinary people: it translates the narratives and doctrines of scriptures into visible imagery. In practice, images are not subordinate to written words. When confronting abstract, complex and ineffable subjects, images can equally serve as an entryway for understanding. The sutra transformation murals at Dunhuang are the most quintessential example.What then is the “Wordless Sutra”? Borrowing the concept from Journey to the West, I use it to refer to shared experiences concealed beneath diverse texts, unrestricted by any single language. Homer’s epic Odyssey recounts Odysseus’ arduous journey and eventual homecoming. More than two thousand years later, James Joyce titled his work after Odysseus’ Latin name, Ulysses, and reimagined this tale of “wandering and return” within a single day in modern Dublin. Paulo Coelho’s The Alchemist depicts the homecoming after a long journey in search of treasure, while Hermann Hesse’s Siddhartha portrays inner awakening along the path.Their narrative structures resemble that of Journey to the West: departure, trials, pursuit, and return. Though they differ in language and setting, there seems to lie a shared “warp thread” beneath them all: human beings leave familiar places, confront the unknown, endure hardships, and rediscover themselves and the world upon their return. This ineffable, endlessly recurring thread is the Wordless Sutra.Returning to Journey to the West, the scriptures Tang Sanzang and his disciples first retrieved from Lingshan were precisely wordless scrolls. Later, by the Tongtian River, these scrolls were soaked, stuck together and damaged. Sun Wukong remarks that heaven and earth have never been perfect; incomplete scriptures simply reflect the inherent imperfection of all things. This detail gently poses a question before us: does the value of fetching scriptures from the Western Paradise reside in the final scrolls obtained, or in the journey undertaken to reach them?This question of “answers” versus “the path” has not faded with time; it has grown more urgent. As reality grows more complex, people more readily feel powerless and turn to ready-made explanations, rituals and prophecies for a sense of certainty. For this reason, the exhibition revisits this motif, using “transformation” to reilluminate the meaning of process and action. Following this line of thought, Wordless Sutra in Pictures adopts imagery as its method and unfolds in three progressive sections: from the cycles and forces of nature, to human labour, desire and predicament, and finally to technology’s reshaping of life and belief. The exhibition space and its artworks seek to render visible experiences obscured by abstract concepts.Within this exhibition, the “Wordless Sutra” stands for experiences not fully captured by any single written language. And this leads us one step further: when ready-made answers cannot sustain real life, how else might we comprehend our own condition?— Curator: Zhang Qianyuan September 12, 2026 Works on View Wang Ximin, Mountain Search, 300 × 1200 cm, 2026 Honeycomb aluminum panel, linen, wheat straw, loess, gelatin, inkZhang Hanpu, Flames in the River, 200 × 450 cm, 2026 Acrylic on canvas, fiberglass meshLü Mingyue, The Path to Salvation Lies Within, variable dimensions, 2024 Transparent resin, Bacillus subtilis, sand, gold leaf Exhibition Team | Artists |Wang Ximin Born in Youyu County, Shanxi Province in 1992, Wang lives and works in Beijing. He joined the Mural Department of the Central Academy of Fine Arts as a faculty member in 2019. His practice centers on the instinctual drives of life, rooted in fundamental survival and reproduction. As human desires expand, animality within humanity undergoes alienation. The material techniques of his murals carry a sense of weathered time. The friction inherent in his painterly language tempers some of the primal impulses, lending greater rationality to his expression. It evokes a shared sensibility of humans as trapped beasts, while preserving the goodness and beauty of life. The mural “fragments” blur temporality and open space for imagination. Through metaphor, he explores the eternal nature of humanity.Zhang Hanpu Faculty member of the Mural Department at the Central Academy of Fine Arts, he engages in contemporary art creation and mural-making for public spaces. He currently lives and works in Beijing. His practice revolves around two core themes: one depicts emotionally charged landscapes tinged with a sense of the miraculous; the other focuses on snippets of daily life for contemporary individuals and communities. Whether rendering landscapes or crowds of figures, he seeks to convey present-day collective emotions and psychological states through pictorial content, light, shadow and composition.Lü MingyuePhD of the Central Academy of Fine Arts. He completed his undergraduate studies at the Sculpture Department of CAFA, where he explored traditional Chinese figurative forms, and shifted his research focus to contemporary art during postgraduate training. In his early practice, he primarily worked with traditional materials including ceramics, lacquer, metal and stone, striving to convey the vitality and emotion embedded within forms through figurative representation. His works often reflect his reflections on inheriting and developing traditional culture while merging it with contemporaneity. In recent years, his interest in new materials has led him to integrate his established aesthetic insights into discussions of topical issues. He creates art based on shared formal languages and relational qualities between new and traditional materials, expanding the boundaries where technology and art intersect and unlocking further creative possibilities.｜Curator｜Zhang Qianyuan Curator and PhD of the Central Academy of Fine Arts. Her research focuses on biennales, urban culture, old urban industries and handicrafts, as well as curatorial practices for technology and AI art. She has curated and co-curated exhibitions including Echo Riding the Wind: Macao International Young Artists (Macao Museum of Art, 2026), Charging Manual (McaM Shanghai, 2025), Cosmic Egg: Exhibition of AI General Education Outcomes (Tianjin Miansan Art District, 2024), Annual Rings (Tree Art Museum, Beijing, 2024), New Youth Experimental Art Biennale 2024 — The Coming Community (Taoxichuan Art Museum, Jingdezhen, 2024), among others.Editor-in-Chief: He Yisha Editor: Du Yinzhu
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: Section Insight | Sculpture, Watercolour and Pastel Section of The 3rd National Fine Art Exhibition of College Students (Beijing Tour)

2026-09-10

Blossom： The 3rd National Fine Art Exhibition of College Students Hosted by the China Artists Association and organized by the Fine Arts Center of the China Federation of Literary and Art Circles, the exhibition unfolds in two phases: regional exhibitions categorized by artistic disciplines, and the comprehensive Beijing Exhibition featuring works across all genres. Institutions including the Central Academy of Fine Arts, Xi’an Academy of Fine Arts, Jilin College of the Arts, Sichuan Fine Arts Institute, Lu Xun Academy of Fine Arts, Guangzhou Academy of Fine Arts, Shandong University of Art and Design, Jingdezhen Ceramic University and Hebei Academy of Fine Arts have undertaken the curation of eight regional venues and the Beijing Exhibition. Over 2,000 artworks are on display, covering 21 categories such as Chinese painting, oil painting, printmaking, sculpture, watercolour and pastel, comic strips, lacquer painting, and digital art. Adopting a panoramic perspective, the exhibition showcases the vigour and richness of contemporary young artistic creation. It builds a grand platform for young artists to express their talents, engage with the times and temper their growth. Serving as a comprehensive review of art education achievements in higher institutions and facilitating inter-academy exchange and mutual learning, the exhibition also undertakes the mission of carrying forward cultural roots and creating art for the era. It guides young art practitioners to “go deep into life and take root among the people”, building robust momentum for the development of fine arts as new generations forge ahead.The exhibition has received enthusiastic responses from art academies across the country. Following preliminary review and recommendation by respective institutions and secondary evaluation by the exhibition’s general jury, more than 400 outstanding works have been selected for the Beijing exhibition. These works will be displayed at the Central Academy of Fine Arts Art Museum and Today Art Museum. Elite pieces from the selection will be directly forwarded for the secondary review of the next National Youth Fine Art Exhibition. This institutional design not only polishes the quality of exhibits with rigorous standards, but also builds a progressive growth ladder for young creators.At the Beijing Exhibition, the CAFA Art Museum venue features ten categories of works: Chinese painting, oil painting, mixed-media painting, printmaking, sculpture, watercolour, pastel, comic strips, illustrations, and lacquer painting. The artworks cover a wide range of themes. Some take a profound look back at traditional cultural heritage; others keenly capture the spiritual currents of contemporary times; many also carry out exploratory experiments with new artistic languages and media. This post introduces the sculpture, watercolour and pastel sections, alongside selected exhibited works.Introduction to the Sculpture SectionA total of 94 sculptural works were selected for the 3rd National Fine Art Exhibition of College Students, among which 28 outstanding pieces were chosen for the Beijing Exhibition. Young creators draw inspiration consciously from traditional sculptural sources such as Han and Tang pottery figurines, grotto statues and folk wood carvings, manifesting the distinctive temperament of Eastern aesthetics through spatial narration. Meanwhile, they actively embrace modern and contemporary artistic languages including abstract composition and conceptual expression, pushing the boundaries of found objects and mixed media in material exploration. These works deliver an affectionate reflection on national culture, a perceptive capture of urban daily life, and profound contemplation on human-society relations in the technological age. They fully demonstrate the younger generation’s courage to innovate in sculptural language and their profound humanistic concern.Selected Exhibited Works
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: Central Academy of Fine Arts × China Media Group | Exploring The Innovative Practice Path of "Thought + Art + Technology"

2026-09-07

Recently, the Central Academy of Fine Arts, together with the Party Committee of the Headquarters and the Communist Youth League Committee of China Media Group, jointly launched a youth practice‑exchange activity. Featuring art exhibition appreciation, keynote speeches by experts, and youth sharing sessions, the event held in‑depth discussions on topics including cultural and artistic innovation in the era of artificial intelligence, contemporary interpretation of traditional culture, and the application of digital technologies. It further enhanced young staff at China Media Group’s understanding of the integrated innovation philosophy of “Ideology + Art + Technology”, fostered mutual learning through exchanges, and explored avenues for future cooperation.At the outset of the event, young staff from China Media Group visited the CAFA Art Museum to view exhibitions including Heterogeneous Resonance: Porcelain · Shadow Texture · Digital Sculpture, Ancient Chinese Art and Blossom. They attentively listened to young creators sharing their creative journeys, experienced the distinctive charm of diverse artistic media and digital expression forms in an immersive setting, gained insight into the innovative development trends of modern and contemporary culture and art, and obtained first‑hand experience of practical achievements stemming from the in‑depth integration of artistic creation and digital technologies, which broadened their artistic horizons for the subsequent exchanges and discussions.Following the practical study session, young participants from both sides moved to the School of Design for thematic learning and exchanges. Lü Pinjing, Member of the Standing Committee of the Party Committee and Vice‑President of the Central Academy of Fine Arts, delivered a welcome address. He reviewed the long‑standing, close and pragmatic cooperation between CAFA and China Media Group (CMG), noting that artificial intelligence is profoundly reshaping the creation approaches, expressive forms and communication models of culture and art. He expressed the hope that this exchange would serve as an opportunity to further consolidate the foundation for bilateral cooperation, strengthen industry‑university‑research collaboration, combine academic wisdom with media communication strengths, and leverage the in‑depth integration of art and technology to develop cultural works well‑received by contemporary audiences, jointly contributing to the advancement of the Modern Chinese Civilization.Subsequently, young participants from both sides attended a keynote presentation titled Ideology + Art + Technology: New Practical Explorations in Scientific‑Research Cooperation between China Media Group and the Central Academy of Fine Arts, delivered by Professor Cui Donghui, Executive Dean of the School of Architecture at CAFA. Drawing on years of Spring Festival Gala collaborations between CMG and CAFA, he interpreted innovative communication concepts that integrate fine traditional Chinese culture with digital technologies. He also conducted an in‑depth discussion on a new‑type cooperation model, whereby both parties build on their respective resource strengths to evolve from project‑based collaboration toward integrated industry‑university‑research partnerships, offering fresh perspectives for advancing the integrated development of “Ideology + Art + Technology”.During the youth exchange session, seven front‑line young creators drew on their professional research and on‑the‑job practice to share insights covering traditional culture, artificial intelligence, artistic creation, visual presentation, cultural‑creative product development and other themes.Wang Ruiying, Project Management Lead and Curator at the CAFA Institute of Art and Design, delivered a speech entitled Heterogeneous Resonance: Reflections on Tradition and the Future amid Media Collisions. Starting from the contemporary significance behind the curation and installation of the Heterogeneous Resonance exhibition, she explored new avenues for the expression of traditional culture and art generated by the interplay of diverse media.Pan Jingru, Associate Professor of Research and Curation at the CAFA School of Design, presented Teaching AI to Understand Chinese Patterns. She shared digital‑intelligent explorations in pattern research, introduced the development of the “Texture Axis” platform model library built alongside regular teaching activities, and discussed new practices of applying artificial intelligence to empower research and teaching on traditional decorative patterns.He Yisha, Head of the Media Department at CAFA Art Museum, spoke on The Contemporary Significance of Ceramic’s Inscription as World Heritage. Grounded in the unique properties of ceramic materials and against the backdrop of cultural‑artistic development in the AI era, she examined the contemporary implications of ceramic’s World Heritage listing and reflected on the value of traditional artistic materials in modern cultural and artistic innovation.Li Wenlong, Associate Professor of Industry and Design at the CAFA School of Design, gave a talk titled Exploring Industrial Intelligent Manufacturing as a Language for Artistic Creation. He discussed how AI technology expands the vocabulary and practical boundaries of artistic creation through the integration of industrial intelligent manufacturing and art practice.Yin Jiayue, Art Designer from the 5th Recording Division of the CMG Technology Bureau, presented AI‑Empowered Visual Presentation for Large‑Scale CMG Program Production and Broadcasting. Drawing on case studies including large‑scale 3D scenes, intelligent virtual studios and smart touch‑enabled tactical commentary systems deployed for programs covering the United States‑Mexico‑Canada World Cup, as well as Dream Depth featured in the 2026 Spring Festival Gala, she shared practical applications of AI in image reconstruction, real‑time interaction, intelligent programming, virtual‑physical fusion and multilingual communication, demonstrating innovative approaches whereby artificial intelligence improves quality and efficiency in producing and broadcasting major television productions.Zhang Yuchen, Product R&D Lead of the Cultural‑Creative Industry Project Department at CCTV Enterprise Group Co., Ltd., an affiliate of CMG’s China International Television Corporation, delivered a speech entitled Upholding Fundamentals While Pursuing Innovation: Dialectical Application of Traditional Patterns in CMG Cultural‑Creations. He shared practical experience from CMG’s cultural‑creative development of traditional patterns. Centering on cultural origin tracing, visual transposition, product adaptation and IP storytelling, he explored innovative pathways for integrating traditional culture with modern lifestyles.Chen Tianjiao, Deputy Director of the Content Planning and Editorial Department at CMG Digital Culture and Art Museum (Yangbo), presented From “Onlookers” to “Experiencers”: Exploring New Modes of Cultural Reception in the AIGC Era. Drawing on cases such as the large‑space immersive VR exhibition The Great Expedition and the AI Super‑Creation Invitational Competition, he shared explorations into how digital technologies transform cultural communication models. He reflected on how immersive experiences and AIGC‑enabled tools can transform audiences from passive “onlookers” of cultural content into active “experiencers”.This exchange event served as an opportunity for mutual learning between young faculty from the Central Academy of Fine Arts and young editors and journalists from China Media Group, as well as an interdisciplinary and cross‑professional learning practice.Nearly 50 participants took part in the activity, including relevant officials and student representatives from CAFA’s School of Architecture, School of Design and Art Museum, officials from the Party Committee of China Media Group Headquarters, and members of CMG’s Youth Theoretical Study Group.Editor‑in‑Chief: He YishaEditor: Du Yinzhu
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: Today is White Dew

2026-09-07

Today is White Dew.
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: Countdown to Exhibition | "Sparse And Dense Timespace": Wang Guangle — Growing Abstraction

2026-09-07

For Wang Guangle, creation is the vehicle of ideas.In his Afternoon series, a beam of light streams into the room and shifts across the floor over time. Gradually, he began to pose questions: how can time be made visible, and how does existence take shape through sustained practice.Such reflections accompanied the organic emergence of Wang Guangle’s successive series. Terrazzo moved from the background to the foreground. Through repeated rendering, he came to realize that time is not a subject to be depicted, but the creative process itself. In his Coffin Paint series, folk custom is transformed into a painterly method. In the Untitled series, shifting from polychrome to monochrome, from image to texture, this process of reduction brings his paintings ever closer to the material form of time itself.In the making of each work, he establishes rules within a rational framework, deliberately relinquishing absolute control over every brushstroke and letting gravity, moisture and time act as co-creators.Every brushstroke on the canvas is a moment. These moments accumulate continuously, rendering the painting a natural outcome of the growth of ideas.╘ About the Artist ╕Wang Guangle was born in Fujian. He graduated from the Oil Painting Department of the Central Academy of Fine Arts in 2000 and now lives and works in Beijing. His works have been exhibited at the California Pacific Triennial (2013), Busan Biennale (2010), and the 4th Prague Biennale (2009). He has held numerous solo exhibitions at Beijing Commune, Pace Gallery (New York, London, Seoul), Fosun Art Center (Shanghai), Uncommon (Hong Kong), Nanshe (Xi’an), among others. He has participated in group exhibitions hosted by institutions including Jingwei Art Center (Shanghai), Golden Eagle Museum of Art (Nanjing), Song Art Museum (Beijing), National Art Museum of China, Guangdong Museum of Art, Fosun Art Center (Shanghai), Rubell Museum (Miami, USA), White Rabbit Gallery (Australia), Museum Ludwig (Germany), Museum Boijmans Van Beuningen (Rotterdam, Netherlands), Museion (Bolzano, Italy), Asian Art Museum of San Francisco (USA), Long Museum (Shanghai), UCCA Center for Contemporary Art (Beijing), Taikang Space (Beijing), and CAFA Art Museum.120705 Acrylic on canvas 180 × 160 cm 2012160114 Acrylic on canvas 280 × 180 cm 2016╘ Artist Statement ╕“The subject of my painting has shifted. It is no longer things from the empirical world, but entities within the abstract noumenal realm: time, repetition, solitude, these ultimate questions.”Untitled 210103 Plaster and latex on canvas 180 × 280 cm 2021“I believe that in the relationship between concept and form, my works stand in opposition to conventional understandings of abstract art. They embody an anti-formal form, and this form is concept-driven.”Untitled No.2 230725 Acrylic on canvas 280 × 180 cm 2023“Repetition is also a form of stripping, until the elements I seek are revealed. In truth, there is no feeling of repetition throughout the process. I always build upon the work from the previous day; every day is new. Repetition is what others perceive, not my own lived experience.”Untitled No.2 250307 Acrylic on canvas 280 × 180 cm2025“It was only after a long time that I realized I was essentially using painting to ask myself: what is the meaning of what you are doing? There is no answer, yet this process brought me to confront the ultimate question of 'meaninglessness'. Solitude, existence, time, death — all reside within it.”Untitled No.2 250314 Acrylic on canvas 200 × 200 cm 2025Editor-in-Chief / He Yisha Editor / Du Yinzhu
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CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

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.