Exhibitions and Events-News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

The Station of Central Academy of Fine Arts Has Arrived~~

2024-11-04

The station of Central Academy of Fine Arts has arrived~~
More

Explore the rich and mysterious technique interpretation of 'printmaking|Printmaking Techniques for "Accumulation - Chinese Contemporary Artists' Printmaking Exhibition" (I)“集成——中国当代艺术名家版画展”的版画创作技法(一)

2024-11-04

According to the plate materials, prints can be divided into multiple types such as woodblock prints, copperplate prints, lithographs, and silk screen prints. Each type of print has its unique production process and artistic expression form. This exhibition gathers 50 print works by 10 artists including Xu Bing, Sui Jianguo, Zhang Xiaogang, Su Xinping, Wang Huaxiang, Meng Luding, Hong Hao, Chen Qi, Feng Mengbo, and Qiu Zhijie, showing the dialogue between traditional art categories and contemporary creative techniques.Among many types of prints, digital micro-voltage printing prints represent the ingenious combination of modern technology and art. Woodblock prints are highly regarded for their long history and simple beauty. Lithographs attract attention because of their unique texture and profound color expression. This exhibition presents digital micro-voltage printing prints by Xu Bing, woodblock prints by Sui Jianguo, Wang Huaxiang and Chen Qi, lithographs by Feng Mengbo and Qiu Zhijie, copperplate prints by Zhang Xiaogang, Su Xinping, Wang Huaxiang and Meng Luding, and silk screen prints by Hong Hao. In the collision between traditional techniques and contemporary creativity, these works reveal visual images in multiple dimensions and the unique feelings of artists, thus reproducing the personal schemas of artists.During the exhibition, we will follow in the footsteps of the participating artists to explore the creative processes behind different types of prints and further understand printmaking techniques.Digital micro-voltage printing print═══════════════════════Xu Bing“Today, the power of what we call the media and the spreadability of prints are essentially the same. When we open ourmobile phones, your interface and mine are all the same. It's the same all over the world. Isn't this just like prints? This kind of consensus becomes extremely strong.”Xu Bing, "Phoenix Picture No.1", micro-voltage printing process, 76×56cm, 2008.Xu Bing, "Phoenix Picture No.2", micro-voltage printing process, 76×56cm, 2008.Xu Bing, "Phoenix Picture No.3", micro-voltage printing process, 76×56cm, 2008.Xu Bing, "Phoenix Picture No.2", micro-voltage printing process, 76×56cm, 2008.Woodblock Print═══════════Sui Jianguo“The more you want to preserve the sensibility, the more you need a rational program to validate it; it's by putting these two extremes together that the work becomes interesting.”Sui Jianguo, "Time and Wormhole 1", black and white woodcut, 56×76cm, 2019.Sui Jianguo, "Time and Wormhole 2", black and white woodcut, 56×76cm, 2019.Sui Jianguo, "Time and Wormhole 3", black and white woodcut, 56×76cm, 2019.Sui Jianguo, "Time and Wormhole 4", black and white woodcut, 56×76cm, 2019.Wang Huaxiang “Woodcut print, one cut down is either black or white. We use these two colors to express this myriad world. Because wedon't want to be bound by black, we use white to destroy it. Every time a white dot is picked out, one gains a kind of liberation. When the entire picture is filled with picked-out dots, one gains an unprecedented freedom.”●●● ●Wang Huaxiang, Virus Wearing a Mask No.1", black and white woodcut, 76×56cm, 2020.Wang Huaxiang, Virus Wearing a Mask No.2", black and white woodcut, 76×56cm, 2020.Wang Huaxiang, Virus Wearing a Mask No.3", black and white woodcut, 76×56cm, 2020.Wang Huaxiang, Virus Wearing a Mask No.4", black and white woodcut, 76×56cm, 2020.
More

中央美院曹庆晖教授领衔编著《新中国美术家·滑田友》出版发行

2024-11-01

《新中国美术家·滑田友》编  著:曹庆晖 易玥 李展出版发行:中国青年出版社出版日期:2024年10月第1版 第1次近日,由曹庆晖教授领衔编著的《新中国美术家·滑田友》一书出版。该书作为CAFAM学术丛书“新中国美术家”系列的子目,入选“十四五”国家重点出版物出版规划项目。CAFAM学术丛书“新中国美术家”系列以中央美术学院美术馆的学术研究和馆藏作品为依托,呈现新中国成立后,几代美术名家的艺术人生之路。通过个案研究,梳理这段发生在近现代传统美术转型后的风云激荡的美术史。中央美术学院美术馆自上世纪五十年代起便以展览的形式参与到新中国美术史的书写之中。随着迈入新时期后迎来的美术馆学术建设的系统化发展,中央美术学院美术馆持续地推动丛书的编写和出版,使其立足于中央美术学院美术馆扎实的学术研究工作,这些工作既包括对馆内藏品、展览的基础性梳理,也包括对艺术史、艺术理论和美术馆学的深入思考。滑田友简介滑田友(1901—1986),现代雕塑家、教育家,江苏淮阴人。1933年至1948年留学法国15年,作品曾获巴黎春季沙龙金奖等诸多荣誉。回国后历任国立北平艺术专科学校雕塑科教授,中央美术学院雕塑系教授、主任。存世代表作有《沉思》《轰炸》《五四运动》等。《新中国美术家·滑田友》由中央美术学院人文学院曹庆晖教授领衔编著的《新中国美术家·滑田友》,基于2021年策划实施的“勿失毋忘—— 雕塑家滑田友诞辰120周年纪念展”的研究积累。该展以曹庆晖教授提出的“艺术物料学”为指导,深入挖掘有助于认识滑田友艺术实践发生的多方面过程性物料,特别注意对滑田友留学时期的绘画、雕塑作品以及照片、通信、证件等物料的展示,特别注意对滑田友雕塑创作原作、滑田友拍摄作品照片以及日后作品铸铜之间的梳理和区分,特别注意将滑田友在创作与教学方面的思考文本和他的创作实践成果有逻辑地编辑在展示空间中,特别注意以富有现实根据的思路去组织此前外界并不了解的滑田友的考察和读书活动,公开了他踏察中国传统雕塑拍摄的资料照片以及从海外带回的外版藏书。在中央美术学院美术馆展出时,通过多途径传播,收到来自专业和社会领域的积极评价。此次图录编辑,一方面是以平面的方式重新编辑展览空间的剧情结构和物料内容,细化文件资料,突出编辑重点,强调阅读节奏,另一方面又将展览落地后发生的教学与研究编辑其中,加强展览延伸,深入专题研究,以构成一个策划展览、教学推广与美术史研究相结合的中国现代美术研究的展览文本。本书编著曹庆晖中央美术学院人文学院美术史系教授致力于中国近现代美术史、美术教育史、艺术物料学及美术馆典藏研究与展览策划,著有《美育一叶》《走进学院的中国画》《中国现代美术之路图鉴》等。易玥中央美术学院美术馆策划研究部馆员曾参与策划“蓝图生产力——未来感在艺术中的表达”“为时代持笔——韦启美百年诞辰纪念展”“太虚之境:雷安德罗·埃利希”等多个国内外现当代艺术展览,侧重于展览史、展览策划与视觉传播的研究。李展中央美术学院雕塑系第一工作室副教授2017年毕业于中央美术学院造型艺术研究所,获博士学位。雕塑作品被中央美术学院美术馆、浙江美术馆、海澜美术馆、白兔美术馆(澳)等多家机构与个人收藏。
More

What a Wonderful "Sculpture Drama" 丨The opening of ”The Great of Sculpture -- 90 Years Seminar of Sculpture Discipline of the Central Academy of Fine Arts“

2024-10-28

On October 26, 2024, the exhibition "The Sculpture Series - 90 Years of the Sculpture Discipline of the Central Academy of Fine Arts" opened. It is sponsored by the Central Academy of Fine Arts and organized by the Sculpture Department and the Art Museum of the Central Academy of Fine Arts. This exhibition systematically reviews and looks back on the artistic journey of the sculpture major of the Central Academy of Fine Arts from 1934 to the present, a journey of 90 years of continuous development and improvement, from a solid foundation to diversification, from self - awakening to disciplinary consciousness. A large number of classic masterpieces with "epochal character", "people - centeredness", and "national identity" are exhibited, carrying the core of the national spirit, highlighting China's style of the times, and showing the beautiful life of the people. Generation after generation of people from the Academy of Fine Arts use sculpture as a historical pen to outline the trajectory of national development, remember the course of the nation's struggle, reflect the spirit of the changes of the times, shoulder historical missions, uphold cultural consciousness, and jointly create the glorious chapter of the 90 - year history of the Sculpture Department.
More

The sculpture major of CAFA. Ah~ Is it urban or not~

2024-10-26

▓  ▍ ▓  ▍ ▓  ▍The Great Series of Sculpture —— 90 Years of the Sculpture Discipline of the Central Academy of Fine ArtsSponsor | Central Academy of Fine Arts.Organizer | The Sculpture Department of the Central Academy of Fine Arts, the Art Museum of the Central Academy of Fine Arts.Exhibition Time: From October 22nd to November 24th, 2024Exhibition Location: The third floor of the Art Museum of the Central Academy of Fine Arts chief editor / He Yisha editor / Du YinzhuOn - site pictures / He Yifeifriendly appearance / Zhang Jingyi, Liu Yuwei, Yu Xiangting
More

Are You Ready? On October 26th,Let's Look Back On the Ninety - Year History of Sculpture At CAFA and Jointly "Sculpt" The Future!

2024-10-25

15:00 on Saturday, October 26th.Follow the official account of CAFA Art Museum @ CAFA Art Museum on Douyin, WeChat Video Account, Xiaohongshu, and Bilibili.展览策展人曹庆晖教授将会带领观众从学术和展览策划的角度对雕塑学科进行阐释讲述中央美术学院雕塑系九十年的历史Professor Cao Qinghui, the curator of the exhibition, will lead the audience to interpret the sculpture discipline from the perspectives of academics and exhibition planning, and narrate the ninety - year history of the Sculpture Department of the Central Academy of Fine Arts.---------------------------------------------C A F A M直播介绍-------------------------------------------------------------------------------------------| 直播嘉宾 |曹庆晖中央美术学院人文学院教授委员会主任,美术史系教授,博士生导师,九三学社社员,专业致力于近现代中国美术史与美术教育史的教学、科研及展览策划。| 直播主持 |孙婷婷中央美术学院雕塑系直属党支部副书记直播通道抖音平台@中央美术学院美术馆小红书平台@中央美术学院美术馆哔哩哔哩平台@中央美术学院美术馆雕塑大系——中央美术学院雕塑学科90年主办单位丨中央美术学院 承办单位丨中央美术学院雕塑系 中央美术学院美术馆展览时间丨2024年10月22日—11月24日展览地点丨中央美术学院美术馆三层主编 / 何一沙 责编 / 杜隐珠视频制作 / 贺伊飞
More

Seminar Review | “Jade · Encounter” as a Sculptural Method

2024-10-24

“广角°青年实验项目空间”第二期第六个展览:“玉·见广角——钱亮玉质媒材艺术研究展”把富于历史和文化意义的“玉”,引入广角空间,形成中央美术学院美术馆第一个关于玉石的专题性展览。艺术家钱亮借助对玉材的琢磨构造,用作品串联起遇玉、礼玉、琢玉乃至最后放空治愈的空间逻辑关系,以此展开对历史文化、社会生活、科学技术等方面的不同维度的探索与思考。玉,从美石到琢而成器后具有美德、美意,继以载道、藏礼,其独特性在于伴随着中华民族五千年文明的发展而生长,是中华民族独特的、从未间断的一种文化。如何更多地从文化、艺术层面去挖掘玉雕语言,并赋予玉新的时代性,是值得进一步思考和探索的。为此,策展团队精心策划了以“‘玉·见’作为一种雕塑方式”为主题的学术研讨会,从多个维度展开以“玉·见”为主题的学术探索与研讨。▲ ▲ ▲“‘玉·见’作为一种雕塑方式”学术研讨会研讨会现场2024年9月25日,“广角°青年实验项目空间”第二期第六个展览“玉·见广角——钱亮玉质媒材艺术研究展”学术研讨会如期举行。出席本次研讨会的专家学者有:清华大学美术学院长聘教授许正龙,清华大学美术学院长聘教授、雕塑系主任陈辉,中央美术学院教授秦璞、萧立,中央美术学院副研究员初枢昊,河北美术学院教授钱步辉,北京农学院副教授、园林学院艺术设计系主任李玉仓,北京服装学院副教授熊芏芏,汉泽西品牌创始人本心,安徽师范大学副教授郭兵要,中央美术学院讲师段牛斗,清华大学美术学院博士后柴鑫萌,清华大学美术学博士孟祥轲、张巧伶,清华大学美术学在读博士刘烽、赵毅伟、潘曦,巴基斯坦拉合尔教育大学在读博士赵覃,德国科布伦茨大学硕士薛仲泽,四川美术学院硕士王然,北京林业大学研究生李彦炅,北京农学院研究生张哲铭,本次展览的策展人中央美术学院副研究员曾小凤、策展助理付廷栋等。研讨会共分四场,由著名美术史论家、景德镇陶瓷大学教授宋伟光担任学术主持。研讨会学术主持宋伟光教授致辞艺术家钱亮首先介绍了与会的嘉宾学者,并对大家的莅临指导表示由衷的感谢。学术主持宋伟光教授开场阐述了“玉·见广角”的主旨不仅是一个聚焦,同时也是一个无限度的广角,指出钱亮玉质媒材创作的视角在传统与当代、中国与国际之间拉开了一场序幕。※  第一场  场与合  ※▍许正龙(清华大学美术学院长聘教授)许正龙教授从“合”和“场”两个核心精神,对钱亮的创作进行了重要评述。他讲到钱亮从小在玉文化的氛围中长大,早早就跟艺术、跟玉结下不解之缘。“合”意味着把东方和西方、传统和现代融合起来,以玉为媒材进行串联,用玉散落的碎片或者边角料进行组合、构造,将传统文化中的“物尽其用”“化腐朽为神奇”等理念融入其中,创造一种新的、当代的,具有探索性、实验性和观念性的作品。在这个意义上,“玉·见广角”所展现的就不是一个聚焦点,它是一个扩散的、开放的文化场域。“场”蕴含着空间场域的概念,在某些方面有点像磁场,两块磁铁放在一起,要么相吸,要么相斥,这种场的力量是看不见摸不着的。雕塑是有形的物,艺术家所要反映的理念在某些方面是我们看不见的磁场。钱亮的作品注重用可见之形去反映那些看不见的无形的力,这种无形的力将艺术家和观众、作品串联在一起。这里既包涵了中国传统文化的理念,也有我们当代人面对全球化、国际化的一种视野,这是中国当代年轻艺术家的角色和使命。▍陈辉(清华大学美术学院长聘教授、雕塑系主任)陈辉教授从“广角”发散的广度、宽度和深度三个层面解读了钱亮作品的“物性”。他认为钱亮是以一种平等心在对待物,贯穿了对于物的尊敬和对物的爱惜,以及对于物的一种观念的认识。在创作中,钱亮凭借他在西安美术学院、中央美术学院、清华大学美术学院三所高校的学习经历,将自己对空间的把握,以及空间和文化之间交替的东西,以“场域”的方式体现出来。《道德经》中对世界的描述,一种是固态的,一种是发散的,世界上的物质其实是聚则显、散则隐。钱亮创作的《再生之环》以圆融的形式以及光影的聚散,将文化和空间表达契合把握;《和光同尘》给人感觉很神圣,粉末往下飘,一束光打在上面的时候,有种宇宙起源创始的感觉。当代的玉,也就是钱亮手下的玉质媒材艺术,不是玩玉,是观玉,是品鉴玉的物性。▍秦璞(中央美术学院教授)秦璞教授从“时间与转换”“范式与当代”的关系上,认为钱亮使用玉的边角料进行创作是一种意识转变,他将融入我们中国人文化基因中的玉以一种别样和意想不到的方式展示出来。比如,解构和重构的方式,让我们看到钱亮手中的玉可以在空中像雪花一样飘舞,这和我们对于传统玉的理解完全不同。中国自古是一个农业国家,注重天、地、人三者的关系,玉在中国传统文化五千年的发展过程中,和中国人的“德”联系起来,比德于玉。从造型学上来讲,这就是质感。玉材料的质既决定了品质,也决定了它的精神性。钱亮的作品和当代场域发生关联,他是在综合性的把玩和感悟中,得到了一种精神的升华。▍萧立(中央美术学院教授)萧立教授从自己做雕塑的感受出发,认为钱亮对玉的探索已经回归到了对玉的本源的一种思考,提出“玉与生存”概念。在中国古代,一个玉璧能够引发一场战争,它牵涉到人的生存。玉从远古具有礼仪和国之重器的“器”,逐步成为中国人日常生活中喜爱的物件,“器”和“物”是两个极端。钱亮在器和物两个层面进行“合”的创作,如《叠翠》系列,玉的边角料和现代金属螺栓的结合,具有一种现代的古朴之感,引发人的思考和情感共鸣。▍初枢昊(中央美术学院学报编辑部副研究员)初枢昊副研究员谈到钱亮玉雕创作的独特性——“玉·见广角”体现了一种非常典型的展厅文化,展览将远古的巫玉、神玉、王玉的观念和历史较短、具有宫廷化、贵族化且价格昂贵的翡翠结合起来,而走向一条抽象化的具有现代性的艺术道路。在玉的形而下的材料层面,《和光同尘》让人联想到每一种玉材,不管是翡翠,还是青玉、岫玉、玛瑙等,不论价值高低,最后都化为粉末,带给人一种新的关于玉的价值和物性的思考。同时对钱亮的创作提出期待:翡翠大可不必遮蔽其美的奢华性,而完全可以张扬这一特征,彰显其美感的不可替代性,达到审美价值与经济价值在高点的统一。▍钱步辉(河北美术学院教授)钱步辉教授作为钱亮的父亲,他回顾了自己做雕塑和中央美术学院雕塑系老先生夏乙乔、史美英夫妇的历史因缘,从20世纪七、八十年代,他跟随夏乙乔先生学习雕塑和蚌埠玉雕厂的工作经历,以及去鲁迅美术学院雕塑系研究生班进修后的雕塑之路和如今复归玉雕创作,一直在雕塑和玉雕之间切换琢磨。钱亮受父亲的影响走上雕塑之路并进行玉质媒材艺术创作,又在西安美术学院、中央美术学院和清华大学美术学院诸位先生的指导下完成学业,最后回到中央美院任教,这是一种特殊的缘分。希望再接再厉,再出好成绩。※  第二场 破与立  ※▎李玉仓(北京农学院副教授、园林学院艺术设计系主任)李玉仓副教授从《说文解字》的角度谈起“玉”跟“王”的字型字义比较,引出传统文化中“玉”与政治、社会、国家的关系,指出中国的玉文化具有从传统的礼器到文人士大夫的把玩之物,再走进当下大众日常生活的过程。结合钱亮“玉·见广角”展览,玉从礼器到实用,从实用到欣赏,从欣赏到关注生活的情态,形成了对日常性的干预,这种干预带有批判性。钱亮玉质媒材作品的这种批判性是通过对日常生活题材的选取、雕塑构造方法的多元、展览方式的综合等手段来实现的,作为传统工艺美术属性的玉雕也因此打开了通向当代艺术的大门。整体而言,钱亮的玉质媒材艺术探索呈现出文化的自觉性。▍熊芏芏(北京服装学院珠宝首饰设计专业副教授)熊芏芏副教授从自身教学出发,认为钱亮对于玉质媒材的研究和艺术创作思维,让她在玉石首饰教学中深受启发和思考。钱亮一直致力于探索玉石材料的内涵与外延,由此及彼、由表及里地对玉石材质进行探索,深入玉文化内核并提炼其精华,深入传统,继而又走出传统。受其影响,熊芏芏在授课中鼓励学生从研究玉石材料质感的多维度出发,设立“玉问工作营”,引导学生围绕玉石进行提问式的辩证思考,通过“材料驱动”与“观念引导”的双重线索挖掘玉石在首饰设计中的多元化表现与人文价值。总的来说,钱亮以玉质媒材为驱动的当代艺术创作思维对当代首饰艺术教育的影响是积极而深远的。▍本心(【汉泽西】品牌创始人,独立设计师)设计师本心认为从玉行业的发展历程来看,钱亮是一位非常难得的当代玉文化传承的使者。钱亮的作品是润含深刻思考和人文精神在其中的,这完全是他学识阅历积淀后的输出呈现,也贴合他站位学院“教与授”这样师者兼创作者的身份。古语讲:“玉不琢,不成器”,她觉得钱亮的琢玉方法是“师琢”和“心琢”的合一。授业于道,载物于道,把玉材质和优秀文化相连,传播知学,反映当代情感与时代精神。钱亮的玉质媒材艺术创作及其策划的展览意义深远,正在弥补现代学院对玉雕艺术传承的缺失,这个过程是需要力量和担当的。如果说当代艺术如日中天,那么玉文化其实挺像月亮的,是我们民族精神里的诗歌与故乡。希望大家一起努力,创造出最美的“日全食”,中国玉文化的绝美奇境,也是我们共同期待的玉雕艺术的未来。▍曾小凤(中央美术学院国家主题性美术创作研究中心副研究员)曾小凤副研究员从破与不破、破与立的关系上,讲到钱亮玉质媒材艺术创作的三层含义:第一是形态,玉的边角料本身展现了一种独特的“破”的审美形态。第二是姿态,钱亮从早期做《物非物系列之破竹》以“不破”展现破竹,到《玉石·遇时》的一摔即成,彰显了一种不破不立、敢破敢立的姿态。第三是作为雕塑创作的方法论,如《再生之环》将那些破碎的、被机器切割的玉石边角料,形成“合”这一概念的具身化。“合”在这里既是艺术构成的形态和样式,还表现了艺术家在“破”和“立”方向上形成的“和合”的雕塑方法论。▍郭兵要(安徽师范大学副教授、雕塑专业负责人)郭兵要副教授从中国传统文化的当代转化角度,认为钱亮选点很巧。中国传统文化是一个浩瀚海洋,只有部分人能在这个浩瀚的海洋里取一瓢水,而钱亮很快找到了这个营养之源。他从早期的作品到现在的玉石,从选材到工艺,再到创作思维,都体现了一个“巧”字。另外他的作品又很“拙”,从传统工艺到玉文化,做到了大巧若拙。钱亮从传统的玉工艺而来,通过三大美院的科班培养,将当代艺术和传统玉文化结合,从中找到自己的语言,做到玉言玉语。▍柴鑫萌(清华大学美术学院博士后)博士后柴鑫萌认为钱亮的玉文化研究不仅系统全面,而且深具学术价值,他将理论研究与创作实践紧密结合,展现了坚实的学术功底。钱亮的作品巧妙地融合了传统与现代的元素,通过出人意料的重构、转折、和合,揭示了材料本身所蕴含的人文精神。他的作品在形式与内容上都体现出对传统美学的深刻理解和对现代审美的敏锐把握,他以富有哲思、诗性、柔和的创作手法,传达了玉材料“置之死地而后生”的韧性和品质。钱亮的艺术实践无疑为玉雕艺术的未来发展提供了新的可能性,也为美术学的研究提供了新的视角和思考。※  第三场 此与彼  ※▍孟祥轲(清华大学美术学博士)孟祥轲博士从“中式物语”理念延伸到对“诗性”的探讨,认为钱亮的作品中充满了由此及彼、关联想象的隐喻思维,关联着人文内涵、情感语义和观念语义,以“构造”(包括形式构造、材料构造和内涵构造)的方式形成语言,隐喻其语义内涵。同时,也以“存在”的方式体现出主体对自身环境和对象本身的存在性感知,作品中的观念性思辨常传递出一种不刻意为之的状态,以悖常凸显日常,带来新异感、陌生化、偶然性的诗性体验。▍段牛斗(中央美术学院人文学院非物质文化遗产研究中心讲师)段牛斗老师从事文化遗产的教学和研究,对工艺美术很有兴趣,他对钱亮艺术创作的理解主要有三点:第一,历史维度。中国玉雕有悠久传统,是民间美术和工艺美术领域的重要门类。很多人认为民间美术、工艺美术很难创新,而钱亮的创作既源于历史影响,也有个人经历,与活态的非物质文化遗产建立起关系并不容易。第二,空间维度。古代玉雕通常从属于贵族、女性、祭司等阶层或人群,或者在丧葬等特定场合使用,艺术功能其实是受限的。钱亮的玉雕需要突破社会功能限制,进入更广阔的空间当中,于是艺术语言也发生了变化。第三,技法与风格的统一。艺术史的基础是文献学、风格学,文献的定义容易理解,而风格必须有技术、经济等社会因素作为基础。钱亮玉雕风格直接源于技法,去掉了工艺美术原有的装饰意味,具备独特、多元的内涵。▍刘烽(清华大学美术学在读博士)作为连续两届担任“玉·见”系列展览策展助理的刘烽,认为钱亮的展览独具匠心,不仅是对作品的展示,更是通过材料与空间传达内在力量,以作品传递策展人与艺术家的深刻理念。钱亮对玉材的爱和坚持打动人心,通过与他的长期共事,体会到材料与人之间的深厚缘分。玉是一种灵石,万物有灵,不是人选择了材料,而是材料选择了人。钱亮爱玉、惜玉,注重对传统玉文化与当代艺术转化的思考,作品展现了对文化传承的深入探索,以及在现当代视域下多样的可能性。“玉·见广角”展览引领观众在俯仰之间感悟生命和艺术的深层联系,感受精神的净化与共鸣。▍赵覃(巴基斯坦拉合尔教育大学在读博士)赵覃主要从两个方面来谈,第一是“功夫在诗外”。他觉得钱亮作品背后的知识结构是非常丰富和立体的,从作品的多样性和不同的切入角度能感觉到钱亮有一种思维跳跃性。第二是“陌生化”的问题,可从钱亮近期的作品里体会到这种趋势。钱亮能够从线条、肌理、俏色这些点上跳出来,从其它的角度去处理玉石材料。有时候想从自己固有的一套思维模式和工作流程当中跳出来,是非常困难和痛苦的,但钱亮可以做的很轻松。同时这种陌生化让人产生了一种期待,很想知道他下一件作品是什么样。▍张巧伶(清华大学美术学博士)钱亮的展览包含着多重维度的“关联”。其一,凭借一种具有引导性的观看逻辑,将作品与作品、作品与场域、作品与人相互联结。其二,作品材质与物象之间存在基于日常经验的串联,具备形式的合理性。其三,在观念层面,如“物非物”系列,从竹子到筷子,再回归竹子,其中蕴含着东方哲思式的内在联系。其四,通过这种东方哲思,搭建起传统文化与当代艺术的关联。正是这四重关联,使他的作品与人紧密相连,构成了一个有机的整体。▍张哲铭(北京农学院研究生)张哲铭从艺术疗愈的视角出发,提出“玉与愈”的关联,认为钱亮的作品回归了玉文化的本质。玉者,中华民族所钟爱之物,根植于自然,归属于文化。“和合之道”强调人与物、人与自然之间的和谐关系,此乃平衡之道,钱亮于“时与物”两个层面进行“合”的创作,彰显个体与社会、自然之间的和谐之道,体现一种平衡与宁静的艺术生活状态。※  第四场 玉与遇  ※▍潘曦(清华大学美术学在读博士)潘曦从玉质媒材与陶瓷材料类比以及展场角度,提出“玉的无感”概念。首先钱亮作品对良渚、红山、宫廷、文人等传统玉仿物、抽象构造的玉质造物方式有传承。其次谈到玉与陶瓷都是传统中的有“包袱”的“强材料”,因其巨大的内容创造,需进行大量的学习去“知道”,比较难进行当代转化创作。钱亮的“玉展场”与其人一致都带给人轻松无距离感,如《心灵皂》《玉时·遇时》皆是生活中常用之物,“大香皂”立于地下,让人不自觉地想去触碰,这些都带来去文人性、阶级感的“无感”。再次是“空缺”的构成方式,如作品《叠翠系列》,“大缺”是取玉镯之后的余料位,“小缺”是作品边缘的粗糙和锯齿感,在构造具有明确指向性的文人山石过程中带来了弹性和节奏。这些点启发重新思考“好”的问题,神性、精致性、文人性是一种好,弱秩序、弹性、坍塌或许也可显现“好“的部分,这是艺术带来的解放与自由。▍赵毅伟(清华大学美术学在读博士)赵毅伟很赞同钱亮在传承与创新中国材料艺术、物质文化方面所做的贡献,特别是其在玉器领域的尝试,不仅推动了文化符号的建设,还促进了文化产业的升级。钱亮通过引入现代审美与工艺创新,使传统玉器更贴近大众,展现了深厚的文化底蕴与地域特色。同时,钱亮的实践为文化产业从业者提供了新思路,强调在保留传统精髓的基础上,结合现代设计理念,拓展应用场景,以满足当代审美需求,为文化产业转型升级树立了典范。▍薛仲泽(德国科布伦茨大学硕士)薛仲泽根据自己在德国十年间接触西方当代艺术的经验,结合本次展览,从玉与人、时间、空间的关系以及场域方面进行了交流。钱亮巧妙的场域排布将空间中人与作品的关系环环相扣、步步融合,让情感再一次升华。墙壁、灯光、作品……每件事物的“Aura(物体自身发散的灵魂)”都是“合”为场域、气氛的关键,将玉的品德与温度借助情感、观念在空间中放大,用属于今天的语言将玉的灵魂重新描述。因“和”而“合”便是此次观展最大的收获。▍李彦炅(北京林业大学研究生)李彦炅从玉的文化属性和人的美德精神出发将玉与钱亮的品格相联系,“玉”自古就引于词句当中来形容人的品质。借此次展览中的部分作品,如《心灵皂》衍生了“香培玉琢”一词,香料造就,美玉雕琢。借此阐述人与作品的关联,用贴合自我、贴近生活的材料和理念赋予作品以恰切的语言,并对展品中玉材料多维度的表达方式进行评论,认为雕塑不仅塑造物,更塑造人,人与物统一铸就契合的艺术。▍付廷栋(展览策展助理)付廷栋首先对艺术家和策展人给予的这份策展助理和视觉设计工作的信任表示感谢!他目睹了“玉·见”系列从2017年以来,在发展中进行的整体性与有序性的渐变和迭变。该展览以广角为视角,不仅呈现出艺术家钱亮在中国传统玉文化的基础上,融合现代设计思维和当代艺术语言所进行的创造性转化与创新性发展的成果。更是对时代精神和艺术家主体精神的展现与彰显,也让我们遇见并预见了“玉·见”的无限可能性。最后,学术主持宋伟光教授就“玉·见广角——钱亮玉质媒材艺术研究展”学术研讨会作出总结。他指出以玉雕的方式在中央美院美术馆举办艺术家个展,这是“一个破天荒的事情”。钱亮虽然很年轻,却是身经百战,应当讲是新玉雕的“老人”,在当代玉雕学术前沿具有引导作用。在宋伟光教授看来:第一,这是一场带有观念性的玉质媒材艺术研究展,在中央美术学院应是一个文化事件,体现出中央美院学术的导向作用和学术胸怀。第二,钱亮的玉雕是雕塑的玉雕,而不是玉雕的玉雕,他把玉这个材料用雕塑的视角进行解读和重构。第三,钱亮的玉雕作品不仅具有所谓玉雕美学、雕塑艺术等价值,还应考量其图像学的意义。透过钱亮的作品,我们不仅感受到的是作品本身,更重要的是由玉雕艺术折射出来的关于文化传承和转型、社会心理以及情感思想等方面的内涵,因而具备图像学的意义。第四,钱亮试图建构新玉雕的新逻辑,通过玉质媒材来解决和建构一个新的文化符号。玉·见广角——钱亮玉质媒材艺术研究展主办:中央美术学院美术馆展览时间:2024年9月10日—2024年10月7日展览地点:中央美术学院美术馆2层C展厅主编 / 何一沙 责编 / 杜隐珠
More

The First Exhibition "Escape The Other Worlds" Opens As Scheduled | TheTthird - Phase Project Of "Wide - Angle °" Is Launched.

2024-10-24

More

"Cultivating on the Earth - Special Exhibition of Prints Collected by the CAFA Art Museum" grandly opened in the urban exhibition hall of Jinan CBD Center.

2024-10-23

10月21日下午,“耕耘在大地上——中央美术学院 美术馆藏版画专题展”在济南CBD中央商务区文化中心城市展厅开幕。 开幕式现场当日,中央美术学院院长林茂和中央美术学院美术馆工作团队、山东省教育厅、山东省美术家协会、济南市教育局、济南市历下区政府、济南 CBD 中央商务区管委会和济南城投集团等单位主要负责同志齐聚济南中央商务区文化中心展览馆出席活动,拉开“中央美术学院美术馆藏版画专题”巡展济南站帷幕。本次展览由中央美术学院美术馆、山东省教育厅主办,济南市教育局、济南城投集团、济南中央商务区管委会、中央美术学院版画系协办,山东泉逸新商业发展有限公司承办,展览时间为10月21日至12月15日。展览从中央美术学院美术馆藏中精选出 90 件套版画作品。以“土地、耕耘、建设、沉思”四个角度切入几代艺术家对土地的思考、情感与创作。以“土地”作新线索,串联美术馆跨越数十年的版画藏品,谱写一篇讴歌大地、赞颂人民的时代新章。展出的作品中,既有祖国大地的壮美图景,也有耕耘建设的时代缩影以及现代城市的发展足迹;既有现代版画史上的名家名作,也有青年版画家的卓越探索。值此建国 75 周年之际,借本次展览对绿水青山的家园和耕耘在大地上的人民致以诚挚的敬意。
More

今日霜降

2024-10-23

More

Child Public Education Reservation Form

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

Adult Public Education Event Reservation Form

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

Group Public Education Event Reservation Form

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

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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.

Event Booking Form

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
Quick loginAccount login
  • Mobile phone number will be your login ID
  •  
Use Artron membership to login