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.

: Temporary Closure Notice | See You on June 8th

2025-06-04

Dear audience friends，Due to the need for exhibition installation and dismantling, our museum will be temporarily closed from June 4 to June 7, 2025, and will resume operations on June 8. At that time, the Second Phase of CAFA Undergraduate Graduation Exhibition will be held, showcasing graduate works from the following departments and schools:CAFA Art MuseumJune 3, 2025Reservation Channel2025 CAFA Graduation SeasonCAFAM@ 2025The online reservation and ticketing channel for the 2025 CAFA Graduation Season is now open. Visitors can make reservations and purchase tickets through the CAFA Art Museum mini-program, WeChat official account, or official website (for ticketing instructions, please refer to the official website). The number of daily visiting slots is limited and will be filled on a first-come, first-served basis. During the graduation season, the museum will be open as usual on Mondays.Valid identification documents must be used for real - name registration when making a reservation. Each person can only make one reservation per day. After the reservation is successful, visitors should arrive at the museum at the reserved time. During the graduation season, visitors can enter the museum by swiping valid identification documents such as ID cards at the special ticket channel at the north gate of the Central Academy of Fine Arts for ticket verification.Chief Editor / He Yisha Editor / Du Yinzhu
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: Dragon Boat Festival Meets Children's Day | Come to CAFA and Embark on an "Art Paradise" with Children (3 Days Left Before Exhibition Closes)

2025-06-01

During the CAFA graduation season, a group of graduates has created an "Art Paradise" from a child's perspective, completing a cross-generational narrative of childhood. The most touching "weather" this summer is undoubtedly that pure and vibrant "childlikeness". As the Dragon Boat Festival and Children's Day approach, we sincerely invite all children interested in art and big kids with undiminished childlike innocence to join us at CAFA for this gentle exploration of the world.Wang Jianye's 'Acute Angle'Fiberglass, foamDimensions: 260x280x230 cmThe work Acute Angle explores the profound social proposition of love and pressure in family relationships. Starting from his own family background, Wang Jianye triggers an in-depth reflection on family ties. The five figures in the work adopt curved postures, with outstretched arms and overlapping bodies forming an airtight "human-shaped forest". A blue children's chair placed in front allows viewers, when seated, to intuitively experience a sense of being surrounded and oppressed—thereby deepening their understanding of the complex emotions between parents and children that the work examines. So, what does true care look like through a child's eyes?Author: Guo ChunleiWork Title: MindscapeInstructors: Ma Zhiqiang, Cheng Kemei, Liu XiaoWork Information: VariableWork Material: Mixed MediaGuo Chunlei's Mindscape takes "the vanishing childhood spaces" as its entry point. In the rapidly developing urban environment, the living scenes of childhood often fade away quietly. These spaces not only carry memories but also relate to an individual's emotions and identity. Starting from the word "mindscape", the short film tells how the protagonist hears sounds from the past through a conch shell, enters the inner world of the mind, salvages memories, constructs a childhood residence within the conch, and immerses herself in it, only to be washed back to reality by the waves in the end. She hopes to express the themes of nostalgia and growth through this film, and explore how individuals face loss and seek themselves amid changes.Author: Liu XinyiWork Title: Short NailsInstructors: Cheng Kemei, Xu Tong, Jin JunWork Information: Frame-by-frame hand-drawn 2D animation, 16:9In her animation expression, Liu Xinyi has chosen a warm yet slightly melancholic artistic style to better convey the thematic emotions. Throughout the entire storyline, in addition to the obvious clue of nails, the phrase "like mother" serves as a hidden thread of the story, continuously emphasizing the relationship between the daughter and her mother. The ending of the work is open-ended, as the author hopes to guide the audience to interpret the love, conflicts, growth, and understanding between mothers and daughters from multiple dimensions.Author: Li HangInstructors: Chen Ke, Liu Qing, Shen Hongbiao, Du YingqiWork Material: Wool, Yarn"The Immanence of Self-Nature" refers to the exploration of the potential of one's inner true self, and symbolizes the integrity and richness of the individual mind. In simple terms, just as a seed contains infinite vitality, waiting for the right moment to bloom: the sugar palm appears unreserved and powerful; the blue cowrie shell lies on the ground in a tender, languid posture; the central ginkgo nut is plump and unassuming; the Sterculia foetida presents a shape of tolerance and support... Similarly, for children, each person has different innate natures and potentials, and individuals will unleash unique brilliance and strength. In this endless cycle, we can respect differences, accept ourselves, and let the unique "self-nature" collectively construct a world full of vitality and diversity.Author: Xiao XinyeInstructors: Cheng Kemei, Wang Liming, Ma ZhiqiangWork Title: Tang YingTang Ying is a film with a relatively unique theme. Inspired by the director's childhood experiences of living in their hometown and the dreams they had due to fear of the dark, this experimental 2D narrative film explores how the lack of security among left-behind children—caused by the absence of parental companionship in their original families—can be expressed through an artistic cinematic perspective. In the story, when Xiao Tang is sent to the countryside by her parents, her grievance stems not only from the physical relocation but also from the break of emotional bonds. According to Bowlby's attachment theory, emotional deprivation during childhood can lead to persistent psychological voids. Data from the National Bureau of Statistics in 2023 shows that there are approximately 5.89 million left-behind children in rural China—a huge group in which the emotional complexities of individual cases behind the numbers are rarely seen. The author intends to use the unique metaphorical power of animation to present this "invisible trauma"—like the "shadow" that looms in the dark—and hopes to draw attention to the "invisible wound" of parental absence in original families, allowing the emotions folded within statistical figures to "stand upright and walk again" in the light and shadow.Author: Chen XuanInstructors: Xu Tong, Hai Jun, Zhang MingguanWork Title: Companionship · RockIn the exhibition hall, there are also toy products specially designed for kindergarten children. The author Chen Xuan hopes to help children alleviate the separation anxiety that generally occurs when they first start kindergarten. At the beginning of the design, based on the research results combining online and offline methods, the design integrates artificial intelligence algorithm simulation with children's preferences to create a series of symbolic stress-relief toys that can be used in different scenarios to alleviate separation anxiety. Studies have found that most children enjoy touching rocks and hugging fluffy items, as this gives them a corresponding feeling of warmth and being wrapped. Therefore, the main body of the toy is designed to resemble a rock-climbing column and rock wall. The choice of toy colors is also based on children's developmental characteristics and research results. Small desktop toys are designed based on items familiar and interesting to children, such as clocks, kaleidoscopes, and common foods in life, such as potato and celery root cut surfaces.Dear big friends and little friends,Do you like these works?This Children's Day,We are at the Central Academy of Fine Arts,Protecting all unfinished fairy tales!| Friendly Reminder |The undergraduate graduation exhibition (first phase) of the Central Academy of Fine Arts will close on June 3. Don't miss it if you haven't visited yet!Reservation Channel2025 CAFA Graduation SeasonCAFAM@ 2025The online reservation and ticketing channel for the 2025 CAFA Graduation Season is now open. Visitors can make reservations and purchase tickets through the CAFA Art Museum mini-program, WeChat official account, or official website (for ticketing instructions, please refer to the official website). The number of daily visiting slots is limited and will be filled on a first-come, first-served basis. During the Graduation Season, the museum will be open as usual on Mondays.When making a reservation, valid identification documents must be used for real-name registration. Each person can only make one reservation per day. After successful reservation, visitors should arrive at the specified time. During the Graduation Season, visitors can enter the museum by swiping ID cards at the dedicated ticket-checking channel at the north gate of the Central Academy of Fine Arts.Chief Editor / He Yisha Editor / Du Yinzhu
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: Graduation Season · VIP night | From Creativity To PublicBenefit: Reflecting On The Mission Of Brands In Art

2025-05-30

On May 22, during the launch of the “2025 CAFA Graduation Season” series ofexhibitions, the CAFA Art Museum and the ROI Festival (Jin Teng Award) co-hosted aGraduation Season VIP Night Salon titled “From Creativity to Public Good: The ArtisticMission of Brands.” The event brought together over 50 VIP guests from renownedbrands, agencies, and academic institutions—including Intel, Zhaopin.com, Xibei,Microsoft, 58.com, Nestlé, Omnicom Group, Leo Burnett, BlueFocus, 180, TOPic &Loong, Ocean Engine, Keling, People’s Daily Online, Renmin University, and PekingUniversity Guanghua School of Management. Together, they explored how diversebrands can collaborate with art to fulfil broader social and creative objectives.活动现场The evening began in a serene and inspiration-filled gallery where guests were guidedthrough the “Toward the Light” exhibition by museum guides and outstanding graduatingstudents. Together, they explored the space, experiencing firsthand the diverse creativeexplorations of young artists—in diverse artistic language, material experimentation,and social engagement.参观现场CAFA Museum Deputy Director Hai Jun delivered a heartfelt welcome speech,expressing gratitude while sharing reflections on the development of the CentralAcademy of Fine Arts, its educational mission, the museum’s collections andexhibitions, the combination of art and branding, and the role of core members insustaining long-term collaboration and exchange. Hai Jun emphasized that the CAFAArt Museum is not only a showcase for academic excellence but also a vital culturalbridge that connects with broader society. In response to the evolving media landscapeand rising public expectations, the museum is actively exploring collaborative researchand cross-sector partnerships with brands and enterprises. By integrating content,channels, and immersive experiences, CAFA aims to build a multidimensionalecosystem for art education and the development of a creative community—unlockingthe public value of art and shifting from an individual “me” perspective to a collective“we,” ultimately achieving co-creation through public-good collaborations.中央美术学院美术馆副馆长海军作主题分享He Xinhao, founder of the ROI Festival, delivered a speech titled “A Night of SymbiosisBetween Art and Brands.” Through a series of cross-industry collaboration case studies,he offered deep insights into the unique power of shaping brand value and increasingcultural capital. Dr He illustrated that strong cultural narratives often support the brandsthat are truly enduring —and that art museums are natural incubators for suchnarratives. Looking ahead, he proposed that the relationship between enterprises andart institutions move beyond a one-sided endowment but rather a model of co-creationand mutual empowerment, forming collaborative and diverse communities where artand business can grow together.金投赏创始人贺欣浩作主题分享During the open discussion session, guests engaged in lively conversations aroundinquiries such as “How can art become part of everyday life?”, “How can art institutionsparticipate in brand co-creation?” and “How can young creators enter the market?”.Representatives from brands, curators, and cultural investors alike shared theirperspectives, noting that the Graduation Season VIP Night not only offered ahigh-quality art viewing experience but also fostered meaningful conversations andempowered deeper collaboration between the art world and enterprises.Dialogue Under the Night Sky: Co-Creating a New Cultural LandscapeAs a future vision, the CAFA Art Museum will continue to strengthen its efforts in artpromotion, public education enrichment, membership and community building, culturaland creative collaborations, and cross-border partnership mechanisms. Its ultimatemission is to build a forward-looking network of cultural innovation—driving themultidirectional growth of an ecosystem where “art education value meets branding.”Chief Editor / He Yisha Editor / Du YinzhuTranslator/ Mia
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: YingJinFei: Explorations of Art, Education, and Art Museums in the Digital Age | 2025 CAFAM Academic Series

2025-05-30

YingJinFei, director of Zhejiang Art Museum「At the "Cultural Engine –CAFA's International Art Museum Summit," Director Ying JinFei of theZhejiang Art Museum delivered a keynote titled "In the digital age, aesthetic perception is theprimary production force." He shared the Zhejiang Art Museum's practices in digital artexhibitions and cross-regional dialogues, emphasizing the importance of aesthetic education inshaping individual identity. He called for breaking away from the utilitarian tendencies ofeducation and encouraged the integration of aesthetic experiences in everyday life to supportstudents' thorough development. His speech revealed the evolving role of museums in thedigital era – as key agents in merging artistic creation and education – and offered newperspectives on balancing virtual and real integration with humanistic cultural values.」1.Digital Art Exhibition Practices and ExplorationThe Zhejiang Art Museum showcases a thoughtfully engaged exploration of digital art exhibitionpractices. Since 2016, its Oriental Wisdom series exhibition has merged China's traditionalculture with digital technology, accumulating experience for future digital art exhibitions. In 2018,the museum launched the Nanshan 138 project, which hosts four exhibitions annually featuringyoung artists—more than half of which involve digital art. This initiative has provided a vitalplatform for emerging digital artists and has played a key role in advancing the integration ofdigital art into the museum's broader exhibition system.In 2021, the exhibition "Flat Dimension" set itself apart from the constraints of traditionalpainting. While conventional works are typically created on paper or canvas, this exhibitionintroduced the idea of painting on alternative surfaces such as digital glass, expanding theboundaries of artistic creation and boldly exploring new mediums of art shaped by digitaltechnologies. In 2023, taking advantage of the Hangzhou Asian Games' inclusion of Esports asan official competition, the museum launched a digital art exhibition themed "Game." Rooted intraditional Chinese philosophy, the concept of "Game" embodied complex dynamics of humaninteraction—competition and coexistence. Incorporating this concept into a digital art contextenriched the exhibition with cultural depth, offering audiences a fresh artistic experience andshowcasing the unique fusion of art and technologyAdditionally, the Zhejiang Art Museum has initiated thematic dialogues centred on digitaltechnologies. For the "Flat Dimension" discussion, experts from diverse fields—includingProfessor Pan Yunhe of Zhejiang University—were invited to engage in conversations spanningboth art theory and pure technology. While these exchanges revealed the challenges ofintegrating culture and technology, and participants often struggled to reach deep consensus,the interdisciplinary dialogue offered valuable insights and reference points for future explorationof effective pathways for the fusion of art and science.2.Issues and Challenges in Aesthetic EducationAnother significant part of the speech was focused on challenges with Aesthetic education.Director Ying Jin Fei pointed out that, from the year 1500, the importance of Historicaldevelopment has been recognized, using it as a lens to explore broader developmental patternsand to provide context for examining today's educational issues. He pointed out severalpersistent problems in the present education system. In terms of skill development, there is anoveremphasis on problem-solving while neglecting the equally important ability of students toask meaningful questions. This imbalance hinders the cultivation of original thinking andexploration. Educational philosophy today is heavily influenced by pragmatism, where utility isoften prioritized at the expense of fostering philosophical inquiry, critical thinking, and intellectualdepth. Evaluation methods are also skewed: many exams tend to focus on memorization ratherthan critical thinking, and standardized models of education often suppress individualdifferences and creativity. These issues collectively underscore a pressing need to reintroduceand emphasize aesthetic education as a vital component of comprehensive studentdevelopment.These educational challenges bring a series of negative influences, such as a growing numberof mental health issues in students. The Zhejiang provincial committee reported that Zhejianghigh school students' depression ratio reached 40%, and elementary school students reached10%, starkly warning us about the negative impacts of our educational system. Director Yingemphasized that aesthetic education should not be reduced to just a few art classes. Instead, itshould be viewed as a comprehensive process of personality development and characterbuilding embedded into daily life and education. During the formative years when children'svalues are being shaped, aesthetic education plays a crucial role across multipledimensions—including the cultivation of thought, life skills, and everyday sensibilities. Thisincludes teaching children how to dress appropriately, communicate effectively, and applymakeup correctly. While these may seem like trivial details, they are essential for students'personalized personalized growth and self-expression of identity. In reality, however, sucheveryday aesthetic behaviours are often constrained. Director Ying advocates for creating spacefor daily aesthetic practice, encouraging students to explore their individuality freely and nurturetheir ability to think and express themselves independently.3.Future Visions and Rectification of the MuseumIn response to the deep-rooted aesthetic challenges in education, the Zhejiang Art Museum hasbeen actively redefining its role within the educational ecosystem. Starting last year, themuseum began integrating educational programs into its system, launching a series of activitiesclosely tied to daily life—such as workshops on dressing appropriately, effective communication,and more. These initiatives do more than offer audiences practical life skills; more importantly,they promote a broader aesthetic philosophy and personal expression. By encouragingawareness of beauty in daily life, the museum helps foster personal development—not just inappearance or behaviour, but in awareness, perception, and self-understanding. This marks aforward-looking vision where the museum becomes a living space for aesthetic cultivation andlifelong learning.In the digital era, as the rapid pace of development continues to capture widespread attention,the speech emphasizes that a person's moral development and self-awareness are crucial andfundamentally essential. Aesthetic education and the cultivation of thought—often dismissed as"useless"—in fact play an irreplaceable role in shaping well-rounded individuals and advancingour society as a whole. The Zhejiang Art Museum's exploration offers meaningful insight into theintegration of art and education in the digital era. These efforts serve as valuable references forother museums and cultural institutions looking to undertake similar work, inspiring broaderattention to aesthetic education and driving the continued innovation and development of artand education in the context of a new era.Speaker introduction Ying Jinfei Ying Jinfei is the Director of the Zhejiang Art Museum, a second-level professor, and a doctoraladvisor. He is a recipient of the State Council Special Government Allowance and has beenrecognised as a leading cultural talent in Zhejiang Province. He serves on national andprovincial committees, including the Chinese People's Political Consultative Conference(CPPCC) and the China Association for Promoting Democracy. He holds key positions in majorart institutions, including the China Artists Association and the Zhejiang Printmaking Institute.∨Chief Editor / He YishaResponsible Editor / Du YinzhuText Organization / Wang RuoxiEditor / Feng KaizhiqiTranslator / Mia
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: 国家艺术基金2025年度传播交流推广项目 |《新中国设计的诞生：艺术设计作品巡展》启幕

2025-05-30

2025年度国家艺术基金传播交流推广项目“新中国设计的诞生：艺术设计作品巡展”首站于 2025年5月23日下午14:00在鲁迅美术学院（大连校区）艺术博物馆隆重启幕。展览获评为2025年度国家艺术基金“传播交流推广”资助项目。鲁迅美术学院副院长赵璐、中央美术学院院长助理潘承辉，以及国家艺术基金监督专家，两校相关部门、院系负责同志，共同参加开幕式。本次巡展旨在系统梳理20世纪40至50年代新中国设计的发展脉络，聚焦中国现代设计的起源与建构、设计教育体系的历史演进，以及民族风格的形成机制。通过对关键设计作品与历史档案的整理与再现，展览试图推动中国设计史研究的理论建构与话语体系创新。在学术探索之外，展览亦承担重要的公共文化使命：一方面，借助设计实物的呈现激活集体记忆，彰显设计在社会建构与国家发展中的介入性价值；另一方面，通过展览叙事构建公众对话空间，拓展大众对设计文化的认知维度，激发社会共鸣与文化认同。今年正值中国人民抗日战争暨世界反法西斯战争胜利80周年，在这个特殊的时刻，我们尤需回望那段国家艰难起步、人民团结奋进的历史。本次展览聚焦1945至1959年这一建构新中国视觉体系的关键时间节点，精心甄选了二百余件珍贵作品，涵盖了从国徽创意稿、人民大会堂设计图稿到八大重点城市规划图、再到解放牌汽车设计稿与经典书籍装帧等多个领域，完整勾勒出新中国设计从革命语境向建设语境转型的范式演进。这些作品不仅见证了中国社会从动荡走向新生的历史进程，更凝聚了设计师们对国家命运与人民生活的深情投入。张仃、周令钊、张光宇、梁思成、林徽因、常沙娜等一代设计先贤，凭借坚定的信念和卓越的才华，深刻诠释了“设计”作为公共事业的文化价值与时代使命。他们以实际行动告诉我们：设计绝不仅仅关乎形式与技术，更深深植根于民族精神、社会理想与国家建设的伟大事业之中。此次巡展不仅成为一场艺术与设计的盛会，更能成为连接历史与未来、理想与现实的思想平台。期待这批承载着共和国集体记忆的设计档案，在文明互鉴的时代语境中彰显中国设计的现代性价值，激发青年群体的文化认同与时代担当，为中华民族现代文明的建构注入持续的精神动能，为中国设计走向世界贡献坚实而深远的叙事支点。林茂全国政协委员、中央美术学院院长、展览总策划中央美术学院院长助理潘承辉代读林茂院长致辞鲁迅美术学院副院长、展览总监、特邀策展人赵璐谈到，值此延安文艺座谈会召开83周年之际，《新中国设计的诞生》全国巡展在鲁迅美术学院启动，以设计为媒叩问历史与未来的深层对话。展览通过文献、实物与影像的立体呈现，重审设计的社会责任：从国家形象塑造到民生改善，从工业体系建构到文化认同培育，设计始终是嵌入国家治理的实践力量。面对数字化时代的文化重构，如何在传承中创新、在服务中坚守人民性，仍是当代设计教育者与实践者的核心命题。此次与中央美术学院的深度合作，开创了跨地域学术协同的新范式。两校在策展理念、研究方法与资源共享层面的多维联动，不仅成就了展览的学术高度，更拓展了艺术设计教育合作的新路径。期待这场历史与现实的对话，能激发新时代设计工作者对文化使命的再思考，以创新之力续写中国设计的时代篇章。鲁迅美术学院副院长、展览总监、特邀策展人赵璐致辞清华大学人文讲习教授、展览学术顾问杭间表示，作为国家艺术基金资助项目的重要实践，本次巡展具有非同一般的学术价值与社会意义。策展研究系统梳理了1949年以来新中国设计的发展脉络，不仅为审视20世纪中国设计发展史提供了全新视角，更清晰呈现了中国设计与世界设计体系的互动演进关系。策展团队通过系统性文献整理与珍贵原始作品的发掘，构建起兼具学术深度与历史厚度的展览框架，其呈现的诸多首次公开的档案资料与历史实物，为设计史研究提供了关键性的实证支撑。该展览对青年一代的设计教育与实践发展具有重要启示意义，期待其成为激发设计创新、培育文化自觉的学术引擎。清华大学人文讲习教授、展览学术顾问杭间致辞中央美术学院美术馆副馆长、展览执行总监高高提及本次展览源于央美美术馆与设计学院联合开展的专题研究，聚焦1940-1950年代社会巨变背景下，或由国家统筹组织，或由经济需求推动，围绕国家形象塑造、城市规划、生产建设、人民生活等方方面面。从“设计”这一行为在理念和实践层面的种种表现中，可以看到当时的设计工作者是如何从悠久的文化传统中汲取灵感，如何从其它国家的优秀设计成果中借鉴有益经验的。希望通过对新中国设计的初创历史的研究与梳理，能为中国当代设计探索民族化的设计语言，加强中国设计的文化认同，提供学理的和视觉的参考与启发。中央美术学院美术馆副馆长、展览执行总监高高致辞鲁迅美术学院人文学院(大连)院长兼直属党支部书记、艺术博物馆馆长王雄表示，本次展览为鲁迅美术学院与中央美术学院合作的年度学术大展，全景呈现1945-1959年间新中国设计成就。在鲁美大连校区设计专业毕业季开展之际，通过经典作品与青年创作对话，引导学子传承设计服务社会的初心，探寻创新与传统的平衡点。展览既是对设计初心的致敬，亦是以美育赋能社会的实践。鲁迅美术学院人文学院(大连)院长兼直属党支部书记、艺术博物馆馆长王雄致辞中央美术学院美术馆设计部主任/总监，展览项目负责人、策展人纪玉洁表示，在纪念毛泽东《在延安文艺座谈会上的讲话》发表83周年之际，“新中国设计的诞生”全国巡展首站于鲁迅美术学院启幕，意义非凡。这场跨越时空的对话，以1940-1950年代中国社会变革为背景，通过200余件实物、图像与文献，全景展现中国现代设计初创期的多维图景。此次展览不仅是历史回望，更引发学术思辨：通过设计现代性转型、民族风格生成机制等议题，拓展设计史研究维度。同时以鲜活的工业档案与民生设计案例，展现物质匮乏年代设计工作者的文化自信与创造智慧，为当代设计提供历史参照。这场连接鲁艺精神与新时代美学的巡展，既是对设计初心的致敬，亦是以史为鉴探索中国设计主体性的文化实践。中央美术学院美术馆设计部主任/总监，展览项目负责人、策展人纪玉洁本次展览由鲁迅美术学院张儒赫老师担任主持人嘉宾合影开幕导览展览现场第一板块前进前进第二板块视觉革命第三板块积极的工业化第四板块人民的时尚第五板块民族科学大众| 展览信息 |国家艺术基金2025年度传播交流推广项目新中国设计的诞生：艺术设计作品巡展（鲁美站）展览时间：2025年5月23日- 6月30日展览地点：鲁迅美术学院艺术博物馆一层展厅主办单位：中央美术学院联合主办单位：鲁迅美术学院承办单位: 鲁迅美术学院中英数字媒体（数字媒体)艺术学院鲁迅美术学院艺术博物馆鲁迅美术学院人文学院（大连）鲁迅美术学院图书馆鲁迅美术学院科研创作处协办单位：中央美术学院美术馆支持单位：中央美术学院图书馆中央美术学院设计学院中央美术学院人文学院四川美术学院设计学院中国美术学院国际设计博物馆总策划：徐扬、林茂、许金龙特邀顾问：常沙娜学术主持：吕品晶学术顾问：杭间、许平、蒋兴旺展览总监：赵璐、胡秉文、赵双丽展览执行总监：王雄、靳军，韩文超，海军，高高展览统筹：庄革发、宋喜珍、陈亮、韩立萍、刘红日、林涛、张超、魏强、代刚项目负责人：纪玉洁策展人：周博、纪玉洁特邀策展人：赵璐联合策展人：张儒赫展览文献：刘春芽、徐恺、吴炜、杨欣欣、夏晴、孟楠展览联络：姜奕彤、宋广欣、王抒婧、刘璐、张思梅、方美乔展览助理：谢书旖、凌晨、于明慧、黄心仪、许梦伊、陈珊珊、王轩逸、王思冬、党贝贝、林峥琪、巩孝天、朱晨菲、李怡欣、贾茜茜、王艺臻巡展策展助理：张倩媛、张良铭、陈家怡主编 / 何一沙责编 / 杜隐珠编辑 / 丰凯梓奇
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: 这个端午，在央美，“粽”享毕业季 | 国画创作特辑

2025-05-29

当石青赭石在宣纸上苏醒，当水墨氤氲浸染端午诗情，央美中国画学院的毕业生在千年文脉的长河中划出笔墨语言的涟漪。“意”是中国画之根本，象生于言，意生于象，立象以尽意，得意而忘象。这个端午不打烊，我们邀您走进展厅，在言——象——意的递进与互动中，探求中国画的生息源泉，看传统丹青如何包裹"与粽不同"的时代新意。
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: If You Also Have Unresolved Feelings | Take A Look At The Graduation Season Of CAFA And See How They Make Peace With Themselves

2025-05-27

The 2025 Undergraduate Graduation Exhibition of the Central Academy of Fine Arts is currently on display. When artistic creation meets complex inner emotions, this graduation exhibition is no longer just a visual transmission, but has become a dialogue about emotions. In the exhibition hall, a group of "post-00s" creators use brushes, sculptures, and videos to bring this hidden emotion to the stage, making the growing pains, ununderstood loneliness, and unspeakable no longer murmurs in the dead of night, but a resonance shared by thousands of people.01The barrier between reality and memoryCAFAM@ 2025Title: Memory and YouArtist: Chen ZhiweiInstructors: Yang Jing, Zhang Wei, Wang Shaojun, Wu Yongping, Yang KunDimensions: 340x150x180 cmMedium: Mixed mediaChen Zhiwei's Memory and You originates from the longing for his younger brother, who left him many years ago. His younger brother was a very important part of his childhood life and left many beautiful memories. As time passes, the once-clear memories gradually fade and become fragmented. Therefore, he intends to use certain elements to depict the sense of memory fading away and the emotional reluctance to part.Detail drawingsThe work consists of a wall, two figures, and several old objects. The wall symbolizes the barrier between reality and memory, expressing the sense of distance in memory. The figure and the wall on the right are in a relatively complete form, representing the part of reality. The figures and walls on the left are shaped with a sense of dissipation, showing that memories gradually blur and fragment over time. Several old objects full of childhood memories are embedded in the wall, all carrying the bits and pieces of shared experiences. Although the emotion is heavy, in the artist's view, sometimes there is no need to step out of sadness—this is precisely a kind of happiness, proving the traces of their existence.02The Development and Reconstruction of TraumaCAFAM@ 2025Artist: Feng JinjiayiInstructors: Pan Jingru, Yao Lu, Wang ZiyuanWork Information: In Search of Paradise LostMedium: Mixed mediaIn the exhibition hall of the Design School, there is a special narrative work titled In Search of Paradise Lost. The artist's grandmother is a patient with Alzheimer's disease. Through the experience of caring for her grandmother, the artist, from a first-hand perspective, has deeply felt the emotional struggles of being a caregiver and directly faced the widespread misunderstandings and stigmatization of this disease in society. By exploring the inner world of Alzheimer's patients, this project no longer perceives them from the perspective of healthy individuals for comparison. Instead, it cuts in from the patients' own feelings and attempts to break the public's stereotypes that this group "loses their sense of self" and "exists unconsciously" from a de-medicalized perspective.In memory of her grandmother, the artist compiled the multifaceted emotions her grandmother experienced during her illness into a book. Hoping to adopt a more empathetic and subversive narrative perspective, she aims to convey and call on the public to treat Alzheimer's patients with more patience and respect, and to re-understand and accept them. This is not just a story about the fading of memory, but also an exploration of the reconstruction of love and social empathy.03Home is the final echoCAFAM@ 2025Work: Adults Trick Children: Falling Down Will Make You Grow UpArtist: Chen TongqiInstructors: Chen Zhuo, Lin Tong, He HaoMedium: Mixed mediaThe work Adults Trick Children: Falling Down Will Make You Grow Up uses the traditional Cimingxian opera stage from Fuqing as its carrier, exploring the "black dog" symbolizing grandpa's emotional knot through a child's perspective. With persistent love, the child searches for the "non-existent existence," transforming the process of searching into a tangible manifestation of love.The work expresses a gaze upon "home" by integrating family videos with the space of the opera stage—those 心事 (matters weighing on the heart) hidden in wrinkles, unspoken cares, and the stubborn tenderness that persists despite knowing it may be in vain. At the age of seven, Ahua discovered that his grandfather would always murmur to himself by the opera stage, speaking of a "black dog" that only he could see. The innocence of childhood made him firmly believe that finding this "non-existent black dog" would untangle his grandfather's emotional knot. So he ran, fell, and got up again, as if in a stubborn ritual, transforming the search into a tangible form of love. When he grew up, he came to understand that some existences need not be seen with the naked eye—they are already engraved in the folds of stories and hidden in the sighs passed down through generations.The artist wants to dedicate this work to everyone who has "searched" for something in their family: "We are always seeking some definite answer, but perhaps the evidence of love lies precisely in the 'search' that persists despite being in vain. Love is a kind of faith. I hope everyone can become closer to their family, just like the words on the wall at the exhibition: 'Home is our first story and our final echo.'"04When emotions take shapeCAFAM@ 2025Author: Xu ZhiyiWork Title: Looking BackWork Size: VariableWork Material: Experimental AnimationInstructors: Cheng Kemei, Zhou Shu, Zhao BinXu Zhiyi is from Leshan and grew up by the Minjiang River. The river in front of her house flows toward the Giant Buddha not far away. Since childhood, the Giant Buddha has quietly overlooked people from the opposite bank. When she was young, she didn't find this particularly special—the Giant Buddha was just a daily sight by the river. It was not until she left her hometown to study elsewhere that she gradually realized those ordinary things she had never paid attention to had quietly merged into her memories and growth.This work is both a look back and a response to the hometown. Through 2D hand-drawn illustrations and mixed materials, the artist attempts to reconnect with those overlooked gazes and companionships, responding to a kind of guardianship that seems distant but has never truly left, providing an outlet for the "unresolved emotions" in the heart.While the moments of fragmentation during the creative process were undoubtedly painful, when reconstructing the texture, the artist touched upon life patterns more moving than perfection. As Leonard Cohen's poem goes, "There is a crack in everything, that's how the light gets in." Perhaps we need not cling to eliminating the "unresolved feelings" in life but learn to transform scars into prisms of self-awareness. After viewing the exhibition, it is hoped that the audience will also feel: true reconciliation is not about accepting a perfect self, but embracing the soul that carries scars yet continues to move forward.Reservation ChannelThe online reservation and ticketing channel for the 2025 Central Academy of Fine Arts Graduation Season has been opened. Visitors can make reservations and purchase tickets through the CAFA Art Museum mini-program, WeChat official account, or official website (for ticketing instructions, please refer to the official website). The number of daily visiting slots is limited and available until full. During the graduation season, the museum is open as usual on Mondays.When making a reservation, valid identification must be used for real-name registration. Each person can only make one reservation per day. After successful reservation, visitors should arriveChief Editor / He Yisha Editor / Du Yinzhu
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: The CAFAM And China Eastern Airlines Launch A Cross-industry Collaboration With Multiple Media Outlets Helping To Initiate A New Chapter

2025-05-25

On May 21, coinciding with the opening of the "2025 Central Academy of Fine Arts Graduation Season" exhibition, the CAFA Art Museum joined hands with China Eastern Airlines' Beijing Branch and more than 30 media partners to jointly launch the "Chasing the Light" graduation exhibition and media art salon event.On-site of the EventGroup Photo of GuestsJin Jun, Curator of CAFA Art Museum; Cai Yingzhu, General Manager and Party Secretary of the Marketing and Sales Department of China Eastern Airlines' Beijing Branch; Xu Xinli, Director of the Party Propaganda Department and Secretary of the Youth League Committee of CAFA; Han Wenchao, Secretary of the Direct Party Branch of CAFA Art Museum; Hai Jun, Deputy Curator; Gao Gao, Deputy Curator; Lin Zhaohua, Deputy General Manager of the Marketing and Sales Department of China Eastern Airlines' Beijing Branch; and media friends jointly attended the event. He Yisha, Director of the Media and Propaganda Department of CAFA Art Museum, served as the host.On-site Guided TourAt the beginning of the event, the museum's docents and graduates led the guests on a tour of the exhibition, providing in-depth explanations of the creative experiences and sources of inspiration behind a series of outstanding artworks.Jin Jun, Curator of CAFA Art Museum, delivered a speechIn the subsequent media salon session, Jin Jun, Curator of CAFA Art Museums, delivered the opening remarks first. He stated that this cross-industry collaboration with China Eastern Airlines has pioneered a new paradigm for art communication. Coinciding with the "Chasing the Light" exhibition during the 2025 Central Academy of Fine Arts Graduation Season, the exhibition not only showcases the academic achievements of young students but also constitutes a grand art event for the whole nation. In the future, it is hoped that art can break through the boundaries of exhibition halls and "blend into the clouds with the roar of engines," creating an aesthetic experience during flights. Jin Jun also specially thanked the media for their support over the years, noting that their in-depth reports have extended the exhibition to all levels of society, transforming the Academy's explorations into cross-circle cultural waves. He expressed his expectation that this collaboration will become the starting point for the deep integration of art and communication, working hand in hand with China Eastern Airlines to expand the radiating boundaries of aesthetic education and build an "innovation hub."Cai Yingzhu, General Manager and Party Secretary of the Marketing and Sales Department of China Eastern Airlines' Beijing Branch, delivered a speech.Cai Yingzhu, General Manager and Party Secretary of the Marketing and Sales Department of China Eastern Airlines' Beijing Branch, stated that China Eastern Airlines has broken through the positioning of a traditional transportation enterprise and deepened its cooperation with the CAFA Art Museum with the vision of an "Airborne Art Museum." By integrating the creative works of academy students through various carriers, the airline aims to transform flights into mobile art spaces, allowing passengers to experience the heritage of Chinese art during their journeys. Relying on its international route network, China Eastern also seeks to promote young artists' works to the world, showcasing the unique charm of "Chinese Creation" globally. She emphasized that China Eastern will upgrade flight tickets into cultural mediums, establishing art display platforms at 10,000 meters above sea level, making air travel a window for spreading aesthetic education and cultural confidence, and fulfilling the social mission of "Travel as Aesthetic Education."Xu Xinli, Director of the Party Propaganda Department and Secretary of the Youth League Committee of CAFAHan Wenchao, Secretary of the Direct Party Branch of CAFA Art MuseumLin Zhaohua, Deputy General Manager of the Marketing and Sales Department of China Eastern Airlines' Beijing BranchDuring the media Q&A session, Xu Xinli, Director of the Party Propaganda Department and Secretary of the Youth League Committee of CAFA; Han Wenchao, Secretary of the Direct Party Branch of CAFA Art Museum; and Lin Zhaohua, Deputy General Manager of the Marketing and Sales Department of China Eastern Airlines' Beijing Branch, respectively provided detailed answers to the media's hot-topic questions. They deeply discussed the positive role of the graduation exhibition in promoting college students' employment, analyzed the important role of museums in driving tourism development, and fully exchanged ideas on the future directions for collaborative promotional activities between CAFA Art Museum and China Eastern Airlines' Beijing Branch.Q&A Session On-siteHe Yisha, Director of the Media and Propaganda Department of CAFA Art Museum, served as the host.The successful holding of this event marks an innovative collaboration between the Central Academy of Fine Arts and China Eastern Airlines. By deeply integrating aviation scenarios with artistic creation, it has opened up a new model for the popularization of culture and art, injecting cloud-based vitality into urban aesthetic education.Chief Editor / He Yisha Editor / Du Yinzhu
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: Good News | The Exhibition Curated By CAFA Art Museum Is Selected Into The "National Exhibition Season Of Fine Works From Art Museum Collections" Of The Ministry Of Culture And Tourism

2025-05-25

Recently, the General Office of the Ministry of Culture and Tourism announced the 2025 National Exhibition Season of Fine Works from Art Museum Collections Activity Catalog. The exhibition "Flowing Art Realms - International Art Exchange and Research Exhibition from the Collection of CAFA Art Museum" curated by the CAFA Art Museum, was selected. The exhibition will be held at the CAFA Art Museum in September 2025.———————————————————————————————————————————| Exhibition Information |Flowing Art Realms - International Art Exchange and Research Exhibition from the Collection of CAFA Art MuseumOrganizer: CAFA Art MuseumExhibition Date: September to October 2025Exhibition Venue: CAFA Art MuseumThe collection of international artworks has been a long-standing focus and continuously developed collection series of the CAFA Art Museum of for many years. The exhibition "Flowing Art Realms - International Art Exchange and Research Exhibition from the Collection of the Art Museum of the Central Academy of Fine Arts" marks the first systematic collation of the museum's international art collections. The exhibition will present diverse works including paintings, sculptures, and videos, featuring not only representative pieces acquired through international purchases, donations, and exchanges but also thematic works created by foreign artists inspired by China.The exhibition will adopt a historical perspective, tracing the early practices of public collections during the Republic of China period to the cross-cultural interactions in international exhibitions and art education today, as well as artists' absorption and transformation of foreign cultures. Through case studies of the international collections of CAFA Art Museum, it aims to provide the public and academic circles with a museum perspective reflecting the mutual learning of international civilizations, and offer references for future collection practices of international artworks. It is hoped that the audience will experience the boundary-breaking vitality of art and the realistic vision of interwoven and symbiotic different cultures through the exhibition.———————————————————————————————————————————| About CAFA Art Museum |The CAFA Art Museum is a professional and international modern art museum integrating functions such as academic research, exhibition display, collection restoration, and public education. Its history can be traced back to the early 1950s. As the first professional art exhibition hall built after the founding of the People's Republic of China, it is also one of the first batch of key art museums in the country. Upholding the academic philosophy of "inclusiveness, inheriting the past and opening up the present," the museum serves society with "knowledge," commits to the construction of contemporary public cultural spaces, presents human artistic civilization to the public with a new vision, and shares the culture of the era with all sectors of society.Chief Editor / He Yisha Executive Editor / Du YinzhuEditor / Feng Kaiziqi
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: 相约520 | 属于中央美院本科生毕业展的“艺见钟情”

2025-05-22

就算读不懂艺术理论也没关系，当你站在作品前突然心跳漏了一拍，这场毕业展的目的就达到了—— 毕竟心动，从来不需要理由。所谓“艺见钟情”，便是央美学子们用几年的时光打磨出的一句话：“世界或许不够完美，但艺术能让我们相信美好、珍惜美好”。预约通道2025中央美院毕业季CAFAM@ 20252025中央美院毕业季线上预约购票通道已开启，观众可通过中央美术学院美术馆小程序、微信公众号或官网进行预约购票（购票说明详见官网）。每日观展名额限量约满为止，毕业季期间美术馆周一正常开放。预约时需使用有效证件进行实名预约，每人当天只能预约一次，预约成功后，观众按预约时间到场。毕业季期间，在中央美术学院北门票务专用通道刷身份证等有效证件验票进馆。主编 / 何一沙责编 / 杜隐珠现场图 / 贺伊飞丰凯梓奇
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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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.