Exhibitions and Events-News

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

蔚然生长 · 油画系 | 2023中央美院研究生毕业展

2023-05-10

“从门槛到门槛”——2023届中央美术学院油画系研究生毕业展
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征集延期 | 广角° ,青年实验项目空间!

2023-05-07

广角°青年实验项目空间“广角”是展示中央美术学院青年教师策展与创作的实验田,意在通过多元的展览项目,协助并促进青年师生对跨学科联动、区域文化研究和中国传统文化作出积极回应。“青年实验项目空间”2022年度方案征集启动现场“广角——青年实验项目空间”所在位置广角在2021年曾用名“青年实验项目空间”,由美术馆、学院教师工作部(人事处)和教师发展中心三方联合筹办和推进,鼓励青年教师在此申报并实施实验性展览项目。首期“青年实验项目空间”入选项目团体入选项目“交·响樂——声音艺术展”现场  在过去两年期间,已完成首期方案的征集、评选与落地(已落地实施3个展览,还有2个入选展览计划于2023年9、10月实施),并于2022年10月发布第二期方案征集。青年实验项目空间征集海报“锐角——策展培育计划”视觉形象“广角——青年实验项目空间”视觉形象  取其不规则之空间造型和不设限的展示维度,该项目于2023年正式更名为“广角——青年实验项目空间”。广角,一则与美术馆一层公共空间的另一策展培育计划“锐角”呼应,将美术馆中的两个空间以青年策展实践为角度相连接,向社会展示学院在策展教育与策展实践方面的最新成果;二则与青年教师在创作与教学中不断拓宽的思想广度相联系,在2021年的入选方案中,有不少涉及跨媒介实践和教学方法扩展的项目。团体入选项目“交·响樂——声音艺术展”现场团体入选项目“第二人生——虚拟首饰展”现场在未来的美术馆发展规划与教师工作部的青年教师扶持计划中,广角将作为一个起点,以校内艺术教育与社会美育传播为两条延线,展示青年与时代语境的交流,激活青年与传统收藏的链接,催生青年与更广阔可能性的碰撞。个人项目“结晶:不确定的生成”现场值广角更新之际,第二期“广角——青年实验项目空间”方案征集将以新的面孔和新的愿景开启新的出发,延长征集日期至2023年6月1日,期待美院青年教师以个人方案和团体方案的方式在此展现你们的才华和创意。 广角°  青年实验项目空间  方案征集详情 此项目面向中央美术学院的全体教职工,征集涵盖展览策划、作品创作等内容的两类方案。我们希望这些方案能够体现合作精神、青年创意以及在艺术语言上的大胆探索。本期征集将有6个项目入选,入选项目将获得由美术馆和教师工作部共同资助的方案实施费用(5万元)。2C展厅基本情况空间面积100平方米,包含内外两个部分。空间图和平面图详见(附件1)。两类征集方案的说明第一类:团体项目·以小组形式围绕一个主题进行的实验性展览策划与实施方案(包含师生团队项目)。·方案提交材料包括:展览题目、800字展览内容/理念阐释、参展作品图及作品信息、空间规划方案、学术/公共教育活动方案(优先面向公众、联络校外的活动)、经费预算明细、小组成员介绍。(详见附件2)第二类:个人项目· 一位青年教师的新作/近作展览方案,其中需包含另一位青年教师作为策展人为其构思的展览策划案。· 方案提交材料包括:展览题目、800字展览内容/理念阐释、参展作品图及作品信息、空间规划方案、学术/公共教育活动方案(优先面向公众、联络校外的活动)、经费预算明细、艺术家介绍与策展人介绍。(详见附件3)方案征集截止日期2023年6月1日方案实施:2023-2024年方案申请书请以PDF形式发送至邮箱:cafamprojects@163.com其他方案申报的说明1.  可同时申报两类项目;2.  申请人需为45周岁以下的美院教职工;3.  如对方案申报有其他问题,请联系美术馆刘老师18810678837。附件:附件1. 展厅平面图附件2. 团体项目方案申请书附件3. 个人项目方案申请书附件下载链接:https://pan.baidu.com/s/1KyDrr_zbEGzQPntOPxQDaw提取码:cafa锐角——策展培育计划点击图片查看详情主办:中央美术学院美术馆地点:中央美术学院美术馆 一层公共空间“锐角”展览现场
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“图示新探”系列学术讲座 第三讲 | 吴雪杉—革命开端:周令钊《五四运动》的“历史书写”

2023-05-04

“图示新探:延安文艺座谈会讲话与现实主义艺术”系列学术讲座以中央美术学院美术馆的藏品和展出过的作品为聚焦点,围绕1942年毛泽东同志《在延安文艺座谈会上的讲话》对艺术创作与艺术研究产生的影响展开,譬如:文艺创作方向的转变、创作主题的变化、创作中对于人民群众形象的表现、历史史实与艺术表达的关系等等。该系列学术讲座尝试从一系列与中央美术学院美术馆相关的具体作品出发,探讨毛泽东同志《在延安文艺座谈会上的讲话》对中国美术创作新的图示创造的推动、对中国文艺理论研究等方面所产生的深远影响。本系列学术讲座的第一期将分为五讲,分别邀请殷双喜、于洋、吴雪杉、杨灿伟和李垚辰五位专家进行讲座,讲座主题包括王世廓的《改造二流子》、周令钊的《五四运动》、宋步云的《北平解放》、延安版画与鲁艺木刻工作团和袁运生的《水乡的记忆》。本系列学术讲座由中央美术学院美术馆直属党支部主办、中央美术学院壁画系直属党支部和中共北京市朝阳区高碑店乡半壁店党总支部委员会联合主办,美术馆直属党支部书记韩文超担任主持。CAFAM2022-2023年度专题学术活动“图示新探:延安文艺座谈会讲话与现实主义艺术”系列讲座第三讲革命开端:周令钊《五四运动》的“历史书写”主办:中央美术学院美术馆直属党支部主持人:韩文超(中央美术学院美术馆直属党支部书记)主讲人:吴雪杉(中央美术学院教授)时间:5月5日(周五)14:00-15:30地点:中央美术学院美术馆学术报告厅周令钊《五四运动》布面油彩 155×236厘米 1951 年 曾于2019年在中央美术学院美术馆举办的《为新中国造型——周令钊先生百岁艺术展》中展出周令钊的油画《五四运动》(1951)以游行学生与军警冲突为中心,体现出1950年代初期关于五四运动的历史认知。一些存世的历史照片可能对周令钊的创作有所启发。而在完成之后,这一油画作品又为后续相同题材的主题性创作提供了图式,成为其他艺术家效仿、修正的对象。| 主讲人介绍 |吴雪杉毕业于中央美术学院美术史专业,2003-2015年任教于中央民族大学,现为中央美术学院人文学院教授。研究领域为中国美术史,近年尤致力于中国现代艺术史及视觉文化研究。“图示新探:延安文艺座谈会讲话与现实主义艺术”系列学术讲座主办:中央美术学院美术馆直属党支部召集:韩文超执行:刘希言、李垚辰、胡晓岚、闵志伊
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2023中央美院毕业季丨核心大戏第一幕——研究生毕业展今日启幕

2023-05-01

2023中央美院毕业季5月1日正式启幕。作为中央美院毕业季核心大戏第一幕——2023中央美术学院研究生毕业作品展今日同期开展。
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预约通道即将开启 | “蔚然生长:2023中央美院毕业季”5月1日绽放

2023-04-29

在这播种希望、描绘锦绣的季节里,我们即将于2023年5月1日迎来“2023中央美术学院毕业季”。与此同时,中央美术学院美术馆官方小程序正式上线,4月30日上午10点,线上预约购票通道开启。
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“图示新探”系列学术讲座回溯(第二讲)| 杨灿伟:开辟新路——鲁艺木刻工作团的活动维度及相关问题

2023-04-28

“图示新探:延安文艺座谈会讲话与现实主义艺术”系列学术讲座,由中央美术学院美术馆直属党支部主办,计划从一系列与中央美术学院美术馆收藏与展示的具体作品出发,围绕1942年毛泽东同志《在延安文艺座谈会上的讲话》对艺术创作与艺术研究产生的影响展开,譬如:文艺创作方向的转变、创作主题的变化、创作中对于人民群众形象的表现、历史史实与艺术表达的关系等等,以此进一步探讨《在延安文艺座谈会上的讲话》对中国现代美术创作中新图示的创造以及中国文艺理论研究等方面所产生的深远影响。本系列学术讲座在第一期拟举办五讲,邀请殷双喜、杨灿伟、于洋、吴雪杉和李垚辰等美术史学者主讲,主题包括王式廓的《改造二流子》、延安版画与鲁艺木刻工作团、宋步云的《北平解放》、周令钊的《五四运动》和袁运生的《水乡的记忆》等。系列讲座的总召集为中央美术学院美术馆直属党支部书记韩文超。2022年12月28日由《美术》杂志责任编辑、艺术学博士后杨灿伟开启第二讲,主题为“开辟新路——鲁艺木刻工作团的活动维度及相关问题”,此次讲座为中央美术学院美术馆与中央美术学院版画系直属党支部联合主办。| 主讲人介绍 |杨灿伟中国艺术研究院美术学博士、清华大学艺术学博士后、中国美术家协会会员、中国文艺评论家协会会员、现任职于中国美术家协会《美术》杂志社;多篇文章发表于《美术研究》《美术》《装饰》《美术观察》等核心刊物,曾入选由中国美术家协会主办的“全国美术高峰论坛”“青年美术论坛”并获入会资格奖(最高奖);出版有《张仃中国画研究》一书;研究方向为中国近现代美术史与当代艺术批评。| 讲座内容 |讲座伊始,美术馆直属党支部书记韩文超对本次讲座的开场环节进行主持。首先,韩文超书记接着对此系列学术讲座的目的与背景进行了简要说明。举办此次系列学术讲座的缘起是为了纪念1942年毛泽东同志《在延安文艺座谈会上的讲话》发表八十周年。举办系列讲座有两个目的,一方面是希望对重要馆藏和已展出重要作品进行一次新的聚焦和讨论,另一方面,也希望以作品为出发点,与诸位学者一起探讨对于中国现代美术创作中新图示的产生以及文艺理论研究等方面所产生的深远影响。同时,此系列学术讲座还有两个背景:一是在二十大胜利闭幕之际,全党全国全行业全系统正在掀起学习二十大的热潮。二是美术馆作为我们学校的窗口和平台单位,富有弘扬和展示美院优秀作品、优良传统、传播优秀文化、普及大众美育的责任和使命,美术馆支部也将此次系列讲座作为学校层面的二级党校和党员教育的一个公共平台,共享教育资源,联学共进。今天线上参会的观众除了央美美术馆、版画系支部的全体党员和部分师生员工以外,还有来自其他兄弟院校的师生,增加了讲座的传播效能,从而实现知识共享。讲座由美术馆直属党支部书记韩文超主持在介绍了“图示新探”系列学术讲座第二讲的主讲嘉宾杨灿伟老师和主讲内容之后,韩文超书记对版画系直属党支部书记孔亮、副书记孙亚南的大力支持表示感谢,并对杨灿伟的讲授表示欢迎。接下来,杨灿伟开始了本次讲座的讲授。他首先对讲座内容的研究缘起进行了简要说明。2020年12月,中央美术学院美术馆举办展览“站在人生的前线——胡一川艺术与文献展”。当时杨灿伟受邀参与了展览专题研讨会,针对胡一川个人创作的转向问题进行探讨与思考。2021年他继续沿着这一研究思路,将研究范围扩展到整个延安鲁艺木刻工作团的活动维度,进一步梳理其中的历史细节,最终撰写以《开辟新路——鲁艺木刻工作团的活动维度及相关问题》为题的文章,发表于《美术》杂志的2022年第五期。讲座现场成立于1938年底的鲁艺木刻工作团,通过举办流动展览、创作连环画与套色版画、出版《敌后方木刻》、创建木刻工场等活动,为木刻在敌后方的发展开辟新路。从新兴木刻此前的“启蒙者”到成为敌后方的革命战士、文艺工作者,工作团充分尊重群众意见,认真反思创作,找寻艺术发展规律,所做的一系列活动已然超脱了一般艺术团体的视野与能力所及的范畴。其活动实践,既是中国木刻从“拿来主义”到民族化、大众化的落实与见证,也是阐述普及与提高之间密切关联的先声与典型。本次讲座将力图厘清工作团的相关问题,剖析该组织多维而丰富的活动实践,结合其时工作团在前方与后方的不同评价,探析其普及工作与大众化探索所具有的前瞻意义与学术价值。在延安文艺座谈会召开与毛泽东“讲话”80周年之际,回溯工作团作为延安文艺普及工作“轻骑兵"与"先行者"的时代意涵,无疑有着重要的学术意义。讲座的第一部分围绕鲁艺木刻工作团的成立背景与基本情况展开叙述。作为延安时期最早进行普及工作与艺术大众化探索的艺术组织之一,鲁艺木刻工作团以对新年画的开拓性实践而为学界所熟知。工作团“先后在晋西北、晋东南、冀西、冀中、冀南、鲁西北各抗日根据地流转。停留时间最长是在晋东南根据地"。讲座中,杨灿伟将鲁艺木刻工作团的成立分为以下两个阶段:第一阶段为“轻骑队”——从木刻研究班到木刻工作团,第二阶段为工作团工作的初步建立——汇入《新华日报》(华北版),此外,杨灿伟还针对工作团分期情况的时间节点进行了史料考证与分析。鲁艺木刻工作团的成立背景与基本情况讲座的第二部分聚焦到更具体的研究问题,即工作团的活动维度,杨灿伟从大量史料出发,就工作团举办的流动展览、主要创作活动、出版物《敌后方木刻》、木刻工厂、宣传画共五个维度展开了全面介绍:工作团不仅多次举办流动展览;同时在展览中搜集老百姓的真实感受,吸收宝贵经验,检审观念与思路,革新木刻创作;他们曾进驻于《新华日报》(华北版),不仅刻制报头,还创办副刊《敌后方木刻》,刊载木刻作品,阐发理论思考,更成为当时敌后方唯一木刻刊物;为了提高印制效率,增加产量,同时培养更多走向前线,服务抗战所需宣传的美术人才,工作团在敌后方多地创建木刻工场……总体而言,这些工作团的活动维度与主要工作,均与木刻的普及工作紧密相连,其实质直指大众化的具体落实。左图:苏晖《街头画展》1947年;右图:胡一川《到前线去》1932年表现“军民合作”题材,在工作团创作上占有重要篇章。其中胡一川的《军民合作》(1940)曾在1941年的延安鲁艺被予以广泛讨论。在这里,胡一川立足于简洁的线条、明快的颜色、梳朗的画风而进行创作,无论是单线条还是少量颜色的运用,抑或是摈弃了场景的描绘,均可看出胡一川画风作出的巨大改变,与此前创作相差甚远。与之形成联系的,有罗工柳的一幅插图,形象地刻画了老百姓对胡一川《军民合作》进行品头论足的场景,或可一窥胡一川作品的当时情境。与胡一川《军民合作》主要描绘主体人物不同,邹雅的《进出宣传》(1940)以人与环境的结合作为塑造方式,以"门中有门"的形式刻画了一个士兵们与村民站在门框前进行宣教的场景。该画面有两个门框,一是画面外围的轮廓造型,二是画面中间的具体门框,观者随着视线的深入则会注意到横批的“军民合作”标识,由此点名主题。左图:鲁艺木刻工作团(胡一川)《军民合作》套色木刻  36.8*32.3cm  1940年 中国国家博物馆藏,曾在中央美术学院美术馆2020年举办的“站在人生的前线—胡一川艺术与文献展”中展出。右图:邹雅 《进出宣传》 1940年左图:鲁艺木刻工作团编《敌后方木刻》1939.7.1创刊号右图:《晋南东抗击日本侵略者》鲁艺木刻工场印制讲座的第三部分进一步探讨了延安木刻工作团所在的时代背景,一方面针对前两部分的内容进行了回顾与总结,另一方面进一步窥探了延安文艺座谈会前后的真实情境。如前所述,鲁艺木刻工作团做的是普及工作,走的是"大众化"道路,具体而言,其中更多的是思考、尊重人民群众(主要是士兵与农民)的审美水平与接受程度而进行的木刻“通俗化”问题。但是,艺术创作既要避免“通俗化”,又要推进“民族化”、“大众化”进程的悖论情境与理想化目标,恰恰在1942年毛泽东《在延安文艺座谈会上的讲话》发表之前的不少延安文艺工作者之中普遍存在。甚至,“前方”作普及,“后方”搞提高,成为革命时期解放区美术发展中的一段缩影。这也成为胡一川1941年6月回延汇报工作团工作而“遇冷”的重要语境。1940年,朱德主持“前方文艺座谈会”,八路军政治部主任陆定一做报告,号召大家向工作团学习。既往研究尽管多有提及工作团在当时的延安如何“遇冷”,不受重视,但相关细节鲜有披露。对此,杨灿伟通过日记、文章、会议内容等一系列文献资料表明,事实上,延安文艺工作者甚多,对“民族化”、“大众化”(包括对民间形式的利用)乃至“普及”与“提高”之间关系的理解不尽相同,非“闭门搞提高”一言可概括。胡一川《不让敌人通过》1943年对于工作团快速配合政治宣传,反映现实生活的表现,两次座谈会均表示认可,但在民族化、大众化与如何利用旧形式(民间形式)问题上存在较大分歧。对此,第一次座谈会上的与会人员多是从线条与色彩两方面进行评述。事实上,工作团为了使作品画面更为明朗,以被广大群众所接受,其主要创举就是单线条与色彩的运用,但是,在两次座谈会记录以及同时期相关评论可见,对工作团减少来自西洋影响的明暗法而借鉴使用传统中国画中的单线条表现,批评居多,肯定的少。而色彩运用方面,对套版技术的应用丰富了木刻表现力而受到肯定,不够真实甚至走向低俗的审美趣味则受到了批评。为让观众更好地理解此时木刻版画的图示语言,杨灿伟以胡一川、夏风、罗工柳、黄山定、刘韵波、邹雅等人的作品为例进行分析。讲座现场除此之外,杨灿伟通过分析文献资料中其他"五花八门"的批评话语,反映出此时的延安文艺工作者偏重于提高而不重视普及,对于民间形式、对于人民群众的审美趣味不够重视,甚至于有着"抗拒"的现象。对此,胡一川提出批评,对工作团的普及工作在延安不受重视、遭受冷落发出了申辩与回击,更可看出前后与后方,工作团与多数延安文艺工作者,在艺术理念与审美标准上存在的巨大错位。所幸这种“错位”仅是暂时的。随着1942年5月延安文艺座谈会的召开,随着毛泽东清楚阐发了普及与提高这一对重要命题的密切联系,工作团的实践意义得以凸显,其历史坐标得以矗立。讲座的第四部分即最后一部分,杨灿伟对工作团的认可与影响进行了简要总结。他以胡一川 《牛犋变工(队)》 为例,又引用叶圣陶在《抗战八年木刻选集(1937-1945)》的序言,指出木刻艺术被认作宣传的工具,争自由的武器;是艺术品兼有工具和武器的作用,不是为了工具和武器牺牲了艺术。可以说,木刻艺术成了我国土生土长的东西,近似于传统而不承袭传统,受着外来的影响而不为影响所拘束土生土长。此外,杨灿伟老师进一步介绍分析了三本木刻选集及其代表作品,让观众体会到了工作团在前期与民众打成一片而积累的宝贵的情绪经验,以及图示语言中的民间元素与生活面貌。左图:胡一川《牛变工(队)》、彦涵《当敌人搜山的时候》、罗工柳《马本斋将军的母亲》、陈铁耕、华山的作品也被收录于《抗战八年木刻选集(1937-1945)》(中华全国木刻协会编选,1946年9月由上海开明书店出版。中图:1946年4月,新艺术社编辑、联合书店出版《木刻选集》,收延安鲁迅文艺学院美术系创作的版画52幅其中套色版画6幅。右图:1944年的《鲁艺木刻选》共有木刻作品15幅。总体而言,历时三年有余的鲁艺木刻工作团,以对木刻曾及工作的极大推进,以在木刻民族化、大众化上的卓有成效在某种程度上几成敌后方木刻的代名词。从新兴木刻此前的“启蒙者”到成为敌后方的革命战士、文艺工作者,工作团充分尊重群众意见,认真反思创作,找寻艺术发展规律,所作的一系列活动已然超脱了一般艺术团体的视野与能力所及的范畴,影响力也远不止于创作层面。观工作团在敌后的活动维度,既是中国木刻从“拿来主义”到民族化、大众化的落实与见证,也是阐述普及与提高之间密切关联的先声与典型。讲座现场讲座结束后,中央美术学院版画系孙亚南副书记对美术馆直属党支提供的学习机会,以及杨灿伟老师呈现的专业讲座表示感谢,特别提到鲁艺木刻工作团在中央美术学院版画系的历史发展中的重要意义。美院版画系的历史渊源可以追溯到1931年鲁迅先生倡导发起的新兴木刻运动,由此培养了一批具有民族觉醒意识的版画家。他们以刻刀木板为武器创作出了一系列唤醒民智和发人深情的作品,成为当时抗日战争解放战争的一股精神力量,也奠定了中央美术学院版画系的艺术基础、历史渊源与红色血脉,启发了如今我们也要始终坚持艺术创作的人民性、先锋性。版画系孙亚南副书记对本次讲座进行总结与致辞致谢文/李樱妮“图示新探:延安文艺座谈会讲话与现实主义艺术”系列学术讲座主办:中央美术学院美术馆直属党支部召集:韩文超执行:刘希言、李垚辰、胡晓岚、闵志伊
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“青春万岁——新中国美术的青年时代”将在西岸艺术中心N馆开展

2023-04-28

西岸艺术中心N馆将呈现“青春万岁——新中国美术的青年时代”,展览涵盖来自100余位艺术家的近150件作品,包含绘画、雕塑、装置等多种作品类型,通过三大展览单元,依托中央美术学院馆藏及特邀作品追溯新中国美术的发展历程,以“青春”为线索串联半个多世纪的创作灵光,为观众梳理央美所代表的中国艺术的历史与未来。作为西岸文化艺术季·2023春夏重要展览项目之一,该展览将于2023年4月30日对公众开放,并持续展出至2023年9月3日。此次展览聚焦于新中国美术的“青年”时代。作品涵盖自新中国成立以来近半个多世纪,中央美院美术馆藏历任教师青年时期作品,以及历届优秀毕业生创作留校精品的梳理和研究。这些作品无疑构成了新中国以来美术史各阶段成果中不可或缺的组成部分。展览的三个单元除了延续馆藏经典20世纪作品作为展览的主体,同时还带来新媒体艺术特别单元和上海特别单元,在艺术史、地域性与媒介多样性的多重脉络下探求“青春”的多维涵义。“一个时代的性格,是青春代表的性格”展览标题中的“青春”不仅指涉一种人生阶段,也意指一种精神写照。“青春”代表朝气蓬勃的创作热情,也反映新中国美术在不断奋斗中探索的时代特征。如马克思所言,“一个时代的精神,是青年代表的精神;一个时代的性格,是青春代表的性格”。此次展览经典单元中,精选中央美术学院美术馆藏八十余件艺术家青年时期的代表作品,回顾20世纪下半叶各时期,中央美术学院师生的重要创作成果,展现富有青春活力的时代画卷。其中不乏许多日后的成名艺术家将他们艺术发展历程中关键性的“代表作”或“成名作”留在了属于美院的一段青春岁月,为新中国美术史书写着“青春”注脚。詹建俊,《起家》,布面油彩,1957,中央美术学院美术馆藏杨力舟、王迎春,《黄河组画之黄河在咆哮》,纸本设色,1980,中央美术学院美术馆藏随时光,梳理“青春”的脉络此次展览作品以1949年为始直至当下,系统梳理了新中国美术途经的不同阶段,同时延伸至当下的艺术创作,这批馆藏精品在一定程度上体现了中央美院自新中国成立以来进半个世纪的艺术教育轨迹及成果。老一辈艺术家如艾中信、戴泽、黄永玉、李天祥、侯一民、詹建俊、闻立鹏、靳尚谊、妥木斯、朱乃正等,在20世纪50、60年代践行新中国的文艺思想道路,现实主义和浪漫主义的美术在特定的新中国历史环境中,表现在对新的伟大历史的歌颂以及对新中国建设的激情、对劳动场面的关注、对未来的光明憧憬。黄永玉,《大伙的食堂》,木版套色,1960,中央美术学院美术馆藏李秀实,《晨》,布面油彩,1961,中央美术学院美术馆藏孙景波、韩国榛、杨飞云、王沂东、吴长江等艺术家作品在新的历史阶段呈现出新一代青年艺术家对现代性的向往,其创作手法开始了从现实主义到现代主义的过渡。对于青春记忆的勾勒和自我觉醒的表达在这一阶段的创作中逐渐显现。苏新平,《寂静的小镇之一》,石版单色,1989,中央美术学院美术馆藏向京,《护身符》,石膏、铜,1995,中央美术学院美术馆藏徐冰、隋建国、陈文骥、苏新平、刘小东、喻红、方力钧这些仍活跃在当代艺术领域的艺术家自“85美术运动”肇始,在20世纪80、90年代以青春实验的姿态将理想主义的光辉撒在新艺术的历史舞台。纯粹的艺术语言和个人符号帮助艺术家实现自我身份的重建。“青春”,不止于此如果说新中国美术以精神方式谱写了青年艺术家的青春朝气,以视觉方式呈现出新中国直至世纪之交的时代氛围,那么着眼当下,“青春”的边界仍被置于不同的维度而拓宽着。本次展览以“青春”为题,增添了“上海特别单元”,组织了在上海生活创作的来自央美的青年艺术家参展,包含李戈晔、王颉、陶大珉、赵一浅、朱佩鸿、杨牧石、史成栋等,展出他们饱含鲜活时代气息的最新创作。展览以此与上海这座城市产生连接,并试图通过这些作品,观察当下艺术创作的最新面貌,体会新时代最新的青春韵律在上海这片热土的生发。丁阳,《路在脚下》,纸本设色,2020,作品由艺术家提供史成栋,《退潮》,布面油彩,2019,作品由艺术家提供赵一浅,《MOON》,布面油彩,2016,作品由艺术家提供在“新媒体艺术特别单元”,展览则是以媒介的角度而介入,在艺术与科技碰撞出的火花之间,寻找“青春”的更多可能性。本展览单元展出毕业于中央美术学院的9位艺术家的作品,并以缪晓春、冯梦波、费俊、王郁洋、田晓磊、张文超、柳迪为例,同时展出其早期与近年作品,希望能够使观众得以一窥这些艺术家作品的“青春面孔”,从中感受他们在那时那刻的艺术选择与艺术追求,也更好地理解其艺术面貌的发展渊源。由他们不同时期作品所形成的个案呈现,“缩影式”地反映了时代更迭下中国新媒体艺术创作的探索之路。缪晓春,《无始无终》,三维电脑动画,2011-2012,作品由艺术家提供王郁洋,《断言》,紫铜、不锈钢、铁、木材,2013,中央美术学院美术馆收藏(扫码开启青春之旅)“青春万岁——新中国美术的青年时代”展览日期2023.4.30 - 2023.9.3周二至周日10:00 - 17:00展览地点西岸艺术中心N馆主办单位:中央美术学院美术馆、中央美术学院科技艺术研究院、上海西岸文化产业投资发展有限公司承办单位:上海东湖富吉达投资有限公司、中鸿创艺(北京)文化发展有限公司协办单位:新媒体艺术基金会学术支持:中央美术学院项目支持:上海尼克与吉姆文化创意有限公司 深圳光峰科技股份有限公司 21 STUDIO数藏合作:爱奇艺数藏平台总策划:范迪安学术主持:邱志杰艺术总监:张子康学术顾问:王璜生策展人:高高 李垚辰视觉总监:纪玉洁参展艺术家经典单元艾中信、俞云阶、戴泽、黄永玉、林岗、高虹、伍必端、李天祥、钟涵、邓澍、侯一民、杨先让、汪诚义、詹建俊、马常利、闻立鹏、蔡亮、妥木斯、李秀实、宋源文、顾祝君、徐启雄、潘世勋、靳尚谊、朱乃正、谢立纲、赵瑞椿、高泉、袁运生、朱振庚、王维新、广军、周思聪、葛鹏仁、贾又福、楼家本、谷钢、张颂南、谢志高、杨力舟、王迎春、胡勃、许彦博、韩国榛、孙景波、阿布都·克里木·纳斯尔丁、汤沐黎、戴士和、聂鸥、高荣生、杨春华、华其敏、丁一林、吴长江、陈文骥、曹力、杨飞云、徐冰、王沂东、田黎明、史国良、隋建国、龙力游、袁武、苏新平、王华祥、林延、金日龙 、展望、张路江、王玉平、刘小东、王颖生、方力钧、喻红、马晓腾、唐晖、毛焰、向京、瞿广慈、夏俊娜、彭瑀新媒体艺术特别单元朱迪斯·道尔、缪晓春、冯梦波、费俊、刘正奎、王郁洋、许晨阳、田晓磊、张文超、柳迪、苏永健、吴凡、王瀚偲上海特别单元李戈晔、王颉、陶大珉、司建伟、胡冰、赵一浅、王玮洁、范墨、朱佩鸿、丁阳、董亚媛、杨牧石、史成栋、李智敏、赵一霖关于西岸艺术中心N馆西岸艺术中心N馆由原上海飞机制造厂机库改造而成,位于龙腾大道丰谷路口,是上海徐汇滨江“西岸美术馆大道”的核心文化场馆之一。西岸艺术中心N馆总建筑面积9000多平方米,由日本知名建筑师藤本壮介担纲设计,项目改造过程中保留了机库的原有结构和外观,其基本设计是希望在维持原有的老机库风格基础上,通过对青葱树木和明亮开放型玻璃厅的规划利用,重新设计建筑空间以适应文化艺术展览活动的需求。在尊重历史的前提下,历经变革的老机库兼具视觉冲击力与历史沧桑感,而新建的玻璃大厅则让其充分体现亲和力,二者融为一体,是当代建筑史上新老融合的代表作之一。2012年,印尼爱国华侨、收藏家余德耀先生秉持着“将世界的目光引向上海”这一理念将上海余德耀美术馆选址于此,并于2014年正式启幕,持续带来国际重量级大展。2023年鉴于发展方向及战略规划调整,场馆以“西岸艺术中心N馆”重新启航,作为西岸艺术中心场馆群最北边的场馆,西岸艺术中心N馆将持续发挥西岸艺术中心A馆、B馆的平台动能和资源优势,三馆联合吸引优质文化活动、产业资源聚集,同时围绕西岸的四条文化线索“视觉艺术、艺术设计、戏剧表演、新媒体艺术”,不断尝试文化艺术形态和公共文化空间的新型探索,致力创造“艺术西岸”文化品牌的N种可能以及生活的全新打开方式。关于展览“青春万岁——新中国美术的青年时代”由中央美术学院美术馆策划组织,自2012年在北京首展之后,曾在武汉、石家庄、郑州、合肥等地陆续展出。此次上海站巡展在经典20世纪作品之外,增添了新媒体艺术特别单元和上海特别单元。共涵盖来自100余位艺术家的近150件作品,由三大展览单元组成,包含绘画、雕塑、装置等多种作品类型。
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共赴“艺术之约”|中央美术学院美术馆志愿者招募

2023-04-14

中央美术学院美术馆位于中央美术学院校园内,是一所集合学术研究、展览陈列、典藏修复和公共教育等功能的专业性、国际化的现代美术馆。它秉承“兼容并蓄、继古开今”的学术理念,用“智识”服务社会,致力于当代公共文化空间的建设,以全新的视野向广大公众呈现人类的艺术文明,与社会各界分享时代文化。艺术文化的传播和推广需要公众更广泛的参与,美术馆志愿者的工作是公众参与艺术的重要窗口,目前美术馆志愿者工作已开展八年有余,志愿者队伍越来越壮大,为美术馆注入了鲜活力量。作为热心社会公益事业及美术馆事业的您也一定希望能够加入到我们的队伍中,为社会美育贡献自己的一份力量。我们愿意为您搭建展示自我、服务社会的平台。中央美术学院美术馆现面向社会公开招募热心公益事业和博物馆事业的各界人士,邀请您加入我们的志愿者团队。1、您可选择的岗位    (1)导览志愿者(2)活动志愿者2、期待您符合以下资质  导览志愿者(1)热爱艺术,了解艺术的相关知识;(2)年龄18岁以上,身心健康,语言表达流畅;(3)保证志愿时长,年志愿服务时间100小时以上;服务时间:每星期二到星期日 上午 9:30-12:30;下午 13:30—16:30(请根据个人实际情况填写志愿服务时间);(4)热情、态度亲和,有服务意识,耐心回答观众提出的问题。活动志愿者(1)热爱艺术,性格开朗,有较强责任心和耐心;(2)身心健康,具有一定的语言表达能力,能够使用普通 话,具备外语交流能力和从事过志愿者服务的人员优先;(3)年龄在18至65岁(在校学生、在职教师、离退休人员优先);(4)有足够空余时间从事志愿工作。3、您需负责的工作内容导览志愿者(1)参与展前培训,了解各展览学术点,提供志愿导览服务;(2)导览资料的整理及收集,策划并组织艺术知识的普及工作;(3)建构硕博生导览团的相关整理工作;(4)根据不同年龄层进行导览心理研究与探访。活动志愿者(1)为观众提供咨询和引导服务;(2)参与公共教育项目和活动的策划与实施;(3)协助讲座、工作坊等相关活动宣传资料的整理与收集;(4)参与部门项目活动的现场工作执行;(5)协助部门材料、影像和文字等归档、编辑及整理;(6)协助完善部门及美术馆的其它工作任务。4、您将获得的专属权益   (1)对本团队一切决议和工作,有质询、讨论、建议和批评的权利;(2)在岗位确认前有表达选择服务岗位意愿的权利;(3)免费参加中央美术学院美术馆举办的各种培训学习、展览、研讨会、俱乐部等活动的权利;(4)凭志愿者证件可以免费参观展览的权利;(5)在服务期间,志愿者可以向管理部门申请免费查阅本馆资料;(6)了解和参与幕后的专业工作,可以接触艺术家、艺术品、策划人和专家学者,认识有   共同兴趣和理想的人;(7)在服务期间,可以受邀参加开幕式等特殊活动,可以享受馆内消费的折扣(具体政策制定中);(8)可以参加“志愿者活动日”——美术馆专门为志愿者设计的交流、培训和联谊活动;(9)服务期满一年且服务时长达到100小时的志愿者可向管理部门申请志愿者服务证明,并享有优先申请“美术馆实习生”的资质;(10)有申请退出志愿服务的权利。申请者应提前一个月告知公共教育部并及时交还志愿者证件。5、报名方式(1)点击“阅读原文”或访问链接:https://www.cafamuseum.org/gallery/volunteer,点击“加入志愿者”,填写《中央美术学院美术馆志愿者报名表》(2)报名时间:长期有效。报名咨询时间:每周二至周日上午09:30—12:00 下午13:30—17:30;报名咨询电话:010-64771575 / 13911159013。志愿者往期活动回顾卡塞尔文献展策展人为志愿者导览艺术家肖恩·斯库利为志愿者们导览培训美术馆之夜活动中的志愿者公共教育活动中的志愿者为观众们认真讲解中的志愿者 第二届“CAFAM未来展”:创客创客展览中的志愿者和艺术家们文/姚轶群图/志愿者海报设计/梁雯
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「未·未来」国际教育论坛开放课堂 | 设计策展的未来角色

2023-04-12

设计策展与空间叙事方向中央美术学院设计学院以全球性视野为面对当下社会未来发展战略构建教学体系,本方向立足人文社会中设计实践行为的发展变迁,聚焦在当代设计策展领域和空间叙事领域,对设计思潮进行批判与反思,对物象感知和情境体验提供研究路径。设计策展研究课程在讲授策展历史与理论发展流变的基础上,结合主题讨论与项目实践,研究已存的策展模式,同时探讨不同的策展行为,以及对策展而言什么是“当代性”,如何将其置于一个更广阔的政治、经济及文化语境之内去审视?课程通过介绍跨学科研究方法在策展领域的广泛应用,力求对策展相关议题的切入与讨论方式更加多元异质,从而以不同的视角来拓展当代设计策展的潜力与可能性。展览设计研究展览设计探讨如何将策展的观察与思考进行表达与传播。其首要目的在于对解释性区域的规划,是一种由多种专业元素构成的同步协作,并随着语言表达与视觉表现之间的对话而逐步展开的辩证过程。展览设计介于美术、建筑和视觉传达设计之间,并带有历史环境的痕迹,而当代展览的理念一直都在变化。作为构建创作者与观者之间的媒介,展览呈现了一种共享的、动态的结构,是一个各学科交叉参与的过程。展览通过参与性、互动性、过程性、暂时性、偶发性,以及高度不确定性为人们提供一种面向当下的路径。是如何利用具体的、内在的陈述模式为其观者构建意义的。中央美术学院设计学院中央美术学院设计学一级学科作为国家“双一流”建设获批学科,已经建成涵盖视觉传达设计、数字媒体艺术、公共艺术与设计、环境艺术设计、产品设计、服装与服饰设计、艺术与科技、艺术设计学、工业设计等目录内的二级学科,以及自主创设的出行创新(交通工具)设计、社会设计、设计管理、创新设计、系统设计、危机与生态设计、艺术治疗、服务设计及设计策展与空间叙事等新增二级学科。同时,在保持现有学科口径范围优势下,设计学科以对中国社会未来形态和经济模式整体研判为基础,以积极应对全球科技、经济和社会变革为契机,以培养具有中国文化立场和全球意识的顶尖人才为目标,以服务于国家重大战略举措为根本,全面深化改革和创新驱动发展。面对新时代的形势变局、产业变革、危机与挑战,深刻研读新文科建设内核,设计学院以中国高等教育发展新需求、新变化、新阶段、新特征为依据,将设计学科与现代信息技术等其他专业集群相融合,于新工科、新医科、新农科提出的新命题、新方法、新技术、新手段中,创造新方向、新标准及新价值判断,并研判后疫情时代的全球政治、经济变化,以人类既有的社会组织结构、生产与消费方式为课题研究切入点,以学科专业划分为工具与方法,构建危机意识主导的全新学科教育架构与学科资源整合平台,全面聚焦应对人类未来生存模式的思考与行动。
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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!
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