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.

: Young Experiment Project Space | “Escaping The Other World——Threshold Of Sensation And Programmed Landscapes” Is About To Open

2024-10-14

Young Experiment Project Space OrganizerCAFA Art MuseumThe "Wide-Angle ° Youth Experimental Project Space" was launched in early 2022. Adhering to the concept of promoting multi-dimensional exploration in curation and creation by young teachers of the Central Academy of Fine Arts, our museum has made the independent space on the second and a half floors of the art museum an experimental field for the creation, research and exhibition planning of young teachers. At present, the collection and selection of three-phase plans have been completed (eighteen exhibition plans have been selected).▲▲▲Escaping The Other World——Threshold Of Sensation And Programmed Landscapes展览时间：2024年10月15日—2024年11月10日展览地点：中央美术学院美术馆2C展厅开幕时间：2024年10月15日15:00开幕地点：中央美术学院美术馆学术报告厅▲▲▲In countless literary works, people make the feelings in their hearts and the scenery of the world sense, mingle, and depend on each other through the depiction technique of expressing emotions through scenery, transforming them into inner scenery and overflowing emotions. Those perceptions that are difficult to be carried in the immediate reality choose to escape and use the strange, exotic, and fictional landscapes as ideal containers.This exhibition regards itself as a "strange place", inviting the audience to start a short "escape" together, and juggle between the two concepts of "sensory threshold" and "programming landscape". Sensory threshold refers to the minimum stimulus intensity required in the process of perception, and the critical point that can be perceived or observed by subjective consciousness. This concept is applicable to all kinds of senses, and its measurement can help us understand the sensitivity and scope of human perception system. In psychology and neuroscience, researchers often use a variety of experimental methods to determine the sensory thresholds of different senses, thus gaining insight into the working mechanism of perceptual processes. The programming landscape points to a regenerative, reproducible scene created according to certain settings and rules.Nowadays, our perception is stimulated by the rapidly changing digital life, and the scenery in daily life is no longer just natural or urban scenery, but a complex landscape infiltrated by information technology and wrapped in imagination and illusion. Then, due to different viewing angles, the landscape is disassembled into different information and text fragments, which participate in the shaping of new scenery. In such a process, how do individuals deal with familiarity and strangeness, and how do they bring themselves into viewing, dissolving and reconstructing the scenery? Landscape often provides test and shelter at the same time, reflecting the relationship between people and the world challenging each other and dependent on each other. What is hidden in the depths of the spirit may be the appeasement of anxiety in drastic changes and the awe of nature and life. The exhibition gathers the works of several young teachers/artists from the School of Art and Design Management of the Central Academy of Fine Arts (Sino-French) in recent years. They all consciously used visual elements similar to codes or input some instructions to tamper with the original program in their creations, and reconstructed the landscape through different paths and different media means. After undergoing surgery, Huang Keyi brought his attention to the body into his creation. With the help of digital imaging technology, the cell tissue was generated into an unpredictable bright landscape, and the irregular shape sculpture also derived from the body structure constituted a miniature alien-shaped landscape. Zhu Rixin throws the image of a small person into the huge geographic information, and depicts the vast and distorted barren territory with precise lines as mechanically drawn. The broken Petri dish with map information is as disturbing as the failed compass.Huang Keyi《Inner Landscapes 20240814》20242分58秒VideoZhu Rixin《Relic》202130×40cm不锈钢丙烯图片由HDM画廊惠允受过长期传统中国画训练的李森以历史上的文化输入细节为线索，让传统的山水画呈现出新的面貌，又把充满随机性的创作实验机制变成了乐此不疲的日常练习，像发明了一个新的游戏。章烟朦画作中的未来人类似乎已经脱离了肉体的束缚，身体正在分崩离析，或是早已变异成为新的物种。单俊盛则用他的动态热图模型为展览带来了城市空间规划语境下的现实视角，引领我们重返当下对城市生态环境及可持续发展的思考。李森《半自由 004 Semi-free 004》202426×18cm纸本丙烯章烟朦《I Will Never Stop Loving You 我永远不会停止爱你》2020170×135cm布面油画单俊盛《能量地图 Energy Flux》2021GIF图像异境逃逸录——感觉阈限与编程风景主办单位：中央美术学院美术馆展览时间：2024年10月15日—2024年11月10日展览地点：中央美术学院美术馆2C展厅策展人：赵欣昕展览团队：黄可一朱日新李森章烟朦单俊盛视觉设计：王天宁展览助理：姚睿琳付慧迪展览协调：易玥设计统筹：纪玉洁展览鸣谢：中央美术学院（中法）艺术与设计管理学院主编 / 何一沙责编 / 杜隐珠
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: 大展开幕在即丨雕塑大系：中央美术学院雕塑学科90年

2024-10-11

丨编者按1934年，中央美术学院前身国立北平艺术专科学校设立雕塑科，雕塑专业正式确立。为回望中央美术学院雕塑学科90年发展历程，“雕塑大系——中央美术学院雕塑学科90年”展览将于2024年10月22日至11月24日在中央美术学院美术馆展出，2024年10月26日上午10:00举行开幕式。中央美术学院雕塑系90周年预告片九十岁日月如歌九十年风华已成九十载光华照耀中央美术学院雕塑系自成立至今，熠熠生辉。自前瞻探索至深耕细作，从扎实迈向多元，几代人以雕塑为史笔，勾勒国家发展之轨迹，铭记民族奋斗之历程，映照时代变迁之精神，肩负历史使命，秉持文化自觉，共同铸就了雕塑系九十年的辉煌篇章。“雕塑大系——中央美术学院雕塑学科90年”展览开幕式兹定于2024年10月26日10:00于中央美术学院美术馆报告厅举行，期待您的到来。开幕时间丨2024年10月26日 10:00开幕地点丨中央美术学院美术馆报告厅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资料来源：雕塑系
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: 邀您一起解锁“中央美术学院美术馆藏陈列 ——现代中国美术”

2024-10-09

本次陈列选取我馆馆藏20世纪中国美术作品260余件，以时间为主线，分为1900-1949、1950-1976、1977-2000三个板块，呈现了百年造型艺术的发展脉络。
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: 中央美院美术馆公益导览安排（10月8日-10月13日）| 志愿者持续招募

2024-10-09

为了艺术更广泛的普及和传播，我馆将为公众提供公益的志愿者定时导览服务。本服务无须预约，请观众按时前往相应展厅入口展览前言墙前，“公益讲解指示牌”处等候即可。美术馆导览志愿者持续招募中，欢迎广大艺术爱好者、讲解爱好者加入！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》，报名时请注明申报岗位；（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—12：30 下午13：30—17：30，报名咨询电话：010-64771575；（3）有意愿者通过网络报名等方式，经中央美术学院美术馆审核合格后，统一参加面试，面试择优录用，合格者参加志愿者岗前培训。经培训、考核合格后，将能正式成为中央美术学院美术馆志愿者；（4）志愿者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。正在展出◤01中央美术学院美术馆藏陈列——现代中国美术展览时间：2024年7月23日起展览地点：中央美术学院美术馆2层B展厅02百年辉煌·中央美术学院艺术名家大艺不言——林岗先生百岁艺术展展览时间：2024年9月11日–10月13日展览地点：中央美术学院美术馆3层B展厅03文化和旅游部“2024年全国美术馆馆藏精品展出季”入选项目从来风俗亦有诗——馆藏作品中的古今人物风貌展览时间：2024年9月10日—10月8日展览地点：中央美术学院美术馆3层A展厅04中央美术学院人文学院典藏研究“1949年第一届全国美展”作品资料典藏展展览时间：2024年9月10日—2024年10月8日展览地点：中央美术学院美术馆四层展厅052024年全国科普日系列活动固态沉积：有关矿物的存档展览时间：2024年9月10日—10月8日展览地点：中央美术学院美术馆一层展厅主编 / 何一沙责编 / 杜隐珠
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: Exhibition of CAFAM's Collection | "The Rammer's Song" - A painting more than three meters wide, showing the youth and passion of the laborers in New China.

2024-10-07

Mr. Wang Wenbin completed the oil painting "The Rammer's Song" in 1962. It is his graduation creation during his study at the art academy and also a representative work in his artistic career. It is hailed as a classic work of Chinese realistic oil painting. Before China's reform and opening up, especially in the vast rural areas, when laying the foundation for large-scale projects, it still relied on manual labor to compact the foundation. This work is called ramming.>>>>“The Rammer's Song”. Wang Wenbin. 1962. Oil on canvas. 156×320cm. Collected by the Art Museum of the Central Academy of Fine Arts.The work "The Rammer's Song" captures this typical moment of labor. The painting mainly shows rural girls singing the ramming song while ramming. In terms of composition, the artist chooses an upward-looking perspective and arranges the main characters above the eye level. The body movements of the girls form a set of radial diagonal lines, giving people a sense of ascent. At the same time, the positions of the mountains in the background are cleverly arranged below the waists of the characters, further enhancing the lofty feeling of the characters. In terms of color, the effect of external light is emphasized. Under the brilliant sunlight, the colorful clothes of the girls, through the warm reflection of the ground, appear more transparent and lightweight.In 1962, the work participated in the "New Shoots" art exhibition organized by the Ministry of Culture and immediately attracted the attention of the art circle, becoming an excellent work that reflects the times. Looking back at Mr. Wang Wenbin's "The Rammer's Song" many years later, the vigorous vitality revealed in the picture still moves everyone. This work has also become one of the artworks that can best represent the construction of New China.>>>>Exhibition of the Collection of the Art Museum of the Central Academy of Fine Arts——Modern Chinese ArtExhibition Dates: From July 23, 2024Exhibition Venue: Exhibition Hall B on the second floor of the Art Museum of the Central Academy of Fine ArtsSponsor of Professional Exhibition Lighting:AKZU (Shenzhen AKZU Lighting System Co., Ltd.)Consultant of Exhibition Space Architectural Design:China Academy of Building Research.Editor-in-chief / He YishaResponsible editor / Du Yinzhu
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: Great art is beyond words. Pang Jun: "Lin Gang learns like a blank sheet of paper."

2024-10-06

The large-scale retrospective solo exhibition of Mr. Lin Gang, "Great Art is Beyond Words - The Centenary Art Exhibition of Mr. Lin Gang," is currently on display in Exhibition Hall B on the third floor of the Art Museum of the Central Academy of Fine Arts. This exhibition showcases nearly 200 works by the renowned oil painter Mr. Lin Gang, completely presenting his artistic achievements. In 2024, the People's Republic of China welcomes the 75th anniversary. As the first generation of oil painters cultivated by New China and one of the first batch of outstanding professors of the Central Academy of Fine Arts, Mr. Lin Gang has always been at the forefront of the changes and development of the times. His artistic creation experience is an important sample for studying the development of modern Chinese art history.Upon learning about the exhibition news of "Great Art is Beyond Words - The Centenary Art Exhibition of Mr. Lin Gang," Mr. Pang Jun specially wrote an article recalling Mr. Lin Gang's time studying oil painting in the Soviet Union, the transformation process of his artistic style, and his profound insights into oil painting creation. From a unique perspective, it shows the style and image of the first batch of oil painters cultivated by New China who are constantly exploring and surpassing themselves.In this issue's push, we specially publish Mr. Pang Jun's "My Understanding of Lin Gang." Through Mr. Pang Jun's perspective, we can get to know Mr. Lin Gang who is always extremely diligent and learns like a blank sheet of paper. He is always at the forefront of the development and changes of the times and constantly creates his own painting language.My Understanding of Lin Gang (Excerpt)By Pang JunBefore Lin Gang went to study at the Repin Academy of Fine Arts in St. Petersburg, he had never formally received the (academic) sketch training of the Chinese Academy of Fine Arts, nor had he painted oil paintings. Due to his painting talent, in 1951, he created and painted the New Year picture "Zhao Guilan at the Gathering of Heroes". With accurate modeling, vivid characters and perfect composition, he won the first prize for national New Year pictures, which is very astonishing. He himself is a very taciturn person, down-to-earth and always extremely diligent. At that time, he was a lecturer at the Central Academy of Fine Arts in Beijing. From 1954 to 1960, he entered the Repin Academy of Fine Arts in St. Petersburg, the Soviet Union at that time and entered the studio of Yeganson. Yeganson is an important Soviet oil painter and also a leading figure in teaching at the Repin Academy of Fine Arts. It is very difficult to enter his studio. From then on, Lin Gang learned Russian traditional sketch teaching and oil painting teaching like a blank sheet of paper and achieved excellent results. Among the students who studied art in the Soviet Union in New China, he is a painter who has learned the ontology of oil painting techniques, mainly showing the skills of oil painting colors and brushwork.Zhao Guilan at the Gathering of Heroes - Sketch. Lin Gang. 1951. 19×27cm. Sketch on paper. Collected by the artist.Chairman's Sketch at the Gathering of Heroes. Lin Gang. 1951. 14×10.5cm. Sketch on silk. Collected by the artist.Sketch of a Head. Repin Academy of Fine Arts. Lin Gang. 1954. 39.6×54.5cm. Sketch on paper. Collected by the artist.In 1956, Lin Gang and other students studying in the Soviet Union returned to China to experience life and collect materials. I accompanied them to sketch and at the same time absorb their experience. According to Lin Gang's introduction, the biggest difference between Chinese and Russian students is that Russian students have been learning art since childhood and have strong painting abilities. In two weeks of sketch practice in class, they can finish it in one week. In the second week, they all don't come to class. Only a few Chinese students are left, struggling to depict... and even "work overtime" at night to fill in the background. "Grades" are ground out in this way, and they can also get a score of 5 (the highest score). The same is true for oil painting practice. Foreign students can easily finish painting in one week. In the second week, they go out to play by themselves. While Chinese students paint from beginning to end... This makes me understand where the difference in standards lies. One is to complete works by one's own strength. The other is to painstakingly and even "refer to" the excellent results of others in a high-level environment and finish painting by making changes. Although one has learned to some extent the color-mixing formula for painting white people... After returning to China, when painting yellow-skinned Chinese people, especially farmers or Tibetans, one is still at a loss. This means that one has not learned well enough and still doesn't feel good. Oil painting colors and brushwork methods are still not good. Looking at Lin Gang's oil paintings, the brushwork is relatively relaxed and intertwined with each other by pressing... He specially mentioned that oil painting cannot be replaced by sketching methods. It must be modeled with colors, with red and green intertwined. This is his only experience. He learned to appreciate and learn the techniques of the Impressionists from his teacher. His teacher Yeganson is also like this. Due to political factors, he dare not openly advocate learning from Korovin of Russia, because he is the only Impressionist painter in Russia. But everyone admires Korovin and learns from him. Yeganson always secretly looks at his works when there is no one around. This is a secret known to everyone. Lin Gang told me that his best and most admired classmate in the Soviet Union is a classmate who specializes in imitating the French Fauvist painter Marquet. Lin Gang brought back a work of his to China. It is a cityscape in gray tones, very similar to Marquet's composition. Lin Gang repeatedly emphasized: Look, the color of the water he painted seems to be the same, but from near to far, there are very subtle differences in colors, and the space is perspective. Painting oil paintings is about painting space... I also particularly love Marquet's works. This work of a Soviet classmate was lent to me by Lin Gang for 20 years. I kept looking at it every day hanging by my bedside until it was returned to its owner in 1979. I remember there is also a very small oil painting, probably only 25 centimeters. Looking closely, only some colors are piled up, and the brushwork is very "jumpy"... But looking from a distance, the houses, streets, and walking figures are all very vivid, and the space is good. Lin Gang said very modestly that he has been learning and experiencing the oil painting methods of Westerners...Colored Clouds. Lin Gang. 1959. 11×25.5cm. Oil on cardboard. Collected by the artist.When Chinese people paint oil paintings, there is always an unconscious habit, which is to carefully depict and "carve out" the shapes. While in Western oil painting methods, people always first grasp the colors by feeling and slowly present the shapes with interlaced brushstrokes.Artists cultivated in New China, including veteran cadres from the Lu Xun Academy of Arts in Yan'an: Teacher Luo Gongliu is also a person who is very sensitive to oil painting colors. He entered the Repin Academy of Fine Arts in St. Petersburg for advanced studies one year later than Lin Gang. In the Soviet Union, he copied Repin's work "Ivan the Terrible and His Son" and also copied Korovin's work: a girl sitting on the windowsill (backlit), with very good colors. He is my creative teacher and later became a good friend with a great age difference. He introduced to me a lot of his experiences with oil paintings. Neither Luo Gongliu nor Lin Gang ever talked about creative issues starting from ideology. They only talked about the artistic issues of oil painting itself. Briefly speaking, it is the importance of oil painting colors and brushwork... In particular, he mentioned that the history of Soviet oil paintings comes from France. In the era of the tsar, the nobles all spoke French and thought their own language was too rustic. They invited the French to come to Russia to establish an art academy. The professors and even the models had to be French... Later, they had their own teachers, such as Kramskoy. He specifically mentioned that Repin's colors were always not good and he couldn't paint sunlight. He went to study in France for three years. As a result, he himself said that he still couldn't paint sunlight well. Therefore, many of his creations were done indoors. In the 1950s, classmates studying in the Soviet Union, such as Ma Yunhong, Luo Gongliu, and Li Jun, all copied Korovin's works. Later, I also copied a still life by Korovin and hung it in the house, learning the method of using different colors to interlace and handle the edges to shape the forms. Ma Yunhong is also a painter who is very sensitive to colors. Classmates studying in the Soviet Union exchanged experiences with foreign classmates. What they admired were Rembrandt and Velázquez. For sketches, it was Fechin... There were photos taken from the original works printed and passed around and collected... They studied Rembrandt's transparent and translucent painting methods. Lin Gang copied Rembrandt's works. The first historical painting he painted after returning to China, "In Prison," was completely painted in a transparent method...In Prison. Lin Gang. 1961. 160×282cm. Oil on canvas. Collected by the National Museum of China.In the 1980s, Pang Tao first went to Paris for further studies. Later, Lin Gang and Lin Yan's whole family went to the United States. After about a year, he saw the huge changes in world art. Many modern and contemporary arts have a stronger visual appeal. They seem to be influenced by the theories of Kandinsky and Klee. They rethought their own painting styles and generated new desires and interests for exploration... It is the most difficult thing for art to deny itself. It must have a strong ideological foundation and willpower. Both Lin Gang and Pang Tao have changed. After graduating from the Central Academy of Fine Arts, Lin Yan went to study in the United States and naturally walked on the road of contemporary art... For Lin Gang's changes, many people do not understand and even feel some regret. In fact, Lin Gang has always been a person who can accept new things. Precisely because of this, when he had nothing about Western traditional art and went to Russia to study, he quickly grasped the learning method. From the very beginning, he accepted and mastered Western traditional sketching and oil painting methods, rather than arduously changing himself on the basis of "rustic" sketches and "rustic" oil paintings, with burdens and old habits that cannot be shed. What I observe about Lin Gang's exploration of expressing abstract and semi-abstract art is very different from that of the Western world. Generally, Westerners who paint abstract paintings are extremely individualistic, emotional, accidental, and even only pursue the accidental effects of using different materials, rather than completing works on the basis of their own skills and cultivation. Lin Gang still belongs to the thinking type, and even constantly arranges black, white, and gray in deep thought and explores compositional effects... He delights in painting many small sketch compositions...Abstract sketchIn the 1990s, Lin Gang and Pang Tao stayed in Taipei for half a year. Lin Gang was almost always holed up in a small room drawing compositions every day. His greatest interest was watching Li Ao on TV talking loudly and scolding people... He felt relaxed and happy about this free and very self-centered way. Many years ago, I once invited my good friend Ma Yunhong, who settled in Canada, to return to China at the same time for a reunion. We went to the south of the Yangtze River together for me to sketch... In Beijing, I accompanied him to see Lin Gang sitting in a wheelchair. I helped him take out his works for Ma Yunhong to see: all were abstract paintings. Ma Yunhong asked, 'Why do you paint like this now?'Lin Gang replied, 'This is how I feel now.'... In fact, he just wanted to find symbols to express his thoughts and emotions, rather than depicting reality...Contest between Blue and Black. Lin Gang. 1997. 46×40cm. Oil on canvas. Collected by the artist.About ten years ago or so, Lin Gang and Pang Tao held a two-person exhibition at the National Art Museum of China... Since they lived in the suburbs of Beijing, I booked a room at the Overseas Chinese Hotel for them. On the opening day, Lin Gang didn't go to participate. I also stayed at the hotel. When I went to Lin Gang's room, I saw him sitting in a wheelchair, staring out the window in a daze by himself. I asked him, "Are you really not going to attend the opening ceremony?" He replied thoughtfully, "You go to the seminar! You talk about the issues of oil painting..." He said to himself, "Now there are no people who paint oil paintings in the country anymore! Probably only Zhang Wenxin and Chen Beixin..." In his opinion, many paintings painted with oil painting colors are not oil paintings and cannot be considered oil painting art. He didn't have time to continue painting his new ideas. He is already one hundred years old... I think I have been marginalized and am an outsider. I didn't speak at the seminar. I only heard everyone recalling Lin Gang's teaching and the cordial and friendly relationship with his classmates... Centenary Glory · Famous Artists of the Central Academy of Fine ArtsGreat Art is Beyond Words - The Centenary Art Exhibition of Mr. Lin GangOrganizer: Central Academy of Fine ArtsUndertakers: Propaganda Department of the Party Committee of the Central Academy of Fine ArtsArt Museum of the Central Academy of Fine ArtsOil Painting Department of the Central Academy of Fine ArtsSupporters: National Museum of ChinaBeijing Artists AssociationExhibition Dates: September 11 - October 13, 2024Exhibition Venue: Exhibition Hall B on the third floor of the CAFA Art Museum Editor-in-chief / He YishaResponsible editor / Du Yinzhu
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: There is always poetry in customs. | Where does the word "poetry" come from?

2024-10-05

Selected project of "2024 National Fine Art Museum Collection Exhibition Season" of the Ministry of Culture and Tourism.There is always poetry in customs.—The styles and features of ancient and modern figures in the collection works.As a unique art form, ancient genre paintings not only have the educational function of "influencing subtly", but also show the social styles and cultural characteristics of various eras through vivid visual images. These works not only record moments in history, but also contain profound ideological connotations.This exhibition juxtaposes ancient genre paintings with modern images. Through the "poetic flavor" that runs through Chinese civilization, it shows the spiritual outlook of the Chinese people who advocate etiquette, are optimistic and open-minded, tenacious and full of cultural confidence, guiding the audience to understand more deeply the people's nature and poetic feelings in ancient genre paintings.From "This year on the night of the Lantern Festival, the moon and the lanterns are still the same" to "In July, the fire star descends. In August, the reeds are harvested." From "Thinking of the heyday of Bianjing. How many peaceful people went on spring outings." to "Catch fresh fish and go back early. Sell fish soup deep in the knotweed flowers." All endow real life with poetic imagination and emotional resonance."Poetry is an invisible painting. Painting is a tangible poem." As Zhang Shun, a writer in the Song Dynasty, said, poetry and painting in ancient culture are often closely linked. In this exhibition, we have specially made a correspondence between painting meaning and poetic lines.Now, please follow us to find the poetic lines and painting meanings in the exhibition hall.The first day of the first month is the beginning of the year. Works painted to celebrate the beginning of the new year are called "New Year's paintings". There are two common types of New Year's paintings: vase flower offerings and celebration scenes. One is still and the other is dynamic. Both are auspicious and full of good intentions. The main theme of the latter is children at play. During festivals, children play with fish lanterns, blow trumpets, set off firecrackers, pull elephant carts, play with spears, and paste door gods. This not only shows a lively and festive scene but also conveys New Year wishes such as having surplus every year and having peace and prosperity.Attributed to Qiu Ying. "New Year's Painting" (scroll). Color on silk. Ming Dynasty. Collected by the CAFA Art Museum .Gathering around the stove to offer tributes to the new year and assembling in Spring Studio. The room is filled with pepper cups and spicy dishes. Moreover, there are good friends crossing the small bridge. Letting the children make a commotion in the courtyard steps.—By Qianlong.Amidst the sound of firecrackers, the old year passes away. The spring breeze brings warmth and enters the Tu Su wine. On the day when thousands of households are bathed in bright sunlight, people always replace the old peachwood charms with new ones.—By Wang Anshi.
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: "1001 Stories--An Exhibition of Storybooks from Children of Tengchong Yunnan Province" on Display

2024-10-02

1001 Stories - Yunnan Tengchong Children's Storybook ExhibitionOrganizer: Beanstalk International Bilingual School Shunyi CampusUndertaker: CAFA Art Museum Chief Curator: Jason LiaoPlanning Team: Jason Liao, Elas Cai, Tony ZhuExhibition Time: September 30 - October 7, 2024Exhibition Venue: Arc staircase on the first floor of the CAFA Art Museum .On September 30, "1001 Stories - Yunnan Tengchong Children's Storybook Exhibition" opened at the Art Museum of the Central Academy of Fine Arts. This exhibition is a student-led volunteer activity organized by Beanstalk students Jason Liao, Elsa Cai, and Tony Zhu at the Shunyi campus. These students traveled more than 2,000 kilometers to a rural community in Tengchong to introduce the 1001 Stories project and the environmental sustainability plan of Seeds of Empowerment. Seeds of Empowerment was founded by Stanford University graduate students in 2004 and is a global educational initiative aimed at promoting educational equity.
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: National Day Holiday Opening Notice and Guided Tour Arrangement

2024-09-30

Dear audience:In order to meet the public's demand for exhibitions, the museum will open normally during the National Day holiday (October 1-October 7), and the visiting time is from 9:30 to 17:30 (admission will be closed at 17:00). Visitors can make a reservation through the "Central Academy of Fine Arts Art Museum small program".Art Museum of the Central Academy of Fine ArtsSeptember 30, 2024At the same time, the museum will provide the public with regular volunteer guided tours. Reservation is not required for this service. Visitors are requested to go on time to the front of the preface wall of the exhibition at the entrance of the corresponding exhibition hall and wait at the "public service guide sign".| On Show |01020304050607
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: CAFAM News | Our Museum Successfully Held The National Art Museum Curator Training Course On-site Teaching Activities

2024-09-29

近日，由文化和旅游部艺术司主办、中央文化和旅游管理干部学院承办的全国美术馆馆长培训班顺利开展，并于9月26日下午在中央美术学院进行现场教学活动。各位馆长莅临美术馆，进行了深入的现场教学交流。中央美术学院院长林茂出席并致欢迎辞，美术馆馆长靳军、直属党支部书记韩文超、副馆长高高等馆领导共同参加活动。林茂院长表示，在全国深入学习贯彻党的二十届三中全会精神之际，中央美术学院非常荣幸迎来全国美术馆馆长培训班的现场教学活动。作为教育部直属的高等美术学院，中央美术学院不仅专业设置全面，涵盖造型艺术、设计建筑、人文理论等十六个专业院系，更以其现代性和综合性在中国高等教育领域中占据重要地位。此次活动的举办，体现了对中央美术学院教育质量和学术水平的充分认可。中央美术学院的历史可追溯至1918年成立的国立北京美术学校，是中国第一所国家美术教育学府。在深厚的历史积淀基础上，中央美术学院积极拥抱新时代，致力于深化美术教育改革，激发美术的创造性和能动性，更好地将美术与国家社会发展实践相结合。而中央美术学院美术馆作为展示学院收藏研究、教育教学、科研创作的平台，以及对外交流的重要窗口，近年来在藏品整理、研究展示、展览活动以及美育普及等方面取得了显著成就，促进了学院与社会的互动交流。美术馆自2010年获评首批国家重点美术馆，2021年获选首批国家科普教育基地。近年来，通过专业化的管理，并且在文化和旅游部艺术司及全国兄弟单位的大力支持下，美术馆积极参与文旅部的各类项目，并在馆藏精品展出季、年度展览、青年策展人扶持项目、年度公共教育活动等方面取得了可观的成绩。去年，习近平总书记对美术馆事业未来的发展提出了新的目标和规划。沿着这一重要指导思想，中央美术学院美术馆将在未来进一步与兄弟单位携手合作，共同为繁荣美术事业和推进文化自信贡献力量。活动当天，中央美术学院教授曹庆晖为学员们进行“第一届全国美展作品资料典藏展的策划”专题教学及参观了馆内相关展览，并与各位馆长进行了深度的交流和探讨。相信在各方的共同努力下，中国的美术馆事业和展览美育事业将迎来更加美好的未来。当前展览01中央美术学院美术馆藏陈列——现代中国美术展览时间：2024年7月23日起展览地点：中央美术学院美术馆2层B展厅02百年辉煌·中央美术学院艺术名家大艺不言——林岗先生百岁艺术展展览时间：2024年9月11日–10月13日展览地点：中央美术学院美术馆3层B展厅03文化和旅游部“2024年全国美术馆馆藏精品展出季”入选项目从来风俗亦有诗——馆藏作品中的古今人物风貌展览时间：2024年9月10日—10月8日展览地点：中央美术学院美术馆3层A展厅04中央美术学院人文学院典藏研究“1949年第一届全国美展”作品资料典藏展展览时间：2024年9月10日—2024年10月8日展览地点：中央美术学院美术馆四层展厅052024年全国科普日系列活动固态沉积：有关矿物的存档展览时间：2024年9月10日—10月8日展览地点：中央美术学院美术馆一层展厅06玉·见广角——钱亮玉质媒材艺术研究展展览时间：2024年9月10日—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 / 杜隐珠现场图 / 贺伊飞
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Child Public Education Reservation Form

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Adult Public Education Event Reservation Form

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Group Public Education Event Reservation Form

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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.