CCVA与中国广州美术学院合作的中国当代艺术展《本色》将于2024年7月5日在在伯明翰城市大学艺术学院开幕，该展览由中国国家艺术基金资助，展览将持续到7月26日。
《本色：中国当代艺术中的传统文化》
时间：2024年7月5日—7月26日
开幕：2024年7月5日 英国时间 17:00—18:30
地址：英国伯明翰城市大学艺术学院马街美术馆
策展人：姜节泓
艺术家：范勃、郭工、梁绍基、刘建华、彭薇、萧昱
Spirit Matters: Traditional Culture in Chinese Contemporary Art
Date: 5th—26th July 2024
Opening: 5th July, 17:00—18:30 (BST)
Address: G20, School of Art, Birmingham City University (Margaret Street, Birmingham B3 3BX)
Curator: Jiang Jiehong
Artists: Fan Bo, Guo Gong, Liang Shaoji, Liu Jianhua, Peng Wei, Xiao Yu
指导单位：国家艺术基金管理中心、广东省文化和旅游厅承办单位：伯明翰城市大学中国视觉艺术研究中心、广州美术学院工艺美术学院Lead Institution: Guangzhou Academy of Fine ArtsPartnership Institution: Birmingham City UniversitySupervisors: China National Arts Fund, The Department of Culture and Tourism of Guangdong ProvinceOrganisers: Center for Chinese Visual Arts (CCVA) of Birmingham City University, School of Arts and Crafts of Guangzhou Academy of Fine ArtsChief Planner: Song GuangzhiAcademic Advisors: Hu Bin, Qi ZheExhibition Coordinator: Chang Xiaoqiong在过去的20世纪中，中国经历了巨大的社会和政治变革。 从 20世纪50 年代开始，中国的主要城市都纷纷开始工业化的进程，历史建筑和老城格局都在这股革命性的社会浪潮中朝不保夕，遭到忽视或破坏；20世纪60 年代下半叶开始的政治动荡又让无数传统文化遗产遭受了史无前例的重创。自1978以来，随着改革开放政策的实施，中国经济腾飞，西方文化逐步渗透到中国人的日常中，领向一种“国际化”的生活方式。 与此同时，传统被反复中断和割裂，造就了一个切片式的现实。 在这种饱含文化焦虑的独特境况中，当代艺术当仁不让地扮演了一个先锋角色，以批判性的视角来拷问当下的同时，并通过艺术实践上的种种努力，与那个似乎近在咫尺却又遥不可及的“传统”重修好合。2018年秋天，作为英国利华休姆基金会研究项目《日常传奇》，我们在伯明翰艺术学院策划并主办了一场同名的当代艺术展。 继该项目成功之后，我们携手广州美术学院，延续了在当代艺术语境对中国传统文化的遗赠和缺失的探讨。 本次展览中六位参展中国艺术家范勃（生于 1966 年）、郭工（生于 1966 年）、梁绍基（生于 1945 年）、刘建华（生于 1962 年）、彭薇 （生于 1974 年）和萧昱（生于 1965 年）分别以绘画、装置和录像作品，聚焦于“物” ——即植根于或附着于中国传统文化的物质材料。在他们的作品中，六种不同的“物”——陶瓷、丝、竹、纸、草药和木材——分别以不同的审美品质和象征意义，作为“中国材料”，在当代艺术实践中被重新诠释和延展。作为中国最古老的工艺材料之一，陶瓷已成为刘建华艺术生产中的语言。当这种材料成为一种语言时，这个语言不仅仅建立在其物质性和工艺性，即这种语言的“词汇” ——或简单，或复杂，或华丽，或朴素；同时，它也界定了制作过程，一些非物质层面的、方法上的规则，即“语法”。刘建华的装置作品不起眼，看似就是二十来堆的“沙子”。作为中国城市化进程中是最常见的材料之一，沙子在铺天盖地的建筑工地上比比皆是。它们就像那些通常所见的建筑材料堆放在那里——原始而廉价。然而，刘建华的“沙堆”实质上并不是沙，而是陶瓷；不是有待使用，又将最终消融于城市建筑中不见自身的踪影的原材料，是已然通过传统烧制技术而制成的完成品，而沙堆，这样一个最为朴素的自然的存在方式便是作品的完美造型。
刘建华，《沙》，陶瓷、耐火材料，340x271x20 cm， 2012-2019
Liu Jianhua, Sand, ceramic and fire-proof material, 340x271x20 cm, 2012-2019梁绍基追溯到东方纺织的起源，回到其基本的构建单位——丝，这个可以与开启中国古代文明相提并论的物质发现，作为他的语言。从1989年开始，艺术家潜心饲养和训练蚕虫，以生产蚕丝这种有机材料进行艺术创作。而他在传统文化和当代生活上的哲学思考往往都基于对蚕丝的质感和物理特性的理解，并通过与这些卓越非凡的蚕虫的私密沟通中表达出来。梁绍基的作品系列《平面隧道》可谓是对古代丝织工艺的一次致敬。出土于西汉时期（公元前202年至公元后9年）马王堆一号墓素纱单衣是存世年代最早的汉代服装珍品，仅重49克，薄如蝉翼，轻若烟云，叹为观止。艺术家在掌握了蚕的生物钟及其吐丝运动的摆幅、蚕在形体边缘堆丝的规律之后，通过他的蚕虫创作出了轻盈透明的圆形丝箔。对于梁绍基而言，这些蚕虫是他艺术生产的合作者，是这一场跨越千年对话的信使，也是建设这条“时间隧道”的能工巧匠。梁绍基，《平面隧道》，蚕丝，直径 145 cm × 3，2011年至今
Liang Shaoji, Planar Tunnel, Silk, 145 cm (at diameter) × 3，2011-Present自宋代（公元960年至1279年）以来，竹子一直受到文人雅士的青睐，并成为他们绘画和诗词作品中承担重要角色。 在萧昱的作品中，竹子是核心，不仅作为主题本身，还作为主要工作材料建立一个新起点，来进一步探索直觉和身体感知。在他的作品中，这种坚固而有韧性的植物经受着某种人为力量弯折，扭曲变形，直至其材质的忍受极限。 2015年的影像作品《想太多就会…3号》展示了一根笔直的成熟竹杆——从头到尾的粗细均匀，坚实而稳固。在极其缓慢的镜头中，竹子逐渐开始颤抖。随着被不明强大外力的加剧，它被绞绕，被扭拧，被破裂，并被粉碎成离散的纤维。直到一个关键时刻，扭曲力量发生逆转，仿佛竹子又可以重新得力，让受伤的得抚慰，让破碎的得修复。萧昱，《想太多就会……3号》，视频（25分钟），2015
Xiao Yu, Thinking too much that...No. 3, video (25 min), 2015在范勃2021年的绘画系列《复相·变异》中，中草药携带着其文化和哲学意义被用来融合东方和西方对当下现状的理解。艺术家摒弃了他多年训练获得的熟练精湛的绘画写实技术，而画布变成了一张张放大了的草稿簿页面——有涂鸦的公式、有即兴的笔记和数据，也有速写的人体器官。经历了全球疫情，这些生物科学的符号和图像来自于艺术家的反思——对于疾病的恐惧、生命的脆弱、世界的不和、人类未来的不确定性，同时也所流露出这个反思过程中混乱、犹豫、怀疑、悲伤和痛苦。面对着充满悲悯与冲突的当今社会，范勃的绘画中所运用的草药不再是一种来自东方神秘国度的治疗方法，而是一位文化大使，是一场外交谈判，或是一次为人类和平祈福的祷告。范勃，《复相·异变》，麻布综合材料，150×120 cm ×4，2021
Fan Bo, Heterogeneous Images: Mutation, mixed media on linen, 150×120 cm each (four panels), 2021彭薇自幼接受了中国传统绘画和书法的训练，而纸则是支撑和展示艺术表达的重要材料。纸诞生于中国东汉时期（公元25年至220年），承载着千年历史。在她的绘画装置系列中，艺术家邀请我们重温历朝历代的日常生活，描绘了各样古色古香的建筑、文人花园、亭台楼阁，以及身着传统服饰的男男女女，犹如在卷轴绘画中游历。然而，彭薇的作品并不是卷轴的形式，而是用于服装展示的半身女性人体模型。在这些绘制的女性“身体”，观者可以阅读到有故事的场景，有意味的空间，有传奇的世代。在彭薇的实践中，传统工艺制造的纸张首先粘贴到选定的人体模特上，光滑的或是皱褶的，并在那个“身体”的“皮肤”上作画，干燥后再从半身像上取下来，金蝉脱壳。于是，纸作为一种物质媒介不仅被用作绘画的载体，也被用作雕塑的材质，完成了一次从二维到三维空间的穿越。虽然人体模特是一个假的身体，但彭薇的纸张装置却成为一个假的人体模特，展示她想象中的世界，精致、典雅、空灵——一个远离尘世，超凡脱俗的所在。彭薇，《楼阁》，麻纸水墨（绘画装置），30×39×14 cm，2010
Peng Wei, Celestial Palace, ink on flax paper (painting installation), 2010在这个展览中，郭工确实展示了一幅卷轴。然而，他的卷轴并不是用纸做的，而是由一棵松树的树干制成的。通过一系列精心艰苦的制作过程，树干从表皮开始被一台大型机器一层又一层缓慢地剥开，像是一场无与伦比的折磨，而实施者总要探究和查验所有可能的隐秘之处。当整块树干展开后，一览无遗——那是一卷超过五米长、不到半毫米厚的木片，除了自然的木质纹理之外无声无息，权当作为一种决绝的表态。在郭工的另一件作品中，木头可以摇身变为“金属”。艺术家收集了城市建筑工地的一些废弃变形的钢筋，然后，以最精密娴熟的工艺用紫光檀木忠实地一段接一段地复制了整根钢筋的扭曲形态，看似几乎无缝衔接，寸寸为艰，丝丝入扣。在上述的两件作品中，木成了某种特殊的文化精神和气质的代言人。如果前者彰显了一种开放、自信、诚实和无所畏惧的话，那么后者则暗喻了善于共情、坚忍和有韧性的人性品质。郭工，《一棵树—卷轴》，树木、硅胶，143x12x550 cm，2016
Gus Gong, A Tree—Scroll, wood and silicone, 143x12x550 cm, 2016对我们的艺术家们来说，重要的不仅仅是材料本身或是其成就的视觉语言，还包括他们艺术实践的方法和路径。更重要的是，通过作品的创作和生产，这些材料超越了物，在当代语境中回归和复兴文化传统，借此延伸了既定的审美想象并材料的物质形态以外的精神力量。
Throughout the 20th century, China experienced dramatic social and political transformations. During the 1950s, a wave of major cities were industrialised, and during the latter half of the 1960s and into the 1970s, historical architecture and cultural heritages were severely neglected or destroyed. In particular, the late 1960s provided an extraordinary example of political mobilisation directed against material and cultural vestiges. Soon after, the Open Door policy (1978) instigated economic reform, while Western culture began to permeate once again into everyday Chinese life, initiating a gradual ‘renovation’ towards an ‘internationalised’ style of living. Today, in China, the traditions of arts and craftsmanship have been interrupted. The consequence of this unique situation is a state of cultural anxiety, whilst contemporary art stands in a pioneering role taking the challenges through critical reassessment, as well as through their endeavour of reconnecting, reconciling and repairing the somehow distant traditions. In the autumn of 2018, we curated and hosted an exhibition Everyday Legend: Reinventing Traditions in Chinese Contemporary Art at the School of Art, as one of the outputs of our research project funded by the Leverhulme Trust. Following the success of the exhibition and in collaboration with Guangzhou Academy of Fine Arts, we present this show, as a continuous discussion around Chinese traditions in the context of contemporary art. Presenting works of painting, installation, and video by six leading Chinese artists, Fan Bo (b. 1966), Guo Gong (b. 1966), Liang Shaoji (b. 1945), Liu Jianhua (b. 1962), Peng Wei (b. 1974), and Xiao Yu (b. 1965), this curatorial project focusses on ‘matter’, examining how these various materials that are rooted in Chinese traditional culture can be examined and reinterpreted in contemporary art practices. Six different ‘matters’ have been employed respectively by the participating artists – namely, ceramics, silk, bamboo, paper, herbal medicine and wood – as inherently ‘Chinese materials’ with their particular aesthetic qualities and symbolic, spiritual significance. Ceramics, perhaps one of the oldest materials of craftsmanship in China, has become the dominant language of Liu Jianhua’s artistic practice. When this type of material becomes a language, it does represent not only its materiality and the craftsmanship; but also, concurrently, it formulates a specific process of making, extending the physical to something spiritual. When a ‘Chinese’ material becomes part of contemporary artistic language, it not only contributes to a ‘semantic field’; ornate, simple or sophisticated; more importantly, the rules governing the intangible elements resulting from the traditional craft and production process constitute the overarching ‘grammar’ of this language. Liu’s installation simply shows piles of ‘sand’, around twenty of them, one of the most common materials, the remnants of which one can easily stumble upon in any construction site in urbanised China. In fact, Liu Jianhua changes the status of this humble material: they are not the sand used for construction and making, raw and inexpensive, soon becoming invisible in the final product. But instead, they are ceramics, pre-fabricated, in the shape of ordinary sand piles, through means of traditional firing techniques as exquisitely crafted pieces of art.
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刘建华，《沙》，陶瓷、耐火材料，340x271x20 cm， 2012-2019
Liu Jianhua, Sand, ceramic and fire-proof material, 340x271x20 cm, 2012-2019Returning to the point of origin of oriental textiles, or to their basic constitutive unit, Liang Shaoji’s language is silk, which can be equated with the expression of Chinese civilization from ancient times. Since 1989, the artist has committed his life to breeding and training silkworms to produce this organic material for art making. His artistic and philosophical contemplation on the topics of traditional culture and contemporary life are solely expressed through his understandings of the texture and physical properties of silk, and through his private communications with these remarkable larval-stage insects. Liang’s on-going work Tunnel is inspired by an archeologically excavated Western Han dynasty (202 BC – 9 AD) dress, a full garment made with finest and lightest silk more than 2,000 years ago, weighted only 49 grams. Mastering their biological rhythm and movement of spinning according to the designated position required for the artwork, the trained silkworms produced a series of translucent silk discs. To the artist, his silkworm is a collaborator in art production, a messenger to establish a dialogue across the millenniums, and an architect of a ‘tunnel’ for time travel adventure. ![]()
梁绍基，《平面隧道》，蚕丝，直径 145 cm × 3，2011年至今
Liang Shaoji, Planar Tunnel, Silk, 145 cm (at diameter) × 3，2011-PresentBamboo has been favoured in literati painting and poetry since the Song dynasty (960–1279). It has played a central role in Xiao Yu’s work, not only as the subject per se, but also as the primary working material to set up a new point of departure for the artist’s further explorations of intuitive and bodily perceptions. In his work, this special plant, strong, tough and flexible, has been cut, twisted and inflected by human force to its absolute limits. The 2015 video work, Thinking Too Much That…, shows a section of a mature bamboo cane which is almost perfectly straight – the same thickness from end to end, strong and steady. In extreme slow motion, the bamboo perceptibly begins to tremble. It is being twisted. Following the unknown source of forcible tension, it cracks and distorts until – crushed, or transformed – it is broken down into fine strips and strings. At a pivotal point, the twist is slowly reversed, the broken is restored and the wounded is healed, as if the bamboo has regained its strength and power, ready for a new challenge. ![]()
萧昱，《想太多就会……3号》，视频（25分钟），2015
Xiao Yu, Thinking too much that...No. 3, video (25 min), 2015In Fan Bo’s 2021 painting series, Heterogeneous Images: Mutation, Chinese herbal medicine carrying with its cultural and philosophical significance has been used to amalgamate oriental and western understandings on the present-day situations. The artist gives up his skilful realistic techniques he obtained after years of training, whilst the canvas becomes enlarged pages of his thinking, disclosing scribbled formulas, improvised notes and data, and illustrated human organs. Derived during the global pandemic, these signs and images from biological science unveil traces of confusion, hesitation, doubt, sorrow and agony through the process of reflections on disease, the fragility of life, divisive voices across the globe, and also, an uncertain future of our humanity. Envisaging such a complex web of ideas and struggles, compassions and conflicts in the contemporary society today, in Fan Bo’s paintings, herbal medicine is no longer a healing method, a mystery from China, but instead, it can act as a cultural ambassador, a diplomatic negotiator, or, as a prayer for peace. ![]()
范勃，《复相·异变》，麻布综合材料，150×120 cm ×4，2021
Fan Bo, Heterogeneous Images: Mutation, mixed media on linen, 150×120 cm each (four panels), 2021Since a young age, Peng Wei was trained in Chinese traditional painting and calligraphy, where paper, invented in China’s Eastern Han dynasty (25 – 220 AD), is a vital material to support and present artistic expression. In her series of painting installations, Peng Wei invites us to revisit the everyday life of dynastical China, whilst various traditional buildings, literati gardens, pavilions and pagodas, women and men in costumes, are depicted in styles reminiscent of a scroll painting. And yet, rather than painting scrolls, they appear in the form of female mannequin busts. Those painted female ‘bodies’ display eventful spaces and spectacles in the past; stories and legends, to be observed in detail. In Peng Wei’s work, paper made with traditional techniques are first plastered onto the chosen mannequins, smooth or wrinkled, as the ‘skin’ of the ‘body’, and then, once dried, taken off from the bust. Traversing from two to three dimensional spaces, paper is used not only as a conventional medium for the painting, but as a material to construct the sculpture. While a mannequin is an artificial body, Peng Wei’s paper installation, in turn, becomes an ersatz mannequin presenting her imagined world – detached from banal existence, delicate, graceful, and ethereal. ![]()
彭薇，《Hi-Ne-Ni — Kuro2》，麻纸水墨（绘画装置），64×35×30 cm，2020
Peng Wei, Hi-Ne-Ni — Kuro2, ink on flax paper (painting installation), 64×35×30 cm, 2020In this exhibition, Guo Gong presents a scroll. His scroll however was not made with paper, but simply from a trunk of a pine tree. Through painstaking process of the making, the tree trunk was peeled slowly – one layer after another – almost like being tortured by a powerful apparatus, as if one attempted to explore and scrutinise anything hidden inside its body. When the entire piece of wood is unfolded, it remains a roll of blank sheet of more than five metres long and approximately a half millimetre thick, presenting no words in addition to the natural texture, as a determined statement of ‘confession’. In another work by the artist, wood can be transmuted into ‘metal’. He collected some waste reinforced steel bars from construction sites in the city; they had been deformed by unknown forces or reasons. The artist then faithfully copied the distorted shape of the selected reinforced steel bars by instead using blackwood. Inch by inch, precisely calculated, and section by section with almost no visible joint, only the most meticulous and skilful craftsmanship could realise the imitation. In the above two pieces of Guo Gong’s work, wood as a dominant material demonstrates its unique cultural spirit. If the former displays its openness, confidence, honesty and bravery, then the latter reveals the qualities of empathy, resilience and tenacity.![]()
郭工，《钢筋肖像No.2》，木，220×200×90 cm，2014Gus Gong, The Portrait of Rebar No.2, Wood, 220×200×90 cm, 2014To our artists, what matters is not only the visual language and material, but also methodological approaches of their artistic practices. More importantly, through the making with the artistic investment, they are transformed beyond matter – illuminating the cultural traditions in the contemporary context, and extending the existing aesthetic imagination and the spiritual power inside the material forms.范勃 现工作生活于广州，广州美术学院教授。先后参加威尼斯国际艺术双年展、库里蒂巴国际当代艺术双年展等国内外重要学术展览。其作品还曾在美国威斯康星查珍美术馆、法国萨拉贡博物馆、意大利圣母百花大教堂博物馆等30余个知名艺术场馆展出。Fan Bo Based in Guangzhou, Fan Bo is a professor at the Guangzhou Academy of Fine Arts. He has exhibited his work in prestigious exhibitions worldwide, including the Venice International Art Biennale and the Curitiba International Contemporary Art Biennale. His works have been featured in over thirty renowned art institutions globally, including the Chazen Museum of Art in Wisconsin, USA, the Musée des Beaux-Arts de Saragossa in France, and the Museum of the Basilica of Saint Mary of the Flower in Italy.郭工 1966年生，现工作生活于北京。主要展览有《又见切问：郭工个展》（HIGHLIGHT ART 新加坡），《GDMoA年度艺术家学术提名展》（广东美术馆，2021），《偏见:郭工个展》（顺德盒子美术馆，2020），《无问东西——第二届中国当代艺术展》（美国田纳西州托德美术馆，2019）Guo Gong Born in 1966, Guo Gong is based in Beijing. His major exhibitions include RE-ENCOUNTER: Solo Exhibition by Guo Gong (HIGHLIGHT ART, Singapore), Annual Artist Academic Nomination Exhibition of GDMoA (Guangdong Museum of Art, 2021), Prejudice: Solo Exhibition by Guo Gong (Boxes Art Museum, 2020) and NEITHER EAST NOR WEST - The Second China Contemporary Art Exhibition (Todd Art Gallery, Tennessee, USA, 2019)梁绍基 1945年生。1986至89年在中国美术学院师从万曼（Maryn Varbanov）研究软雕塑，20世纪80年代末开始进行养蚕艺术实验。重要展览:《梁绍基：溶熔之幻》（上海玻璃博物馆，2024）；《梁绍基：蚕我 我蚕》（上海当代艺术博物馆，2021-2022)。Liang Shaoji Born in 1945, Liang Shaoji studied soft sculpture under Maryn Varbanov at the China Academy of Art from 1986 to 1989 and began experimenting with silkworm in his work in the late 1980s. Important exhibitions include Liang Shaoji: Phantasmagoria (Shanghai Glass Museum, 2024) and Liang Shaoji: A Silky Entanglement (Power Station of Art, Shanghai, 2021-2022).刘建华 现生活、工作于中国上海。重要展览：2023年第十四届光州双年展“柔弱如水”、2023年日本十和田现代美术馆个展“注入中空”、2022年中国上海复星艺术中心个展“刘建华：形而上 器”、2020年芝加哥大学美术馆巡展、2019年洛杉矶郡立艺术博物馆巡展、2018年意大利那不勒斯 Made in Cloister基金会个展、新加坡国立美术馆极少主义主题展、2017年第五十七届威尼斯双年展主题展“艺术万岁”。Liu Jianhua Based in Shanghai, China. Selected exhibitions: 14th Gwangju Biennale: soft and weak like water in 2023, solo exhibition Fluid voids at Towada Art Center in 2023, solo exhibition Liu Jianhua: Metaphysical Objects at Fosun Foundation Shanghai in 2022, group exhibition at Smart Museum of Art in 2020 and Los Angeles County Museum of Art in 2019, solo exhibition at Fondazione Made in Cloister, Naples, Italy in 2018, Minimalist exhibition at National Gallery Singapore in 2018, and the 57th Venice Biennale: VIVA ARTE VIVA in 2017.彭薇 1974年生，现居北京。曾在纽约、香港、台北、北京、上海、克利夫兰等地多次举办个展。她还参加了世界各地的大型当代艺术展览，如《“走出去！”中国当代艺术中的女性身份》、《M+ Sigg Collection：从革命到全球化》、《记忆与当代》、《威尼斯兵工厂》、《北京双年展》等。Peng Wei Born in 1974, Peng Wei works and lives in Beijing. Peng Wei has held numerous solo exhibitions in New York, Hong Kong, Taipei, Beijing, and Shanghai, and Cleveland, etc. She has also participated in group exhibitions of contemporary art around the world, such as Stepping Out! Female Identities in Chinese Contemporary Art, M+ Sigg Collection: From Revolution to Globalisation, Memory & Contemporary, Venetian Arsenal, and Beijing Biennial, etc.萧昱 1965年生，1989年毕业于中央美院壁画系，于2000年获第二届中国当代艺术大奖（CCAA）。重要展览：49届威尼斯双年展主题展——“人类的剧场”、法国里昂双年展、上海双年展、广州三年展和英国伦敦皇家艺术学院三年展场外项目等国际展览。Xiao Yu Born in 1965, and graduated from the Mural Painting Department at the Central Academy of Fine Arts in 1989, Xiao Yu was awarded the Chinese Contemporary Art Award (CCAA) in 2000. Important exhibitions include: 49th Venice Biennale: Platea dell’umanita, Lyon Biennale of Contemporary Art, Shanghai Biennale and Guangzhou Triennial and the Off site Project at the Royal College of Art in London, etc. Centre for Chinese Visual Arts中国视觉艺术中心（CCVA）设立于英国伯明翰城市大学艺术、设计与媒体学院。立足于国际视野，CCVA 旨在发掘和建立关于中国当代艺术、设计和视觉文化研究与实践的新观点，通过教学、研讨、展览和出版来生产和呈现新的知识贡献。CCVA 为来自中国大陆、香港特别行政区、澳门特别行政区和台湾地区以及英国的学者、教育者、艺术家和设计师建立一个跨文化的学术网络，以利于相互交流、分享与创新。CCVA 鼓励并发展有关中国视觉艺术的研究合作，携手重要艺术院校，包括中央美术学院和中国美术学院，为本中心博士生、博士后研究和访问学者提供学术支持和专家指导。
