CAFA ART INFO is an artistic organization, closely related to the Central Academy of Fine Arts, which aims to promote domestic artists and communications on an international level.
CAFA ART INFO hopes to provide a platform where artists as well as art lovers can enjoy and appreciate contemporary art.

Shao Yiyang
Wither Art History?

Wither Art History?

Is art history withering? The presumption of the end of the discipline might just be like someone holding a dark mirror to an optimistic future. It seems unlikely to happen under the threat of visual culture on its trajectory toward interdisciplinary or transdisciplinary study, as long as it resists being tied to a single grand...
The International Identity of Chinese Art: Theoretical Debates on Chinese Contemporary Art in the 1990s

The International Identity of Chinese Art: Theoretical Debates on Chinese Contemporary Art in the 1990s

During the 1990s, Chinese ‘avant-garde’ art was included in numerous international art exhibitions that promised the ‘hybridity’ of cross-national collaboration...
Shao Yiyang: I see, I am seen, I see I am seen – Three Cases of Contemporary Art in the Visual Cultural Study (Part III)

Shao Yiyang: I see, I am seen, I see I am seen – Three Cases of Contemporary Art in the Visual Cultural Study (Part III)

Visibility is from knowledge; from spirituality; from the arts; from the freedom given by transparent society mechanisms...
Shao Yiyang: I see, I am seen, I see I am seen – Three Cases of Visual Cultural Study in Contemporary Art (Part II)

Shao Yiyang: I see, I am seen, I see I am seen – Three Cases of Visual Cultural Study in Contemporary Art (Part II)

How much can we see? What blinds our eyes? Who spies on us? How great is our social visibility after all? Darkness symbolizes ignorance and stupidity, while the significance of enlightenment is to...
Shao Yiyang: I see, I am seen, I see I am seen – Three Cases of Visual Cultural Study in Contemporary Art (Part I)

Shao Yiyang: I see, I am seen, I see I am seen – Three Cases of Visual Cultural Study in Contemporary Art (Part I)

As individuals, we are both the subject to be seen, and the object to be seen. The depth of our thinking depends on the perspective or vision...
From Painting to Video – Three Fragments in the Digital Times (Part III)

From Painting to Video – Three Fragments in the Digital Times (Part III)

From paintings to images, Richter, Viola and Barney constantly remind us that although the science and technology update quickly, humans’ nature has never changed. The question of humans’ nature is always the most important issue...
From Painting to Video – Three Fragments in the Digital Times (Part II)

From Painting to Video – Three Fragments in the Digital Times (Part II)

Art theorist Frederic Jameson wrote in “The Cultural Logic of Late Capitalism”: “it is impossible to use the concept of volume when a new space emerges…which no longer means that the distance produced perspectives. He believed that video was dominant in this new space. Video art is the only appropriate form to access the...
From Painting to Video – Three Fragments in the Digital Times (Part I)

From Painting to Video – Three Fragments in the Digital Times (Part I)

From Richter’s blurred image, we can feel the passage of time and recall our memories. Today, after three decades, it is no longer an important thing for an artist to paint a realistic painting or an abstract; to paint or to make a video; to create a conceptual work or to create a performance. ...
Form and Anti-Forma – Form and Formless in Visual Art (Part II)

Form and Anti-Forma – Form and Formless in Visual Art (Part II)

In philosophy, form and anti-form is symbiotic forever, formless is always covered by form, like destruction is implied by rule, and form is an ideal structure of universal significance, a premise of cultural construction.
Form and Anti-Forma – Form and Formless in Visual Art (Part I)

Form and Anti-Forma – Form and Formless in Visual Art (Part I)

Today there are unpredictable elusive forms of visual art, as if playing hide and seek with us, just as Serge Daney said: “All form is a form looking at us.” If form is looking at us, how do we treat form? It’s inevitable that the exiting way of form is to run out of...
The Chinese Academy and Modern Art: 1980-1990s (Part III)

The Chinese Academy and Modern Art: 1980-1990s (Part III)

In the past two decades, generations of academic artists have established their own respective approach to modern art. Instead of considering modern art as the site for an ‘avant-garde’ revolt against academics, these artists have illustrated the positive contribution that art academies in China have made on the development of modern art.
The Chinese Academy and Modern Art: 1980-1990s (Part II)

The Chinese Academy and Modern Art: 1980-1990s (Part II)

Xu Bing’s "Tianshu" is both avant-garde and academic. It has underscored various depths of sincerity, the zeitgeist of China in the late 1980s. It echoes Chinese intellectuals’ concerns with the transformation of cultural systems towards modernism and critically queries the validity of tradition and culture during the procedure.