Project Space Young Curators Lab - Encounters between Biology and Contemporary Art

  • Dates:2016-07-02 - 2016-08-27
  • Location:3F, Exhibition Hall C, Project Space, The CAFA Art Museum
  • Opening:2016-07-02
  • Chief Curator: Jo Wei

Details

The discovery of DNA in the 1960s marked a golden period of biology. After entering the new millennium, the completion of the sequencing of the human genome and the recent emergence of the CRISPR–Cas9 gene editing technology have profoundly changed the way of life of individuals and thus led to in-d... More
The discovery of DNA in the 1960s marked a golden period of biology. After entering the new millennium, the completion of the sequencing of the human genome and the recent emergence of the CRISPR–Cas9 gene editing technology have profoundly changed the way of life of individuals and thus led to in-depth discussions about the impact of biotechnology on social order and the life politics in the new era. This influence has also touched the field of artistic creation, and there have appeared a series of works that use biology as a theme and technology.

Preface

The exhibition selected two sets of abstract art works with molecular biology as the subject. They have the same form as classical abstract works in the history of art, but they represent a new perspective of the artists' creation in the post-revolutionary era. 


Ben Fry, an artist who specializes in “genetic cartography,” is also the inventor of “Processing,” a popular graphical interaction software. In exhibition work Chromosome 21, he transformed the 48 million base groups on the 21st chromosome of the human body into a cold and solemn giant abstraction by decoding the color of its validity or inefficiency. The picture of Chromosome 21 is very similar to the minimalist artist Agnes Martin's Untitled 7, even though Martin was depicting lines as merely a daily religious practice. 

 

Another artist, Julian Voss-Andreae, is a sculptor with a background in quantum physics. He specializes in building giant outdoor sculptures by making three-dimensional structural models of real protein molecules. These sculptural lines are sturdy and single-colored, with a similar appearance with one of the works designed by Tony Smith. 

 

Although Fry and Voss-Andreae's works have a classic form of abstract art, they are a kind of new “realism,” which may be called “scientific realism.” Because they are infinitely magnified representations of the little elements (genes and proteins) that make up life. They are super-realistic. 

 

The two artists, Agnes Martin and Tony Smith, were active in the post-World War II period of artistic transformation. Their concern was to create works that differentiated themselves from those in classic modernism in their respective media (painting and sculpture). This contrast and echoing is not only a coincidence in the history of art but also indicates the possibility of a new scientific world outlook and artistic values in the future.

 

The CAFA Art Museum launched the “Project Space Young Curators Lab” in July 2016, inviting young curators to conduct curatorial experiments on multiple disciplines. The first exhibition, When Forms does not Become Attitude, will be held from July 2 to August 27 to discuss contemporary art creations themed on biology.

 

About the curator

Jo Wei lives and works in Beijing. One of her recent research directions is biology. Her research includes the context of bio-art history, the relationship among science history, social history and bio-art; case studies and interviews of bio artists and bio-art research institutions at home and abroad; and cooperation between scientific labs and artists.

 

From 2011 to 2014, she participated in the preparatory work for the Shanghai Yuz Museum and assisted the chief curator Wu Hung in planning the group exhibition Myth/ Historyfor museum opening; in 2015, she participated in the preliminary research work of China-related projects of Guggenheim Museum in New York. In recent years, she has been writing for professional media such as Art Worldand Art Newsand translating for YISHU,LEAP, and other art magazines. She is also the founder of "Pan Bio-art Studio" (PBS) and obtained a master degree in molecular biology in Fudan University.

 

About artists & artworks


Ben Fry

Born in 1975 and currently working and living in Boston, USA, Ben Fry received a Ph.D. from the Aesthetics and Computing Group at the MIT Media Lab and continued to take genetic data visualization as his postdoctoral research direction after graduation. 

 

He and Casey Rice (who teaches at the University of California, Los Angeles) jointly developed Processing, an open source programming language and development environment, which is used for procedural design and interactive media software. In 2005, this software won “Golden Nica,” the highest prize in the “Prix Ars Electronica.” Processing 1.0 was released in November 2008 and used by tens of millions of people worldwide every day.

 

Fry’s works were collected by institutions such as Museum of Modern Art (MoMA), and once exhibited at the Museum in 2001 and 2008, the Ars Electronica Festival in 2000, 2002 and 2005 and Whitney Biennale in 2002. His information graphics are also illustrated in articles in the famous scientific journal Nature, as well as New York Times.

 

About Chromosome 21

Chromosome 21 consists of more than 48 million base groups (represented by the characters A, T, C, G). Genes are functional bases groups in the human body. In this artwork, the artist uses different colors to depict gene sequences: dark sequences represent exons that can guide protein synthesis in cells; light sequences represent introns and are invalid for interrupting exons. The color grey is a sequence whose function has not yet been confirmed. The “unreadable” regions of gene sequencing machine (and cells) are indicated by slashes. Chromosome 21 is one of the shortest human chromosomes. Even so, the figure contains 48,129,895 base groups. With a similar number of 65 images, that is, 3.1 billion base groups, the entire human genome can be described.

 

Julian Voss-Andreae

Julian Voss-Andreae was born in 1970 and currently works and lives in Portland, USA. 

 

After turning his interest from painting, Julian Voss-Andria studied physics, mathematics, and philosophy successively in Berlin, Edinburgh and Vienna. He eventually devoted himself to the study of quantum physics and participated in some significant quantum physics experiments. He received a degree in sculpture from the Pacific Northwest College of Art in the United States in 2004. 

 

The works of Voss-Andria are often inspired by his scientific background and are followed by many art institutions. He has produced large outdoor sculptures for research institutions of Rutgers University, University of Minnesota and the University of Texas. His works have received extensive media coverage internationally. 

 

About Melittin

This work is a sculpture showing the protein structure of melittin. It can be regarded as a "scientific realism" work. Melittin, as the primary active substance in bee venom, is an asymmetric linear peptide composed of 26 amino acids. In previous versions, the artist modeled the melittin protein through a computer program and converted it into a metal-cutting program. In this exhibition, the artist chooses to use 3D printing, a more modern technology.

 

“Project Space Young Curators Lab” Organization Committee:

Chief Curators: Wang Huangsheng, Yu Ding

Academic Host: Wang Chunchen

Chief Executors: Liu Xiyan, Chen Jie, Chi Zhao

Public Education: Ren Rui

Development and Promotion: Song Liang

Visual Director: Ji Yujie

Organizer: The CAFA Art Museum, The CAFA Institute of Art Management and Education 

Co-organizer: Wu Zuoren International Foundation of Fine Art Young Curator Special Fund

Sponsor: Beijing Zhenghecheng Cultural Development Co., Ltd.

Designated output institution: Beijing Flyingfish Cultural Development Co., Ltd. Art Micro-jet Studio

 

About “Project Space Young Curators Lab”

The CAFA Art Museum “Project Space Young Curators Lab” 2016-2017 project will be officially launched at the CAFA Art Museum in July this year. The project was jointly initiated by the CAFA Art Museum and Wu Zuoren International Foundation of Fine Art Young Curator Special Fund. Six young curators and teams were invited to plan, implement and display six cross-border exhibition experiments in different directions on the “project space” platform. This year's “Project Space Young Curators Lab” emphasizes theme and experiment. It is a brand-new measure to respond to the new artistic environment and the status of young curators and is also a continuation and extension of the core concept of “project space.” 

 

The “Project Space” exhibition plan was started in October 2009, which is aimed to cultivate outstanding young curators and to promote and support the curatorial practice of young curators with an international perspective and academic depth. So far, the “project space” has launched nearly 20 projects, which has established a platform for academics and exhibitions for a group of young curators. “Project Space” will continue to maintain close contact with young curators and groups in the future. Through the support of museums and foundations, it will continue to explore and train young Chinese curators and provide them with opportunities for curatorial and exchange activities to inspire the young power and vitality of China's strategic exhibitions.

 

About Wu Zuoren International Foundation of Fine Art Young Curator Special Fund

Wu Zuoren International Foundation of Fine Art Young Curator Special Fund was established on July 15, 2012, with the purpose of supporting and nurturing young curators with international vision and professional qualities. The project involved young curators overseas training programs, international curators and master workshops. In October 2009, it cooperated with the CAFA Art Museum to start the “Project Space” exhibition plan.

 

“Project Space Young Curators Lab” 2016-2017 Exhibition Plan

July 2016: When Form does not Become Attitude: Encounters between Biology and Contemporary Art (Curator: Jo Wei)

September 2016: The Liver (to be confirmed) (Curator: Li Shengzhao)

October 2016: Rheological “Sound” (to be confirmed) (Curator: Chao Jiaxing)

December 2016: Visual is Reality - Fantasy and Immersion (Curator: Shi Guanzhe)

March 2017: The Mechanism (Curator: a group)

April 2017 : Poolroom (Curator: Liu Tian/ Open Matter Institute)


The exhibition selected two sets of abstract art works with molecular biology as the subject. They have the same form as classical abstract works in the history of art, but they represent a new perspective of the artists' creation in the post-revolutionary era. 


Ben Fry, an artist who specializes in “genetic cartography,” is also the inventor of “Processing,” a popular graphical interaction software. In exhibition work Chromosome 21, he transformed the 48 million base groups on the 21st chromosome of the human body into a cold and solemn giant abstraction by decoding the color of its validity or inefficiency. The picture of Chromosome 21 is very similar to the minimalist artist Agnes Martin's Untitled 7, even though Martin was depicting lines as merely a daily religious practice. 

 

Another artist, Julian Voss-Andreae, is a sculptor with a background in quantum physics. He specializes in building giant outdoor sculptures by making three-dimensional structural models of real protein molecules. These sculptural lines are sturdy and single-colored, with a similar appearance with one of the works designed by Tony Smith. 

 

Although Fry and Voss-Andreae's works have a classic form of abstract art, they are a kind of new “realism,” which may be called “scientific realism.” Because they are infinitely magnified representations of the little elements (genes and proteins) that make up life. They are super-realistic. 

 

The two artists, Agnes Martin and Tony Smith, were active in the post-World War II period of artistic transformation. Their concern was to create works that differentiated themselves from those in classic modernism in their respective media (painting and sculpture). This contrast and echoing is not only a coincidence in the history of art but also indicates the possibility of a new scientific world outlook and artistic values in the future.

 

The CAFA Art Museum launched the “Project Space Young Curators Lab” in July 2016, inviting young curators to conduct curatorial experiments on multiple disciplines. The first exhibition, When Forms does not Become Attitude, will be held from July 2 to August 27 to discuss contemporary art creations themed on biology.

 

About the curator

Jo Wei lives and works in Beijing. One of her recent research directions is biology. Her research includes the context of bio-art history, the relationship among science history, social history and bio-art; case studies and interviews of bio artists and bio-art research institutions at home and abroad; and cooperation between scientific labs and artists.

 

From 2011 to 2014, she participated in the preparatory work for the Shanghai Yuz Museum and assisted the chief curator Wu Hung in planning the group exhibition Myth/ Historyfor museum opening; in 2015, she participated in the preliminary research work of China-related projects of Guggenheim Museum in New York. In recent years, she has been writing for professional media such as Art Worldand Art Newsand translating for YISHU,LEAP, and other art magazines. She is also the founder of "Pan Bio-art Studio" (PBS) and obtained a master degree in molecular biology in Fudan University.

 

About artists & artworks


Ben Fry

Born in 1975 and currently working and living in Boston, USA, Ben Fry received a Ph.D. from the Aesthetics and Computing Group at the MIT Media Lab and continued to take genetic data visualization as his postdoctoral research direction after graduation. 

 

He and Casey Rice (who teaches at the University of California, Los Angeles) jointly developed Processing, an open source programming language and development environment, which is used for procedural design and interactive media software. In 2005, this software won “Golden Nica,” the highest prize in the “Prix Ars Electronica.” Processing 1.0 was released in November 2008 and used by tens of millions of people worldwide every day.

 

Fry’s works were collected by institutions such as Museum of Modern Art (MoMA), and once exhibited at the Museum in 2001 and 2008, the Ars Electronica Festival in 2000, 2002 and 2005 and Whitney Biennale in 2002. His information graphics are also illustrated in articles in the famous scientific journal Nature, as well as New York Times.

 

About Chromosome 21

Chromosome 21 consists of more than 48 million base groups (represented by the characters A, T, C, G). Genes are functional bases groups in the human body. In this artwork, the artist uses different colors to depict gene sequences: dark sequences represent exons that can guide protein synthesis in cells; light sequences represent introns and are invalid for interrupting exons. The color grey is a sequence whose function has not yet been confirmed. The “unreadable” regions of gene sequencing machine (and cells) are indicated by slashes. Chromosome 21 is one of the shortest human chromosomes. Even so, the figure contains 48,129,895 base groups. With a similar number of 65 images, that is, 3.1 billion base groups, the entire human genome can be described.

 

Julian Voss-Andreae

Julian Voss-Andreae was born in 1970 and currently works and lives in Portland, USA. 

 

After turning his interest from painting, Julian Voss-Andria studied physics, mathematics, and philosophy successively in Berlin, Edinburgh and Vienna. He eventually devoted himself to the study of quantum physics and participated in some significant quantum physics experiments. He received a degree in sculpture from the Pacific Northwest College of Art in the United States in 2004. 

 

The works of Voss-Andria are often inspired by his scientific background and are followed by many art institutions. He has produced large outdoor sculptures for research institutions of Rutgers University, University of Minnesota and the University of Texas. His works have received extensive media coverage internationally. 

 

About Melittin

This work is a sculpture showing the protein structure of melittin. It can be regarded as a "scientific realism" work. Melittin, as the primary active substance in bee venom, is an asymmetric linear peptide composed of 26 amino acids. In previous versions, the artist modeled the melittin protein through a computer program and converted it into a metal-cutting program. In this exhibition, the artist chooses to use 3D printing, a more modern technology.

 

“Project Space Young Curators Lab” Organization Committee:

Chief Curators: Wang Huangsheng, Yu Ding

Academic Host: Wang Chunchen

Chief Executors: Liu Xiyan, Chen Jie, Chi Zhao

Public Education: Ren Rui

Development and Promotion: Song Liang

Visual Director: Ji Yujie

Organizer: The CAFA Art Museum, The CAFA Institute of Art Management and Education 

Co-organizer: Wu Zuoren International Foundation of Fine Art Young Curator Special Fund

Sponsor: Beijing Zhenghecheng Cultural Development Co., Ltd.

Designated output institution: Beijing Flyingfish Cultural Development Co., Ltd. Art Micro-jet Studio

 

About “Project Space Young Curators Lab”

The CAFA Art Museum “Project Space Young Curators Lab” 2016-2017 project will be officially launched at the CAFA Art Museum in July this year. The project was jointly initiated by the CAFA Art Museum and Wu Zuoren International Foundation of Fine Art Young Curator Special Fund. Six young curators and teams were invited to plan, implement and display six cross-border exhibition experiments in different directions on the “project space” platform. This year's “Project Space Young Curators Lab” emphasizes theme and experiment. It is a brand-new measure to respond to the new artistic environment and the status of young curators and is also a continuation and extension of the core concept of “project space.” 

 

The “Project Space” exhibition plan was started in October 2009, which is aimed to cultivate outstanding young curators and to promote and support the curatorial practice of young curators with an international perspective and academic depth. So far, the “project space” has launched nearly 20 projects, which has established a platform for academics and exhibitions for a group of young curators. “Project Space” will continue to maintain close contact with young curators and groups in the future. Through the support of museums and foundations, it will continue to explore and train young Chinese curators and provide them with opportunities for curatorial and exchange activities to inspire the young power and vitality of China's strategic exhibitions.

 

About Wu Zuoren International Foundation of Fine Art Young Curator Special Fund

Wu Zuoren International Foundation of Fine Art Young Curator Special Fund was established on July 15, 2012, with the purpose of supporting and nurturing young curators with international vision and professional qualities. The project involved young curators overseas training programs, international curators and master workshops. In October 2009, it cooperated with the CAFA Art Museum to start the “Project Space” exhibition plan.

 

“Project Space Young Curators Lab” 2016-2017 Exhibition Plan

July 2016: When Form does not Become Attitude: Encounters between Biology and Contemporary Art (Curator: Jo Wei)

September 2016: The Liver (to be confirmed) (Curator: Li Shengzhao)

October 2016: Rheological “Sound” (to be confirmed) (Curator: Chao Jiaxing)

December 2016: Visual is Reality - Fantasy and Immersion (Curator: Shi Guanzhe)

March 2017: The Mechanism (Curator: a group)

April 2017 : Poolroom (Curator: Liu Tian/ Open Matter Institute)


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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.

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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.

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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.

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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):

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(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.

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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.

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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

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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!