Sailing off the Edge: Gillian Ayres' Abstract Painting, 1979 to the Present

  • Dates:2017-07-30 - 2017-08-27
  • Location: Exhibition Hall B, 3F, CAFA Art Museum
  • Opening:2017-07-30 16:30
  • Organizer(s): CAFA Art Museum
  • Co-Organizer(s): Cultural and Education Section British Embassy
  • Chief Curator: Philip Dodd Wang Chunchen Enrica Costamagna

Preface

The first solo exhibition in China of Gillian Ayres comes to CAFA Art Museum Beijing. She has been feted in the west as one of the most important abstract artists who are still alive - the 'Jackson Pollock of England', as one recent art critic phrased. A retrospective devoted to her work continues at the National Museum of Wales until September 2017 and a 400-page monograph on her work has just been published. She has paintings in the collections of major museums including MOMA New York and Tate London, Museum of Modern Art in Brasilia, National Gallery of Australia and British Museum in London; she has exhibited widely from Britain to Europe, from India to the USA. She was shortlisted for the prestigious Turner Prize in 1989.

 

This is her first exhibition in China and it comprises a large number of large-scale paintings (240cm x 240 cm) from 1979 onwards, borrowed from private collections as well as the artist's own studio. As museums around the world reflect on the importance of artists who are women (look at MOMA's recent show 'Women Artists and Postwar Art'), Sailing Over the Edge: Gillian Ayres' Abstract Painting 1979 to the Present offers China an opportunity to see the complex and sensuous art of a woman who was the first female Head of Painting at a British art school, and the only woman in the most important postwar exhibition of British art, ‘Situation’, 1960, and who has invented and reinvented her art over sixty years.

 

The exhibition will begin with the erotic sublime paintings of the 1980s - huge paintings where the paint is encrusted, the brushstrokes up to 30 cm long and where the color determines the form of the paintings. Among her heroes are the Venetian painter Titian and the English painter Turner and these 1980s paintings have the same ambition as that of the great paintings of those earlier masters.

 

More recently, shapes have begun to appear in her paintings - and they become even more celebratory and joyous. Gillian Ayres herself has said: “for some time we have gone through a period where people quite like non-beautiful things. I do like beauty, absolutely. Titian, Rubens, and Matisse all were in love with beauty. I like the idea that people can lose their feet looking at art - or even at nature. I love the idea that in our life we can be lifted by looking at art. My only regret is that I am not well enough to travel to Beijing and to see China.”

 

Gillian Ayres lives in the south-west of England, in a house with a large garden which has been very important for her and her art. It is full of plants from all over the world, not least from Asia. Whilst she does not make representational paintings in any sense, she has said :“ in a mad sort of way I see nature like paint and so probably did Turner.”

 

The exhibition will be accompanied by a fully illustrated catalog, with the foreword by the Head of the famous Royal Academy of Arts in London. It will also contain essays by Philip Dodd, the acclaimed curator of Sean Scully: Follow the Heart, named as one of 100 art innovators of 2016 by Art and Auction; by Wang Chunchen, Head of the Department of Curatorial Research of CAFA Art Museum at the Central Academy of Fine Arts China, who has also been a great influence on Chinese contemporary art criticism through his translations of over ten books of art history and theory and by the London-based novelist Elif Shafak, the most popular female novelist in Turkey and a campaigning feminist. She has been awarded Chevalier-des-Lettres by the French government.  There will also be a film with Chinese subtitles showing Gillian Ayres at work, featuring contributions by Colm Toibin, the great Irish novelist, as well as Gillian herself, both when she was young and more recently.

 

Gillian Ayres' son, Sam Mundy, himself an artist, will be in Beijing for the opening and is available for interview.

 

Philip Dodd, one of the curators of the exhibition, says: “From China to the US, women artists are beginning to have the visibility they deserve. So, it is perfect timing to bring Gillian Ayres to CAFA to showcase her exuberant and ecstatic paintings whose abstraction is utterly distinctive - and yet draws on art history from Titian to Hokusai. This is a major exhibition by a major artist.”  Wang Chuchen, co-curator of the exhibition, says that the Gillian Ayres show provides a clear clue for the CAFAM’s research on the international abstract arts and its related exhibition series held in recent years; it reinforces the significance of abstract art in the 20thcentury art history.

  

Biography

 

Gillian Ayres was born in London in 1930 and went to art school when was 16 years old. In the 1950s she was commissioned to paint a 25m mural in London and since that time has exhibited all over the world. She was elected a member of the Royal Academy of Arts in London, been shortlisted for the Turner Prize and her work is in the collections of around 50 museums all around the world. She was awarded an OBE by the Queen in 1986, has held fellowships in Rome and in London - and is enjoying at present a major retrospective of her work from the 50s to the present day at the National Museum of Wales in Cardiff. There are two monographs published on her work, the most recent of which is 400 pages, published to coincide with the retrospective this year.

     

The first solo exhibition in China of Gillian Ayres comes to CAFA Art Museum Beijing. She has been feted in the west as one of the most important abstract artists who are still alive - the 'Jackson Pollock of England', as one recent art critic phrased. A retrospective devoted to her work continues at the National Museum of Wales until September 2017 and a 400-page monograph on her work has just been published. She has paintings in the collections of major museums including MOMA New York and Tate London, Museum of Modern Art in Brasilia, National Gallery of Australia and British Museum in London; she has exhibited widely from Britain to Europe, from India to the USA. She was shortlisted for the prestigious Turner Prize in 1989.

 

This is her first exhibition in China and it comprises a large number of large-scale paintings (240cm x 240 cm) from 1979 onwards, borrowed from private collections as well as the artist's own studio. As museums around the world reflect on the importance of artists who are women (look at MOMA's recent show 'Women Artists and Postwar Art'), Sailing Over the Edge: Gillian Ayres' Abstract Painting 1979 to the Present offers China an opportunity to see the complex and sensuous art of a woman who was the first female Head of Painting at a British art school, and the only woman in the most important postwar exhibition of British art, ‘Situation’, 1960, and who has invented and reinvented her art over sixty years.

 

The exhibition will begin with the erotic sublime paintings of the 1980s - huge paintings where the paint is encrusted, the brushstrokes up to 30 cm long and where the color determines the form of the paintings. Among her heroes are the Venetian painter Titian and the English painter Turner and these 1980s paintings have the same ambition as that of the great paintings of those earlier masters.

 

More recently, shapes have begun to appear in her paintings - and they become even more celebratory and joyous. Gillian Ayres herself has said: “for some time we have gone through a period where people quite like non-beautiful things. I do like beauty, absolutely. Titian, Rubens, and Matisse all were in love with beauty. I like the idea that people can lose their feet looking at art - or even at nature. I love the idea that in our life we can be lifted by looking at art. My only regret is that I am not well enough to travel to Beijing and to see China.”

 

Gillian Ayres lives in the south-west of England, in a house with a large garden which has been very important for her and her art. It is full of plants from all over the world, not least from Asia. Whilst she does not make representational paintings in any sense, she has said :“ in a mad sort of way I see nature like paint and so probably did Turner.”

 

The exhibition will be accompanied by a fully illustrated catalog, with the foreword by the Head of the famous Royal Academy of Arts in London. It will also contain essays by Philip Dodd, the acclaimed curator of Sean Scully: Follow the Heart, named as one of 100 art innovators of 2016 by Art and Auction; by Wang Chunchen, Head of the Department of Curatorial Research of CAFA Art Museum at the Central Academy of Fine Arts China, who has also been a great influence on Chinese contemporary art criticism through his translations of over ten books of art history and theory and by the London-based novelist Elif Shafak, the most popular female novelist in Turkey and a campaigning feminist. She has been awarded Chevalier-des-Lettres by the French government.  There will also be a film with Chinese subtitles showing Gillian Ayres at work, featuring contributions by Colm Toibin, the great Irish novelist, as well as Gillian herself, both when she was young and more recently.

 

Gillian Ayres' son, Sam Mundy, himself an artist, will be in Beijing for the opening and is available for interview.

 

Philip Dodd, one of the curators of the exhibition, says: “From China to the US, women artists are beginning to have the visibility they deserve. So, it is perfect timing to bring Gillian Ayres to CAFA to showcase her exuberant and ecstatic paintings whose abstraction is utterly distinctive - and yet draws on art history from Titian to Hokusai. This is a major exhibition by a major artist.”  Wang Chuchen, co-curator of the exhibition, says that the Gillian Ayres show provides a clear clue for the CAFAM’s research on the international abstract arts and its related exhibition series held in recent years; it reinforces the significance of abstract art in the 20thcentury art history.

  

Biography

 

Gillian Ayres was born in London in 1930 and went to art school when was 16 years old. In the 1950s she was commissioned to paint a 25m mural in London and since that time has exhibited all over the world. She was elected a member of the Royal Academy of Arts in London, been shortlisted for the Turner Prize and her work is in the collections of around 50 museums all around the world. She was awarded an OBE by the Queen in 1986, has held fellowships in Rome and in London - and is enjoying at present a major retrospective of her work from the 50s to the present day at the National Museum of Wales in Cardiff. There are two monographs published on her work, the most recent of which is 400 pages, published to coincide with the retrospective this year.

     

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(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.

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(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.

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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.

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(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.

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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.

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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.

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.

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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.

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