Prometheus in Printmaking: A Li Hua Retrospective on the 110th Anniversary of His Birth

  • Dates:2017-12-20 - 2018-02-25
  • Location:Exhibition Hall B, 2F, CAFA Art Museum
  • Opening:2017-12-20 14:00
  • Organizer(s): Central Academy of Fine Arts
  • Co-Organizer(s): China Artists Association CAFA Art Museum Department of Printmaking at the Central Academy of Fine Arts
  • Chief Curator: Fan Di‘an
  • Co-organizer: China Federation of Literature and Art Circle
  • Archives Support: Central Academy of Fine Arts Library
  • Academic Host: Su Xinping Wang Shaojun
  • Art Directors: Zhang Zikang Qin Jianping Wang Huaxiang
  • Curator: Cai Meng
  • Academic Support: Zhang Ye Huang Yang

Preface

There are many other examples with similar usage of “Hua Zhu (桦烛).” Besides, it also refers to the vividly decorated candles that are used when people get married in the past, implying happy and peaceful. Moreover, candles are traditionally regarded as a symbol of teacher – burning itself to illuminate others. Thus “Tao Li Hua Zhu (桃李桦烛)” implies “to become a birth bark candle for the sake of others (化成桦烛桃李香)”- that is, to turn the substance into a spirit.

 

The reason we translated the subject “Tao Li Hua Zhu (桃李桦烛)” as “Prometheus in Printmaking” is that Prometheus is one of the wisest gods in Greek mythology and a son of the Titan Lapetus. The meaning of his name is “forethought (先见之明).” Not only did Prometheus create humankind from clay, but he also stole fire from the Mount Olympus and gave it to humanity, teaching them knowledge and skills. In this sense, the word “Prometheus” represents fire and teacher. Using it as the English title of this exhibition is easy for westerners to culturally understand Li Hua’s status, significance, and value in Chinese printmaking.  

 

The exhibition unfolds around Li Hua’s different cultural identities, offering interpretations from three perspectives: Pioneer, Professor, and Woodcut Writer.

 

1. Pioneer

As one of the revolutionary fighters in the New Woodcut Movement, Li Hua had a close relationship with Lu Xun. Under the influence and promotion of Lu Xun, who advocated the movement, Li devoted himself into woodcut creation with a persistent attitude of experimentation and transcended the conception of “new woodcut engraving” to the level of an independent art form. Meanwhile, he was also regarded as one of the first to carry on a thorough analysis of the basic concepts of printmaking that have been widely used nowadays, including creative wood engraving and reproductive wood engraving, which cannot be overlooked in the research of New Woodcut Movement and Modern Art History. In addition to his artistic contributions, Li showed a positive attitude towards life and maintained a reserved manner, fulfilling the idea of “walking out of the ivory tower.” Although there are a lot of examples of intellectuals throwing themselves into China’s revolution, rarely can someone like Li Hua, using his knife and brush to directly devote himself to protest against the invasion by the Japanese army. Especially with his support, the opening of “the National Woodcut Exhibition” and the publication of the woodcut magazine Modern Printmakingoffered diverse and practical guidelines for the public and scholars.

 

As a result, how should we outline this special historical background, and how should we address the influence the woodcut, as a new media back then, had on the social activities? As one of the pioneer engravers, Li Hua offered us a perfect example to study when his influence and exploration of artistic language met with the cultural environment of that great era. This exhibition is an attempt to answer the question that what they are the interactions and tensions that were formed during the process?

 

2. Professor

As a professor of the Central Academy of Fine Arts, Li Hua had always prioritized the role of teaching and educating students over his identity as an artist. While as a pioneer in the education of printmaking in China, and the establisher of the teaching system of academy printmaking, Li went through two periods: one is the period in the Beiping Art School, and the other is in the Central Academy of Fine Arts. Particularly in the latter period, he made notable achievements and contributions, for he established the Department of Printmaking of CAFA and organized the foundation of the China Woodcutters Association. Then, in the new period of history, what are his contributions to the education of printmaking, especially to the establishment of the Department of Printmaking of CAFA? How did he set up the plan, the syllabus, teacher groups and various course materials? What kind of legacy was left by him with his teaching orientation and attitude? This section will shed light on Li Hua’s educational activities and academic thoughts. 

 

3. Woodcut Writer

In the historical development of modern art, Li Hua was undoubtedly one of the few artists who excelled in all aspects, including art practice, theory, and education. In his artistic creation, Li left us with a lot of great classics that reflects the reality of the social conditions of that time, such as the series of “Roar! China”, “Raging Tide”,“Figures on the bridge” and so on. In the construction of art theory, Li compiled the entry of “printmaking” for the Encyclopedia of Chinaand was directly involved in the construction of the concept of modern printing in China. He has written up to a thousand essays for art theory. Thus we define Li Hua as a “woodcut writer,” which not only matches his unique quality of using both the graver and pen but also is consistent with our recognition of the principle of aesthetic creation in his art theory. Therefore, we are going to examine the relationships between Li Hua and his woodcut works in different periods of his life;how is this relationship forms his self-identity?

 

Related Activities:

During the exhibition time, a series of academic discussions and public education activities will be offered:

1. Forum: “Woodcut Writer and a Great Era” will present solid research studies and discussions. We will invite specialists and scholars to for an in-depth discussion on a range of topics, including the exhibition theme and its construction, Mr. Li Hua’s artistic achievements as well as its relations with art history, etc.

2. Art Talk: The famous Japanese printmaking scholar Miyama Ryo will be invited to give an open talk on Li Hua and the New Woodcut Movement.

3. Workshop: “Convex and Concave – Hands-on Experience on Printmaking” is an open workshop for the public to experience the process of printmaking. It emphasizes on introducing the characteristics and distinctions of woodcut printing, thus expanding the public’s understanding of printmaking.

4. Studio Adventure: This is a public signed-up event offering two or three site visits to the studio of the Printmaking Department at CAFA. Students in the department and technicians will be accompanied for the interpretation.

5. Guided Tour: By making a reservation, participants could enjoy the guided tours led by docents for all the stories behind the exhibition.

 

 

Exhibition Coordinator: Gao Gao

Exhibition Executor: Wu Peng, Su Shicun

Collection Management: Li Yaochen, Jiang Nan, Du Yinzhu

Exhibition Visual Design: Ji Yujie

Space Designer: Sun Hua

Archives Design: Yang Yuanyuan, Wang Qifan, Chen Zhe

Lighting Design: Liu Xiaoguang

Design Assistant: Min Zhiying

Media Publication: Xu Xinli, Zhao Jing, He Yisha, Wu Jing

Public Education Promotion: Ren Rui, Yao Tiequn, Liang Wen

Administrative Planning: Jiang Siyu, Sun Wei, Yang Liu

Film Planning: Ding Yi

Film Production: Artron.Net

Data Compilation: Sun Wen, Chen Xuanrong

 

Special thanks to the following institutes and individuals:

Beijing Luxun Museum, Shanghai Luxun Museum, China Art Museum, Guangdong Museum of Art; Hubei Museum of Art; Sichuan Art Museum and Qiang Art Studio

Jiang Wen, Wang Yan, Cao Qinghui, Wang Jinhui, Li Kang, Li Hao, Zheng Yumin, Liu Siyuan, Zhang Zhen, Cai Tao, Lu Yinghua, Liu Hongjian, Zhou Lixia 

         

There are many other examples with similar usage of “Hua Zhu (桦烛).” Besides, it also refers to the vividly decorated candles that are used when people get married in the past, implying happy and peaceful. Moreover, candles are traditionally regarded as a symbol of teacher – burning itself to illuminate others. Thus “Tao Li Hua Zhu (桃李桦烛)” implies “to become a birth bark candle for the sake of others (化成桦烛桃李香)”- that is, to turn the substance into a spirit.

 

The reason we translated the subject “Tao Li Hua Zhu (桃李桦烛)” as “Prometheus in Printmaking” is that Prometheus is one of the wisest gods in Greek mythology and a son of the Titan Lapetus. The meaning of his name is “forethought (先见之明).” Not only did Prometheus create humankind from clay, but he also stole fire from the Mount Olympus and gave it to humanity, teaching them knowledge and skills. In this sense, the word “Prometheus” represents fire and teacher. Using it as the English title of this exhibition is easy for westerners to culturally understand Li Hua’s status, significance, and value in Chinese printmaking.  

 

The exhibition unfolds around Li Hua’s different cultural identities, offering interpretations from three perspectives: Pioneer, Professor, and Woodcut Writer.

 

1. Pioneer

As one of the revolutionary fighters in the New Woodcut Movement, Li Hua had a close relationship with Lu Xun. Under the influence and promotion of Lu Xun, who advocated the movement, Li devoted himself into woodcut creation with a persistent attitude of experimentation and transcended the conception of “new woodcut engraving” to the level of an independent art form. Meanwhile, he was also regarded as one of the first to carry on a thorough analysis of the basic concepts of printmaking that have been widely used nowadays, including creative wood engraving and reproductive wood engraving, which cannot be overlooked in the research of New Woodcut Movement and Modern Art History. In addition to his artistic contributions, Li showed a positive attitude towards life and maintained a reserved manner, fulfilling the idea of “walking out of the ivory tower.” Although there are a lot of examples of intellectuals throwing themselves into China’s revolution, rarely can someone like Li Hua, using his knife and brush to directly devote himself to protest against the invasion by the Japanese army. Especially with his support, the opening of “the National Woodcut Exhibition” and the publication of the woodcut magazine Modern Printmakingoffered diverse and practical guidelines for the public and scholars.

 

As a result, how should we outline this special historical background, and how should we address the influence the woodcut, as a new media back then, had on the social activities? As one of the pioneer engravers, Li Hua offered us a perfect example to study when his influence and exploration of artistic language met with the cultural environment of that great era. This exhibition is an attempt to answer the question that what they are the interactions and tensions that were formed during the process?

 

2. Professor

As a professor of the Central Academy of Fine Arts, Li Hua had always prioritized the role of teaching and educating students over his identity as an artist. While as a pioneer in the education of printmaking in China, and the establisher of the teaching system of academy printmaking, Li went through two periods: one is the period in the Beiping Art School, and the other is in the Central Academy of Fine Arts. Particularly in the latter period, he made notable achievements and contributions, for he established the Department of Printmaking of CAFA and organized the foundation of the China Woodcutters Association. Then, in the new period of history, what are his contributions to the education of printmaking, especially to the establishment of the Department of Printmaking of CAFA? How did he set up the plan, the syllabus, teacher groups and various course materials? What kind of legacy was left by him with his teaching orientation and attitude? This section will shed light on Li Hua’s educational activities and academic thoughts. 

 

3. Woodcut Writer

In the historical development of modern art, Li Hua was undoubtedly one of the few artists who excelled in all aspects, including art practice, theory, and education. In his artistic creation, Li left us with a lot of great classics that reflects the reality of the social conditions of that time, such as the series of “Roar! China”, “Raging Tide”,“Figures on the bridge” and so on. In the construction of art theory, Li compiled the entry of “printmaking” for the Encyclopedia of Chinaand was directly involved in the construction of the concept of modern printing in China. He has written up to a thousand essays for art theory. Thus we define Li Hua as a “woodcut writer,” which not only matches his unique quality of using both the graver and pen but also is consistent with our recognition of the principle of aesthetic creation in his art theory. Therefore, we are going to examine the relationships between Li Hua and his woodcut works in different periods of his life;how is this relationship forms his self-identity?

 

Related Activities:

During the exhibition time, a series of academic discussions and public education activities will be offered:

1. Forum: “Woodcut Writer and a Great Era” will present solid research studies and discussions. We will invite specialists and scholars to for an in-depth discussion on a range of topics, including the exhibition theme and its construction, Mr. Li Hua’s artistic achievements as well as its relations with art history, etc.

2. Art Talk: The famous Japanese printmaking scholar Miyama Ryo will be invited to give an open talk on Li Hua and the New Woodcut Movement.

3. Workshop: “Convex and Concave – Hands-on Experience on Printmaking” is an open workshop for the public to experience the process of printmaking. It emphasizes on introducing the characteristics and distinctions of woodcut printing, thus expanding the public’s understanding of printmaking.

4. Studio Adventure: This is a public signed-up event offering two or three site visits to the studio of the Printmaking Department at CAFA. Students in the department and technicians will be accompanied for the interpretation.

5. Guided Tour: By making a reservation, participants could enjoy the guided tours led by docents for all the stories behind the exhibition.

 

 

Exhibition Coordinator: Gao Gao

Exhibition Executor: Wu Peng, Su Shicun

Collection Management: Li Yaochen, Jiang Nan, Du Yinzhu

Exhibition Visual Design: Ji Yujie

Space Designer: Sun Hua

Archives Design: Yang Yuanyuan, Wang Qifan, Chen Zhe

Lighting Design: Liu Xiaoguang

Design Assistant: Min Zhiying

Media Publication: Xu Xinli, Zhao Jing, He Yisha, Wu Jing

Public Education Promotion: Ren Rui, Yao Tiequn, Liang Wen

Administrative Planning: Jiang Siyu, Sun Wei, Yang Liu

Film Planning: Ding Yi

Film Production: Artron.Net

Data Compilation: Sun Wen, Chen Xuanrong

 

Special thanks to the following institutes and individuals:

Beijing Luxun Museum, Shanghai Luxun Museum, China Art Museum, Guangdong Museum of Art; Hubei Museum of Art; Sichuan Art Museum and Qiang Art Studio

Jiang Wen, Wang Yan, Cao Qinghui, Wang Jinhui, Li Kang, Li Hao, Zheng Yumin, Liu Siyuan, Zhang Zhen, Cai Tao, Lu Yinghua, Liu Hongjian, Zhou Lixia 

         

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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):

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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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.

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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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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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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!