Project Space Young Curators Lab - New Stele School 3: Confucianism and Realism

  • Dates:2017-11-18 - 2017-12-14
  • Location:3C Hall, CAFAM
  • Opening:2017-11-18 13:30
  • Organizer(s): CAFA Art Management and Education College of CAFA
  • Co-Organizer(s): Wu Zuoren International Foundation of Fine Arts Young Curator Fund
  • Chief Curator: Wang Jiyu
  • Supporter: CAFA Art Museum

Details

Academic Activities Forum: Unique Chinese Arts and Eras Location: Academic Hall, CAFA Art Museum Duration: 3:30 p.m. - 7:30 p.m., November, 18, 2017 Lectures: 1. Restoration of North Korea Swordsmanship and East Asian martial in late Ming Dynasty Wang Jiyu (composer, curator, postgradu... More
Academic Activities

Forum: Unique Chinese Arts and Eras
Location: Academic Hall, CAFA Art Museum
Duration: 3:30 p.m. - 7:30 p.m., November, 18, 2017

Lectures:

1. Restoration of North Korea Swordsmanship and East Asian martial in late Ming Dynasty
Wang Jiyu (composer, curator, postgraduate in Experimental Art Department, CAFA, champion of the 2nd Chinese Sword Competition)

2. Legal traditions and classical military rituals
Zhao Nan (young guqin player)

3. The Beginning of Modern Transformation of Confucianism: Liao Ping's criticism of Zheng Xuan
Lv Mingxuan (Ph.D. in Chinese Philosophy, Peking University, lecturer in Chinese University of Political Science and Law)

4. Chinese traditional riding culture
Chen Liang (member of UNESCO World Archery Association, vice-president of Traditional Bow Branch, chair of the Archery Department, Chinese Archery Association)

Committee of the Project Space Young Curators Lab
Chief Coordinator (s): Zhang Zikang, Wang Huangsheng, Yu Ding
Coordinator(s): Wang Chunchen, Gao Gao
Chief Executive(s): Liu Xiyan, Chen Jie
Public Education: Ren Rui
Business Development: Song Liang
Visual Director(s): Ji Yujie
Collection Management: Li Yaochen

Organizer(s): CAFA, Art Management and Education College of CAFA
Co-organizer(s): Wu Zuoren International Foundation of Fine Arts, Young Curator Fund
Supporter(s): Beijing ZHC Art Space
Printing Support: Beijing Flying Fish Culture Development Company

Introduction of the Project Space ·Young Curators Lab:

Project Space, established in October 2009, aims to bring out the best-emerging curators by supporting them in forging a global vision and engaging in in-depth academic activities. To date, Project Space has launched about 20 projects, serving as a perfect platform for young curators. The project will keep in close touch with them and keep open to different curating proposals. Supported by CAFA and its fund, we will provide young people with curating and communication opportunities to inject new momentum into the industry. (Email: projectspace@126.com)

Introduction of Young Curator Fund

Established on July 7th, 2013, Young Curator Fund is committed to supporting and cultivating young curators with a global vision and strong professional skills. It has launched projects as Overseas Training Program for Young Curators, and International Curator Master Workshop. In October 2009, Young Curator Fund, joined by CAFA, established Project Space· Young Curators Lab.

Preface

It will be one-sided if we equate realism in traditional Chinese modern art with that in the western world, as they have different orientations. In the face of modern challenges, Chinese invented their realism by incorporating traditional Chinese civilization with their perceptions of an authentic, powerful and modern China.

Realism occurred after two major changes in the history of Chinese arts. The first change refers to the Stele Movement that Kang Youwei advocated. Kang believed that realism is the foundation of western art. Xu Beihong, one of his followers also highly valued neoclassical school represented by Jacques-Louis David and initiated its aesthetic education in China. The second change came at a time when Chinese artists sought to introduce western artto China. Because of that, the socialist artistic tradition with realism was challenged and began to acquire new meanings. Such fields as conceptual painting, experimental video, social art, and theater performance have all been influenced by the change. 

In these two changes, different types of modernism appeared as a rival of realism. The first type is modernism featuring self-discipline initiated by Paul Cézanne, while the second refers to Enlightenment Modernism characterized by "cultural zeal." Here in China, realism is more like a painful exploitation made by Chinese people to overcome its historical constraints than a mere copycat from the western world. 

To overcome one certain type of outdated historical view, we have to learn to create a new one, even if sometimes the old has taken the form of realistic oil painting. As the forerunner of realism in China, Kang Youwei, influenced by the Gong-yang School in the Qing Dynasty (a subfield of Confucianism), was maybe the last self-revolutionist in Chinese classical civilization.  

Springand Autumn Annals, one of the six classics of Confucianism, is seen as a book that embodies the supreme wisdom of the Chinese people in reflecting on their history. Historical reflection is not only what Confucianism excels Daoism and Buddhism. More importantly, it is also an advantage boasted by the Chinese civilization. It's not commonly seen in the time-honored world history that a civilization can keep a record of its history for such a long and consistent time at such an amazing scale. Among all the commentaries on Spring and Autumn Annals, Gongyang Zhuanstands out as it is precise and science-based. Kang Youwei succeeded in injecting new ideas into the book by applying it to the real world where he lived, leading to revolutionary changes in such areas as politics, academia, arts, and education. Meanwhile, he also managed to envisage a future world where the concepts of GongyangZhuancan truly turn into reality. He expressed his ideas in his masterpiece Da Tong Shu. Liang Qichao, one of his followers, then inaugurated Chinese Futurology and Science Fiction Art. 

It is unthinkable what would happen to China's cultural and political practice if all the concepts of Gongyang Zhuan, including ideas like “Bo Luan Fan Zheng” (a political term, bringing order out of chaos), “Xiaokang Society” and “Tong San Tong” (three laws for governors) failed to win their due place. All these concepts prove that the wisdom of Gongyang Zhuanhas never been left unrecognized throughout Chinese history. Also, these concepts also serve as important pillars of Chinese contemporary art. Realism is a backbone of arts in the new era, rather than a loser in a modern art movement. 

 

About the Stele Study Exhibitions

Stele Movement is a political and aesthetic movement starting from late Ming Dynasty to late Qing Dynasty. As the last important art and cultural movement of classical China, it also represents the epilogue of modern Chinese political and artistic trends. This movement, commonly known as a calligraphy trend, actually exerts a much broader impact on the Chinese society. On the one hand, it added fresh ideas to the traditional Confucianism, as evidenced by new philosophical systems established by Ruan Yuan and Kang Youwei, two famous Chinese thinkers. On the other, global awareness emerged at the end of Qing Dynasty. Artistswhoinfluenced by the trend, such as Xu Beihong, eventually shaped contemporary Chinese culture and academic system.

Stele Movement can help us in identifying the relationship between ancient Chinese civilization and a globalized world. Through discussion, we hope we can learn more about the Chinese history while engaging in art creation. To reinterpret Confucianism and sharpen global awareness, which explains the reason why we would like to revitalize the stele movement, has been a key trend of modern China. Stele movement offers us the best way to understand many concepts in a Chinese context rather than Dao and skills, rule and arts, sacrificial ware and etiquette.


It will be one-sided if we equate realism in traditional Chinese modern art with that in the western world, as they have different orientations. In the face of modern challenges, Chinese invented their realism by incorporating traditional Chinese civilization with their perceptions of an authentic, powerful and modern China.

Realism occurred after two major changes in the history of Chinese arts. The first change refers to the Stele Movement that Kang Youwei advocated. Kang believed that realism is the foundation of western art. Xu Beihong, one of his followers also highly valued neoclassical school represented by Jacques-Louis David and initiated its aesthetic education in China. The second change came at a time when Chinese artists sought to introduce western artto China. Because of that, the socialist artistic tradition with realism was challenged and began to acquire new meanings. Such fields as conceptual painting, experimental video, social art, and theater performance have all been influenced by the change. 

In these two changes, different types of modernism appeared as a rival of realism. The first type is modernism featuring self-discipline initiated by Paul Cézanne, while the second refers to Enlightenment Modernism characterized by "cultural zeal." Here in China, realism is more like a painful exploitation made by Chinese people to overcome its historical constraints than a mere copycat from the western world. 

To overcome one certain type of outdated historical view, we have to learn to create a new one, even if sometimes the old has taken the form of realistic oil painting. As the forerunner of realism in China, Kang Youwei, influenced by the Gong-yang School in the Qing Dynasty (a subfield of Confucianism), was maybe the last self-revolutionist in Chinese classical civilization.  

Springand Autumn Annals, one of the six classics of Confucianism, is seen as a book that embodies the supreme wisdom of the Chinese people in reflecting on their history. Historical reflection is not only what Confucianism excels Daoism and Buddhism. More importantly, it is also an advantage boasted by the Chinese civilization. It's not commonly seen in the time-honored world history that a civilization can keep a record of its history for such a long and consistent time at such an amazing scale. Among all the commentaries on Spring and Autumn Annals, Gongyang Zhuanstands out as it is precise and science-based. Kang Youwei succeeded in injecting new ideas into the book by applying it to the real world where he lived, leading to revolutionary changes in such areas as politics, academia, arts, and education. Meanwhile, he also managed to envisage a future world where the concepts of GongyangZhuancan truly turn into reality. He expressed his ideas in his masterpiece Da Tong Shu. Liang Qichao, one of his followers, then inaugurated Chinese Futurology and Science Fiction Art. 

It is unthinkable what would happen to China's cultural and political practice if all the concepts of Gongyang Zhuan, including ideas like “Bo Luan Fan Zheng” (a political term, bringing order out of chaos), “Xiaokang Society” and “Tong San Tong” (three laws for governors) failed to win their due place. All these concepts prove that the wisdom of Gongyang Zhuanhas never been left unrecognized throughout Chinese history. Also, these concepts also serve as important pillars of Chinese contemporary art. Realism is a backbone of arts in the new era, rather than a loser in a modern art movement. 

 

About the Stele Study Exhibitions

Stele Movement is a political and aesthetic movement starting from late Ming Dynasty to late Qing Dynasty. As the last important art and cultural movement of classical China, it also represents the epilogue of modern Chinese political and artistic trends. This movement, commonly known as a calligraphy trend, actually exerts a much broader impact on the Chinese society. On the one hand, it added fresh ideas to the traditional Confucianism, as evidenced by new philosophical systems established by Ruan Yuan and Kang Youwei, two famous Chinese thinkers. On the other, global awareness emerged at the end of Qing Dynasty. Artistswhoinfluenced by the trend, such as Xu Beihong, eventually shaped contemporary Chinese culture and academic system.

Stele Movement can help us in identifying the relationship between ancient Chinese civilization and a globalized world. Through discussion, we hope we can learn more about the Chinese history while engaging in art creation. To reinterpret Confucianism and sharpen global awareness, which explains the reason why we would like to revitalize the stele movement, has been a key trend of modern China. Stele movement offers us the best way to understand many concepts in a Chinese context rather than Dao and skills, rule and arts, sacrificial ware and etiquette.


Quick loginAccount login
  • Mobile phone number will be your login ID
  •  
Use Artron membership to login

Child Public Education Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Adult Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Sumbit

Group Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Group Visit Agreement
and Statement

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.

Group Visit Agreement
and Statement

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.

Group Visit Agreement
and Statement

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.

Event Booking Form

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

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!