Confusing Public and Private:The 3rd Beijing Photo Biennial

  • Dates:2018-09-28 - 2018-11-04
  • Opening:2018-09-28 19:00
  • Organizer(s): CAFA Art Museum
  • Co-Organizer: The Curatorial Committee of the 2018 Beizhen International Photography Festival
  • General Consultant: Fan Di’an
  • Curatorial Directors: Wang Huangsheng, Zhang Zikang
  • Curatorial Team: Hans de Wolf, Cai Meng, Ângela Ferreira, He Yining

Preface

Mission and Purpose

“The Beijing Photo Biennial” has received wide attention and recognition in the art industry and related fields, with its previous two successful exhibitions of “Aura and Post-Aura” and  “Unfamiliar Asia”. As one of the brand exhibitions of CAFA Art Museum, this event aims to examine the constant participation of photography in contemporary cultural narrative and the construction of new artistic orders and patterns, since it is regarded as a unique medium and carrier of intervention and application as well as a constantly self-renewing form. We hope to draw on Western classics and cutting-age photographic resources worldwide to discover and support potentially talented young photographers in China, encouraging them to explore the language of photography and expand their ideas; we also hope to make contribution to the development of Chinese photography by promoting and enhancing the influence and recognition of contemporary Chinese photography to a higher level in the international art circles.

This year’s biennial is planned as part of the “thematic exhibition” of the first Beizhen International Photography Festival and will be held simultaneously at the Cultural Industry Center of Beizhen city in Liaoning province and the CAFA Art Museum. Nearly 1000 works of about 80 artists from around the world will be displayed in the exhibition, and a series of academic seminars, forums, art talks and public education activities will be organized at the same time. The CAFA Art Museum will continue to bring advanced modes of thinking and organization from contemporary cultural and artistic circles into the field of photography and image art in China, in an attempt to enhance its cultural depth, academic range, quality of communication and degree of internationalization. Characterized as comprehensive, contemporary, practical and routine, photography is used as a medium of visual expression. We hope to deliver and present the serious and in-depth thoughts of today’s photographers and artists on history, social reality, art and the self, and thus to inspire more people to reflect, recognize and explore photography again. Meanwhile, through this cultural cooperation with local government, we hope to explore a new kind of curatorial system that can make use of the social and public roles of university art museums to promote the cultural development and prosperity of the relatively less developed areas, and to build new brands and platforms for cultural and artistic communication of a new era.

 

Theme

As a newly emerging technology, medium and application, photography has always been associated with topics of publicity and privacy since it was invented. In the early days, photographers took essentially private pictures and viewed them in public spaces, while nowadays everyone can afford a camera phone and with mobile network and social media there appeared the demarcation of image, and in the time of constantly evolving visualization of data in contemporary art, photography has increasingly become an important medium that extends to, participate in, intervene with and helps build people’s public and daily lives. Thus, the public and private characters of photography continue to conflict, confront, integrate and spread between real and virtual spaces, and this constantly changes people’s ways of expression, relationships, behavioral habits while filling up our public and private living spaces. Eventually, with the extensive involvement of photography, public and private spaces, the boundaries between the individual and the group, and the “others” and  “I” are reconstructed and redefined. During the process of these changing relationships, photography interacts and resonates in new ways with a lot of important factors such as history, reality, religion, philosophy, civilization, war, science & technology, politics and human emotions. In such a spatial-temporal environment where the public and the private are mixed, the modes of organization and thinking are extremely complex, and the atmosphere is full of a sense of ritual and absurdity, how can we start an adventure of thought – what kind of world is it? How is it related to us? It may be a Utopia or Dystopia, or even a Heterotopia or Protopia [1], and in their ideological and visual field, the way we deal with the relationship and expression of the public and private by photography will become our common goal that built on a relatively broad, distant and higher point, which is also the main point that inspired us to plan this exhibition. Therefore, this exhibition will center on photography as an interdisciplinary research field as well as its complex coexistence of the social, public and private, and it aims to explore the role and significance of photography in the tensional relationship between the public and the private.

It is worth pointing out that, by drawing on experience and reflect on the insufficiency from the first two photo biennials, the curatorial team hope to present a completely different exhibition this year, in an experimental and challenging way of organization and thinking based on the theme of “Confusing Public and Private”.

[1] Kwvin Kelly once pointed out: “the real Dystopia has nothing to do with the description of it in the movie ‘Mad Max’ and is more like the former Soviet Union: the world was not lawless but filled with overregulated bureaucracies……however, neither Dystopia or Utopia are our destinations: our real destination is ‘Protopia’, more precisely speaking, we have already arrived in a Protopia. A Protopia is not an end but a state of transformation, a process. In the mode of a Protopia, today is better than yesterday despite it just get a little bit better. It is a gradual process of improvement and a gentle form of progress.”

 

Curatorial team

Hans De Wolf (Belgium)

Professor Hans is engaged in Art History and Archeology studies at the Vrije Universiteit Brussel and the Columbia University in New York. In 2002, he received his doctor’s degree with his innovative research on Marcel Duchamp’s work “The Large Glass”, which was regarded as one of the most complicated artworks in the 20th century. Hans also published relevant papers in many international magazines. He has worked as the curator at the Hamburger Bahnhof Museum and the Museum of Modern Art in Berlin for many years and has also given lectures at the Weißensee Kunst-Hochschule Berlin. In 2005, Hans established a doctoral program in Brussel Art –“The Platform” and was appointed as its general director. At the same time, he is also the senior advisor for the Palais des beaux-arts. He is currently preparing a large-scale exhibition of Jeff Wall and already published the related catalogue.

Cai Meng (China)

Cai Meng, Doctor of Aesthetics, is the vice dean of CAFA Art Museum’s research department, associate researcher, curator and associate editor of the magazine “University and Art Museum”. His Master and Doctor’s dissertations both focus on contemporary Chinese photography after 1976, and they explore the internal logic in the evolution of contemporary Chinese photography and the corresponding artistic thoughts and external cultural issues, from the perspective and research methods of art history studies. Cai has been involved in the curating of various exhibitions such as “The Third Guangzhou Photo Biennial”, “Spectacle and Gaze”, “100 Vintage Prints”, “CAFAM Future”, “The Beijing Photo Biennial”, “Contemporary Photography in China 2009-2014”, “Roger Baller: Theater of the Absurd”. In 2013, he established the “Linci Photography Research Grant”, the first of this kind in China and acted as its academic chair.

Ângela Ferreira (Portugal)

Ângela Ferreira, alias Berlinde, is a Portuguese artist and curator, currently is studying her doctor’s degree at the Universidade do Minho in Portugal and the Universidade Federal do Rio de Janeiro in Brazil. Ângela is the co-founder of the Encontros Da imagem (The Portugal Photo Festival) in Braga, Portugal. Based on her professional background and expertise in the field of art photography, Ângela has been writing exhibition articles for various magazines, interviewed international artists, and introduce their works to Europe and Latin America, where she has been commissioned to create contemporary photography works and exhibitions, particularly in Brazil. Ângela is currently a part-time teacher at the Senior School of Media Arts and Design of the Instituto Politecnico do Porto, Portugal, and works in the field of mixed photography studies. She is also the artistic advisor of the Photographic Museum of Fortaleza in Brazil, and the director of the photography project at the department of cultural affairs of Ceará in Fortaleza. 

He Yining (China)

He Yining is a historian of photography and curator. She graduated from the London College of Communication, UAL and gained a Master degree in MA Photojournalism and Documentary Photography. Since 2010, she has been working on writing for photography, art, humanities-related columns and publications while working as a curator, editor and translator. She pays attention to photography as a practice that gets in and out freely in the art field and emphasizes its effectiveness, diversity and interdisciplinarity in responding to and proposing social issues of now and past. She has curated exhibitions for museums, galleries, art spaces and festivals in China and across Europe. In early 2014, she initiated the Go East Project, aiming to promote contemporary Chinese photography through blogs, exhibitions and publications, and helped young photographers to build international platforms of photography and explore the infinite possibilities of photography. Since 2016 she has been appointed as the artistic advisor of Brownie Art Photography.


Mission and Purpose

“The Beijing Photo Biennial” has received wide attention and recognition in the art industry and related fields, with its previous two successful exhibitions of “Aura and Post-Aura” and  “Unfamiliar Asia”. As one of the brand exhibitions of CAFA Art Museum, this event aims to examine the constant participation of photography in contemporary cultural narrative and the construction of new artistic orders and patterns, since it is regarded as a unique medium and carrier of intervention and application as well as a constantly self-renewing form. We hope to draw on Western classics and cutting-age photographic resources worldwide to discover and support potentially talented young photographers in China, encouraging them to explore the language of photography and expand their ideas; we also hope to make contribution to the development of Chinese photography by promoting and enhancing the influence and recognition of contemporary Chinese photography to a higher level in the international art circles.

This year’s biennial is planned as part of the “thematic exhibition” of the first Beizhen International Photography Festival and will be held simultaneously at the Cultural Industry Center of Beizhen city in Liaoning province and the CAFA Art Museum. Nearly 1000 works of about 80 artists from around the world will be displayed in the exhibition, and a series of academic seminars, forums, art talks and public education activities will be organized at the same time. The CAFA Art Museum will continue to bring advanced modes of thinking and organization from contemporary cultural and artistic circles into the field of photography and image art in China, in an attempt to enhance its cultural depth, academic range, quality of communication and degree of internationalization. Characterized as comprehensive, contemporary, practical and routine, photography is used as a medium of visual expression. We hope to deliver and present the serious and in-depth thoughts of today’s photographers and artists on history, social reality, art and the self, and thus to inspire more people to reflect, recognize and explore photography again. Meanwhile, through this cultural cooperation with local government, we hope to explore a new kind of curatorial system that can make use of the social and public roles of university art museums to promote the cultural development and prosperity of the relatively less developed areas, and to build new brands and platforms for cultural and artistic communication of a new era.

 

Theme

As a newly emerging technology, medium and application, photography has always been associated with topics of publicity and privacy since it was invented. In the early days, photographers took essentially private pictures and viewed them in public spaces, while nowadays everyone can afford a camera phone and with mobile network and social media there appeared the demarcation of image, and in the time of constantly evolving visualization of data in contemporary art, photography has increasingly become an important medium that extends to, participate in, intervene with and helps build people’s public and daily lives. Thus, the public and private characters of photography continue to conflict, confront, integrate and spread between real and virtual spaces, and this constantly changes people’s ways of expression, relationships, behavioral habits while filling up our public and private living spaces. Eventually, with the extensive involvement of photography, public and private spaces, the boundaries between the individual and the group, and the “others” and  “I” are reconstructed and redefined. During the process of these changing relationships, photography interacts and resonates in new ways with a lot of important factors such as history, reality, religion, philosophy, civilization, war, science & technology, politics and human emotions. In such a spatial-temporal environment where the public and the private are mixed, the modes of organization and thinking are extremely complex, and the atmosphere is full of a sense of ritual and absurdity, how can we start an adventure of thought – what kind of world is it? How is it related to us? It may be a Utopia or Dystopia, or even a Heterotopia or Protopia [1], and in their ideological and visual field, the way we deal with the relationship and expression of the public and private by photography will become our common goal that built on a relatively broad, distant and higher point, which is also the main point that inspired us to plan this exhibition. Therefore, this exhibition will center on photography as an interdisciplinary research field as well as its complex coexistence of the social, public and private, and it aims to explore the role and significance of photography in the tensional relationship between the public and the private.

It is worth pointing out that, by drawing on experience and reflect on the insufficiency from the first two photo biennials, the curatorial team hope to present a completely different exhibition this year, in an experimental and challenging way of organization and thinking based on the theme of “Confusing Public and Private”.

[1] Kwvin Kelly once pointed out: “the real Dystopia has nothing to do with the description of it in the movie ‘Mad Max’ and is more like the former Soviet Union: the world was not lawless but filled with overregulated bureaucracies……however, neither Dystopia or Utopia are our destinations: our real destination is ‘Protopia’, more precisely speaking, we have already arrived in a Protopia. A Protopia is not an end but a state of transformation, a process. In the mode of a Protopia, today is better than yesterday despite it just get a little bit better. It is a gradual process of improvement and a gentle form of progress.”

 

Curatorial team

Hans De Wolf (Belgium)

Professor Hans is engaged in Art History and Archeology studies at the Vrije Universiteit Brussel and the Columbia University in New York. In 2002, he received his doctor’s degree with his innovative research on Marcel Duchamp’s work “The Large Glass”, which was regarded as one of the most complicated artworks in the 20th century. Hans also published relevant papers in many international magazines. He has worked as the curator at the Hamburger Bahnhof Museum and the Museum of Modern Art in Berlin for many years and has also given lectures at the Weißensee Kunst-Hochschule Berlin. In 2005, Hans established a doctoral program in Brussel Art –“The Platform” and was appointed as its general director. At the same time, he is also the senior advisor for the Palais des beaux-arts. He is currently preparing a large-scale exhibition of Jeff Wall and already published the related catalogue.

Cai Meng (China)

Cai Meng, Doctor of Aesthetics, is the vice dean of CAFA Art Museum’s research department, associate researcher, curator and associate editor of the magazine “University and Art Museum”. His Master and Doctor’s dissertations both focus on contemporary Chinese photography after 1976, and they explore the internal logic in the evolution of contemporary Chinese photography and the corresponding artistic thoughts and external cultural issues, from the perspective and research methods of art history studies. Cai has been involved in the curating of various exhibitions such as “The Third Guangzhou Photo Biennial”, “Spectacle and Gaze”, “100 Vintage Prints”, “CAFAM Future”, “The Beijing Photo Biennial”, “Contemporary Photography in China 2009-2014”, “Roger Baller: Theater of the Absurd”. In 2013, he established the “Linci Photography Research Grant”, the first of this kind in China and acted as its academic chair.

Ângela Ferreira (Portugal)

Ângela Ferreira, alias Berlinde, is a Portuguese artist and curator, currently is studying her doctor’s degree at the Universidade do Minho in Portugal and the Universidade Federal do Rio de Janeiro in Brazil. Ângela is the co-founder of the Encontros Da imagem (The Portugal Photo Festival) in Braga, Portugal. Based on her professional background and expertise in the field of art photography, Ângela has been writing exhibition articles for various magazines, interviewed international artists, and introduce their works to Europe and Latin America, where she has been commissioned to create contemporary photography works and exhibitions, particularly in Brazil. Ângela is currently a part-time teacher at the Senior School of Media Arts and Design of the Instituto Politecnico do Porto, Portugal, and works in the field of mixed photography studies. She is also the artistic advisor of the Photographic Museum of Fortaleza in Brazil, and the director of the photography project at the department of cultural affairs of Ceará in Fortaleza. 

He Yining (China)

He Yining is a historian of photography and curator. She graduated from the London College of Communication, UAL and gained a Master degree in MA Photojournalism and Documentary Photography. Since 2010, she has been working on writing for photography, art, humanities-related columns and publications while working as a curator, editor and translator. She pays attention to photography as a practice that gets in and out freely in the art field and emphasizes its effectiveness, diversity and interdisciplinarity in responding to and proposing social issues of now and past. She has curated exhibitions for museums, galleries, art spaces and festivals in China and across Europe. In early 2014, she initiated the Go East Project, aiming to promote contemporary Chinese photography through blogs, exhibitions and publications, and helped young photographers to build international platforms of photography and explore the infinite possibilities of photography. Since 2016 she has been appointed as the artistic advisor of Brownie Art Photography.


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But what we see, when the dice are casted, are the dark eyes of our result - mirroring the universal firmament and all its lightening stars - and that result is representing a temporary, human “constellation” that comes as an expression of CHANCE.  The French word for chance is “hazard” and it comes from the Arab word “Az Zhar” that means nothing else as “the game with the dice”, and don’t forget, before being dropped, the dice are rolling over the lifelines incised into the palms of our hands as if it were “small size” parchments for reading the future.In the moment that the curatorial team of the Third Beijing Photo Biennial decided to use the format of the CONSTELLATION as an organizing principle for each of the twelve chapters of the exhibition, we engaged in a quite unusual practice, by bringing artworks, artists, pictures together in configurations that never existed before, but would offer a completely new sense-giving opportunity to all those contributors, to all of those chapters, and this without following any rational logics.  Still today I cannot explain why a canonical body of work such as Richter’s Atlas was never before shown in a dialogue with the Atalante series by Luigi Ghirri, one of the most gifted artists-photographers of his generation, but I cannot say neither with precision why such a confrontation makes so much sense for me today, although I have a couple of ideas I love to play with, one of them being that it opens up a new field for reflecting on the tensions between the PRIVATE and the PUBLIC in our societies before, as well as in the current world obsessed with communication. The approach of the constellation can also lead to a promising new perspective on the medium of photography itself.  Just take a look at a turning point picture within the history of photography, Jeff Wall’s Destroyed Room (1978), which I consider to be the quintessential expression of a constellation even before the camera “produced” that famous picture.  For several months and through a painstakingly effort, the artist realized the settings for just one single picture. When it was released it was rapidly understood as an invitation to the world of photography to enlarge its scope. Many read it as a liberating act, away from an “obligation” to render “reality” that had never been written down but nevertheless had accompanied the medium of photography throughout its existence.  Constellations also liberate the pictures from a strong tendency within photography to consider each successful image as the result ONLY of a special chemistry between the camera on one side and the eye and the finger of the artist at the other.  Within this new framework, those pictures can now start to generate new fields of meaning through confrontations with other artworks, in their quality of photographs that participate with all their rights and privileges to an “un-fulfilled” product of human imagination, open to the future, called: a constellation.Hans Maria DE WOLFThe 3rd Beijing Photo Biennial More
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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!