CAFA Graduation Season 2021 | READY TO-GO

  • Dates:2021-05-09 - 2021-06-22
  • Location:CAFA Art Museum, Statue Gallery, 1st & 2nd Floor of Building No.7
  • Opening:2021-05-09
  • Organizer(s): CAFA

Details

The year of 2020 was a difficult yet extraordinary year, extraordinary because each and every of you. With life returning to ordinary in 2021,The 1311 new graduates are also pulling together,and get ready for the 2021 CAFA Graduation Season.Are you ready? Let’s get readyto gether!to go!to boom! There will be 55 doctor degree graduates and 381 master degree graduates in 2021. Altogether these graduates will exhibit over 3000 pieces of works in the physical galleries, covering fields from painting, sculpture, experimental art, design, architecture to art history and art theories. The online exhibition will meet the public on May 24. It will not only show digital versions of graduating students' works, but also provides a 720-degree view of the exhibition. This is a new breakthrough following the 2020 online graduation season that "will never be offline".All visitors (including guests with invitation and VIP members) need to make real-name reservation in advance, and enter the museum upon wearing masks and showing green health code. Please scan the QR code below to make a reservation.Opening Hours: Tuesday to Sunday 9:30-17:30 (last admission 17:00)Scan the QR code to buy ticketsScan the QR code to make a reservation

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The year of 2020 was a difficult yet extraordinary year, 

extraordinary because each and every of you.

 

With life returning to ordinary in 2021,

The 1311 new graduates are also pulling together,

and get ready for the 2021 CAFA Graduation Season.


Are you ready?

 

Let’s get ready

to gether!

to go!

to boom!

1620482291254796.jpg

 1620482269451265.jpg

There will be 55 doctor degree graduates and 381 master degree graduates in 2021. Altogether these graduates will exhibit over 3000 pieces of works in the physical galleries, covering fields from painting, sculpture, experimental art, design, architecture to art history and art theories. The online exhibition will meet the public on May 24. It will not only show digital versions of graduating students' works, but also provides a 720-degree view of the exhibition. This is a new breakthrough following the 2020 online graduation season that "will never be offline".

1620481165213837.jpg

1620481170453130.jpg


All visitors (including guests with invitation and VIP members) need to make real-name reservation in advance, and enter the museum upon wearing masks and showing green health code. Please scan the QR code below to make a reservation.


Opening Hours: Tuesday to Sunday 9:30-17:30 (last admission 17:00)


1620481996398614.jpg

Scan the QR code to buy tickets


1620482084765918.jpg

Scan the QR code to make a reservation


Artworks

Artworks

Photographs

Photographs

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“最后一片肉。?” 塑造了两个伪君子,一个是在暧昧于不沾“鲜血”的腊肉的机器人;一位是创造了没有“鲜血”的机器人的“人类”。姜同的研究方向是机器人艺术,他的关注点是“科技伦理”。仔细琢磨, “最后一片肉。?” 似乎提出这样一个问题:当人把自己的欲望之天性给了“机器人”,而机器人为了满足欲望去杀人,谁来负债终身?——陈小文教授 生物科技与设计研究 导师组:陈小文教授、费俊教授、Clive van Heerden教授(外聘) 生物艺术与设计研究是跨学科研究方向,综合雕塑、数字媒体,生物+合成生物材料,人工智能科技以及生命科技为一体的艺术与科技综合性学科。以研究生命工程的美学与伦理为主导。研究当代生物科学的发展会如何推动我们去重新定义什么是自然,什么是生命。她将为艺术家与科学家共同研究建立平台、提供支持。尝试新型的教学模式和体系。生物科技是世界未来医学、生物学以及农业经济发展的尖端学科。它也将为当代艺术发展提出新的问题、材料、创作方法。反过来,我们培养出来的艺术家和设计师会为科学家的课题提出有意义的挑战和转译,以此共同推动科技、社会、和文化的发展。01.Where Are You From作者/孙亚晶导师组/陈小文教授(责任导师)、费俊教授、Clive van Heerden教授(外聘)这些在容器内仍在生长的微生物,其菌源采集自不同地方不同人的肚脐。肚脐像是一个被突然切断的枢纽,出生之后便沦为一个备受冷落的伤疤。而作为一个形态特殊的伤疤,肚脐往往有着多层褶皱,其中也裹挟着样貌不同、“善恶”参差的菌种,这些群生滋长的菌落也就此生成了另一种生态。我所选择的肚脐菌源的贡献者们,个人所处的环境不同、习惯也不同,我于是将每个人的肚脐这一“废园”内的“野花”,放进一个个不同的关于易变与幻化的特殊童话故事中培植,用来献给这些野花的来处,和它们各自来处的来处。为什么会选择肚脐?肚脐是脐带的“遗址”,是人呱呱坠地之后,世界留给我们的第一个伤疤。肚脐是我们人体看似不起眼,但非常重要的部位,温暖的肚脐是浑然天成的细菌温床,这里裹挟着很多你不曾关注的微生物。肚脐是我们生命起源的地方,有研究人员曾在一位从没去过日本的志愿者的肚脐里发现了一种只有在日本的土壤中发现过的细菌。也有另外的志愿者,研究人员在其肚脐里发现了只有海洋环境中才有的细菌。这种特殊的现象,让我对生命的存在形式和起源充满不解与兴趣,我们从哪里来,会到哪里去?希望可以通过“肚脐”这个独特的视角让人感受到生命的温度与力量。在创作的过程中遇到哪些困难?比较困难的事情应该是材料的不可控性,细菌是需要营养和水来维持其生命的生物体。在展览期间,它们也是在不断生长的,这是一个动态的过程。微生物不会按照我们的设想生长,即使我们给予它们适宜的环境或加以人为的破坏,都不能控制它们的生长轨迹及形态,它们会以一种自然自发的状态“野蛮”生长。导师评语孙亚晶的研究方向是生物艺术。三年的研究给她带来更多的是对生命之源的好奇,集中在“细菌”的功能与意义。一个正常人的身体只有不到一半的细胞是人的,其余的是细菌(微生物),这些细菌(微生物)直接影响我们的健康、心情以及对药物的反应,等等。在我们离开母体的过程中,我们的身体接受了第一批细菌。以此推理,我们可以联想:我们的一半是“母亲”。从这儿,我们看到孙亚晶的生物艺术研究与实验室里科学家的工作有着本质的区别:她的毕设“Where Are You From”(你从哪儿来)以她独特的洞察,以她独特的语言,唤起我们对母亲和生命(以及细菌)的敬意。——陈小文教授 设计批评与策展研究 导师组:宋协伟教授、邱志杰教授随着经济社会发展的持续变革和加速,设计与经济、生活、社会和文化的融合发展正在呈现复杂的多样性形态,设计批评与设计策展以独特的视野、方法论和策略机制对设计介入经济社会建设的多维可能性、目标和价值进行评价和反思,进一步修正设计发展的路径和方式。本学科研究方向以中国快速变革的经济与社会现实为基础,充分理解并融入中国经济社会建设的需求,在产业融合研究,社会创新发展研究以及商业价值创造研究三个维度形成中央美术学院设计批评与设计策展研究的专业特色和学术地位,以及实际的研究作用和价值。推动设计批评、设计策展与公共问题、社会机制和城市发展的广泛融合创新,从而创新设计发展的规律、方法和系统。01.策展与空间转向作者/崔潇导师组/宋协伟教授(责任导师)、邱志杰教授策展的边界已从主流空间向非主流公共空间逐渐延伸,我从设计策展的角度提供一个概念,思考如何在监狱内做一个展览。“监狱”在此不仅是一个物理含义上的实体存在,更是非主流空间的一种代表,其背后对应着需要平台展示自己才华的特殊群体,这些被社会边缘化的人群需要表达自身情感诉求、调整消极情绪的通道;保持与外界的关注与联系;发掘待发现的技能与创造潜力,培养适应社会的能力;过滤社会因素如刻板印象来重建身份……作品展示了一套较为完整的策展方案,包括策展理念、展览结构、综合评价,空间划分以及我对策展人的角色思考等五个板块。我重新思考并定位受众,从艺术审美的共通性出发,尝试将囚犯作为创作主体,大众作为观者,管理者作为引导者,搭建了一个封闭空间,这个展览空间未来有可能出现在画廊、美术馆,或是在监狱内部——成为囚犯之间、囚犯与大众之间沟通对话的桥梁。同时,此方案也探讨了艺术治疗与策展的结合,艺术治疗作为手段,展览作为媒介, “创作与疗愈”这一实践在监狱这一非主流公共空间实施的可行性与意义。希望囚犯通过人际交往和社会参与的实践模式,重新认识个体的社会价值。能否从你的研究方向出发谈谈作品本身?作品以关注弱势群体为主题,强调了策展实践的社会功能,艺术要介入社会现实,介入中国的社会问题。折页与作品试图共同表达,寻找一种全新而又可以广泛应用于非主流公共空间内的当代艺术策展理念和方式。监狱主题的策展模式最终生成三个特点:分别是打破以结果为导向的策展,非展示需求的策展,参与共享为主的策展。策展成为一种设计——将监狱、机构和观众以更多的移情关系联系在一起。创作过程对你有什么启发?策展具有社会影响力,尤其是涉及到展览“囚犯”作品的方式与主题时,无论在监狱内外,都要关注奖励与惩罚机制之间微妙的平衡。重新思考囚犯人性与艺术的核心问题,当了解到作者的个人犯罪背景,我们很难界定艺术品的概念。个人的道德的违规行为会影响我们对他作品/艺术的看法。无论大众是否可以接受将罪犯的作品视为成功、美丽的艺术品;还是为钦佩犯下罪行的人的作品感到愧疚,抑或是因其创作忽略其他因素。这样的展览给观众带来的反应可能是愤怒、厌恶或者叹息,但即使是带有偏见的负面情绪,艺术仍然可以唤醒一种人性和意识,促进对话,超越纯粹的冷漠、漠视,仍然可以将与罪犯特征对立的表现力、敏感性与创造性相联,此类策展实践应尝试协调公民的刻板成见与罪犯的罪行之间的矛盾。导师评语当下中国经济社会建设所带来的社会现实正呈现复杂的多样化,如何面对快速变革所产生的社会矛盾与问题正需要一种创新的设计路径与方式。崔潇的作品以特殊空间为研究场域、当代艺术策展为方法论、空间话语权为策略机制、艺术化心理疗愈为介入方式,将设计引入非主流公共空间建设,重新审视了固有的策展理念、方法、空间权力体系的局限性。一方面将策展作为一种全新的话语权与力量,对当代文化与艺术批评进行实践,欲引发社会深思,拓展策展的多维价值。另一方面,艺术疗愈和监狱空间的关联使策展不再只是艺术理念的表达,而具有人文关怀、社会建设、战略行动等方面的意义。整体来说,此作品的观念与实践推动了设计批评,设计策展与公共问题、社会机制、和城市发展的广泛融合创新,从而创新了设计发展的方法,模式和系统。——宋协伟教授02.设计策展作为文化研究的方法作者/龚宽祥导师组/宋协伟教授(责任导师)、邱志杰教授2018年我与好友联合成立了关注平面设计、公共设计、视觉艺术与技术等领域的设计策展机构,在三年来的策展实践中一直努力强调展览特殊性、系统性和针对性。此外通过展览延伸出的事件与文献,辅助大众对公共议题进行讨论,并容纳更为开放的思考邀请。希望主动引导观众主观的思考状态,使公众参与到一个叙事性、互动性的展览中,在社会层面产生影响之外,使设计策展作为一种基于对当代现实观察的试验与文化研究的方法。为什么会选择高田唯作为首个策展对象?「人人都是设计师」等于人人都不是设计师,当代设计呈现出一般性。高田唯的设计反映出平面设计文化价值的这种急剧变化,揭示了现代平面设计语言惯性的危机,思考并实践了以日常生活中的视觉文化为起点的一种未来指向。考虑到近十年来,所谓新丑风格(尤以平面和时尚领域为甚)在世界范围内频繁引发争议,可见丑陋设计已从个性转为局部共识,并非哗众取宠之举。此类充满搞怪色彩和挑衅意味的作品反映出具有当代性的审美动荡以及现代设计价值观的松动。为什么强调「对公共议题的快速反应」在设计策展中的重要性?今天的世界瞬息万变,一些事件的发生对我们当下的设计和制造业产生较大影响,尤其在特定的时间里有特殊的意义和价值,其被讨论的意义在于「当下讨论」。由于常规展览的冗长启动程序,往往只能对过去已发生的议题进行梳理,较难同步参与到正在发生中的公共议题中,时间的推移也会削弱观众对具体事件的感受力。策展机构而言,其社会参与性越来越高,因而所探讨的问题也逐渐超越纯粹美学与品味的范畴,需要更积极地深入社会公共议题。导师评语随着群体思维创新度的提升、设计工具科技性的发展以及社交媒体同步性的涌现,设计的类型本身出现了离散和边界游移。如何以设计重塑表象下的文化本质,成为当代设计策展的基要问题之一。如何用“策展”引导观众主动思考,如何用“设计”重构主体意识觉醒?作品“设计策展作为文化研究的方法”在以重申文化研究的基础之上,融合策展人个体跨越三年的具体实践及反思。在该作品中,以设计策展为媒介,积极深入社会的公共性议题,对文化事件进行记录与响应,除了展现出当代设计策展人应当具备的基本素养,更实验性的完成设计策展作为一种文化研究的方法。——宋协伟教授03.从火星⁴到α宇宙⁵作者/贺彦朝导师组/宋协伟教授(责任导师)、邱志杰教授“α宇宙⁵”是继“我们¹人类²在³火星⁴”线上策展项目的进一步虚拟策展实验,基于虚拟技术与区块链技术,设想未来虚拟宇宙的某种艺术化构建方案。作者从艺术设计策展的角度出发,通过虚拟空间、艺术创作以及后人类行为等维度,探讨虚拟世界从现实世界规则中释放的可能性,并以若干虚构的“α宇宙⁵”情节片段予以呈现。为什么是火星?基于长时间以来人类对于物质宇宙有限的探索积累,很多人们不约而同地认为,火星是当代人类对于开发一个全新世界的幻想焦点,两者通常可以相提并论。以火星作为起点的幻想思潮与“新世界”这一概念的定义完全同步,因此“火星”变为了幻想中的平行宇宙的代名词。这里的“火星”既不是指代真实太阳系中的行星,也不是其形象的再现,而是借用火星之名指代人类原始的幻想与虚构的精神世界。“我们¹人类²在³火星⁴”以及“α宇宙⁵”中的数字是什么意思?¹我们:作为参与者的艺术家、观众、策展人个体/自身。²人类:在火星这个超越地球空间的新环境中,参与者作为人类的群体性身份,是更庞大的、且更本质的身份。³在:我们以特殊的方式出现在火星并发生这种虚拟与真实交互的行为。⁴火星:实际存在却又以虚拟空间的方式出现的的火星场所。⁵α宇宙:由参与者创造的无数个平行火星⁴形成的虚拟宇宙空间。为什么用门的形式呈现?作品核心是对于未来虚拟宇宙的幻想,既包含理性的策划,又包含感性的情怀。幻想的内容一方面由文本形式叙述,另一方面又由一些碎片化的图像呈现。使用若干可开关的门既区分开真实与幻想的跨界,又通双层结构承载了抽象文本情节与具象视觉想象的互补关系。导师评语线上展览——策展领域于危机时刻的自救与回应。以面向未来全新形式展览的契机,贺彦朝同学的虚拟平台策展项目“从火星⁴到α宇宙⁵”于实践中展开对当下技术、时下话题、社会热点,三者结合的探索。以话题交流为基础,以游戏交互为体验,以信息交错为呈现,从迭代的科技变革中挖掘策展领域潜在的可能。贺彦朝同学延续过去一年“我们¹人类²在³火星⁴”线上展览实验项目的积累,聚焦于当下NFT艺术的泡沫,对区块链技术在策展领域的应用作出了批判性的反思。在此基础上进一步探讨未来强虚拟化语境下策展的可能性,积极的为“非物质性策展”模式与策略提供了可供讨论与延展的空间。——宋协伟教授04.Virtual / Actual cube作者/秦瑗璟导师组/宋协伟教授(责任导师)、邱志杰教授Virtual/Actual cube是一个虚拟展示空间,由两个悬浮立方体套嵌组成,内部空间借助非欧几里得原理构造。将一个重复的、无限的虚拟封闭环境置于真实时间场景下,结合“光与空间”的概念,让展览在虚拟与真实并置的空间中运行。旨在加强线上展示空间的虚拟感知和现实体验之间的对比。请用最简单的话来描述你的作品。将现实不可能存在的空间虚拟展示出来。作品创作的初衷和目的是什么?艺术向数字化的转变是不可避免的,而大多数线上展示空间依托于仿造现实空间,成为现实空间的一种复刻和替代,线上空间的局限性导致作品与实体展示空间的关系被消解。我认为策展人所要做的就是为这样的网络艺术作品或数字艺术作品提供一个语境,创造一个语境的入口,而不只是做一个数字化展览。在此基础上,我尝试通过结合非欧几里得原理来构建一个非物理空间的虚拟展览平台,希望借此为线上展示空间提供一种新的可能性。为什么选择用白色立方体作为虚拟展示空间的载体?主观来说,我并不认为线上展览一定需要具备线下展览的沉浸式体验,沉浸本身不是目的,如何去打破均质的网络的空间感才是线上展览应该思考的。所以在部分策展人坚持将艺术从白盒子带向更广阔的开放空间来观赏讨论的同时,选择了最传统的“White Cube”作为虚拟空间的主要载体。它能最大程度地削减虚拟空间体验给观众带来的感官上和操作上的负担。其次,无论是在空间实现、技术支持还是程序运行上,立方体都是最能实现本作品概念的结构载体。导师评语Virtual/Actual cube项目结合跨学科的实践方法,使用几何学原理和编程手段构建了一个“虚拟”与“真实”并存的超现实展览空间。在实现的过程中不断思考线上展览体验的方式,尝试理解技术之于策展的意义,探索了虚拟展览更多的可能形式。——宋协伟教授05.星球档案馆作者/赵德玉导师组/宋协伟教授(责任导师)、邱志杰教授「星球档案馆」是一个基于数字地图庞大信息库所建立的线上档案馆。利用Web2.0的新媒介特性,结合数字地图栖息者的个体意识,收录、整理、归档那些未受重视、缺乏标记、没有定位,边缘又重要的碎片。旨在探讨和挖掘“信息”与“可见度”、“技术”与“主体性”之间的关系,以完成“档案馆”作为一种“策展性”的实践。「星球档案馆」扎根两条理论道路,实践一种档案库的构建与传播,完成一场权力规训的批判与反思。从后现代主义档案学出发,以当下信息的庞杂、多元为基础,收集、归档和管理,正片叠底于信息时代的策展性当下,构建一场对离散、碎片信息的思考和批判。在实践过程中,以反映监控的材料——档案,为行动基础;以监控者——社会个体,为主发点;以被监控者——其他社会个体或社会个体本身,为批判,反映权力的监控与规训在微观层面的映射。作品是如何基于后现代主义档案学进行思考和创作的?后现在主义档案学更加注重事物存在的差异性,这是对传统档案学原始记录性、真实完整性和整体价值性的一种批判。后现代主义档案学家特里·库克在1994年基于互联网的出现重新审视了“档案”。他认为在信息时代,我们所有的行为都被主动或被动记录着,每一件被记录的信息都可以当做一个行为或证据,我们应注重档案记录中的完整性与丰富性,将注意力从“档案“转向“归档“。特里·库克在思考信息时代下技术革命对档案管理的冲击时,感受到传统档案管理的危机,但我们谁也不会想到,在信息大爆炸今天,信息是如此的庞大、复杂和多元,分布和传播呈零散化和碎片化。除了缺失对现有信息的有效管理,也缺乏对过往档案信息的归档。「星球档案馆」便是基于这样的思考所构建起来的。作品是如何反映和批判“全景敞视监控”的?如今随着卫星遥感追踪系统技术的进步和社会监控系统的构建,使数字地图平台拥有了较为全面、不同时间段的地面图像信息和个人数据信息。在微观层面上,数字地图平台更像是一种数据化后的地球映射。当我们在使用该平台时,我们更像是“楚门的世界”里的观众,作为监控者的我们在观看“地球”的同时,也在观看“地球”里的自己,而此时的“地球”便成为了一种“全景敞视监狱”。基于这个思考回归我们个体被监控的现实社会,每个个体的行动都被以公共安全和技术便利为导向的权力主体所束缚,权力的强制性和责任性使我们监控和规训着自己,权力的效力越稳定,我们越是会忘记这种对于自己的束缚。我们每个社会个体使用数字地图平台进行档案搜寻和归档时,便是一种“楚门的觉醒”。希望通过此方式来引发人们对于“全景敞视监控”下,权力监控与规训的思考和反思。同时也是在互联网新媒体时代下,揭示各种新媒体技术服务平台作为一个隐性监控主体的本质。作品是如何基于“策展性”思考所进行实践的?“策展性”是继“策展”和“批判性策展”后所诞生的新的实践理论和思想,且长期处于一种未完全形成和未被具体定义的思想理论。它暂时被理解为一种以时间长期性的、不受空间限制的、以较少对象为导向的、多领域协作的、具有教育性、批判性和反思性的实践。基于对“策展性”的思考,在「星球档案馆」项目中,我不再称自己为策展人,而是“发起者”,参与项目的社会个体为“档案管理员”,项目中看似没有艺术家,实则人人都是艺术家。在项目实践过程中,更多的是利用社会个体意识的参与性来构建「星球档案馆」,社会个体参与“归档”的行为本身会体现出一种监控主体身份的转换和对监控本身的思考与批判。「星球档案馆」项目的发起和构建,也是对后疫情时代线上展兴起后,线上策展模式的一种探索和实践。导师评语这是一场对“策展性”思考并以档案形式完成的策展实践。德玉同学基于新媒体数字平台,以建立线上档案馆方式,完成自身对后现代主义档案学下档案库构建、传播与管理的探讨。不同于以往策展实践,他将社会个体意识的“归档”行为与当下社会“全景敞视监控”结合,完成了一场以信息出发,结合策展主体与社会个体共同展开的对“策展性”思考的当代策展实践。——宋协伟教授 设计管理研究 导师组:海军教授、Soon-in Lee(外聘)、邓成连教授(外聘)本研究方向以中国快速变革的经济与社会现实为基础,充分理解并融入中国经济社会建设的需求,在产业融合研究、社会创新发展研究以及商业价值创造研究三个维度形成专业特色和学术地位,以及实际的研究作用和价值。在产业融合层面,积极推进设计管理与中国产业转型升级实际需求相对接,同时关注新兴产业与设计创新的融合;在社会创新发展层面,推动设计管理与公共事务、社会体系和城市发展的广泛融入创新,探索设计创新规律、方法和系统,从个案研究到整体系统发展建立广泛的应用和研究能力;在商业价值创造维度,通过广义的商业合作研究和创新策略应用,建设设计管理研究的整体框架和系统,推动设计管理研究持续发展和进化。01.“YOUD:有点儿”家居设计师品牌作者/陈滢羽导师组/海军教授(责任导师)、Soon-in Lee(外聘)、邓成连教授(外聘)“YOUD:有点儿”是一个利用家居产品来营造不同生活方式的设计师品牌,品牌中包含“国潮”、“复古”、“市井”、“烟火气”四大主题线,并且在每个主题线中建立经典用户画像和意向语意分析,本次毕业设计主要是对“烟火气”的主题概念展开探讨和设计。设计过程中首先对烟火气进行概念梳理和设计语言的符号提取,配合不同材质来诠释“烟火气”在不同层面、不同角度的大众理解,最终通过“一个餐桌+多种材质”的作品形式来塑造适用于不同群体故事的家居设计,以此表达多种家庭生活中的“烟火气”的质感。你是如何确定的创作方向?又是如何发展出四个主题线?我在研究生期间修读设计管理研究,并且本科时学习家居产品设计,出于对家居设计的喜爱和所学到的知识,决定做一个独立的、与家居相关、探讨生活方式的设计师品牌。对于“国潮”、“复古”、“市井”、“烟火气”四个主题线的确定,不仅是因为我在日常生活中所关注和在意的话题点,还因为我在做品牌的前期调研分析时发现目标人群的家居喜爱趋势是取向于这一类别的,所以更加确定了品牌中产品的设计风格。你的视频中主要讲述了哪些内容?首先是品牌概念视频中,分别从品牌的视觉标识、形态演变、概念诠释、四大品牌主题线等方面进行介绍,意在达到直观快捷地输出品牌文化和品牌内涵。然后是本次毕业设计展览中主要展出的“烟火气”主题线内容,视频中分别从烟火气的语义分析、意向梳理、设计符号提取、设计语言归纳、材料故事和场景诠释等方面依次进行介绍。你希望观众能在你的作品中发出怎样的评价?正如品牌名称中的中文“有点儿”,“有点儿”作为一个程度副词,后面可以接不同的形容词和心理动词,比如“有点儿好看”、“有点儿难受”、“有点儿不一样”等等。我就是希望观者和用户在看到作品时可以发出各种各样的感叹,在满足不同人群对于一件事、一个物品、甚至一个品牌的不同角度的评价时,达到尊重不同个体的独立观点的想法。导师评语“YOUD:有点儿”不只呈现了独立的创新精神和实践价值,从设计管理的角度,设计师身体力行的探讨了在新的时代语境下设计师品牌构建的整体逻辑和价值空间。——海军教授02.没问题,没关系作者/陆晓辉导师组/海军教授(责任导师)、Soon-in Lee(外聘)、邓成连教授(外聘)萨特在探究《存在与虚无》中指出时间具有分离的特性。一眼看去显示为同时的事情,并非同时。一切看起来“没问题”、“没关系”的背后总是藏有复杂、不可明状的心理感受,事情的真相反而已不再重要。作品以“没关系、没问题”为线索,提取生活日常中的物品,用设计的手法搭建了三个面向的观念叙事:一是以动态海报的视觉形式表现实物与影子的故事;一是将动态海报的内容与象征物摘取出来用3D模型进行重构再现;一是利用反射变形的不锈钢与有意做变形的灯箱字结合在一起做的静态装置。三者通过不同的视觉呈现形式与观者进行不同程度的互动交流,丰富展场的体验。 请阐述一下你的创作历程? 我对现实从现实中消失的幻相痴迷。德国诗人⻉托特·布莱希特用《回忆玛丽安》讨论了时间,亦成为我创作的缘由。我期望自己的设计能够做出富有趣味的诗意。从最开始想要借助盲盒的概念入手讨论日常,再到后面将焦点放在“没关系、没问题”的逻辑建构以及视觉方式的诠释上,从220个现实可能性中寻找了5个视⻆进行系列性的创作表达,寄望呈现打动人心的作品。 你的作品观念是什么? 事情总是这样经常发生,但凡有那么一次注意观察,这个事情就会持续一阵子存入脑海。为了在现实中得到确认,我们往往需要“⻅证人”的⻆色,倘若“⻅证人”消失,现实就坠入“从未有过”的迷思。一如盲盒在打开的一刻概念瞬时即逝一样,我们日常在表达“没关系”、“没问题”的时候通常也会想当然认为真的没关系,一定没问题。我通过视觉设计的方式将这样一种日常普泛的内心波澜进行创作,诚邀每一位路过的“⻅证人”身同感受。创作过程的启发是什么?久保田博二、罗伊安德森、石黑一雄、爵士歌手Jon Batiste、Michael Kiwanuka等人都是我创作路上的启发者。我的导师海军教授不但身体力行地树立榜样,更是在数个紧要关头帮助我渡过困顿难行的时刻,是这些涓涓意念给予了我持续前行的勇气。 为什么会选择一个社会语境的设计来作为毕业设计的创作?我参加工作很多年,一直从事各类商业项目的具体设计工作,对如何解决委托标的的事非常熟悉,对设计在其他非功利性层面的应用与表现相对不多。三年的学习过程深刻难忘,能在最后的毕业设计中做一个相对纯粹、自由表达观念的设计实在是件难得的事,在拓展自身探索新的设计语言上完成了一次自我更新。导师评语“没问题、没关系”既是今天社会中的一种经典性日常语言模式,也是一种独特的现代性表达。在现实的实践语境中“没问题、没关系常常意味着有问题、有关系”,设计师以社会学和文化批评的视角进入,通过视觉、媒体、书籍等手段,从独立设计的角度呈现了这一现代性的景观。——海军教授
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蓄势待发 • 造型学科基础部 | 2021中央美院研究生毕业展

2021-05-21

“2021中央美院研究生毕业展”的所有参观名额已经约满(展期至5月20日),感谢大家对中央美院毕业季的支持。根据高校的疫情防控工作要求和出于观众观展安全的考虑,我馆必须严格执行限流参观制度,给您带来的不便敬请谅解!5月25日“2021中央美院本科生毕业展”精彩继续 开放时间:周二至周日9:30-17:30(17:00停止入场),每周一闭馆。2021年5月9日,“中央美术学院研究生毕业展”开幕,本次展览参展研究生共436人,其中,造型学科基础部参展研究生9人。寄 语白晓刚中央美术学院造型学科基础部主任2021届的研究生同学注定是不同凡响的,大家一起经历了特殊的疫情时期,有着特别的生命感受。非同寻常的付出,也一定有非同一般的收获。祝愿2021届毕业的同学用自己的创作表达对生命和艺术的感悟的同时,更创造不同凡响的未来。张正如作品阐述带有呼吸的,湿润的绿色园林,使人内心也很放松、平静。《小林》 布面油画,木板坦培拉 100×100cm 30×30cm 指导教师 张路江黄银宇作品阐述快递员作为当今“快”文化生活的重要组成部分,有其特有的社会文化内涵,通过特殊视角观察与表达,画面虚实相映,快递员们为了更好生活而努力拼搏,奋勇直前,哪怕前路有许多未知与困难,也绝难打倒一个拼搏直前的勇者。这与我对于当代生活与艺术的理解来说是理想的创作主题,充分突显城市发展与生活间的联系与价值体现。《接单》 布面油画 140×160cm  指导教师 袁元陈晓强作品阐述作品通过油画写实手法以及立体几何的拼凑方式,来呈现高墙巍峨我的两幅毕业作品分别为《盘算“疫”下生计》《开启“疫”后之美》,我着眼于身边的普通人作为创作源泉,让观众看到作品的第一眼感到很亲切。作品名字中的“盘算”“开启”两个词一语双关,既说明画面人物的动作,同时也体现人物的内心世界。两幅作品放在一起产生强烈对比:一幅描绘“疫情下”,一幅描绘“疫情后”;一幅在室内,一幅在室外;一幅是男性长者,一幅是年轻女孩;一幅焦虑写在脸上,一幅绽放美丽笑容……通过观察日常生活的点点滴滴,进而形成创作思路。我的作品朴实,创作这样两幅作品的目的,是想从普通人的角度出发,记录在这段特殊的历史时间段全国人民取得疫情防控伟大胜利的心路历程,同时也反映出人们对美好生活的向往与追求。且压抑的画面效果,陶瓷人代表脆弱的心里,每个人都被规则束缚,并且努力前行着。社会法则某方面就像是一座金字塔,塔的顶端是距离天堂最近的地方。可是往往到了顶端才发现,天堂上方还有天堂。《盘算“疫”下生计》 布面油画 85×145cm 指导教师 贺羽《开启“疫”后之美》 布面油画 85×145cm 指导教师 贺羽买尔旦 · 买买提作品阐述《高台民居》是喀什地区最具代表性的建筑群体,它因地势而具特色,房屋建在比较陡峭的坡上,所以远看时会给人一层叠着一层的感受,“高台”这个名称也因此而来。《高台民居》 布面油画 170×130cm 指导教师 贺羽王琨作品阐述本着对西方传统绘画本体语言研究的学习方向,通过传统写实的创作手法,我的这幅作品致力于捕捉逆光下色彩的美感,营造出恬静和谐的色彩氛围。作品以人物组合为主,三位年轻女孩在现代都市背景下迎着窗外的阳光,表现安逸悠然的状态。《迎着光》 布面油画 180×160cm 指导老师 贺羽李洁明作品阐述作品从论文的论点出发,分析了具体派美术的创作特点与绘画方式,结合以梦境下的现实这一具象的形态,表现当下状态年轻人的生活与思考分离的一种状态。利用丙烯与综合材料混合的表现手法,通过场景《DREAM1》、《DREAM2》、《DREAM3》分别表达叙述了在当今社会时代对于中年轻人思维方式与生活状态的一种关切。通过反复制作与罩染,表达对构建抽象表现创作过程的探索与艺术语言寻找的依托。其次,建立手法,表现方式上大胆尝试各种基于传统又具有一定延展性的创作方式,通过较强的视觉对比,营造“梦境”与现实的对立统一。《DREAM1、2、3》的方案与制作过程以符号的相互构建,冲突,瓦解的方式进行创作,其间运用了具体派美术创作的基本手法,同时将创作过程中操作痕迹加以保留并参与画面最终构成。《DREAM 1》综合材料 90×120cm 指导老师 杨澄《DREAM 2》综合材料 90×120cm 指导老师 杨澄《DREAM 3》综合材料 90×120cm 指导老师 杨澄雷祥作品阐述2020年春节正值疫情发生之际,仿佛生活突然停止,家乡没有了往年过年的热闹气息,城市冷冷清清,街道行人寥寥,没人知道疫情将会如何发展,不确定因素在急剧上升。在这一段非常态化的时期里中,在家待了长达半年的时间,第一次仔细感受这座生我养我的城市,感受它的存在与安静,同时发现习作中的它熟悉又陌生。《2020》 布面油画 28×36cm、30×16cm、35×40cm 指导老师 余陈梁语丝作品阐述安检屏幕中物体的颜色代表了其性质,黄色(塑料)的安全系数最高,之后依次是绿(瓷器)、蓝(金属)、黑(重金属)。不同的安全系数以颜色在感官情感的刺激上作为依托,跟直观的视觉相互关联的。这种“直观”,是由“感知”和“想象”共同构筑的意识行为,在不同观看者直视后与创作者本人的在作品上建立的“信念”产生链接。《传送带》就是创作者提供不间断的回忆画面的媒介,是一个个时间点,随着“我”的意识不间断的从一个滞留转向另一个滞留,之后的滞留点对于之前的滞留点来说同样都是滞留的状态。这种滞留是有方向的,是有空间运动轨迹的,距离射线较近的成像较大,离射线较远成像较小。《传送带(000-007)》系列 综合材料 单张50×50cm,共8幅 指导老师 王兵张天翼作品阐述在毕业创作《生长》这组作品中,画理逻辑契合抽象绘画绘制原则,刻画笔触来源于自我的心灵视像。笔触表现出抽象的偶发状态,是非现实的、非具象的与心灵化的视觉形象。不同色彩所在的块面相互交织叠合,体现众多无方向偶然性的、统筹于刻意绘制法则下的抽象画理逻辑结构,从而形成整体配合相互平衡协调的“抽象视觉结构”。《生长》 布面丙烯 40×50cm(大幅),24×30cm(小幅) 指导老师 王兵
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READY TO-GO | 2021 CAFA Undergraduate Graduation Exhibition unveiled

2021-05-27

The 2021 CAFA Undergraduate Graduation Exhibition is now open, exhibiting graduation work of a total of 875 undergraduates. The physical exhibition is to be held in two parts.
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蓄势待发 • 艺术管理与教育学院 | 2021中央美院研究生毕业展

2021-05-31

展览由“艺术管理学研究”“艺术商业与文化创意产业管理研究”“艺术展览与策划研究”“美术教育研究”“艺术法与艺术心理学研究”五个板块组成。
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Group Public Education Event Reservation Form

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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.

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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!