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The Photography is Not What's Important：Photography at the Central Academy of Fine Arts

  • Dates：2021-10-01 - 2021-11-11
  • Location：CAFAM 4th Floor
  • Opening：
  • Organizer(s)： CAFAM
  • Curator： Cao Qinghui Cai Meng

Details

Artists: 

Li Hua  Liu Lingcang  Wang Linyi  Song Buyun  Sha Fei  Wang Henei  Gao Shuzhen  Marc Riboud  Niu Weiyu  Weng Naiqiang  Jiang Duo  Ulli  Xu Bing  Ma Gang  Hong Hao  Liu Qinghe  Chen Shuxia  Bi Jianfeng  Li Ming  Yang Ming  Zhou Jirong  Liu Xiaodong  Wang Longjiang  Miao Xiaochun  Wang Youshen  Li Tianyuan  Zhao Bandi  Feng Mengbo  Yao Lu  Wang Chuan  Xing Danwen Cui Xiuwen  Lin Tong  Zou Shengwu  Ji Zhou  Zhou Lan  Yang Yi  Jiang Jianqiu  Liu Bolin  Di Jinjun  Chen Man  Li Xinzhao  Chi Peng  Lu Zhengyuan Ruben Lundgren Taca Sui  Zong Ning  Liu Di  Ye Funa  Leng Wen  Song Jingjing


Preface

The Photography Is Not What’s Important: Photography at the Central Academy of Fine Arts When the Central Academy of Fine Arts (CAFA) published Selected Artworks from the CAFA Art Museum Collection: Modern and Contemporary Photography in 2018, it was significant not because it was China’s only museum photography collection catalogue or because photography was included as a modern artistic medium along with Chinese painting, oil painting, printmaking, and sculpture. Most importantly, the volume was a conscious reflection on the urgent examination of photography in China and in art academies. As another collection-focused research project following Modern and Contemporary Photography, this exhibition deepens and solidifies the meaning of that volume, but it also offers an opportunity to observe more closely the resonances between photography and the academy in the twentieth century, and to highlight the founding of CAFA Art Museum’s Image Art Center this year. In CAFA’s history, the development and evolution of photography, as an embodiment of aesthetics and technology, have never been publicly discussed. However, we have seen that—in the present, as well as in the history of the Central Academy of Fine Arts since its founding—teachers, students, and alumni who are not active as photographers and photography critics have engaged with discoveries or ideas using the methods of photography practice and criticism. They never stopped, and several became trailblazers in their times. This exhibition is concerned with briefly recalling these antecedents, while also looking to the future. This task cannot be completed in an exhibition, but we want to take this opportunity (and the ones to follow) to discuss a subject that is constantly being perfected: “The photography is not what’s important.” When we say that “the photography is not what’s important,” it is not a denial or negation of photography. To the contrary, this statement hopes to inspire more people to take up the task, because photography is becoming increasingly important and widespread. As a result, we could even say that ink painting is not what’s important, or design is not what’s important. We cannot easily say what is important, but we want to consider and interrogate the answer by stating what’s not important. Furthermore, photography did not come late to CAFA, but the fact that it has never had its own school or department may be related to the art academy’s founding tradition of painting, and perhaps, students and teachers do not find photography to be such unnavigable waters. Even if they do not need to participate in the art world as photographers and critics, their everyday practice may be closely connected to photography, or they may even have been recognized for using photography as a direct medium or method. As they say, “The seemingly useless is the most useful.” We have also noticed that a group of outstanding alumni from the Central Academy of Fine Arts have recently been recognized for their achievements in photography. If we consider all of this together, we have more than a growing photography scene; we actually have a view of contemporary art. “The photography is not what’s important” is not purely a backward-looking discussion; it also embodies a forward-looking hope. The exhibition’s sections are focused on what’s not important—the medium, the professionalism, the point of view, the exhibition, and the photography—as ways of explaining the development and predicaments of photography at the Central Academy of Fine Arts. We hope that this self-reflective attitude will inspire everyone who sees the show to think and converse beyond the exhibition’s walls. Cai Meng, Cao Qinghui August 29, 2021
The Photography Is Not What’s Important: Photography at the Central Academy of Fine Arts When the Central Academy of Fine Arts (CAFA) published Selected Artworks from the CAFA Art Museum Collection: Modern and Contemporary Photography in 2018, it was significant not because it was China’s only museum photography collection catalogue or because photography was included as a modern artistic medium along with Chinese painting, oil painting, printmaking, and sculpture. Most importantly, the volume was a conscious reflection on the urgent examination of photography in China and in art academies. As another collection-focused research project following Modern and Contemporary Photography, this exhibition deepens and solidifies the meaning of that volume, but it also offers an opportunity to observe more closely the resonances between photography and the academy in the twentieth century, and to highlight the founding of CAFA Art Museum’s Image Art Center this year. In CAFA’s history, the development and evolution of photography, as an embodiment of aesthetics and technology, have never been publicly discussed. However, we have seen that—in the present, as well as in the history of the Central Academy of Fine Arts since its founding—teachers, students, and alumni who are not active as photographers and photography critics have engaged with discoveries or ideas using the methods of photography practice and criticism. They never stopped, and several became trailblazers in their times. This exhibition is concerned with briefly recalling these antecedents, while also looking to the future. This task cannot be completed in an exhibition, but we want to take this opportunity (and the ones to follow) to discuss a subject that is constantly being perfected: “The photography is not what’s important.” When we say that “the photography is not what’s important,” it is not a denial or negation of photography. To the contrary, this statement hopes to inspire more people to take up the task, because photography is becoming increasingly important and widespread. As a result, we could even say that ink painting is not what’s important, or design is not what’s important. We cannot easily say what is important, but we want to consider and interrogate the answer by stating what’s not important. Furthermore, photography did not come late to CAFA, but the fact that it has never had its own school or department may be related to the art academy’s founding tradition of painting, and perhaps, students and teachers do not find photography to be such unnavigable waters. Even if they do not need to participate in the art world as photographers and critics, their everyday practice may be closely connected to photography, or they may even have been recognized for using photography as a direct medium or method. As they say, “The seemingly useless is the most useful.” We have also noticed that a group of outstanding alumni from the Central Academy of Fine Arts have recently been recognized for their achievements in photography. If we consider all of this together, we have more than a growing photography scene; we actually have a view of contemporary art. “The photography is not what’s important” is not purely a backward-looking discussion; it also embodies a forward-looking hope. The exhibition’s sections are focused on what’s not important—the medium, the professionalism, the point of view, the exhibition, and the photography—as ways of explaining the development and predicaments of photography at the Central Academy of Fine Arts. We hope that this self-reflective attitude will inspire everyone who sees the show to think and converse beyond the exhibition’s walls. Cai Meng, Cao Qinghui August 29, 2021

Artworks

Artworks

Photographs

Photographs

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重要的是什么？ ——对《重要的不是摄影》的展评

2021-11-15

如果乘坐电梯前往中央美术学院美术馆四层展厅 ，可以在电梯门对面的墙壁上发现一段话：“2018年，由中央美术学院发起的“国际版画联盟”宣布：将摄影纳入版画……” 策展人把这句话用9号字体（约3公分大小）不经意的打在展厅的第一面墙上，用一种只针对“有心人”的俏皮方式做了一个开场白。 展厅现场展厅现场展览标题“重要的不是摄影”，这句话比较容易让人联想到中外艺术史上两桩著名的公案：栗宪庭在20世纪80年代写下的《重要的不是艺术》。以及贡布里希那段广为流传的名言：“没有艺术，只有艺术家”①。 “重要的不是摄影”用一个关于条件的话语假设了一个展览的条件② ，设定了框架，但不明示答案。纵观整个展览，设计上脱离了美术馆以章节为区隔的惯常陈设，作品如“大珠小珠落玉盘一般”散落在暗房般的黑色空间中，似一首爵士的节奏，低回与急促，高低和起伏。类似暗房的空间设置，使得观者可以沉浸但不至于过分的沉陷。展览在对细节的处理上，可以看出策展人为重现“灵韵”（Aura）做出的努力，同时通过展示节奏的跳跃性一定程度上对摄影作品质感上的流畅感和统一的平面性做出了“抵制”。展厅现场 从艺术家和展览作品无一例外的与中央美术学院相联系，以及展览的副标题——“中央美术学院摄影纪程”来看，此次展览将视线放置在一个相对狭小的选题上。这种刁钻的选择或许希望通过展览反映出从这所著名艺术院校受业的艺术家们近年来在业界的影响力；同时也能提供一种研究视角：不同专业艺术学科背景的艺术创作者们是如何推动和拓展摄影边界的。展览避开了本雅明就摄影术发明以来对复刻问题的担忧，用思辨性、开放性的提问隐蔽了多元的线索。我们试着找出对展览标题恰当的回应，逐一拍下了所有的展品标签对照观看，毕竟左拉120年前在自己业余拍摄了十五年的照片后宣布：你只有在拍摄之后才能证明你真正看到了某物。下文尝试以“摄影作为某某”为结构，将展览虚拟的切分出一个个章节，展开对展览叙事的切入：“摄影作为收藏的书籍”展览序厅里醒目的书架是2011年纽约国际摄影中心（ICP）总策展人Christopher Philips通过美国亚洲基金会捐赠给CAFAM的1399册摄影书和画册，其中不乏一些西方摄影大师的签名版本。从展陈角度看，这个书架或书墙更像是一件独立的装置作品，与展厅中的作品相互对照。  展厅现场  捐赠的画册构成的书墙 “摄影作为展览“视频上循环播放着自2009年，中央美术学院美术馆举办的一系列有影响力的摄影展览，包括“景观•静观：中国当代摄影专题展”、连续三届的“北京国际摄影双年展”、“原作100”、“罗杰拜伦：荒诞剧场”等。展厅现场“摄影作为出版“除了2009年以来中央美术学院美术馆出版的数本摄影展画册。另展出了1984年中国摄影出版社出版的《画家谈摄影》，其中包括叶浅予、刘凌沧等艺术家浅谈摄影创作的文章。1994年出版的央美油画系毕业生蒋铎撰写的《抓拍——纪实摄影新闻摄影的基本方法》等。以《画家谈摄影》为代表的这类书籍，直接反映了中国老一辈艺术家们对摄影艺术的重视，它像一个药引，将引出未来的艺术从业者们对摄影的理解和思考。 《画家谈摄影》 1984年中国摄影出版社出版    展览序厅“摄影作为行为”以鲁小本、刘勃麟为代表的行为摄影作品。鲁小本用摄影记录了自己在中国求学期间独特的具有个人身份象征的行为表演，偏纪实性与社会性。刘勃麟的作品没有强调行为的过程，而是去除了身体的社会属性，将“自我”和“他人”融入到所拍摄对象的物质属性中。刘勃麟  《印度出租车IndiaTaxi》  240×80cm  爱普生高光相纸  2014年 “摄影作为纪实“一张1960年普通的美院毕业合影、牛畏予拍摄的蒋兆和肖像、马克•吕布在1965年拍摄的美院画室。这种朴实的记录是日常的、习俗的和普遍的，今天同样被我们使用着，只不过传播方式已经改变。   展厅现场 马克•吕布   《北京，美术学院》   40×50cm   银盐感光照片  1965年  中央美术学院美术馆藏 “摄影作为组织”譬如，80年代末期，美院一批不同专业的学生发起的“中央美术学院学生摄影协会”，成员有洪浩、王友身、陈淑霞、刘庆和、毕建锋等。他们在1987年8月的《摄影报》上发表了一系列手法新颖、具有象征性的摄影作品，并撰文“我们的话”发出如下声音：“摄影与美术同属视觉艺术，我们以多种艺术相互借鉴为出发点，于是以相机为画笔，相纸为画布，运用自己的想象力、创造力进行创作，把自己的意念和感受体现于作品……”这类学生组织在各个时期各类院校都是活跃的生力军，从其中可以窥见不甚成熟却难得的初生之“元气”。 展厅现场洪浩  《过道1》   1988 “摄影作为传播”　　故事由1935年的黑白影社，沙飞与李桦、李桦等创办的现代版画创作研究社开始，最终有了沙飞在第二回全国木刻流动展览会现场抓拍到的鲁迅经典肖像，这张照片成为中国美术史上的一个经典时刻，也成为20世纪图片传播史上的重要作品。  展厅现场 / 沙飞拍摄的鲁迅  “摄影作为教学”　同样是在学生时期，王川、姚璐等人一组90年代后期的作品联系的是学院的摄影教学。他们曾在1998年至2000年中央美术学院与昆士兰艺术学院联合举办的“MAVA”视觉艺术（摄影）研究生班受过系统的教育，此后成为了美院摄影系的创始成员与重要的教学者。透过他们在学生期间的创作可以寻找到摄影教学与个人创作方法论之间的勾联——譬如，王川在1998-1999年的学习笔记和1999年的一系列曝光与反差变化色环的练习等。但展览现场仅展示了2000年前摄影系的“前世”—— 一段受到国外摄影教学体系影响的历史，对于2000年成立的“中央美术学院摄影与数码媒体工作室”和2003年摄影正式作为专业招生的“今生”缺乏相应的梳理。如果假定学院摄影教学是链接展览比较重要的一条线索的话，此部分的不足未免有些遗憾。 展厅现场     王川《曝光与反差变化色环》  49×81cm  黑白胶片 1999年   中央美术学院美术馆藏Ulli   昌平兴寿镇  “MAVA”视觉艺术（摄影）研究生班研究生班集体春游合影   1998年 “摄影作为创作+延展”展览的主体部分当然是摄影创作。除了一些耳熟能详的当代艺术家和摄影师如洪浩、邢丹文、繆晓春、计洲、崔岫闻、陈漫、迟鹏等人代表性作品外，亦选取了美院在校部分师生作品，一定程度上反映了美院教师与校友群的原创性、实验性、国际化的创作面貌。周吉荣、卢征远、李天元、马刚等其他领域艺术家的摄影作品，直接或间接的对照他们阶段性的创作。 崔岫闻   Angel No。4  90.9x170cm  2006  中央美术学院美术馆藏 展厅现场 邢丹文   《复制NO。2》  148×120cm  收藏级艺术微喷  2003年  中央美术学院美术馆馆藏 从展厅的北墙开始，我们看到的虽然是摄影，却又不全然的是。艺术家将摄影作为创作中的一个环节。如冯梦波的《私人博物馆之美工室》，摄影被再加工成为光栅片后的立体幻觉构成了他的“私人博物馆”系列的第三种视角。叶甫纳以早期《民族画报》的头像为材料归纳出民族图像志。刘小东拍摄的纪实性质的照片是其绘画的密友，与其油画创作形成重要的互文关系。徐冰、王友身、赵半狄的照片则是对一次重要行为或观念作品的记录，成为再传播的媒介，并转换为一件新的作品。摄影在此是截片，是细胞，是繁衍，反映了摄影作为媒介的开放性对艺术家们的启迪，反之艺术家的创作也再次拓展了摄影原有的限界。 冯梦波  《私人博物馆之美工室》  60×100cm  光栅立体照片  2012年    叶甫纳  《55个少数民族》  尺寸可变  单屏幕影像  2008年赵半狄  《口罩吊床上的生活》  30×45cm   收藏级艺术微喷  2020年 徐冰  《何处惹尘埃》 30×45cm  收藏级艺术微喷  2014年 王友身   《报纸•广告》  215×150cm   丝网印刷、棉布  1993年   中央美术学院美术馆馆藏   “摄影作为记忆”个人认为“私人照片”在展览中的呈现构成了一个非常动人的板块，其中包含了王临乙、王合内、宋步云、李桦、刘凌沧等老先生们的私人相册。他们所拍摄的内容十分日常——均是稀疏平常的小景小物、自拍照或亲友照。“收集照片便是收集世界”③，这些记录的私密性或不经意性填充了我们对于时代与个人的想象。而今，它们都成为中央美术学院美术馆的收藏品，从原先的私藏身份转为公共身份，被展出和被透露。展出现场用双面玻璃将李桦的私人照片的“背面”特别呈现了出来，背面的手写文字是对照片拍摄状态的补充，比如说“1964年8月于黄山”、“1982年在长白山天池写生”、“1981年冬摄于画室内”，一张女孩肖像后写着：“俊英阿宝做了皇帝是这般快活的。” ……这种朴素的记录在当时是拍摄者为了使照片不被混淆或遗忘而使用的手段，同时作者也真实的记录下“此刻”的心情。如今这些文字佐证了一段历史，充满着温情，它们成为手冲照片时代特殊的“背书”。摄影作为记忆，触及了柔软，成为整个展厅最有温度的部分。  展厅现场展厅现场 李桦私人相册  明胶银盐照片  1930-1940年代  中央美术学院美术馆藏  宋布云相册  明胶银盐照片  1930年代  中央美术学院美术馆藏  王临乙  王合内与芍药花  明胶银盐照片  1980年代   中央美术学院美术馆馆藏  摄影或许是技术、是媒介、是手段、是工作方法，重要的永远不止是摄影。展览为了阐释一个具有开放性的概念，而缩小选择的边界，仅将着眼点放置在一所学府的学术成果和一家美术馆的馆藏上是一个颇具冒险性的选择。通过展览结构性的铺陈，观众似乎可以会心一笑，领会到其中的巧思——以管无法窥豹，但以学府为原点，展开关于摄影的发问确是将20世纪中国摄影与学院发生共振的一次策略性的计划。同时展览也正式宣告了在2021年，中央美术学院美术馆影像中心的正式成立。展厅现场 注释：①     出自贡布里希 (Ernst Hans Josef Gombrich) ，《艺术发展史》导论。原文为“There really is no such thing as Art. There are only artists”. ②     法国哲学家让-弗朗索瓦•利奥塔尔在《后现代状态》一书中提到现代性的普遍倾向是用一个关于条件的话语来定义一个话语的条件，知识与叙事上是一个回行关系。笔者认为展览设定了以摄影为条件的前提，边界开放，但是最终落脚点依旧在摄影，也构成了某种回行。③     苏珊•桑格塔:《论摄影》, 湖南美术出版社出版发行，2005年6月第四次印刷，第13页。  文/ 耿菁华图片来源：中央美术学院美术馆 拍摄：   王睿莹，Apple 
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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

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This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

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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):

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(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.

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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

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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      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!
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