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Multidimensional Sensibility——Special Exhibition of Female Artists Works in CAFAM Collection

  • Dates：2023-07-08 - 2023-09-01
  • Location：4th Floor, CAFA Art Museum
  • Opening：2023-07-06 10:00
  • Organizer(s)： CAFA Art Museum
  • Supports： Bauhinia publication,Seegreen
  • Academic Consultant： Fan Di’an
  • Academic Director： Qiu Zhijie
  • Curatorial Consultants： Zhang Zikang,Han Wenchao
  • Exhibition Executives： Wang Chunchen, Gao Gao
  • Curator： Ji Yujie

Details

"Sensibility" is an unavoidable topic in the creation of female artists. Sensibility endows them with unique expressive power in terms of artistic concepts, aesthetic grammar, and media communication, and has irreplaceable significance and value. "Sensibility" also runs through the thoughts of Marx's philosophy. He believes that the process of people's understanding and transformation of the world is the process of "sensibility production". It can be said that the perceptual production of female artists has built a more diverse world-art landscape. Female artists are born out of feelings and arise out of excitement. They perceive time and space, body and spirit, grandeur and daily life through different dimensions. They perform perceptual interpretations of perceptual information, interpreting their understanding and recognition of themselves, experiences and the times. Knowing, unleashing fresh imagination and creativity.

 

The "Multidimensional Sensibility——Thematic Exhibition of Works of Female Artists Collected by CAFA Art Museum" hosted by CAFA Art Museum will open on July 8, 2023 in the exhibition hall on the fourth floor of CAFA Art Museum. As a selected project of the 2022 National Art Museum Young Curator Support Program of the Ministry of Culture and Tourism, this exhibition is curated by Ji Yujie, design director and associate researcher of the Art Museum of the Central Academy of Fine Arts, with "sensibility" as the core topic, and a selection of 42 pieces/groups of works by female artists in the collection, observing, interpreting and researching female artists' creations from the three dimensions of "sensibility of embodiment, sensibility, of order and sensibility of medium". From concept writing to space design, from curatorial grammar to visual presentation, the exhibition strives to use sensibility to gather, perceive and embellish with sensibility, to interpret female artists' understanding of daily life, observation of the changes of the times, and understanding of the spiritual world. The construction also allows the audience to see how the female artist dances gracefully in the sensual melody.

 

The Art Museum of the Central Academy of Fine Arts currently has a collection of more than 20,000 pieces. Based on the collection, in recent years, CAFAM has continuously launched a number of special exhibitions with different themes and categories, including ancient paintings, modern fine arts, contemporary art, and youth art. Academic, contemporary and diverse exhibition planning promotes the research and development of artistic creation and art history. This exhibition starts from a perceptual perspective, and at the same time integrates a gender perspective into the analysis, interpretation and display of the collection. It is a new exploration of the diverse narratives of the museum's collections. It provides a more diverse perspective for the external promotion of products.


Selected Project of the 2022 Support Programme for Young Curators form Nationwide Art Museum, Ministry of Culture of Tourism

Preface

The Ministry of Culture and Tourism continues to carry out the "National Art Museum Young Curator Support Program" project, which has played a great role in promoting the full play of the role of collections in art museums and the training and construction of art museum curators. The art museum takes the collection as the foundation of the museum and makes the collection "live" through exhibitions, becoming a carrier to tell the history of art and display aesthetic value, and a driving force to stimulate innovation and creation of contemporary art, which has important academic significance. Exhibition curating based on academic research is an opportunity to re-examine and even "discover" history. As a curator of an art museum, creating exhibitions based on the research of the museum's collections will help form unique resources. The characteristics of the exhibition provide multi-directional communication for the planning of contemporary art exhibitions. With the support of the Ministry of Culture and Tourism’s “Support Program” and Art Museum of Central Academy of Fine Art (CAFAM), “Multidimensional Sensibility——Special Exhibition of Female Artists Works in CAFAM Collection” curated Ji Yujie is an excellent case to activate collections and demonstrate contemporary curatorial awareness.
The creative path of Chinese female artists since the 20th century has always been a phenomenon closely related to the development of Chinese art since the 20th century. It shows the unique real situation and expression of female artists, which not only has the common cultural concerns and emotional characteristics of different eras, but also shows their self-spirit beyond reality and their artistic pursuit of female consciousness. Therefore, in the research and exhibition curating of female artists, it is necessary to grasp the female world in art from a macro perspective, and also focus on analyzing and interpreting different artistic narratives in the female world, especially when "female art and feminism" has become As an internationally common research field, it is a necessary value standpoint to grasp the individual mentality of Chinese female artists and strive to reveal their creative characteristics in the era.
The exhibition curated by Ji Yujie selected a group of works by female artists since the 1990s, forming an exhibition structure of three sections. Starting from the cultural background of Chinese art development over the past 30 years and the actual creation of artists, it is divided into three perspectives: "sensibility of embodiment", "sensibility of order" and "sensibility of medium", discussing personal exploration and spiritual pursuit in the great era. Especially around "sensibility", the strongest artistic feature of female artists, constructs a multi-dimensional picture of "sensibility". During this period, Chinese art has gone through the process of "emancipation of the mind". The collision and integration of global art constituted a new cultural context. The creative motives and spiritual orientation of female artists have become more independent. They can express the relationship between personality and reality, self and the world more truly and comfortably in one's own artistic expression. At the same time, the exploration of the language of artistic forms and the application of new art media also has multiple possibilities, and the "truth" of art and the "newness" of language have a smooth connection. Therefore, the creative state of female artists reflected in this exhibition can be called the epitome of the era of the large group of Chinese female artists.
Self-existence in life situations is the common theme of female art. The new era has created a larger space for real life scenes. However, expressing the relationship between self and life in the way of "substitution" and "mirror mirroring" is a spiritual entry point of female artists in this period. They perceive the world not in the form of concepts, but directly intervene in the world with their bodies, obtain life experiences in various scenes through physical activities, and reproduce this "surreal" scene in a visual way. Visualizing "body experience", such a "sensibility of embodiment" makes their works different from the cognition of previous artists, allowing people to gain more dimensions of "experience", which is also an important reason why female artists' works are fascinating. "Sensibility of order" can be said to be the innovation point of this exhibition, reflecting a unique creative state in the art education environment of the academy. Undoubtedly, the works collected by CAFAM are mainly excellent works of Central Academy of Fine Arts (CAFA) teachers and previous students. The collections have become the "evidence" carrier of the reform and development of art education, which shows the rationality, order and law of the academy education as well as the inheritance and evolution of teaching and learning. From the works in the exhibition, the teaching of CAFA adheres to integrity and innovation. It not only emphasizes tradition, methods, and rules, but also advocates multi-dimensional opening, facing the times, and pursuing breakthroughs in visual forms. CAFA writes a new chapter of teaching with the unity of "teaching of academic theory" and "teaching of quality". In the global era of new technological revolution, college education inevitably faces the opportunities and challenges of the integration and innovation of technology and art. The collision of language as a visual modeling expression with larger media, technology and intelligent systems will inevitably increase the endogenous power of language form change. Reflected in female artists, media language has also been added to the perceptual state of creation. The unit "Media Sensation" in the exhibition focuses on this state, especially showing the female artists’ consciousness in the choice and media usage.
Visual presentation is continuously expanding the category of "cognitive discipline". The personal experiences and narratives of female artists in their creations open a new dimension of "visual cognition" for us. This is a meaningful appreciation and prospective.
Fan Di’an
2023.06
The Ministry of Culture and Tourism continues to carry out the "National Art Museum Young Curator Support Program" project, which has played a great role in promoting the full play of the role of collections in art museums and the training and construction of art museum curators. The art museum takes the collection as the foundation of the museum and makes the collection "live" through exhibitions, becoming a carrier to tell the history of art and display aesthetic value, and a driving force to stimulate innovation and creation of contemporary art, which has important academic significance. Exhibition curating based on academic research is an opportunity to re-examine and even "discover" history. As a curator of an art museum, creating exhibitions based on the research of the museum's collections will help form unique resources. The characteristics of the exhibition provide multi-directional communication for the planning of contemporary art exhibitions. With the support of the Ministry of Culture and Tourism’s “Support Program” and Art Museum of Central Academy of Fine Art (CAFAM), “Multidimensional Sensibility——Special Exhibition of Female Artists Works in CAFAM Collection” curated Ji Yujie is an excellent case to activate collections and demonstrate contemporary curatorial awareness.
The creative path of Chinese female artists since the 20th century has always been a phenomenon closely related to the development of Chinese art since the 20th century. It shows the unique real situation and expression of female artists, which not only has the common cultural concerns and emotional characteristics of different eras, but also shows their self-spirit beyond reality and their artistic pursuit of female consciousness. Therefore, in the research and exhibition curating of female artists, it is necessary to grasp the female world in art from a macro perspective, and also focus on analyzing and interpreting different artistic narratives in the female world, especially when "female art and feminism" has become As an internationally common research field, it is a necessary value standpoint to grasp the individual mentality of Chinese female artists and strive to reveal their creative characteristics in the era.
The exhibition curated by Ji Yujie selected a group of works by female artists since the 1990s, forming an exhibition structure of three sections. Starting from the cultural background of Chinese art development over the past 30 years and the actual creation of artists, it is divided into three perspectives: "sensibility of embodiment", "sensibility of order" and "sensibility of medium", discussing personal exploration and spiritual pursuit in the great era. Especially around "sensibility", the strongest artistic feature of female artists, constructs a multi-dimensional picture of "sensibility". During this period, Chinese art has gone through the process of "emancipation of the mind". The collision and integration of global art constituted a new cultural context. The creative motives and spiritual orientation of female artists have become more independent. They can express the relationship between personality and reality, self and the world more truly and comfortably in one's own artistic expression. At the same time, the exploration of the language of artistic forms and the application of new art media also has multiple possibilities, and the "truth" of art and the "newness" of language have a smooth connection. Therefore, the creative state of female artists reflected in this exhibition can be called the epitome of the era of the large group of Chinese female artists.
Self-existence in life situations is the common theme of female art. The new era has created a larger space for real life scenes. However, expressing the relationship between self and life in the way of "substitution" and "mirror mirroring" is a spiritual entry point of female artists in this period. They perceive the world not in the form of concepts, but directly intervene in the world with their bodies, obtain life experiences in various scenes through physical activities, and reproduce this "surreal" scene in a visual way. Visualizing "body experience", such a "sensibility of embodiment" makes their works different from the cognition of previous artists, allowing people to gain more dimensions of "experience", which is also an important reason why female artists' works are fascinating. "Sensibility of order" can be said to be the innovation point of this exhibition, reflecting a unique creative state in the art education environment of the academy. Undoubtedly, the works collected by CAFAM are mainly excellent works of Central Academy of Fine Arts (CAFA) teachers and previous students. The collections have become the "evidence" carrier of the reform and development of art education, which shows the rationality, order and law of the academy education as well as the inheritance and evolution of teaching and learning. From the works in the exhibition, the teaching of CAFA adheres to integrity and innovation. It not only emphasizes tradition, methods, and rules, but also advocates multi-dimensional opening, facing the times, and pursuing breakthroughs in visual forms. CAFA writes a new chapter of teaching with the unity of "teaching of academic theory" and "teaching of quality". In the global era of new technological revolution, college education inevitably faces the opportunities and challenges of the integration and innovation of technology and art. The collision of language as a visual modeling expression with larger media, technology and intelligent systems will inevitably increase the endogenous power of language form change. Reflected in female artists, media language has also been added to the perceptual state of creation. The unit "Media Sensation" in the exhibition focuses on this state, especially showing the female artists’ consciousness in the choice and media usage.
Visual presentation is continuously expanding the category of "cognitive discipline". The personal experiences and narratives of female artists in their creations open a new dimension of "visual cognition" for us. This is a meaningful appreciation and prospective.
Fan Di’an
2023.06

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我们为什么要谈论当代女性艺术？

2023-09-04

近两年，女性艺术展览的曝光逐渐增多，关于女性主义和女性艺术的议题探讨都以前所未有的广度和深度活跃在大众视线范围内。被艺术史湮没的女性艺术家又重新被提及被挖掘，对女性艺术的定义也早已超越了片面的解读而呈现出立体的面貌。20世纪90年代的中国当代艺术史上，“女性艺术”这一类别曾经崭露头角并延伸持续至21世纪的前十年，但是在2010年之后，虽然女性艺术家的展览在不断增多，但“女性主义”的提法和视角却鲜有提及。而近些年，国内以女性为主题或与女性相关的展览逐渐多元化，性别之间二元对立的讨论被打破；时代与环境、身份流动、去人类中心化的命题被更多捕捉，与女性艺术一道，成为我们这个时代的聚焦。“多维的感性——中央美术学院美术馆藏女艺术家作品专题展”回归女性创作者本身，聚焦了42位中国当代女性艺术家群体。不同代际的她们用作品打开女性艺术的视野，记录关于女性身份的话题和那些女性群体中裹挟着敏感的问题意识......“感性”是主题，是流动于作品之中的细微情绪，更是时代变迁下她们精神世界的映照。从“画中人”走向画面背后女性艺术群体在当代艺术中占据着怎样的地位？如今，全球范围内对女性艺术家关注的视野也扩展至那些去西方中心化的女性艺术家群体身上，种族、性别、后殖民主义等等话题随着对女性主义的深入探讨群涌而至。以至于2022年第五十九届威尼斯双年展主题展从塞西莉亚·阿莱曼尼的女性策展人身份到展览主题“梦想之乳”（The Milk of Dreams），都史无前例地强化着“女性”色彩。回望艺术史中的女性意识，最早可以追溯至文艺复兴时期艺术领域中。直至十七世纪，佛罗伦萨美术学院才出现第一位真正意义上的女性画家——阿尔泰米西娅·真蒂莱斯基（Artemisia Gentileschi），但细数艺术史中的女性，以创作者身份而被记录在历史中的女性艺术家却只有寥寥数人。对女性意识的思考不断萦绕在近百年的争论中，直到西方女性主义在“二战”期间才脱离了人文主义阵营，继而成为独立的社会思潮。提香（Tiziano Vecellio）《乌尔比诺的维纳斯》（Venere di Urbino）布面油彩，119 cm × 165 cm，1534，现藏于意大利佛罗伦萨乌菲兹美术馆（Le Gallerie degli Uffizi）爱德华·马奈（Edouard Manet）《奥林匹亚》（Olympia）布面油彩，130.5 cm × 190 cm，1863，现藏于法国巴黎奥赛博物馆爱德华·马奈（Edouard Manet）《草地上的午餐》（Le Déjeuner sur l'herbe）布面油彩，208 cm × 265.5 cm，1863，现藏于法国巴黎奥赛博物馆回溯艺术史的女性角色，不可否认，这段历史展现的更多是女性艺术家受到不公正待遇的现实，它勾勒的往往也只是女性身体被观看和凝视的历史。不论是提香笔下的《乌尔比诺的维纳斯》，还是马奈颇受争议的《奥林匹亚》和《草地上的午餐》，这些传统女性形象的存在更多是为了取悦男性的视觉感受和情欲需求，她们往往以容易被接受的方式成为服从于男性权威的存在。但马奈却以在当时更为前卫的、颠覆传统的方式挑战了一直以来女性被作为无条件的被观赏和被凝视对象而出现的局面，也因此成为被主流社会抨击的对象。这一切的缘由，似乎可以归结为马奈破坏了男性意识形态中塑造的传统女性形象，因为这样的形象脱离了男性社会统治下赋予的女性角色和意义。自马塞尔·杜尚（Marcel Duchamp）策划了名为“三十一位女性的展览”的开幕展，莫瑞特·奥本海姆因超现实主义作品《物体》（《皮草早餐》，1936年）而名声大噪。在那个时代，以女性艺术家为主题的创新展览不只被认作是对传统的颠覆，她们的做法往往被视为对神灵的亵渎，但“出格”恰恰是代表杜尚风格的最佳名片。自此之后，以“女性”为母题的现当代艺术展络绎不绝，尤其是在20世纪六七十年代，伴随着“女性主义”被再次提及并走向兴盛，女性艺术家的展览和她们的作品，成为艺术史书写和研究不可回避的存在。莫瑞特·奥本海姆（Meret Oppenheim）《物体》（《皮草早餐》）Object（Le Déjeuner en fourrure）1936在半个世纪的发展过程中，女性主义艺术史通过对性别政治、意识形态和艺术史之间庞杂而深刻关系的研究以及对被边缘化、贬低女性气质的艺术传统进行价值重估，都阐明了艺术作为一种意识形态的载体被性别化地重塑和强化的过程，揭示了艺术、性别、历史的建构性与政治性层面的特征，从而根本上撼动了艺术史的客观真实性。从“画面上”转为“画背后”，女性对于艺术的参与程度早已经发生了翻天覆地的转变，越来越多的女性成为艺术家，更成为那些为破除性别藩篱而发声的独挡一面的群体。尤其是西方女性主义思潮的影响，性别失衡的现状正在被逐渐瓦解；更为多元而宽广的视野，更丰富多样的创作尝试，都在潜移默化地引导女性艺术家思维的转变，给予她们直面困境、揭露问题的勇气。当全球反思女性艺术的重要作用之时，女性艺术家终于有机会被赋予本该属于她们的尊重和瞩目。在艺术的“感性”中她们是主角“多维的感性——中央美术学院美术馆藏女艺术家作品专题展”以“感性”为起点，从策展人纪玉洁选择的1990年代以来一批女性艺术家创作，呈现了学院馆藏内42位女性艺术家的作品；从策展路径到视觉叙事的呈现，无不围绕“感性”的议题铺陈开来。正如中央美术学院美术馆馆长张子康提到，“展览从个体女性艺术家的尝试与努力，放大到女性群体，还原女性视角，重新审视女性处境，试图构建差异性下的丰富性，认同性下的多元性，立体性下的普世性，理解性下的突破性，以及，基于理性共情之下的正视与尊重。”喻红《金属的声音》 布面丙烯，200 × 200 cm ，2016栾雪雁《城市之光——向卓别林致敬系列》之一纸上岩彩，130 × 98 cm，1998循着展览的路线，我被薛茗月的《降落》吸引，作品的构图是对中国古代传统绘画《步辇图》《杏园雅集图》和《重屏会棋图》的挪用，就像传统绘画对地位阶级的强调，艺术家反而将原先画面中代表达官贵人的角色置换为女性婚后生活中存在的那些被认为是高于女性“自我”的人物。在以影像为媒介的作品中，刘佳的《须臾·万里》将思绪从宁静场域下的无能为力引向对未来的展望。艺术家将凝结了两年、累积了六千张素材的静态图像，同普通老人日常生活缓慢移动的动态记录结合在一起，构建了一出在科技进步与人的自然衰老消亡之间关乎时间矛盾的对话。薛茗月《降落》摄影、灯箱，280 × 60 cm，2021刘佳《须臾·万里》哑光相纸数码微喷、数字影像，2019从“具身之感”、“秩序之感”再到“媒介之感”，三重维度的叙事共同描绘了中国女性艺术家群体在时代背景下的缩影。她们用具身的经验感知自我的存在；在秩序的帮助下寻求理性与感性的平衡状态；用艺术媒介的感性特质演绎女性意识之下的审美创造。在身体与精神、时间与空间、宏大与日常中，细微的琐碎也被赋予特别的寓意。这或许不只是这一场展览的意义所在，女性的力量永远值得被关注。女性意识早已觉醒女性视角不再单一女性艺术在中国，已经有了三十余年的发展历程。不同于20世纪六七十年代盛行于西方的女性主义艺术脉络，在20世纪九十年代后，现代意义上的中国女性艺术逐渐成为一种自觉行为，有意识地挑战自身社会地位和身体特质的限制，建构起鲜明的女性特征和阐释世界的独特视角。随着全球化的共融与文化的交叠，中国当代女性艺术群体又不可避免地与全球当代艺术思潮发生互动，在与其他文明传统区别开的同时，杂糅出基于中国传统文化脉络而衍生出的兼具当代意识的独特本土气质。对于更年轻的中国当代女性艺术群体及女性艺术而言，她们所面临的问题不再单纯地局限于如何抗衡、如何强化差异；从关注自身开始，对人性多样性的探讨似乎比性别观念更被需要。女性艺术的边界被不断拓展，性别身份不再是被关注的唯一焦点。邢丹文《都市演绎 作品2号》C-Print彩色冲洗印相，170 × 220 cm，2006厐壔《青铜的启示一〇〇〇》布面油彩，149 × 179 cm，1991循着创作手法的线索，我们能看到的是，中国当代女性艺术与西方经典女性主义作品有着本质上的不同。她们并未意图构建女性主义或女权的叙事，与男性为主流的绝对话语权相抗衡；也不会诉诸于像艺术家卡若琳·史尼曼（Carolee Schneemann）的表演和影像作品甚至西方女性主义艺术群体惯用的抗衡方式，利用看似暴力和激烈的对抗促成某种意愿的达成；她们更不会像玛丽娜·阿布拉莫维奇（Marina Abramovic）行为艺术中早期濒死体验的方式那样，在激进的表演方式和近乎疯狂的情绪中以身体为实验对象，陷堕在安危边缘......尽管关于生与死的人性奥秘往往在这样极限的绝境中才可以被深刻感知到。申玲《小马》布面油彩，145 × 110 cm，1990康蕾《自画像》布面油彩，160 × 110 cm，2002近些年的女性艺术似乎变得更为开阔，她们超越了固定的主题和模式去创作，身份的标签早已不再成为局限她们创作形态的理由；用艺术创作语言探寻社会和艺术的本质问题成为某种必需，而早期被刻意回避的那些带有“女性特质”的材料和语言也不再成为局限。作为个体的人，与自然、历史和社会的联系和互动被越来越多地置于不同代际和身份背景的女性艺术家的创作中。尤其是现代科技的发展，让信息科技和媒介传播被更广泛地用于女性艺术家的创作中。潘琳《他们都比我好》装置，150 × 150 × 78 cm，2010女性艺术并不是一个新鲜词汇，西方女性主义早已在接连几波浪潮中被推向一定的高度。与国内的女性艺术发展相比，西方早已拥有相对成熟的女性艺术扶持机制；合理的评价机制和更多的资金支持允许和鼓舞了女性艺术多样化的呈现。相比之下，国内相应机制的缺失或许在某种程度上影响了女性艺术家创作脉络的持续性，但中国关于女性艺术、女性主义的讨论和时间却也从未间断。女性艺术圈层的逐渐年轻化，让更多80、90后的新面孔有机会崭露头角。女性艺术的新生态似乎已成为一种趋势，随之而来的是被不断地曝光和关注。随着女性艺术的席卷而来和女性艺术的新倾向，艺术机构、赞助人和策展人的重视与助力让那些关于女性艺术的展览和项目变得越来越多。闫平《桂林白公馆的幸福艺术家》布面油彩，50 × 60 cm，2014徐华翎《另一种空间3》国画色、矿物质颜色、亚麻布，160 × 110 cm，2000或许正如艺术史家、女性主义研究学者琳达·诺克林（Linda Nochlin）所说，“为什么没有伟大的女性艺术家？”面对越来越活跃的女性艺术家群体的出现，不论社会机制对女性的压制是否得到改善，也不论是由谁来衡量关于女性艺术“伟大”的标准，更无谓当代女性艺术在这个充满变数的时代所带来的颠覆性意义有多大，女性艺术和女性艺术家群体都是不可替代的。
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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.

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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.

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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