Dream Transformation: Li Yang’s Art

  • Dates:2023-09-28 - 2023-10-18
  • Location:2C Gallery, CAFA Art Museum
  • Opening:2023-09-28 15:00
  • Organizer(s): CAFA Art Museum, The Faculty Work Department of CAFA (Personnel Department), The Faculty Development Centre of CAFA

Details

“Dream Transformation: Li Yang’s Art”, the fifth exhibition of the first phase of “Expand & Curate –Young Experiment Project Space”, opened at 2C Gallery of CAFA Art Museum at 2 pm on September 18. This exhibition is a special exhibition featuring the works of Li Yang, associate professor of the Department of Mural Painting of CAFA, with Shao Yiyang, associate professor of the School of Humanities of CAFA, and Shao Yan, professor of the School of Humanities of CAFA, as academic advisors, and Ji Yujie, design director of CAFA Art Museum and associate researcher, as the curator.

Taking genealogy and samples as the logic of its spatial narrative, this exhibition combs and presents the artist’s thirty-three years of artistic exploration and creation centered on dreams, including 108 pieces/groups of works such as oil paintings, mural paintings, digital art, installations, graphic design, social performance art, artist diaries and manuscripts. Through a light and dynamic visual design, it constructs a surrealistic picture in which time and space are intertwined, reality and reality are blended, and romance and logic coexist.

Li Yang is a research-oriented artist, which can be found in his in-depth analysis of dreams and his study of dreams as a possible method of artistic creation. He uses multiple ways of artistic expression to explore the universal problems of human existence –the complex relationship and mutual effect between dream and psychology, dream and personal subconscious, dream and social subconscious, and dream and creativity, to achieve the purpose of artistic healing by transforming people with dreams. In this process, special attention is paid to the emotional contagion brought by artistic languages such as colors, brush strokes and texture. In the shaping of the narrative, the excellent basic modeling skills of the artist make the composition of the picture vivid and free, reveling a sense of ease.

As a young artist and art educator trained by the Central Academy of Fine Arts, Li Yang developed a distinctive and individual artist character that benefited from the art academy’s profound artistic background, outstanding academic tradition and open innovation atmosphere. On the one hand, he pays attention to "specialization and refinement", concentrates on "dreams" in his creation, and continuously carries out art experiments and research with a broad vision, improving himself day by day. On the other hand, his works are “spiritual and fresh”, as he pursues expressive and surreal aesthetic tastes, being free, clever and naive in artistic languages and forms, with dramatic image narrative. He is good at experimenting with new media and new ideas, constantly promoting his art to open up new patterns. His artistic creation is more like a process of completion, that is, a process of researching and excavating individual and personal dreams, and constantly connecting them to the expression and exploration of the collective dream of the whole era, history, society and even human issues. Only with full respect and understanding of individual experience, can we better learn and express the collective spirit, which fully embodies the social and humanistic nature of art

Li Yang

Li Yang is an artist, dream worker, associate professor and master supervisor of the Department of Mural Painting of CAFA, and Doctor of Art Theory, currently living and working in Beijing. His work focuses on the integration of artistic, psychological, medical and sociological perspectives of dream work, and the possibility of acquiring new social life tools from the language of dreams.

Solo exhibition includes: “Li Yang Hua Meng: Crypto Art Exhibition”, SGA Gallery, Shanghai (2021); “Dream Catcher: A Field Work about Dream”, Space Station, Beijing (2020); “Li Yang: Unicorn –Institute of Dream”, Unicorn Center for Art, Beijing (2015), “Realistic Self-Healed–Hiding the Body”, Reality Space, Beijing (2010), “Si Wu Xie (Aboveboard) - Li Yang’s Work Exhibition”, Shanghai Art Museum, Shanghai (2007); “Wake Up”, Long March Space, Beijing (2006), etc. 

Group Exhibitions & Social Projects: “Night Dimension: The Night of the Gifts)”, The Former Site of Lester Institute of Technical Education, Shanghai (2023); “Asian Digital Art Exhibition: Spaceship Earth”, Times Art Museum, Beijing (2022); “Sandbox System: Three Curing Samples”, Online Exhibition, Cryptovoxels, Raiden INST (2022); “Super Fusion: Chengdu Biennale”, Tianfu Art Park, Chengdu (2021); “The Way of Craft: The First Suzhou Craft Biennale”, Suzhou (2021); “Do Not Black Out”, Ming Contemporary Art Museum, Shanghai (2021); “Yixi –The 697th Speaker: Drawing Dreams”, Wanxiang Theatre, Shenzhen (2019); “Paintings of One Hundred Years – Mural Paintings of CAFA’s History”, Wangjing Campus of the Central Academy of Fine Arts, Beijing (2017); “CAFAM Biennale: Negotiating Space”, CAFA Art Museum, Beijing (2016); “Up-Youth—China Young Artists Exhibition”, Times Art Museum, Beijing (2014, 2015); “The 6th Chengdu Biennale”, MOCA, Chengdu (2013); Shaping – “Exhibition for the Teachers from CAFA”, CAFA Art Museum, Beijing (2010); “CAFA’s Sketch 60 Years”, CAFA Art Museum, Beijing (2009); “New Curator Project—The Story of Hair”, TS1 Contemporary Art Center, Beijing (2006), “The Intangible Shape”, January Contemporary Art Gallery, Beijing (2006), “Talk Ten+Ten—Contemporary Art Exhibition”, ZENDAI Museum of Modern Art, Shanghai (2006); “Long March – Yan’an Project”, Long March Space, Beijing (2006); Involved in the Production: The 51st Venice Biennale - Virgin Garden: Emerging, creating a painting for Wang Qiheng’s “Geomancy of Venice Biennale”, the Pavilion of China, Venice, Italy (2005); “The First Young Artist Exhibition”, Today Art Museum, Beijing (2003). 

Awards: Won the first prize of the “CAFA Graduation Creative Exhibition 2001”, CAFA Art Museum, Beijing (2001); won the “Nokia ‘I See the Future’ Art Grand Prize”, Contemporary Art Museum, Beijing (1999); Participated in the “Exhibition of Posters to Celebrate the 80th Anniversary of the Founding of CAFA” and won the first prize, CAFA Art Museum, Beijing (1998); etc.

Published Works & Interviews: “Journal of Psychology”, “Exploration of the Heart”, “City Pictorial”, “Chinese Elites”, “Beijing Youth Weekly”, “Art Research”, “Art Observation”, “Fine Arts”, “New Weekly”, “Collection (international edition)”, “Chinese Art”, “Chinese National Geography”, “Bo Wu”, etc. 

Teaching Courses: “Analysis and Creation of Surrealist Art”, “Holistic Sketch”, “Mysterious Art Class”, etc.


Preface

By Ji Yujie
“Dreams are enlightenment, a way for the subconscious to make the whole mind more harmonious and reasonable.” – Carl Gustav Jung (1875-1961)
The visual field of artistic creation can be roughly divided into two dimensions if we take human beings as our coordinates. One is “Outward”, looking at the things outside human beings and “reproducing” the external world and social life; the other is “Inward”, focusing on the inner spirit of humans, “expressing” their subjective world and psychological consciousness. Li Yang’s art is obviously based on the latter. He takes dreams as the method and language of his artistic practice and continues to carry out the research and creation of “dreams”. Just as Giorgio Morandi was obsessed with painting still life bottles and Yves Klein was attracted to ultimate monochromatic art, Li Yang is fascinated with dreams. Since 1990, he has worked unremittingly on dreams and created works around dreams for thirty-three years, without interruption, with simplicity, persistence and resilience becoming a true portrayal of his artistic character.
The “Dream Transformation” exhibition is a genealogical and sampled combing of Li Yang’s artistic practice of “dream”, including oil paintings, murals, digital art, graphic design, social performance art, diaries, manuscripts, and other forms of works. “Dream Transformation”, on the one hand, means “transforming self”, that is, for Li Yang, he carries out a profound spiritual exploration through the recording, analysis and research of his dreams, and realizes the transformation, purification and healing of his mind. On the other hand, “Dream Transformation” refers to “transforming others”, in which Li Yang shifts his vision from the self to the other, and through the visualization of dreams, he pays attention to the relationship between the human psyche and the historical narratives in the society.By analysing and depicting the dreams of others, Li Yang makes visible the unseen forces hidden in them and achieves the purpose of translating and healing the inner and spiritual world of others.
As a research-based artist, Li Yang does not confine himself to the shackles of special artistic language or labels. Hssis works not only have the attributes and characteristics of surrealist painting, but also draw from classicism, constructivism, pop art and even technological art and social art in his creation. He takes dreams as an absorber, recorder and reactor to reflect the universal dream experience of an era through personal records, and at the same time documents the most important changes in the artistic language of this age. “When I paint dreams, I paint reality.” Li Yang said. Although he describes surreal subjects, it implies a force that is more real than reality, and more meaningful than the objective representation of the world.
By Ji Yujie
“Dreams are enlightenment, a way for the subconscious to make the whole mind more harmonious and reasonable.” – Carl Gustav Jung (1875-1961)
The visual field of artistic creation can be roughly divided into two dimensions if we take human beings as our coordinates. One is “Outward”, looking at the things outside human beings and “reproducing” the external world and social life; the other is “Inward”, focusing on the inner spirit of humans, “expressing” their subjective world and psychological consciousness. Li Yang’s art is obviously based on the latter. He takes dreams as the method and language of his artistic practice and continues to carry out the research and creation of “dreams”. Just as Giorgio Morandi was obsessed with painting still life bottles and Yves Klein was attracted to ultimate monochromatic art, Li Yang is fascinated with dreams. Since 1990, he has worked unremittingly on dreams and created works around dreams for thirty-three years, without interruption, with simplicity, persistence and resilience becoming a true portrayal of his artistic character.
The “Dream Transformation” exhibition is a genealogical and sampled combing of Li Yang’s artistic practice of “dream”, including oil paintings, murals, digital art, graphic design, social performance art, diaries, manuscripts, and other forms of works. “Dream Transformation”, on the one hand, means “transforming self”, that is, for Li Yang, he carries out a profound spiritual exploration through the recording, analysis and research of his dreams, and realizes the transformation, purification and healing of his mind. On the other hand, “Dream Transformation” refers to “transforming others”, in which Li Yang shifts his vision from the self to the other, and through the visualization of dreams, he pays attention to the relationship between the human psyche and the historical narratives in the society.By analysing and depicting the dreams of others, Li Yang makes visible the unseen forces hidden in them and achieves the purpose of translating and healing the inner and spiritual world of others.
As a research-based artist, Li Yang does not confine himself to the shackles of special artistic language or labels. Hssis works not only have the attributes and characteristics of surrealist painting, but also draw from classicism, constructivism, pop art and even technological art and social art in his creation. He takes dreams as an absorber, recorder and reactor to reflect the universal dream experience of an era through personal records, and at the same time documents the most important changes in the artistic language of this age. “When I paint dreams, I paint reality.” Li Yang said. Although he describes surreal subjects, it implies a force that is more real than reality, and more meaningful than the objective representation of the world.

Artworks

Artworks

Photographs

Photographs

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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.

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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
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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.

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