Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

: Take a look at the first post-pandemic Kids in Museums Takeover Day

2022-06-24

On November 12 2021, 70 museums, galleries, archives and heritage sites across the UK were taken over by children and young people for Kids in Museums Takeover Day. It is a special day that young people take over jobs normally done by adults at museums, and since its first event in 2010, more than 40,000 children and young people have taken part, from toddlers to university students.The 2021 event was the first in-person Takeover Day since the start of the pandemic, involving around 1,900 young people. Coinciding with the end of COP26 in Glasgow, the day was themed to encourage young people to address climate action issues. They were given insights into museum careers, acting a variety of roles such as sustainability consultants, climate themed exhibitions curators, climate protest signs and slogans designers, documentary film makers, etc.A few examples show how participating museums collaborated with young people on the climate action theme, from curation, research to education:London Transport Museum held a Live Stream where primary school children put their questions to grown-ups in the transport industry to find out what actions they are taking to look after the environment for future generations.At Perth Museum & Art Gallery, young people curated a local photography exhibition illustrating factors affecting the local environment.At Darlington Railway Museum’s Toddler Takeover event, a range of activities, such as selling tickets for public transport, sorting recycling and running a toy and book swap shop were held.Other than a strong in-person engagement, the Takeover Day also had a strong online presence. Hashtag #TakeoverDay on Twitter alone shared by young people and museums reached more than 2 million people.Source | MuseumNextAuthor | Adrian Murphy
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: The museum that turns emotions into wisdom

2022-06-16

View an art exhibition might provide a temporary distraction from negative emotions, but now a new continuing installation at the Rubin Museum of Art proposes to do something far more radical with these negative emotions: transform them into wisdom.
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: Cultural institutions rethink Russian connections

2022-05-25

Amid the escalating Russia-Ukraine war, more institutions across Europe rethink how the Russian and Ukrainian cultures are represented in their collections.
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: ICOM publishes two proposed museum definitions

2022-05-17

The International Council of Museums (ICOM) recently published two alternative proposals for its updated definition of a museum, three years after its original proposition was dismissed following a heated debate at its 2019 conference in Kyoto.
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: Can digital technology help us to learn to look slowly?

2022-05-13

Since its founding in 2010, Slow Art Day has been encouraging museum visitors to try slow looking - spending 10 minutes of more looking at a single work - for more than a decade in museums across the globe.It is seemingly a big ask. The Weatherspoon Art Museum in North Carolina for example, is holding the exhibition Slow Looking/Deep Seeing from January to June this year. In the exhibition’s introduction, it said that researchers estimate visitors to art venues spend an average of eight seconds looking at each work on display.In a museum piled high with objects, it’s tempting to try to see as much as practically possible during your visit. But taking time to look closely at a single exhibit can reveal subtle details about a work, and allow you to connect with works of art. This is why Phyl Terry founded the Slow Art Day. "The most important discovery they make is that they can see and experience art without an expert (or expertise). And that’s an exciting discovery. It unlocks passion and creativity and helps more visitors to learn how to look at and love art."More than a decade since its founding, the Slow Art Day is now participated by 1,500 museums and galleries around the world. It encourages people to look at exhibits slowly in the real space, looks to build a community within the museum through looking at the art together, and hopes for people to grow appreciation and love for art. But of course, the pandemic outbreak in 2020 has changed their focus on real space events. The question is, can digital encourage slow looking?As museums are transferring their exhibitions and activities online, they’ve also discovered several measures to encourage people to look slowly through the digital screen. One good example is the National Gallery’s 5-Minute Meditations series, which combine slow panning videos of artworks with meditation to create beautiful viewing experience. On the Slow Art Day 2020, the McMaster Museum of Art in Ontario, Canada, shared nine detailed images to their Instagram account over a 90-minute course, with the full image revealed at the end. While audience were encourage to look at the work of art detail by detail, they can also engage in discussions in the comments of each post.What’s more, museums are using Zoom and social media channels to promote their slow looking events, to invite people from other regions to participate. Google Arts and Culture is another ground for them to encourage slow looking - by uploading gigapixel quality images. Although digital cannot replicate the experience of slow looking in real space, it does offer new and rich ways of experiencing exhibits slowly.Source | MuseumNextAuthor | Rebecca Hardy Wombell
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: Small Museums Are Stealing the Show on TikTok

2022-05-07

In just 48 hours, some 80,000 people watched a short video of artist Roxy Rose twisting hot glass rods into intricate artwork. The 34-second clip posted to TikTok by the Museum of Neon Art - a small museum in Glendale, California - has already amassed far more viewers than the museum would expect to see within its walls in an entire year.The Museum of Neon Art (image by Gary van der Steur, courtesy the Museum of Neon Art)The world’s biggest museums are heading to TikTok in a bid to draw youth interest and raise their outreach efforts amid the recent waves of pandemic-prompted museum closures. Mikhail Piotrovsky, director of the State Hermitage Museum, outlined a comprehensive plan to bring Russia’s largest and most celebrated museum onto the app in his annual address in December 2020. Similarly, French press reported that Louvre has been in talks with TikTok, seeking to share its immense collection of world-famous artworks on the platform to audience worldwide.But although major museums worldwide are taking on TikTok, it’s the less-renowned museums that are winning big.On the ever-growing video-sharing platform, two museums really steal the show: the Scramento History Museum, with an impressive 1.5 million followers, and the Black Country Living Museum, with 1.1 million followers. Thanks to their innovative programming, these two museums far outpace more famous world institutions on the platform, including the Prado Museum and the Château de Versailles.The majority of the Sacramento History Museum’s many loyal viewers have been drawn in by videos of octogenarian volunteer docent Howard Hatch using the institution’s precious antique printing presses, sharing fun facts, and showing off the intense labor that went into producing historic newspapers.While most major institutions have often attempted to maintain an online presence as carefully curated as their gallery walls, TikTok audience favors casual production and - above all - those who aren’t afraid to bring lighthearted humor to themselves, or of their museum’s precious collections.For smaller museums like these, investing time and money into TikTok can really pay off. Indeed, some have already seen TikTok fans translate into real-life visitors. Corrie Siegel, Director of the Museum of Neon Art, and the leader of its TikTok strategy, said that the majority of their visitors say they have found the museum on Instagram and TikTok, while some have even "traveled across the country" just to pay a visit, having discovered the museum’s wonders online.From neon signage to antique printing presses, TikTok is bringing niche — and often under-recognized — cultural treasures to the forefront. Smaller museums are drawing in viewers by pushing the limits of cultural programming, perhaps with less care for preserving prestigious reputations and plenty of unexpected surprises to attract new audiences.Source | HyperallergicAuthor | Stephanie Stacey
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: Indian museum launched a free encyclopedia of 10,000 years of Indian art history

2022-04-28

“If we really want to develop a museum-going culture and make the arts relevant, it needs a basis in education—and one that is accessible and available freely, not just to museum visitors.”
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: The Van Gogh Museum is teaming up with a fragrance brand to produce custom perfumes

2022-04-19

Want to smell like Van Gogh’s Sunflowers? Now the Van Gogh Museum in Amsterdam has partnered with a fragrance brand to develop a line of scents inspired by the artist’s masterpieces.
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: York museum transforms empty shop window into 24-hour museum

2022-03-14

JORVIK Viking Centre has turned a former bookstore in the heart of the historic city of York into a 24-hour museum display offering daytime and evening passers-by a taste of Norse heritage.The initiative is part of Archive Live, a new online and offline festival being hosted by York Archaeology and The JORVIK Group, which believes the idea could be rolled out in other locations with empty shops.The museum, dedicated to the city’s Viking history, created inclusive portfolios of exhibitions for empty retail units. Using historic content relating directly to the location where they are installed, including artefacts, replicas, digital interpretation and 3D virtual reconstructions, the exhibitions would explore the past within contemporary themes. The first exhibition 'Eco friendly Invaders' explores how the Vikings pursued environmentally friendly activities, including policies of recycling and widely using natural products to create their unique products and way of life.The exhibition also has QR code on the window, which passers-by could scan to a dedicated web page that features video, photos and text that explain more backgrounds and details of the exhibited theme.The museum also plan to pass on the exhibition mode to other towns and cities that want to inject a bit of life into their high streets. "We would like to transfer the idea to other city and town centers where councils are increasingly having to deal with finding new ways to fill empty retail units across the urban landscape in the UK today," said Sarah Maltby, director of attractions for the JORVIK Group. “The windows will be lit 24 hours a day, and with people able to access the interpretation through their mobile phone, we’re looking forward to seeing how well this is received. It would be wonderful to think that this idea could be implemented across the city – or indeed, in vacant units on just about any town’s high street – to add some culture and vibrancy.”Source | Museum NextAuthor | Adrian Murphy
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: How the Museum of Chinese in America emerged from a fire and pandemic lockdown

2022-03-05

On an evening of January 2020, a five-alarm fire broke out at 70 Mulberry Street in New York, in a historic building in Chinatown that housed 85,000 objects in the collection of the Museum of Chinese in America (MOCA), a small institution located a few blocks away. The blaze posed an existential threat to the institution’s 40-year effort to document and preserve the experiences and achievements of people of Chinese descent in the United States, with photographs, textiles and garments, business signs, and movie posters among the many items endangered.In March, the museum staff completed the six-week-long retrieval process and discovered that 95 percent of the holdings had survived, despite some water damage. But then came the coronavirus lockdown, which could be disastrous for a small museum like MOCA, which lives by an annual budget of $2.8 million. Subtracting from hundreds of thousands of dollars in rent, it leaves little room for experimentation or expansion even in the good time.But the museum saw a silver lining in the fall of 2020, when they received a $3.1 million grant as part of the Ford Foundation’s America’s Cultural Treasures initiative, among 20 institutions across the US. According to MOCA’s president Nancy Yao Maasbach, they would use $100,000 from the grant for technical projects, such as revamp of its website, and the remaining $3 million for conservation of the objects harmed in the fire and offset in part the museum’s pandemic-related losses. The grant will also enable the museum to expand access to its educational programs digitally, so as to reach a national audience.Recently, the museum also formed a consortium with 28 other Chinese American historical museums around the US. While the museum industry in the US is still learning to tell local history, the partnership would create wonderful national repository of shared resources for exhibitions and other initiatives.The fire has already become a part of MOCA’s history, and as part of a partnership with Google Arts & Culture, the museum opened a virtual exhibition titled “Trial by Fire: The Race to Save 200 Years of Chinese American History” in January, one year after the blaze. The exhibition features news clips, photos, videos pulled from social media, and more records that trace the fire’s impact and the museum’s retrieval and recovery process. At the same time, the museum added images of more than 200 objects from its collection to the platform. In the future, when the health measures permit, the museum also hopes to have conservation students engage in hands-on work with fire-damaged items.In addition to new programs and other opportunities the America’s Cultural Treasures grant will afford, Maasbach and her team are making a pledge to remember the museum’s past struggles, resist tokenization, and advocate for under-recognized artists and cultural organizations.“I think our role is now to be responsible - I feel like a chosen one,” she said. “The fear I have is that we forget where we came from, and that’s something we’re holding each other accountable for. You’ve got to work harder to create equity.”Source | ARTnewsAuthor | Claire Selvin
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Group Public Education Event Reservation Form

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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.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

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

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

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

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

(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

(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.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

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

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

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

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

(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

(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.

I have carefully read and agree to the above provisions.