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.

: Europe’s Museums Are Open, but the Public Isn’t Coming

2020-11-12

Almost all European museums are suffering from visitor losses. Most museums are having a third of the visitors they had this time last year.
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: What’s next for museum audio guides?

2020-10-27

Audio guides are an essential part of the museum experience. As museums are moving from lockdown to recovery, MuseumNext partnered with multimedia guide company MuseumMate to look at how audio guides are adapting to the changing needs of museums and their audiences.According to their survey, of the museums which usually offer audio guide experience, 75% were affected by the COVID-19: 21% have stopped offering an audio guide, 21% clean their handsets more frequently, 35% have switched to a bring-your-own-device option.Because of the pandemic, rental of audio guide in museums was also largely reduced. Most of the museums expect the rate of rental to return to ‘normal’ in 2021.The survey also reflects some of the latest trends in museum audio guide. For example, some museums expressed their interest of using their audio guide also as a tool to manage visitor flow, a useful feature at a time when the number of visitors in any gallery is limited by social distancing restrictions.Audio guides are important for both the visitor experience and as a source of income to museums. According to MuseumMate, over the past six months, it helped many museums switch to Easy Guide, which allows visitors to download audio guide to their own device.Source | MuseumNextAuthor | Jim Richardson
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: If You Have To Wear A Mask, It Might As Well Be A Masterpiece

2020-10-19

In the pandemic days, working at home means wearing basically the same thing every day, but another ‘accessory’ became the new field for people to express their fashion taste - face mask.Although many museums were still closed, their shops are doing a lively business with face masks that are creative and can be ordered online. The masks are usually based on art in their collections, and are usually nonmedical.Detroit Institute of ArtsYou’ll be surprised to find out some masterpieces fit the form of face mask, for example, on the Detroit Institute of Arts’ mask based on Monet’s Corbeille de Fleurs, the flora in Monet’s strokes gives wearers an Impressionist beard. No wonder it is the shop’s best seller. According to Eric Huck, who’s in charge of DIA’s retail operations, he wanted “to have a cheery scene on something most people wouldn’t choose to wear if we weren’t in the middle of a pandemic.”Milwaukee Art MuseumLikewise, Milwaukee Art Museum picked a design that’s less about beauty and more about mood: Edvard Munch’s The Scream.Peabody Essex MuseumThere are also face masks sold at museum shops based on themes of traditional witchcrafts. Perhaps people do believe in their magic especially during the pandemic crisis - The Peabody Essex Museum’s face mask that features The Great Sea Serpent has sold out twice.Source | nprAuthor | Susan Stamberg
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: What museums are already collecting to tell the story of Coronavirus?

2020-10-09

The New-York Historical Society began its COVID-19 collecting effort in March, and has now amassed more than 200 objects and multimedia files documenting the new normal, including bottles of hand sanitizer made by distilleries and New York inmates.Hand sanitizer made by Kings County Distillery—which usually makes whiskey—in Brooklyn, N.Y. The New-York Historical Society has collected hand sanitizer made by distilleries that converted their operations. Courtesy Kings County DistilleryThis is in fact the latest project of the institution within an ongoing program that began in the wake of the 9/11 attacks, to collect materials of cultural importance immediately after historic events. And the institution is not alone. Museums worldwide have carried out similar initiatives in the last two decades.With COVID-19’s historic nature firmly established, even as the world still battles the virus, the question of how it will become part of historical memory is already being answered. The artifacts many of us have accumulated in our homes right now will inform future generations about what it was like to live through this time.Instead of collecting the usual art or materials belonging to influential people, museums in the pandemic era are seeking out everyday people’s experiences - via objects, TikTok and YouTube videos, Zoom screenshots and recordings, workplace emails about safety protocols, text messages about keeping busy in lockdown, and photographs of drugstore shelves stripped bare of disinfecting products.Masks, a signature of the new normal, will definitely be covered in future exhibits on the COVID-19 pandemic. The Autry Museum of the American West called for submissions of homemade masks. The photos it received include a specially designed one with ruffles and a matching head-wrap representing the designer’s West African heritage; and masks strangers sewed for strangers via Auntie Sewing Squad, an online community of hundreds of people who have sewn more than 80,000 masks for underserved populations in the US.Screenshot of Auntie Sewing Squad "Stitch and Bitch Meeting" on April 4. Courtesy Auntie Sewing SquadFor museums in the US, documenting COVID-19 has been inseparable from documenting the ongoing Black Lives Matter protests. Museum of the City of New York initiated a social media open call for images of “a socially-distanced NYC” and scenes of activism, and received nearly 20,000 images from professional and amateur photographers.Some places are also collecting less tangible artifacts, such as data from Johns Hopkins University’s Center for Systems Science and Engineering (CSSE), which runs a COVID-19 dashboard; snapshots from GISAID, which aggregates genomic data from labs worldwide during pandemics; and capturing analyses from platforms like Nextstrain, which are mapping the mutations of the virus and its transmission.Six months after COVID-19 lockdown orders closed down museums, these cultural institutions face a long recovery themselves, and the online outreach has helped them reinvent themselves. Curators hope these collecting efforts help the world see museums not only as buildings, but also as online communities in which citizens play a key role.Source | TIMEAuthor | Olivia B. Waxman
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: Smithsonian and V&A Drop a Plan to Co-curate a Gallery in London

2020-09-27

The Smithsonian Institution and the Victoria and Albert Museum are abandoning plans to co-curate a gallery in the planned V&A East museum, planned to open in East London in 2023.The proposed gallery was expected to draw from both institutions’ permanent collections to explore the impact of human life on the natural world. The museums have now called off the long-held plans, citing their “evolving strategic priorities” as well as the public-health context.The V&A East. Photo by Forbes Massie, courtesy Queen Elizabeth Olympic ParkAs put in a joint statement, they are re-focusing their work together on STEP (Shared Training and Employment Programme) program, to provide paid internships to young people that seeks to promote diversity in the arts. It will be open to young East Londoners and DC residents from diverse backgrounds, who hope to gain experience in the creative industries.“We know that the creative workforce in the UK and the US does not reflect our societies and this program is needed now more than ever,” the institutions say in the statement. The cancelled joint gallery would have been the Smithsonian’s first permanent gallery space outside of the US. The plans for the gallery were first announced in 2018, and are the latest to be cancelled due to the worsening financial situation. The Smithsonian’s director Lonnie Bunch has said that the institution has lost millions of dollars in revenue since the beginning of the shutdown.Source | artnet NewsAuthor | Naomi Rea
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: Children’s Museology and the COVID-19 Crisis

2020-09-24

While physical museums are facing an uncertain future, virtual museum visitorship is booming. This quantum leap into virtual visitorship, forced by the coronavirus pandemic, intersects powerfully with young people’s preferred technologies, enabling them to participate more prolifically and publicly in museum programming than ever before. A new critical children’s museology is emerging at the forefront of virtual museological practice.With unprecedented numbers of children learning from home during the pandemic, museums are helping to fill the gaps, offering an abundance of virtual programming and educational resources to support home-based learning and play. Some standard forms have emerged: downloadable line-drawing coloring pages, workshops and instructions on how to create imitative art and craft inspired by adult artists or artworks, and scientific demonstrations conducted by adult scientists.Despite the vastness of these online materials for children, they are usually activities for children designed by adults, a power dynamic in which adults hold most of the authority and set the terms of engagement. It misses an opportunity to explore content and programming by and with children, who may have unique contributions to make drawing from their own expertise, capabilities, and capacity for creativity and innovation.Photo credit: Jerry Wang on UnsplashChildren are keen observers, skilled innovators, creative producers, full-time learners, and important contributors to their households and communities. The new critical children’s museology should be grounded in a child-centered approach. Museums should create more reciprocal forms of engagement with children and youths in ways that share authority and allow young people to contribute in more active and agentive ways. Some strong models do exist. For example, the Niagra-on-the-Lake Museum launched a guided journaling initiative for kids quarantined at home, providing free, printable workbooks for young people to document their feelings and experiences. These documents will become part of the museum’s collection on the pandemic.Taking children seriously by engaging with them as contributors of content and programming will provide a richer, more insightful archive for future generations. It will also enliven and improve online materials, while promoting diversity and inclusion in museum institutions and society at large. Such a move has the potential to radically transform museums by helping to further democratize all aspects of museum content and practice.Source | American Alliance of MuseumsAuthor | Monica Eileen Patterson
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: The British Museum Reopens to a World That Has Changed

2020-09-17

After being closed for 163 days by the coronavirus pandemic, the British Museum reviewed its links with slavery and colonialism.
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: Postcard Power! How Museums Can Support the Community through a Social Connecting Campaign

2020-09-10

How can museums support the community through a social connecting campaign? The museum breaks down its postcard campaign into steps and shares their experience on the American Alliance of Museums’ website.
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: Will COVID-19 Change Museum Architecture?

2020-09-03

In the museum field, many have asked whether some of the changes to exhibitions and events will stick. But what about museums’ physical presences: their buildings? Will they be reimagined and reoriented as well?
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: Graphic Guidelines for Safe Reopening of Museums

2020-08-24

Design firm Isometric Studio has designed a set of guidelines to help museums reopen safely following coronavirus.
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Child Public Education Reservation Form

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Adult Public Education Event Reservation Form

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Group Public Education Event Reservation Form

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Group type
University

Institution

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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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.