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.

: Build a Museum with Animal Crossing: New Horizons

2020-04-13

Nintendo’s Animal Crossing couldn’t possibly have arrived at a better time. Just as self-isolation has been imposed on millions around the world, here comes a deeply involved social simulation game that, more than merely letting players visit with other people and frolic outside without fear of infection, allows them to act as procurers and curators of their own personal museums.The museum lobby in Animal Crossing: New Horizons (Image by Dan Schindel via Hyperallergic）In Animal Crossing, players are supposed to build a community from scratch on a deserted island. They decide where to build houses, shops and other structures including a museum. As a major feature of the game, it invites players to donate bugs, fish and fossils they obtained to it and feature them in its exhibits.It is lovely to see that in this game, the preservation and exhibition of one’s island’s natural history is considered so important that a museum is one of the foundational buildings of the community. Animal Crossing is very concerned with letting players collect and display - cool stuff they discover, designs they create, town layouts they guide. Players can visit each other’s museums, and each entry of a new player expand upon the possibilities of creation, collection and curation.The entrance hall to the fossil wing (Image by Dan Schindel via Hyperallergic）The way the Animal Crossing museums operate restores museum to its traditional form as Cabinet of Curiosities. The hard decisions that players have to make about whether to put items in the museum or sell them to pay off their debts to the tanuki head of town, especially those precious items, surprisingly reflect real-world dilemma in terms of an object’s capitalistic value versus its artistic value. Yet the way visitors see in the museum is quite inspirational: The space is most optimized for a third-person point of view. Players can see everything perfectly from an omniscient perspective, and take shareable screenshots.@TimoKuilder via Digital ArtsAlthough the preset museums in the game are only for natural wonders, there are also ways to make one’s own art gallery, thanks to the customization function of the game. For example, some upload images of their favorite artworks and exhibit them in a self-built white cube. Some artists even display their pieces and offer other players a chance to trade in-game currency for a chance to ‘take home’ a piece and display in their own house.Source | Hyperallergic, Digital ArtsAuthor | Dan Schindel, Giacomo LeeEditor | Lu Yufan
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: Covid-19: The Ethics of Contemporary Collecting

2020-04-10

As museums transfer to online operations during the coronavirus outbreak, some institutions have begun collecting materials that document the Covid-19 pandemic. Last week, the Museums Association released a statement for museums, calling for sensitivity, respect and ethics in collecting during this period.Covid-19: The Ethics of Contemporary CollectingPeople who work in and with museums are already thinking about how we might collect objects, ephemera and stories relating to the Covid-19 pandemic.Whilst it's important that museums record this challenging period which is having an impact on the whole of society on an international scale, we clearly need to be approaching contemporary collecting with sensitivity and respect.Museums have responded incredibly well to the crisis, supporting staff and volunteers, closing institutions and ensuring their collections and spaces are safe and secure, as well as donating food and equipment to points of need. It's important that we put the needs of our communities and the public first in this crisis.Saul Steinberg, Collection, collection of Smithsonian American Art MuseumIn regard to contemporary collecting we should think about being respectful, sensitive and ethical. In the current crisis all three principles of the Code of Ethics apply to the work of museums and we should bear them in mind in all that we do.Public benefit and engagement: we should be thinking about how we keep our public engaged when our institutions are closed; there has already been a huge amount of digital innovation, from putting collections online to repurposing existing tours and content.In addition we should consider how we engage the public in any contemporary collecting of Covid-19 material in a supportive and considered way. We should also consider how we support our communities and community partners and seek to add value where we can to wider efforts.Stewardship of collections: the Code states that we should acquire collections "with transparency and competency in order to generate knowledge and engage the public." We should be open about what we are collecting and why, and should consider the interpretation and care of digital items including social media posts and other material.Individual and institutional integrity: the Code states that museums should uphold the highest levels of integrity; this especially applies when collecting contemporary items in this crisis. We should be open about what we are doing, clear about our motivations and respectful of people's emotions and feelings. This also applies to our support for staff and volunteers.Source | Museums AssociationAuthor | Sharon Heal
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: Online Exhibition: How Can We Think of Art at a Time Like This?

2020-04-04

Featuring many internationally renowned artists who struggle with futuristic pessimism, political outrage and psychic melt-downs, the show is meant to serve as a platform for the exchange of ideas at a time when the world is in turmoil and everyday activities are disrupted by social distancing.
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: The Empty Museum and a Post-pandemic Museum Landscape

2020-03-27

The Covid-19 continues to close down museums worldwide, leaving museums with none other than their social media presence. Museums are going online, making good use of the Google Arts & Culture project, especially those that haven’t invested in digital media presence like the big museums over the past years.Jose Ballester, Waiting for the Birth (Version of The Birth of Venus by Sandro Botticelli), from the series "Hidden Spaces" (via medium.com)Meanwhile, there are some bespoke reactions to the challenge posited by the coronavirus pandemic. For example, Gallerie degli Uffizi initiated the #UffiziDecameron social media project, which is inspired by Giovanni Boccaccio’s The Decameron, a collection of stories by ten youngsters who seek refuge in the hills outside Florence during the plague. The campaign invites its director and curators to each do a guided tour of a section of the museum, presented as a short video series in the spirit of The Decameron.While #UffiziDecameron can be a good example of cultural branding, Beijing’s X Museum is reinventing the virtual experience. Unlike many museums that go online via traditional panoramic 360-degree exhibition or digital archives of exhibits and collections, the X Museum uploaded its exhibition onto an interactive virtual project space, allowing people to roam the exhibition free from the laws of physics and architecture. The virtual exhibition is more than an emergency measure amid pandemic, but a novel alternative to the traditional museum experience, a reference for museums’ future digital presence.The coronavirus pandemic has caught museums unprepared much as with other sectors and industries. Big museums like the Louvre and the Metropolitan may still resort to the social media presence they built over the years, however, smaller to medium-sized museums have been left struggling for breath, with drastically reduced revenue stream coming from ticket sales, hire of venue, and affected fundraising efforts and donations. Some might even not make it through the closure to open again. The post-pandemic scenario may leave us with a new breed of museum netizens, and museums have to learn the hard way that the need to adapt and rethink may now be a question of survival. The Google Arts & Culture project shall not be enough, and museums’ digital media presence shall not be limited to a communication or marketing channel. More crucially, museums should consider their identity as being both physical and virtual at the same time.Source | Medium.comAuthor | Sandro DebonoEditor | Lu Yufan
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: Smithsonian Releases 2.8 Million Images into Public Domain

2020-03-23

The Smithsonian Institution has released 2.8 million high-resolution two- and three-dimensional images onto an open access online platform, encouraging the public to not only view, but also reuse them free from all restrictions.
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: Using Empathy to Unlock the Stories of Holloway Prison

2020-03-13

Islington Museum's Echoes of Holloway Prison project allowed the audiences to understand the monolithic idea of ‘Her Majesty’s Prison, Holloway’, as created by the media and the state, on a much more human scale.
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: Museums’ Rejection of Controversial Sponsorship Can Have a Real-World Impact

2020-03-07

The debate over sponsorship also helps to expose the myth of museum neutrality, urging many arts institutions to review how they embody their values and social purposes not only in the programs they produce, but also the way they do business.
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: Using Data Science to Measure Social Impact

2020-02-28

For most museums, success is measured in numbers - revenue, attendance, Instagram “likes”. But the Oakland Museum of California (OMCA) is seeking to define its success by measuring its social impact using data science.
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: Are Memes Worth Preserving?

2020-02-21

Are memes, as pervasive forms of communication, worthy of being considered cultural heritage and preserved by museums and cultural institutions?
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: China's Museums Put Exhibitions Online During Coronavirus Outbreak

2020-02-10

Museums around the country have launched nearly 300 online exhibitions via the Online Exhibition of the Museum website.
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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.