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讲座纪实|闯入现实核心的虚幻:雷安德罗•埃利希的空间装置 ...

2019-08-07

主讲人:海因茨-诺伯特•乔克斯生于杜赛尔多夫,作家,策展人。他受埃利希邀请,为其北京展的画册撰写梳理艺术家各时期作品的回顾性文章。他于去年策划了刘小东在德国的首个回顾性展览“迟归”。主持人:高高 中央美术学院美术馆 馆长助理 时间:2019/7/20 14:00地点:中央美术学院美术馆学术报告厅 阿根廷艺术家雷安德罗•埃利希是位制造幻觉的能手。他曾代表阿根廷参加第49届威尼斯双年展。他的装置作品往往是以当下的现实为出发点。他选取人们日常所见的内容,并向自己发问:什么是可以变得不一样的? 高高 中央美术学院美术馆 馆长助理高高:各位观众大家下午好!欢迎大家来到中央美院美术馆参观“太虚之境”展览,也欢迎大家关注今天举办的雷安德罗·埃利希总体艺术经历的讲座。今天特别邀请了德国策展人海因茨-诺伯特•乔克斯教授,他对雷安德罗·埃利希非常熟悉,同时他也将为艺术家在这次北京展览画册里撰写一篇整体回顾性文章。下面就把时间交给诺伯特教授,请大家鼓掌欢迎。 海因茨-诺伯特•乔克斯海因茨-诺伯特·乔克斯:非常高兴各位今天能够来听我的讲座,当然我也非常高兴能够再次来到这里——这已经不是第一次,我来到这里起码有几次,有一次是和这里的三位朋友一起探讨艺术的“集体性”或是“协作性”的问题。大家如果来看雷安德罗·埃利希整个艺术作品和空间装置,会觉得这是一个非常有趣的展览,乍看上去好像什么都懂了,但这仅仅是一个表面,我下面改用德文来给大家做讲座。当我们从一种语言转换成另外一种语言或者在几种语言之间进行过渡的时候,有一个概念非常重要——过渡/门槛,“门槛”、“过渡”在埃利希的作品当中也是一个核心概念。在我做演讲之前有人问我,“你以一种什么样的方式来观看埃利希整个的艺术。”我想:可能这个问题本身就是一个有问题的提法。因为埃利希的艺术不仅仅是与“看”有关的,也不仅仅是与艺术有关的。当然,我们可以找到很多相关的关联,比如说波普艺术和他契合或者相似的点,但是通过这种方式理解他,好像有点儿把他给缩小了。因为埃利希提供了一个非常广阔的艺术空间,和我们的日常感知有关,同时也与互动性有关。如果大家在互联网上随便找一些文章,看看艺术史家或者艺术评论家如何看待埃利希的艺术作品,我们可能会找到一个非常轻巧的标签,称他为“观念艺术家”。但是我觉得观念艺术这样一个词无助于我们真正理解埃利希的艺术,因为当我们谈到所谓的“观念艺术”,好像是说他有某种艺术观念,然后再把它通过一些艺术的东西呈现出来,好像这个观念艺术和人的感觉性、感知不是那么直接有关联,但是我们在埃利希的作品中会发现“体验”是特别重要的一个东西——你必须在展览现场参与其中。所以他的“观念艺术”不是一个通常意义上的观念艺术,这种直接的、参与的要素是我们理解埃利希艺术的前提。埃利希称他自己的工作是一个特别上相的作品,不管他的作品在什么样的距离被拍摄,只要把拍下来作品在另外一个媒介上去传播,从图像上来说都会觉得非常赏心悦目。所以说,埃利希的作品不是一个一般意义上的观念艺术家作品,他的作品有悦目的、感性的性质,促使我们不仅仅是和作品的表象打交道,同时还和外在世界打交道,而且很容易把我们引向对内在世界的体验和反思。我可能讲的有点儿沉闷,应该给大家一些令人觉得愉悦的东西,再这么讲观念艺术的话再过几分钟大家就都离席了。为了不至于让大家听一半就觉得昏昏欲睡或者干脆离开演讲厅,我很想以一种雷安德罗·埃利希做作品的方式来做这个讲座,介绍他的作品。连根拔起的房子,2019,中央美术学院美术馆展览现场《连根拔起的房子》:我们先看一下他的这部作品,大家来参观展览之前,在门口就能够一下子看到这个作品,这就是在中国的一个平房,大家都很熟悉。这么一个房子非常常见,大家在北京的某一个角落或者在中国其他的角落都能看到它,窗旁倚靠着一辆自行车,大家平常走过可能连看都不看一眼。到底是什么东西使得当埃利希把它变成一个作品,大家就不会再漠视它,而会驻足、凝视,拍一些照片发到社交网站上去呢?当然我们除了有这种影像性的东西,在跟艺术打交道的时候还有一个概念性的东西,有时候我要在图像和概念之间往复转换一下,在这里我要给大家引入一个德国重要的作家,也是思想家本雅明。1900年本雅明写过一本书叫《柏林童年》,这本书也译成了中文,开头的时候说过非常意味深长,也非常古怪的一句话,他说:“人们了解一个城市,同时漠视它。对它视而不见、充耳不闻是非常容易的,当你了解一个城市生活在其中,但是你却能够看见它、听闻它,这个确是需要特殊训练的。”大家想了解一下我为什么引用本雅明的这句话吗?为什么要引用这样一句话来谈这个作品。就像这样的一个房子,不只是在北京,在广州或其他地方也是非常寻常的平房,平常到会漠视它,是什么东西让这样的一个作品摆在我们面前的时候,我们没有办法再漠视它,我们要停留在它面前凝视它、驻足观察?最特殊的地方是这个房子底下有“根”。当然我们看到根,我们知道根和树木、植物相关,在这里一个房子被连根拔起,提供了一种意象:这个房子是一个无根的,我们的家园是无根的,而且是一个悬浮在空中无所依傍的状态。他是很有意味的,这里的一个被连根拔起的房子,不管它是什么样的状态,它和我们都是息息相关的,房子是我们的家,是我们的另外一层皮肤,是我们为了能够抵挡外面的风雨、外在威胁,用石头、土等不同的建筑材料所依傍起来的另外一层皮肤。当这个“皮肤”——这个房子被连根拔起的时候,我们觉得我们的生活也是一样的状况。埃利希在全世界各地都获得了非常大的反响,而且非常成功,是什么让他能够成功的呢?不管是在法国巴黎、里昂、南美、日本东京,现在来到中国,世界各地的人们都能够理解他的作品或者愿意看他的作品,最主要的是埃利希寻找到了一种视觉语言,这种视觉语言不是被框定、限定在一种所谓特殊的文化当中,他能够触动几乎所有人的体验,而这种体验是人生活在这个世界当中,涉及到我们可能的存在和本来存在的样子,他能够呈现出来,让我们再体验到。我们会说他可能在别的国家会用别的建筑形式,会用不同国家文化的建筑,但是在中国,他用了一个中国的民房。这与成本关联不大,而是他所要的是让大家考虑到这是一个和中国经验相关的作品,这也是他独特的地方——埃利希特别希望能够通过自己的作品直接接触到来欣赏艺术的人,来看他艺术的人,同时让这些观众通过他的作品反思自己生活的境遇。不只是在中国,大家感觉生活一下子变得没有根、无着无落了,其实这种状况在世界各地发生着,不仅是在中国,在欧洲、非洲都是这样。举一个例子:中国在整个建设城市改造、城市化过程中要拆迁、重新建一些小区,有一些胡同在重建当中被拆掉了。对于过去的老北京来说,一方面是生活改善,换一个地方有更好的居住条件;一方面又是一个重大的损失,失去了曾经的邻居、曾经一起吃饭的方式、玩的方式、聊天的方式,这些日常都随着房子、胡同、四合院的拆迁无声无息地消失了。当然也有好处——有更好的房子,事情总是这样的两面性,有得有失。这种状况,不光在中国,在德国,在各个国家都是这样的,尤其是在城市化进程当中。我在这里想提一个意大利的作家,同时他也是一个理论家安伯托·艾柯。他写过一个作品《开放的文本》,他在这部作品中提到了一个很重要的观点:每一个作品都是开放的,具有多义性的。这个意义上看,这个作品好像也存在着这样的一种解释,房子和树根所有语义的连接都有不同的解释——房子完全可以代表一棵树,因为房子本身也是一个非常重要的象征、譬喻。房子可以有很多种可能性,一方面它是我们居住的地方,本身就是一棵树;一方面如果说皮肤——人的第一层皮肤,穿的衣服是第二层皮肤,居住的空间是第三层皮肤。这种失去根的树、失去根的房子、失去根的人,就是我们无根的状态,我们处于一种不知何去何从,不知生活的所向、所归的状态。通过这样的意象,帮助我们来理解埃利希的艺术,因为这和他的生活有关,他有意识地不断更换着生活的地点。他在布宜诺斯艾利斯出生,之后转换了几个城市,而且是在不同的文化之间,在不同的房子之间,在不同的住处,不同的国家之间,他有意识地面对不同的文化,他还在法国巴黎生活过一段时间,他的法语也非常好。他不仅仅是在不同的住所之间迁移,他也在不同的语言之间来回转换,我和他在采访中谈过这个事情,在房子住所、语言转换之间也是一个文化的转换。当然我们可以就这样的一个作品引申很多思考,思考我们自身生存的境遇,通过这样一个作品不仅仅和鉴赏者、观看者连在一起,也可以和艺术家本身的生活状况联系在一起。前面提到了生命的得与失常常在一起,得失之间有一个过度、转换或者是有一个门槛,这是一个很好的契机,让我们从他的第一个作品《连根拔起的房子》来到第二个作品《游泳池》。游泳池,2019,中央美术学院美术馆展览现场《游泳池》:如果大家刚一开始不了解这个展览,什么都没有看过,没有读过,你可能会觉得中央美院美术馆前面突然改建了一个游泳池,这简直是一件匪夷所思的事。整个建构的方式好像真的在这儿放了一个游泳池一样。放在那儿让人有一个幻觉,有一个扶手好像可以沿着梯子直接下去,或者可以直接在岸边跳下去,感觉很像真正的游泳池,但是最好别直接从边上跳下去,因为里边只有薄薄浅浅的一层水。这儿涉及到两个问题(两种观看方式):一是在上面把它看成一个游泳池的时候,从上往下看有一种观看和感知的方式;二是当我们从底下看的时候,在水中的人又是另外一个视角和角度。如果把游泳池周边拿绳子或者什么东西拦住,不让大家进去,也没有办法看到底下人的影子,影影绰绰的样子,或者没有看到自己观看的倒影从水面中反射出来的话,你会觉得这就是一个现成品,要是那样的话可能埃利希就不是埃利希了,他可能仅仅是一个现成品,但是他的作品不仅于此。如果不是我们能看到下层的人们像鱼一样走来走去的影像,它可能就是一个普通的游泳池。然而大家在旁边去看的话会看到游泳池水底有那样一些走动的人,而这些走动的人并不是在游泳,他们没有穿着泳衣,衣服也没有湿,他们在看展览,这个时候就会有另外一个感知,出于好奇心拿起来拍拍照片,觉得这是不同寻常的一个游泳池。这个作品大家会感觉到埃利希的作品有一些好玩,他的“好玩”不是一般的娱乐性,他的好玩、乐观当中包含着颠覆的力量,他把一般的体验给转换了,这种经验能够传达出一些异样的、很隽永的东西。这个作品不管怎么拍都很上相,很好看,除此之外它会增加一个沟通的层面,也会觉得水上和水下的人如果有默契能够产生一个平常不会有的沟通方式。从上面看水下的人,会感到他们是影影绰绰、有点儿鬼影的感觉,因为我们看不到具体明晰的脸的样子,身体的样子更像一种很模糊的影像;反过来也是一样,底下的人看上边的人也有一种很鬼魅的感觉。大家看《游泳池》有同样的感受吗?会觉得影影绰绰,有点儿像鬼影、幽灵一样的感受吗? 观众:我看了两次展览,觉得“游泳池”是一个媒介,通过这个媒介有两个空间:一个是在游泳池的外面;一个是在游泳池内部,从外面看内部,脸是变形的,游泳池里边看外边的人的身体是变形的。说明艺术家的创作非常有意境,体现了我们通过一个媒介看到的是不同的现象,很简单也很深奥,很奇妙。 海因茨-诺伯特·乔克斯:我同意您的感受和观察。您说的是非常对的,他的作品看似是又简单又直接又好玩,但是绝对不仅仅是像表面看到的那样浅显的东西,他打动你的地方,“打动”意味着他使你运动起来,不仅仅开始进入和自我世界的互动,还有你的自我和外在世界的互动,他好像在这方面是非常有技巧的,我特别希望能够通过我的阐述、分析来给大家解释这一点。我为了能够解释埃利希的作品,再来一点理论,看似有点儿枯燥,但是为了能够更深入理解他的作品,有时候需要借助一点理论。接下来我要给大家讲的是法国哲学家鲍德里亚,他的作品有很多翻译成了中文。他已经去世有一段时间了。他有一个比较重要的概念:涉及到模仿,我们其实在模仿这个世界,模仿和现实世界的镜像之间没有办法找到真实的来源。举一个例子:在我小的时候第一次去看音乐会的时候,那个时候根本没有手机,现在人们去看音乐会,会发现不再关心音乐会了,可能三个人当中有一个或者两个会拿出自己的手机录制音乐会,或者不再直接地看剧场,不再直接地看舞台,而是通过自己的屏幕观看。这里面我们所看到的是一个“拟像”——鲍德里亚的词语,我们看到的是一个模拟的镜像、拟像,而不去感知一个实像的、实在的世界,这就是鲍德里亚的一个概念,但是非常有助于我们理解埃利希的作品。现在一个人在看音乐会的时候,不太注重亲身体验现场,而是希望通过手机、社交平台来立刻分享、传播你正在有的一个经验,这个经验的当下性消失了,变成一个可以蔓延的经验。也就是说经验的、体验的直接性不再重要了。大家可能会问“讲台上的这个我谈这些问题干什么?这样一个个体经验和我们理解埃利希的作品有什么相关?”我称之为曲径通幽,通过这样一个曲折的个体经验的理解,让我们从另外一个角度理解埃利希的《游泳池》作品。再回到《游泳池》这个作品,我们可以通过电影、影像、图片直接了解到世界上各个地方发生的事情。但是如果仅仅通过转述的方式,很难真正内在化地理解一个作品。这种直接性对作品是非常重要的。比如我们到博物馆里,来到《游泳池》的作品面前,看到自己的倒影,同时影影绰绰的也看到别人在水下的一个倒影,他们是不湿的,穿着正常的衣服,我们就会问发生了什么,所以埃利希的作品当中经常能够和这种双重的经验、多重的视角来做游戏。应该说埃利希所有作品当中都有一个往复的振荡,他在什么之间振荡呢?就是在“拟像”和“现实”之间无限的往复运动。在水底下走的这些人三三两两一边聊着,一边拿着手机拍照,同样是影影绰绰,甚至会有一些幻觉,这是一个投影是一个电影的东西,还是真实呢?当您绕道通过中央美院咖啡厅走到底下的空间,可能会更真切地意识到之前是真人在底下走来走去。只有当你进入这样一个空间,也成为在底下三三两两走来走去,拿着手机要自拍的一个人,你通过“进入”转化成一个“过渡”,又通过“过渡”把之前看到的“拟像”转化成了“实像”,而之前的那个“实像”又变成了现在视角下的“拟像”。我在这里想说的是通过《游泳池》所描述的“拟像”和“实像”之间的往复运动和转换,是在埃利希的作品当中不断出现的一个母题。这也让我联想到佩尔希的一部电影《看电影的人》,主人公因为总去看电影,所以没有办法区分哪个是电影,哪个是现实——他太爱看电影,每次从电影院出来看到大街上发生的一切都好像是在电影当中通过胶片呈现出来一样。在佩尔希看来拟像和现实的边界已经模糊不清了。为什么讲这样的一个电影,我认为埃利希的作品比佩尔希电影的表现更胜一筹的地方,正如刚才在《游泳池》所呈现的,不仅仅有一个实像和影像之间的转换,还有很重要的经验是通过“走入”“进入”获得了一个“转换”。不仅仅有两个视角直接转换,还去考察转换发生的契机和可能性,不仅考察了实像跟拟像,还考察二者之间的转换在何处发生,它的过渡、它的门槛。很多艺术家希望自己永远是一个魔术师,他要制造一个让观众永远无法醒来的幻象、一个美伦美奂的世界,而埃利希不是这样的艺术家,他是一位祛魅的、唤醒的艺术家,他希望我们能够从一个折射的、幻觉的、幻象的世界当中醒来。为了能够真正地体验这样一个过渡、所谓实像和拟像之间的转换,我们必须亲自进入到这个作品,在不同的角度斟酌、凝视、体验这个作品。接下来看刚进门口镜子的建筑物表面的作品,这个作品是非常令人震惊的一个作品,当然是有多重原因的。大家都感到特别吃惊,为什么我们这些看画、看作品的人能够进入其中成为一个参与者、一个行动者,突然就挂在窗户上了,或者是在作品当中出现了。因为这个建筑物表面是铺在地上的,可以找一个位置坐下、躺下,尝试各种姿势,自己好像吊在走廊上、楼梯上,或者正要从阳台上往下跳,可以像一个蜘蛛侠一样尝试各种惊险动作。令人惊奇之处是对面斜放着一面镜子,这个镜子能够让我们看得栩栩如真,像是真的一个墙一样,而人们都被投射在上面。我们一般在博物馆里看作品的经验可能是在一个作品面前停留观察凝视几分钟就到头了,但是在埃利希这儿不一样,他创造了一种互动的可能性,让我们驻留的时间更长,尝试各种姿势,拍各种照片,直到觉得好像有更好的一个姿势,你可以在那儿更长时间的休息,总之埃利希能够让你在他的作品前停留的时间更久。其实能够成功地做到让我们在其作品前面驻留时间比较长的艺术家还有萨拉切诺。像埃利希这样的一个作品,之所以能够成功做到这一点,是因为他真正抓住了我们,他的作品是接纳我们、接纳观众的,让我们能够尝试各种的可能性,他让我们成其所是。如果这样的一个建筑物,空空荡荡的没有任何人去参与坐在上边玩儿,这会是一个非常无趣的作品,或者仅仅是一个建筑物表面。埃利希曾经称他自己的作品为“剧场/剧院/戏剧”,他能够邀请观众进入他的作品,使得我们不再是旁观者,而成为了参与者/演员在其中。我们不仅仅在观看,同时也在行动,我们在当中创造出了行动的空间。可以像蜘蛛侠一样在建筑物上飞檐走壁地走来走去,这就是一个梦幻空间,是一个行动空间,在现实社会当中是不可能的,但是在作品中有可能。这既是虚构,也是一个乌托邦,也是一个乌有之乡,在现实生活中并不存在的一个角落里。雷安德罗·埃利希让他的作品“失重”了,重力原则消失了。谈到乌托邦,乌托邦在艺术当中非常常见,人们经常说艺术本身带有一个期许性和期待性,它总在拥抱某种可能。但是埃利希的作品当中多了一点东西——不仅仅把不可能呈现出来,他还让我们在不可能的世界当中去尝试一些东西,创造出很多新的可能性。让我们想到曾几何时,人们非常羡慕鸟的自由飞翔,觉得自己不能飞翔或者是不能抗拒重力是一种缺憾。当时的人们有飞翔的梦想觉得是特别不可能的事情。但是当今天反过头来看人类实践飞翔的梦,开端是那么的不容易。我看过这样的一个纪录片,说萨特和西蒙波娃坐专机到中国来,描述了一些飞行的经验,对他们来说当时觉得飞行是很危险的,充满不确定的一件事情,但今天我们已经觉得非常安全了。这种游戏性作品包含的互动,任何一个人都像蜘蛛侠,不管男的、女的,都可以在上边跳来跳去,飞檐走壁。埃利希没有让我们觉得我们真的成为蜘蛛侠,我们并没有被这样的幻觉所欺骗。我忘了一个哲学家的名字,有一位哲学家说:“人是充满缺憾和弱点的生物,因为很多动物能够轻易胜任的,人却不能这样做。”比如在墙上爬来爬去之类的,科学家们在探索一个可能性,怎么能够让人们超越这些缺憾,其中有一位想模仿蜘蛛,看能不能像蜘蛛一样织网,有的人想尝试通过基因转换使得人能够从手掌当中像蜘蛛一样织出网。所以他就在想人是不是有这样一个基因的能力,通过模仿蜘蛛织出高韧性的网,以至于整个弹性、抗击力、承受度超出蜘蛛网千万倍。如果科学家们真的能够像纪录片或者是模仿电影那样成功地把蜘蛛织网的能力移植到人的身上,人就可以通过吐丝的方式从一个建筑物到另外一个建筑物,以后不需要开车坐飞机,就需要拿小丝飞来飞去。大家好像觉得我说的有点儿跑题了,但是我要把这个问题再拉回到如何理解埃利希的作品上:雷安德罗·埃利希能够做到这一点,是通过营造一个乌托邦、乌有的根本不在的一个场所,让我们能够把一个不可能发生或者是遥远的时候才能发生的事情,在当下作为一个现实来实现,这不是完全遥不可及的,尽管需要一些辅助性的东西。接下来转到下一个作品《理发厅/发廊》,我们不能每个作品都细细讲解,那需要四五个小时的时间,所以简略地遴选几件作品:外面阳光照耀,阳光永远比室内阴涩的空间更有吸引力,我说的总是涉及到“过渡/门槛”,还有一个走出去或走进来的意思。理发馆,2019,中央美术学院美术馆展览现场大家要是进到这个作品中,会问这不就是一个非常普通的理发室、某某发廊吗?我完全可以去发廊里去,这有什么稀罕?比如我自己就三天前刚刚去剪了头发。我们看到这个作品会觉得这又是一个非常日常的体验,每天都在发生,不管在北京、巴黎、柏林、布宜诺斯艾利斯、纽约也好,不同之处是我们进入了这种作品,而且获得了一种非常特殊的经验。拿这个图片为例:镜子转变成洞,这里的镜子突然变成一个洞,看到的不再是通常所有的经验,我们在镜子面前端详自己,产生了一个非常不同的沟通交流的效果。这个发廊里没有理发师,从这个作品当中看到这两个人,我猜测他们互动的关系是比较亲密的,他们互动的方式肯定和除此之外任何一个场所都不太一样。这个作品赋予了他们游戏、交流的另外一种方式。他们互相坐在对面可以有不同的玩法,可以互相模仿的,我比较长时间观察这两个人之间的互动,这真像是一个戏剧、一个剧场当中的一幕,而两个人互动的方式就好像他们是坐在镜子面前,好像他们在一个理发馆里——哪怕他在的不是真正的镜子面前,也并不是真正的理发馆。人们通常是去摸一下镜子是不是真的镜子,有的时候大家会说你做这些描述是如此冗长,没有什么可高明地来说这些,但是当我们去反思特别平常的细节的时候,会觉得它一点都不那么稀疏平常。我再回到前边所做的分析,他涉及到从一个“拟像”进入一个“实像”或者反之的一个转换过程、一个过渡、一个门槛。我刚开始摸的时候不管它是洞还是镜子,我对待它的方式好像说它是一个实在世界,我去感受,好像对待它是像我在镜子当中观看自己一样,哪怕我在里面看不到自己,但是我对待它的方式是如镜一般/如在镜中。而且可能会做鬼脸、怪态,所有这些动作是在别的空间不会做的,而在这个理发馆里,在这个仿佛是镜子或者真正是镜子的洞(镜子)面前,你所做的动作觉得一点都不唐突、不过分。当你站在镜子前或者是作品前会觉得好像你就是这一切的主体/主人/主宰。当你发现“镜子”不是镜子,它就是一个洞,你能看到别人的时候我不是自己在这个空间里,你会和其他人一起互动。你会看到镜子对面的那个人不是一个人的镜像或者是拟像或者是倒影,他就是一个活生生的人。所以你会直接和这个人展开互动。而且会发现你要是说在别的可能性下不会这么和这个人互动,但是这个作品就改变了你的互动方式。一方面是我们刚才说的这种可能性;另外一方面通过镜子不断地反射又像是一个迷宫,有的时候我们有点儿恍惚,哪个地方是镜子,哪个地方是洞,总之这种嬉戏和转换在当中是不断有的。如果没有这样的两种可能性,这种模棱两可的、似是而非的,但又都有可能的“可能性”可能这个理发馆会一点意思都没有,但是这样一来会觉得挺好玩的。不然面对的是一个死作品,而不是一个活的作品。接下来我还欠大一个解释:萨拉切诺这个艺术家在作品中也创造了非常乌托邦式的感受,我想跟大家说为什么和埃利希特别像,他在德国有一个博物馆(美术馆)顶层造了一个像蜘蛛网一样的作品,在这个网上任何一个参观者如果在上面走动的话,他都创造了一种可能性是如果旁边还有人出现,你就能感受到震动,所以有点儿像是蜘蛛一样,只要有别的小虫子什么触及到这个网,马上能够感觉到爬到那个位置来找到它、吃掉它,这也是很特别的一个经验。所以我觉得这一点萨拉切诺和埃利希的作品是一样的,他创造了一种“共时性”的集体的经验,或者是“时间性”的集体的经验。 提问一:您好,我非常喜欢您的这个讲座。我看大部分作品里边都有镜像,尤其是第二个是用了水面的倒影,其实也算是一种透视,也是一种镜像。您提到了很多次关于“拟像”,让我想到柏拉图说的“洞穴比喻”。我曾经读一本书说人的经验不是模仿就是创新,如果您说我们这些经验是从手机或者是其他互联网上获得的,不是直接的经验,是被过滤过的经验,就像第一个作品表达的,现代生活非常匆忙,为了生活可能要工作、要学习,最简便的方式是用手机或者电脑获得经验,接触世界。不可避免在拟像中间,您有什么建议吗?海因茨-诺伯特·乔克斯:很感谢你刚才提到了柏拉图的洞穴比喻,但是我不太确定是不是在座所有的人都知道这个出处。所以我简单先说一下,柏拉图所说的“洞穴比喻”是指在洞穴当中人们被捆绑在那里,所以面对着一个墙,我们看到的都是墙上的影子,由于人们看久了就把所谓的“影子”当成了实像,根本不知道背后的火光,真实的影像是什么,直到有人能够挣脱绳子走出洞穴之外,知道真正的来源是什么。在古希腊古典时期柏拉图就已经开始去思考人们是如何感知一个所谓影像的、幻象的世界、不真实的世界,并且信以为真,以知为真,并且去反思为何一个实在的世界,我们没有办法直接经验到,这是柏拉图所进行的一个思考。柏拉图在古典时期有关于穴喻所展开的对于世界虚幻性的思考,其实当下法国一位女权主义哲学家也做过类似的思考,她把这样一个穴喻转译到当下经验当中,也提到我们当下拿照相机、手机去看,不习惯去看所谓“全息实在世界”,而是要转译成一个图像,把它理解成一个自己能够接受或者感知的对象。这是人在自己的感知面前做的一个墙,去看他的投影,也就是说,我们其实是被所谓二维的东西给诱惑走了,我正在看的鲍德里亚《论诱惑》就是这样一本书,影像世界把我们从一个本质的东西当中诱惑走,我们被“拟像”的图像给带走了、带偏了。“诱惑”有两重含义:一种是诱惑;一种是带走了,引向别处。从《游泳池》作品所观看到的影影绰绰拿着手机看作品,去照相、去自拍的人,我们所有的陌生感和感受到的被诱惑性和我们自己到下面是不一样的,因为你在那个情境当中是没有办法获得反思的。你会觉得我拿着相机走来走去,自拍、拍别人、阅读是一个想当然的事情。我有一个比较大胆的理论构想:我们的本性当中包含着一个被虚拟的或者拟像的影像诱惑的成分,我们希望被它诱惑。举一个例子:上周我在巴黎塞纳河边望着那些房子的倒影,那些“倒影”比房子本身还要美。我们怎么来理解这种原因?为什么我们乐于被虚像、拟像、所谓幻象诱惑?我们看到最日常的景象,在讲台上或舞台上有一个桌子,有一个演讲台,有电脑,上面有一些纸张。可能一两秒钟大家都会觉得索然无味,不值得一看,加上有人要乏味地做一些讲解,大家更会觉得没有意思。也就是说在我们的认知当中只要说感觉、感知、思考经验有一些东西马上可以归类,归类到我们的小盒子里,我们马上就停止感知了,经验就结束了。相反当我们觉得有一些暧昧的、不清晰的、空档的、缺失的地方,那些地方我们的意识突然开始活跃起来,想象着我们怎么来处理它。越是暧昧的东西,越是让我们流连,可能那个时间它的诱惑性要长于显而易见的明晰的东西。船,2019,中央美术学院美术馆展览现场我们以《船》这个作品为例:如果大家一进到幽暗的屋子当中,会觉得在港口、水岸上停泊着船,下面是水面的镜像。其实水的镜像完全是假的,因为那里根本没有水,你也没有办法在那里划船,这个镜像完全是营造(伪造)出来的。埃利希营造了那样一个幻觉,好像这就是一个港口、水波荡漾、船不时在荡漾中起伏着,随时可以坐上船划走。提到柏拉图的穴喻,雷安德罗·埃利希像是一个走出了洞穴见了光亮、见了理念之光的一个人,他通过他的作品告诉我们,我们要从那个对影像的或者是拟像泛滥的生活当中觉醒出来,摆脱那样一个无限的诱惑,探讨这些质料后面的真理性、理念性的东西。在这个意义上他是一个唤醒的人,希望我们能够有一个出走。所以这个意义上说雷安德罗·埃利希他是一个启蒙者。 提问二:我想问您一个比较浅的问题,关于《连根拔起的房子》,底下多少有点锈色点迹,还有一些金属的东西,还有其他的东西。因为房子本身是一个建筑,这两个多少有一些时代感,我想问一下这是不是本身为了设置这种冲突而创作的?在德国展出的时候和在那个城市氛围当中是不是因为环境的原因造成的?海因茨-诺伯特·乔克斯:很难的问题,您提到的这个问题在某种程度上您自己也作出了一个回答,埃利希在中国的作品《连根拔起的房子》和在欧洲做的不一样,但是也有一样的地方,虽然和周边的环境不一样,但是很契合把一个旧的房子要放到博物馆旁边,他始终有一个正面也好、反面也好的对照关系。还让人想到鲍德里亚的一个概念:一个失望的拟像。失望本身又是祛魅、去除幻象的一个拟像。我对自己的回答还不太满意。埃利希做了一个很特殊、很怪的一个东西,他把国外人所理解的唐人街样子的房子带到中国,不是中国当下的房子。人们会说这并不是现在住的样子,而是把想象中所谓海外唐人街形象的房子带到中国,这是为什么呢? 埃利希为什么要这样做?我们要知道他做的任何一个作品都不是凭空做的,他是基于大量的研究才创作的。1989年德国柏林墙倒塌以后,人们想把柏林统一改造成特别国际化的城市?当时人们想是不是可以做一个唐人街?但是在纽约、其他地方的唐人街已经有自己的一套风貌,中国人到那里有自己的生意、有自己的店铺、有自己的生活方式,有一点点城中城的感觉,但是总感觉它是一个假的中国,最后柏林没有建成中国城/唐人街。埃利希在这里等于把模仿品带回到了它的原初的地方。 提问三:房子的基础框架是不是有什么冲突和相关性?海因茨-诺伯特·乔克斯:我比较倾向于这是一个更加技术性的,完全力学的技术上的要求,不一定是所谓创作意义上的,你可以自己想。当然这也是一个可以呈现出技术干预的部分,技术构架的力量,对整个变迁的作用。 高高:基础框架完全是支撑的结构,那个作品晚上要放下来,为了放下来我们做了一个这个,补充说明一下。 提问四:您好,我想问一个问题,听您之前说的鲍德里亚的一些概念,我会想到沃尔特·李普曼在《公众舆论》提出“拟态环境”的概念,在传播学领域,现在看到的真实世界跟感知到的并不是一样的,因为通过媒介的加工,我们对真实世界中间存在的世界作出反映?您前边提到关于过渡、门槛、入口之类的概念,也提到艺术家是一个启蒙者,可不可以理解为是通过艺术媒介让我们把我们忽略的拟态环境营造出来,比起互动娱乐性,这个展览给我们更多的是一种提醒的感觉。这是第一个问题。第二个问题:你也说到鲍德里亚拟像的诱惑,多重媒介社会,我们的世界包括我们的认知是被媒介所加工的,艺术家也好,或者是艺术创作者也好,或者普通的人也好,该如何保持初心,如何更加真实地认识这个世界、感知这个世界?谢谢。海因茨-诺伯特·乔克斯:你说的对,现在所有对世界的感知都是媒体化、媒介化的。比如通过媒体来了解德国、巴黎、西班牙等等在艺术上有什么新的进展,很多人愿意去威尼斯看双年展,了解艺术最新的文献展,通过报纸、不同的社交媒体了解有关世界其他地方的消息。但是这些消息如同一堵墙,有的时候确实是真伪难辨的,更多情况下是断片式的,我们只能管中窥豹,没办法见全貌。举一个例子当巴黎发生恐袭的时候我正好不在巴黎,我觉得挺害怕去巴黎的,去了其实有点儿不得已,有朋友在那里,当你真正去巴黎的时候,会发现发生那些事情是非常偶然性,非常稀疏的一个事件,日常生活还在进行着,媒体通过某些报道所建立的连续性,那些连续性是片断所构建的,并不给我们生活的全貌。由于我们没有办法同时在所有的地方,所以我们不得不依赖他人对他处的其他事件、经历和感受的转述。我们如何能够有真正的所谓初心或者真正的经验呢?初心可能跟动机有关,我们如何有真正经验、原汁原味的经验呢?我们仅仅靠看是看不到的,单靠听是听不到的,在看和听的同时必须有思考的介入,而且这个思考的介入还要有一定的特质,你的思考不会被单一的看所左右。再回到雷安德罗·埃利希的作品,会发现他有实和虚的共在性。同时在地面上铺设的墙面是实实在在的,你在上面走来走去,爬来爬去,很可能摔个跟头、摆个姿势,这是实在的经验和感受;但是往斜放的玻璃上一看,会发现你的经验又被转译成所谓拟像,一个影像,一个不实的东西。|讲座现场| More

CAFAM Lecture | The Break-in of Illusion into the Heart of Reality: Leandro Erlich's Spatial Installations ...

2019-07-18

"Leandro Erlich: The Confines of the Great Void" Academic Activities: The Break-in of Illusion into the Heart of Reality: Leandro Erlich's Spatial Installations Speaker: Heinz-Norbert Jocks Time: 2019/7/20 14:00 Venue: Auditorium Room, CAFA Art Museum More

Youth Workshop | Engraving art: Engraving the Print, Snapping the Moment ...

2019-06-21

Time: Jun 23 (Sun) 14:00 - 16:00 More

Kids Workshop | Dream a Dunhuang Dream ...

2019-06-21

Time: Jun 23 (Sun), 10:00 - 12:00 More

Adult Workshop | Zanke and the Beauty of Metals ...

2019-06-20

Time: Jun 22 (Sat) 10:00 - 12:00 More

Adult Workshop | The Beauty of Light and Mirror: Study of Installation Art and Materials ...

2019-06-20

Time: Jun 22 (Sat) 14:00 - 16:00 More

Adult Workshop | Tracing Han Portrait - Study of Subtractions in Hard Materials ...

2019-06-14

 About the Workshop The 2019 CAFA Undergraduate Students’ Graduate Artwork Exhibition is underway in the CAFA Art Museum. The museum's Public Education Department has designed a series of activities based on this exhibition. This weekend, we will present an adult workshop about Han Portrait Stone, inviting a graduating student to guide us through his work, the Han Portrait Stone, and art and culture of Han Dynasty. Han Portrait Stone is color-painted, carved or imprinted bricks used in architectural works. With a variety of forms, patterns and themes, they deeply reflect the social customs and aesthetics of Han Dynasty, and are a milestone of Chinese art history. The Han Portrait Stones are one of the most important image archives of Han Dynasty. There is a huge number of them left till today, all of great artistic value, ancient but fresh elements, and a great potential in visual art development and application. Han Dynasty was a time when feudalism was progressing in China, thus Han paintings contain an inherent youthful, free, innovative and magnificent spirit.Let's travel back through time to the Han Dynasty this Saturday, to study together the ancient Chinese social life and art development, and complete a great work of art of our own. (Photo from Internet)(Figures carved in relief, photo from Internet)(Han Portrait Stone, Photo from Internet) Join the Workshop Time: Jun 15 (Sat) 14:00 - 16:00Venue: CAFAM VIP LoungeParticipants: Adults (above 18)How to Join: Please click on the “Reserve Now” button on top of this page, and fill in the Adult Public Education Reservation Form to complete your reservation. You will receive an SMS text message once your reservation is successful. Please do not re-submit your reservation.Note:1) The workshop is free of charge.2) Please gather and sign in at the first floor of CAFA Art Museum on time. We will take the participants to the venue together.3) CAFAM reserves the right for final explanation. About the Work When the artist was rendering Mongols in his work, the vitality of these figures and their posture and facial features are the key in his presentation with wood carving. Wood contains the temporature of life and the record of time. Time leaves traces on wood, and so do life's traces. Using wood as the carving material, the weight of life can be well expressed. In addition, the austerity and straightforwardness of wood carvings could match the quality of my work. Its flexibility also allowed me to create the statues more freely, to do substractions, to keep the inflated quality of sculpture while remaining the space to split and join freely, increasing possibilities in forms and presenting the interesting character unique to wood carvings.The link between relief and wood carvings is that they are both doing substractions. While the former compresses round carvings in equal proportion, or increases the painterly nature of it by composing points, lines and planes, the latter, despite of being round carvings, applies techniques of relief carving. Both embrace the core of induction and reorganization of plastic art.  About the Tutors  Ning BoBorn in Ulanqab, Inner Mongolia. Studied at Department of Sculpture, CAFA from 2014 to 2019.Tutors: Sun Jiabo, Wang Wei, Mu Boyan, Li Zhan Wang WanqiIntern at Department of Public Education, CAFA Art MuseumShe has planned news conferences for Tencent Games, Garden Expo's theme song, and fashion show for famous apparel brand. Luo JiaxinIntern at Department of Public Education, CAFA Art MuseumSenior student of Art History, BA at Syracuse University More

Adult Workshop | The Tang Dynasty Statues’ Experimental Expression and Interpretation ...

2019-05-24

Time: May 25 (Sat) 10:00-12:00 More

Graduation Season Salon | Perspective - Basic Principles of Looking at Visual Art ...

2019-05-22

Time: May 24 (Fri) 18:00 - 20:00 More

Workshop | Contemporary Experimental Family Education: Food and Sex ...

2019-05-22

Time: May 25 (Sat) 18:00 - 20:00 More

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 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

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

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.

Event Booking Form

Name:
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Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
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