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特邀专家学者、艺术人士共济一堂,汇集全球学界思想,思维碰撞,启发新知。

Children’s Workshop | Spot the Differences in Virgin of the Rocks ...

2019-05-17

Time: May 19 (Sun) 14:00-16:00 More

Workshop丨Theories and History: Where Will Visual Art Go? ...

2019-05-16

 Remapping Reality: Selected Video Collection from Wang Bing  Visual Workshop Theories and History: Where Will Visual Art Go?2019.5.18 (Sat) 9:30-18:00Co-organized by New Century Art Foundation and CAFA Art Museum.Special thanks to OCAT Shanghai.Venue: Lecture Hall, CAFA Art MuseumIn the 1960s when video art was emerging, it was also the time of exploding theories, especially in the areas of French structuralism, post-structuralism and psychoanalysis. As an anti-mainstream yet mainstream discourse, it was of utter influence on both contemporary art critism, writing and artist practices. Theories of Foucault, Deleuze, Barthes and other thinkers used to direct us into contemporary visual art. In their eyes, image is a philosophical experiment, while their own writings are themselves a piece of image installation. However, in recent years, it seems that theories are fading out from contemporary visual art scene, or in other words, theories themselves are facing new crises and challenges. Meanwhile, archives, literature and historical anthropology have become the new source and language, or have transformed into a new theoretical discourse. This has become a phenomenon and problem for today's visual practices and visual art writing and critism. Although there have been quite a few researches and discussions on this issue, we would like to further the discussion by the chance of the Remapping Reality exhibition. Schedule 9:30-10:00 Presenter: Lu Mingjun (Associate Professor at Arts College of Sichuan University, Curator)Speeches: Wang Bing (Founder of New Century Art Foundation), Song Xiaoxia (Professor at School of Humanities, CAFA)Exhibition Introduction: Sun Dongdong (Curator) 10:00-12:00 Part I: Image and TheoriesPresenter: Song Xiaoxia (Professor at School of Humanities, CAFA)Guest: Li Yang (Professor at School of Art, Peking University), Yang Kailin (Professor at School of Fine Arts, Taipei University of the Arts), Wu Ming (Associate Professor at School of Communication, East China Normal University), Wang Huan (Art critic, Curator) 14:00-15:30 Special Projection and DialogueWorks: Wang Tuo, "Smoke and Fire" (2019), Hu Wei, "Proposal for Public Assembly/Encounter" (2019)Presenter: Yang Beichen (Lecturer at Central Academy of Drama, Editor at Art Forum China)15:45-18:00 Part II: Image and HistoryPresenter: Li Yang (Professor at School of Art, Peking University)Guests: Wang Min'an (Tsinghua University), Kao Jun-Honn (Artist, Parttime Professor at Taipei University of the Arts), Wu Yiqiang (Lecturer at Guangzhou Academy of Fine Arts), Wang Jianwei (Artist) More

CAFAM Lecture Info | Making Experiences: Embodiment in Interactive and Robotic Arts - Louis-Philippe Demers ...

2019-05-13

Leonardo Art, Science and Technology Lecture SeriesMaking Experiences: Embodiment in Interactive and Robotic ArtsSpeaker: Louis-Philippe DemersDate: 16.05.2019 ThursdayTime: 18:30-20:00Language: English (with Chinese translation)Venue: CAFA Art MuseumCo-organized by CAFA Visual Art Innovation Institute,CAFA Center for Art and Technology, CAFA Art Museum, Chronus Art Center In collaboration with Leonardo / ISAST About the Lecture This talk reports on experiences with systems, spaces and robots in the context of my artistic explorations.  I will address embodied experiences, looking at physicality as opposed to virtuality and at analog as opposed to digital computation in the realm of Digital/Electronic Media.The far-reaching and often surprising implications of embodiment will be explored. This presentation will look at several levels of embodiment, from the ecological to the social, from the perceptual perspective of the audience to the perspective of the robotic agents itself.Rooted in causality and animacy, the qualia of a robot behavior or is multi-layered, multi-faceted and it results from the simultaneous composition of cues ranging from the morphology to the very situatedness of the object in movement.  Physical spaces and objects have a material existence whilst audiences share this very same world. Our body is not primarily in space: it is of it. This leads not only to tangible interfaces and immersive spaces but also creates a contributing cultural context as an integral part of the experiences.We share and identify to biological, social and cultural experiences with performers on the stage. Phenomenologists and theatre theorists claim that these experiences are vastly grounded in the experiential body. What happens when we inject artificial constructions not only on the stage but also in tacitly human social scenarios?In the course of these investigations, I started developing artworks entailing singular bodily experiences such as being touched by a robot (The Blind Robot), being controlled by an exoskeleton (Inferno), merging with machine (Devolution) and merging proprioception between machine and human (Repeat).Having these radical encounters at the liminal space bordering man and machine, it forces audiences to (re)consider their human bodies and (re)visit their embodied experiences. About the Speaker Louis-Philippe Demers makes large-scale installations and performances. He participated in more than seventy artistic and stage productions and has built more than 375 machines. Demers' works have been featured at major venues such as Theatre de la Ville, Lille 2004, Expo 1992 and 2000, Sonambiente, ISEA, Siggraph and Sonar. He received six mentions and one distinction at Ars Electronica, the first prize of Vida 2.0, mentions at Vida 12.0 and 15.0, two jury recommendations at the Japan Media Arts Festival, the Interactive prize for Lightforms 98 and six prizes for Devolution including two Helpmann Awards. Demers holds a Ph.D. on robotic performances from Plymouth University. He was Professor at the Hochschule für Gestaltung Karlsruhe, affiliated to the world renowned Zentrum für Kunst und Medientechnologie (ZKM, Germany). Afterwards, Demers joined the Interaction and Entertainment Research Centre of the Nanyang Technological University (NTU) where he was also Associate Professor at the School of Art, Design and Media. Demers is now Professor of Creative Innovation and Director of the Creative Lab at the Queensland University of Technology.Inferno(2015)Robotic performance projectThe Blind Robot(2012)Touch and Interactive Robotics  More

CAFAM Lecture Info | "Location": Historical Writing, Chinese Contemporary Art Practices and Interactions ...

2019-05-13

As Chinese contemporary art engaged closely with international art scene during the past four decades, it developed a conflicting and complicated context that represents both the cultural strategies during local modernization, and the post-traditional and modern dialectic developments against the globalized background. In other words, it ic because of this complex self-adjustment of cultural psychology and spiritual system, that Chinese art, its history and methodology today cannot be simply defined by its national identity and culture.Artist Wang Gongxin received his art education in China and the US. His art practices are shown in major museums and galleries all over the world. This time, Wang will base his lecture on his new solo exhibition “Under the Shadow - About BIAO”, introduce a series of “site-specific” works, and elaborate on his experimental thinkings about the historical context of Chinese contemporary art and social issues. Dong Bingfeng, research fellow in the School of Intermedia Art, China Academy of Art, will give his lecture about the concept of location and place, and their inter-relation with historical writing. In response to Wang Gongxin’s personal practices and the multi-dynamic development of Chinese contemporary art history, Dong’s speech will dig into the open-ended meaning of “How contemporary can be history?” (as per Huang Zhuan).The symposium will be hosted by Professor Song Xiaoxia of Central Academy of Fine Arts.Wang Gongxin, BIAO, 1995, Halle 10. Ludwingsburg, Germany Wang Gongxin, Digging a Hole in Beijing, 1995, NO.12 House of Arts, Beijing, China Wang Gongxin, Two Square Meters, 1996, “Open Studio” Program, NO.12 House of Arts, Beijing, ChinaWang Gongxin, Full Moon, 1998, Power House, Brisbane, AustraliaWang Gongxin, Always Welcome, 2003, Lijiang 2003 International Artists Workshop, ChinaWang Gongxin, Rice Snowing, 2003, Echigo-Tsumari Art TriennialWang Gongxin, It's Not About The Neighbors, 2009 Arrow Factory, Beijing, ChinaWang Gongxin, Screensaver, 2010, MAAP Public Art Program, ShanghaiWang Gongxin, SALON-IT'S ABOUT WALL, 2017, Redtory Museum of Contemporary Art, Guangzhou, ChinaWang Gongxin, Sky of Beijing-Digging a Hole in New York, 2017, The Guggenheim, New YorkWang Gongxin, Under the Shadow - About BIAO, 2019, The Bunker Space, Beijing About the Speakers Wang GongxinWang Gongxin (born in 1960 in Beijing, China) lives and works in Beijing and New York. Wang was admitted to the College of Fine Arts, Capital Normal University Academy in 1978, and became a lecturer there upon graduation in 1982. In 1987, he went to State University of New York (SUNY) as a visiting scholar to study a master’s program. In 2013, Wang was nominated for the Olivier Awards XL Video Award for Best Set Design. In 2014, he was awarded an Honorary Doctoral degree at SUNY.  Wang Gongxin has exhibited widely around the world, including major exhibitions such as the Shanghai Biennial, and Echigo-Tsumari Art Triennial, and has exhibited in institutions such as the Tokyo Watari Museum of Contemporary Art, Tokyo, Japan; MOMA PS1, New York, USA; Queens Museum of Art, New York, USA; Haus der Kulturen der Welt, Berlin, Germany; Tate Liverpool, Liverpool, UK; National Gallery of Victoria, Melbourne, Australia; Victoria and Albert Art Museum, London, UK; Fukuoka art Museum,  Fukuoka, Japan; ZKM Museum of Contemporary Art,Karlsruhe, Germany; SF Moma, San Francisco, USA; Guggenheim Museum, New York, USA; Mori Art Museum, Tokyo, Japan; Hamburger Bahnhof, Berlin, Germany; Institute for Contemporary Arts, London; The Bronx Museum of Arts, New York, USA; White Cube Gallery, Hong Kong, China; OCAT Contemporary Art Center, Shanghai, China; Ullens Center for Contemporary Art, Beijing, China; and National Art Museum of China, Beijing, China.Dong BingfengDong Bingfeng is a research fellow in the School of Intermedia Art, China Academy of Art. He has worked as curator in Guangdong Museum of Art and Ullens Center for Contemporary Art, Deputy Director of Iberia Center for Contemporary Art, Art Director of Li Xianting’s Film Fund, and Academic Director of OCAT Institute. He has also worked as academic committee member, editor-in-chief and international judge of multiple art institutes, art theory publications, and film festivals.He was awarded the CCAA Chinese Contemporary Art Critic Award (2013),  the Chinese Contemporary Art Critic Award of Yishu: Journal of Contemporary Chinese Art (2015), the Robert H.N. Ho Family Foundation Greater China Research Grant (2017). His research focuses on visual art, independent films, Chinese contemporary art history and exhibition history, and contemporary critic theories. About the Presenter  Song XiaoxiaSong Xiaoxia is a professor and doctoral supervisor from Central Academy of Fine Arts. She received her master’s degree in Chinese Language Studies and Classical Chinese Literature from Peking University, and PhD in Art History from School of Humanities of the Central Academy of Fine Arts. Her research focuses on the 20th century Chinese art history and contemporary art with global perspectives. She has curated academic symposiums including the “Modernity and the Transformation of Chinese Art in the 20th Century” symposium at City University of Hong Kong, “Modern Transformation of Chinese Art” at Shanghai Art Museum, and was the editor-in-chief for the book Self-awareness and Chinese Modernity (Oxford University Press (China), 2006). She teaches courses such as “Research Questions and Methods of 20th Century Chinese Art”, “Contemporary Art Studies”, and “Contemporary Art Studies with Global Perspectives”. She also presents academy-level workshops such as “Art History: Going Towards a New Global Dialogue”, and CAFAM Contemporary Academic Open Lecture workshop series. Bunker Space Symposium Series 2 “Location”: Historical Writing, Chinese Contemporary Art Practices and Their Interactions3:00 - 5:00 pm, May 14, 2019CAFAM VIP LoungeThe symposium is open to the public.Organized by the Bunker Space and Central Academy of Fine Arts.Media Support: Phoenix Art, Artnet, Harper’s Bazaar Art, ArtShard, CAFA Art Info The Bunker Space Head of Exhibition: Colin Siyuan Chinnery  Head of Education:Dong BingfengHead of Development:Li YafengFounder & Head of Operation:Peng Xiaoyang                    Space Admin Director:Xu HongmeiSpace Assistant: Wang YueSpace Volunteer:Sun WeiranThe space is supported by:  Du Jie, Jia Wei, Wang Zhaokun, Yang Wenjun, Jade ZhuExhibition are open by invitation only.Contact: 13901189731Website:thebunkerspace.com More

Lecture Information | From Analog to Digital and from Noise to Signal: Projects in Photography, Media Arts, Data Visualization and Swarm Camera Interactions ...

2019-05-06

George Legrady, a digital media artist, will present a selection of his works as they evolved from analog to digital, from the still-photographic image to computational-generated interactive digital media installations. More

CAFAM讲座预告︱《最后的晚餐》中的技法和秘密 ...

2019-05-05

讲座主题:《最后的晚餐》中的技法和秘密时间: 5月7日18:30 -20:30地点:中央美术学院美术馆学术报告厅Conferenza: I segreti dell'ultima cena7 maggio h18:30 – 20:30讲者:马里奥·塔代伊Speaker:Dott. Mario Taddei【关于讲座】最后的晚餐,一出虚拟剧。我们都熟知列奥纳多的一幅最著名的画作:最后的晚餐。然而,今天由感恩圣母堂光秃秃惨淡的墙壁围绕的这幅宽8.8米、高4.6米的长方形壁画已经没有了列奥纳多业已失传的杰作的任何元素。恰恰因为它是一幅画,而不是湿壁画,它绘成伊始便开始受损。甚至远在1880年时,面对这幅重新绘制、并为了保护画面而多次覆盖固色剂的作品时,博斯便将它描述为“一个曾经存在的东西的幽灵”。今天,在列奥纳多逝世五百周年之际,基于一个长期的研究及对虚拟现实的使用,列奥纳多于1497年完成的这出剧作得以辉煌再现。在位于米兰斯卡拉广场的列奥纳多3博物馆中,观众可以戴上一个虚拟头盔,用一个“时间机器”在圣母堂餐室中自在地踱步,听任这台机器将我们带回到列奥纳多完成作品的一刻。列奥纳多不仅用鲜艳的色彩及已经失传的不可思议的细节绘制了这幅巨作,他还绘制了上方的半月形、左右两壁,尤其是现在令人忧伤的灰色天花板,那时可能是一片蓝色,点缀有金色的星星,它们在射入左侧窗户的光线中熠熠生辉。列奥纳多创作了一出引人入胜的戏剧,而不是一幅简单的平面画。在餐室就餐的修士使用列奥纳多彩绘的餐桌,彩绘以当时米兰斯福尔扎家族执政时期为背景,修士们吃的恰恰是列奥纳多画在桌上的食品。在这幅作品的多媒体复制中各种栩栩如生的趣事中,可以发现盘子是“上色的”,也就是说,它们反射了就近的衣服的颜色,由此推测,盘子应该是白镴制的,和十六世纪米兰使用的盘子一样。经过长期的研究,并根据史料、列奥纳多本人的素描及当时便存在的最早的临摹进行复原,我们得以重塑一种确实是源自想象的假设,但它同时又生动鲜活、引人入胜和令人沉醉地再现了列奥纳多的时代。画中的壁毯可以延续到餐室墙上,营造出一个真实的世界,它与列奥纳多创造的真正的虚拟世界混为一体。我相信,以这个宏大和引人入胜的三维戏剧作品,并借助透视的假象,列奥纳多发明了我们今天称之为虚拟现实的作品。对画作的分析也揭示了列奥纳多的失误:他采用的透视更适合一个身高4米的人观看,画中桌子和人物比实际尺寸大出两倍,甚至桌子两头的使徒都不该待在那个地方,因为桌长和餐室的宽度恰好相等。但这些透视和几何上的“失误”是列奥纳多故意为之,在他成为大师后,他可以允许自己打破规则,以便创作一幅比他在佛罗伦萨看到的作品更好的作品。进入餐室后,我们感觉自己成为了一个人造世界的参与者和见证者,进入了列奥纳多描绘的历史场景中,他并非真正的信教者,他甚至没有画上传统的光环,而是将使徒、尤其是耶稣降为了普通人。不像多年来有人企图灌输的那样,画中既没有圣杯和光环,也没有其他怪物、或神秘的含义、或画中隐藏的物品。我坚信,列奥纳多想要表现的耶稣和使徒是和我们一样的常人,也许这个信息比之传统的信息更为强大有力。在他富有创新性的三维绘画表现中,他创作了世上第一个浸入式虚拟现实的作品。Tutti conosciamo uno dei più famosi dipinti di Leonardo, l'Ultima Cena. Ma quel rettangolo di 8,8 metri di larghezza alto 4,6 metri che oggi si trova circondato da mura spoglie e tristi a Santa Maria delle Grazie non ha ormai più nulla del capolavoro ormai perduto di Leonardo. Proprio perché era un dipinto e non un affresco cominciò a deteriorarsi fin da subito e persino nel 1880 il Bossi, di fronte ad un dipinto ri-dipinto e ricoperto da fissativi più volte nel tentativo di salvarlo, lo descriveva come "una larva di quel che era". Oggi dopo 500 anni dalla mortedi Leonardo lo spettacolo che Leonardo realizzò nel 1497 rinasce in tutto il suo splendore grazie ad un lungo lavoro di ricerca e all'utilizzo della realtà Virtuale. Nel museo Leonardo3 in Piazza Scala a Milano si può indossare un casco virtuale e ci si può muovere liberamente nel refettorio con una "macchina del tempo" che ci riporta nel momento in cui Leonardo aveva finito la sua opera. Leonardo non realizzò solo il dipinto con colori vivi edettagli incredibili ormai perduti ma dipinse anche le lunette superiori, le pareti e soprattutto quello che oggi è un soffitto tristemente grigio un tempo probabilmente era uno spettacolo azzurro con stelle dorate che brillavano con la luce proveniente dalle finestre sulla sinistra. Leonardo realizzò uno spettacolo avvolgente non un semplice dipinto piatto. I frati che in quel luogo avevano il refettorio mangiavano sugli stessi tavoli che Leonardo dipinse e poiché il dipinto è ambientato nell'epoca storica milanese degli sforza, li si mangiava proprio quello che Leonardo ha dipinto sul tavolo. Tra le curiosità che rivivono nelle postazioni multimediali dedicate a questo lavoro si può scoprire come i piatti siano “colorati” nel senso che riflettono il colore del vestito che è vicino, se ne deduce che i piatti dovevano essere di peltro proprio come nella Milano del 1500.Dopo lunghe ricerche e ricostruzioni basate sui documenti storici, gli stessi disegni di Leonardo e sopratutto le prime copie coeve si è potuto ricostruire un‘ipotesi sì fantastica, ma viva, avvolgente ed affascinante come era al tempo di Leonardo. Gli stessi arazzi presenti nel dipinto potevano continuare nella sala creando un mondo reale che si confondeva con un vero proprio mondo virtuale creato da Leonardo.Sono convinto che con questa maestosa opera teatrale, avvolgente e tridimensionale, aiutata dall'inganno della prospettiva Leonardo ha inventato quella che noi oggi definiamo realtà virtuale. L'analisi del dipinto ha portato alla luce anche gli errori di Leonardo: la prospettiva è ideale per un uomo alto quattro metri ed il tavolo ed i personaggi sono due volte più grandi di quanto dovrebbero essere, addirittura gli apostoli agli estremi del tavolo non potrebbero neanche stare in quel posto perché le dimensioni del tavolo sono esattamente quelle della larghezza della stanza. Questi “errori” di prospettiva e di geometria sono però voluti da Leonardo che solo dopo essere diventato un maestro si è potuto permettere di stravolgere le regole per realizzare un opera migliore di quelle che aveva visto a Firenze. Entrando nella sala ci si sentiva partecipi e presenti in un mondo artificiale, si entrava nella scena storica rappresentata da Leonardo, che non propriamente un uomo di religione si era permesso addirittura di eliminare le tradizionali aureole, declassando così gli apostoli e soprattutto Gesù ad un semplice essere umano. Non c'è il santo graal non ci sono le aureole, e neanche altri mostri o misteriosi significati od oggetti nascosti nel dipinto come da anni moti ci vogliono far credere. Sono convinto che Leonardo abbia voluto rappresentare Gesù e gli apostoli come persone uguali a tutti noi e forse questo è un messaggio addirittura più potente di quello tradizionale. E nella sua innovativa rappresentazione pittorica tridimensionale abbia creato la prima opera di realtà virtuale immersiva. 【讲者介绍】马里奥·塔代伊马里奥·塔代伊毕业于工业设计专业,曾在米兰理工大学执教至2003年。他主要投身于通过研究和开发互动多媒体项目来进行寓教于乐的科学传播。很长时间以来,他投入对于列奥纳多·达·芬奇的学习和研究,成为国际上最大的专家之一。他对于列奥纳多构思的各种机械的研究论文引起了很大的国际反响。作为列奥纳多3研究中心的共同发起人,他现在是位于米兰斯卡拉广场的列奥纳多3博物馆的策展人和科技总监。他设计和制作了浸入式虚拟现实的全套系统。他在世界多个国家发表了教学、科技和科普著作,举办讲座和专题课,在国际研讨会及学术大会上进行学术演讲。多年来,他策划的展览、展示及装置在意大利和国外(德国、美国、加拿大、墨西哥、巴西、卡塔尔、日本)均获得了巨大的成功。 Dott. Mario TaddeiLaureato in design industriale, ha insegnato al Politecnico di Milano fino al 2003. Ha dedicato gran parte della sua attività allo studio e allo sviluppo di prodotti multimediali interattivi per la divulgazione della scienza a carattere di edutainment. Si occupa da tempo dello studio e della ricerca riguardante Leonardo da Vinci, diventandone a livello internazionale uno dei maggiori esperti. Ha firmato alcune scoperte e ricerche di risonanza mondiale riguardanti le macchine di Leonardo. Socio fondatore del centro studi Leonardo3, e' curatore del museo Leonardo3 in piazza Scala Milano. Direttore scientifico tecnico. Progetta e realizza sistemi completi di Realtà Virtuale immersiva.Autore di numerosi libri didattici, scientifici e divulgativi, pubblicati in diversi paesi del mondo, tiene conferenze, lectio magistralis e presentazioni in simposi e convegni internazionali. Le sue mostre, esibizioni e installazioni sono state nel corso degli anni presentate con enorme successo sia in Italia che all‘estero (Germania, USA, Canada, Messico, Brasile, Qatar, Giappone).【系列讲座】 4月15日 18:30 – 中央美术学院美术馆讲座:《达•芬奇与解剖学》16 aprile h19:00 –CAFAM“Leonardo e l’anatomia”4月15日18:30 - 意大利驻华使馆文化中心讲座:《创新者达•芬奇:文艺复兴时期科技的象征》15 aprile h18:30-Istituto Italiano di Cultura di Pechino“Leonardo innovatore e simbolo del rinascimento scientifico e tecnologico”4月16日 19:00 - 意大利驻华使馆文化中心讲座:《达•芬奇与解剖学》16 aprile h19:00 – Istituto Italiano di Cultura di Pechino“Leonardo e l’anatomia”4月17日18:30 - 中央美术学院美术馆学术报告厅讲座:《创新者达•芬奇:文艺复兴时期科技的象征》17 aprile h18:30 – CAFAM“Leonardo innovatore e simbolo del rinascimento scientifico e tecnologico” 4月18日18:30 - 意大利驻华使馆文化中心新书介绍会:《达•芬奇笔下的女人》18 aprile h18:30 – Istituto Italiano di Cultura di Pechino“I segreti delle donne diLeonardo”4月19日10:30 - 天津大学讲座:《创新者达•芬奇:文艺复兴时期科技的象征》19 aprile h10:30 – Tianjin University“Leonardo innovatore e simbolo del rinascimento scientifico e tecnologico”5月7日18:30 -中央美术学院美术馆学术报告厅讲座:《最后的晚餐》中的技法和秘密7 maggio h18:30 – CAFAM“I segreti dell'ultima cena”  More

儿童工作坊|达·芬奇是如何创造的?异形同构的使用 ...

2019-04-30

达·芬奇绝不仅仅是一个画家,同样还是科学巨匠、工程师和发明家。他的很多科学设计和发明也使自然科学发生了重大变化。有时,他会凭空幻想出一些稀奇古怪的想法,而且他的构思与常人不同,达·芬奇会使用异形同构的手法,将不同的物种组合创新,创作了大量的笔记与手稿。本次,我们在五一假期带来第三场工作坊活动:“达•芬奇是如何创造的?——异形同构的使用”,带领大家感受达·芬奇是如何呈现他的创造过程的。(图片来源于网络)【工作坊介绍】达·芬奇从鸟儿的飞行写生到飞行器的设计尝试,从水流的分析写生到各种水利工程的设计,从人体骨骼肌肉的解剖写生到机器人的设计。经常实验性的将不同物品组合到一起,通过“异形同构”的手法创造新的事物。此次我们将带领大家共同学习并直观感受,在体验中进入达·芬奇的思维世界。(图片来源于网络)【关于异形同构】将两种以上的形象素材重新构成。注重形与形之间的结构关系和对画面整体结构的经营。实际上图形并无抽象、具象之分,只要它存在就是具象的。异形同构的重点在于同构,这种创意方法注重形与形之间的结构关系和对画面整体结构的经营。它更多地带有作者的主观意识。对于这类创意的要求所采用的形象素材要有针对性,也更加具体化。(图片来源于网络)【工作坊报名信息】工作坊时间:2019年5月4日(周六) 14:00—16:00工作坊地点:中央美术学院美术馆工作坊对象:5岁及以上热爱艺术的家庭(需家长陪同)招募人数:15人报名方式:请点击本条资讯顶端“我要预约”,儿童公共教育活动预约表完成预约。               报名成功后,将会收到短信回复。请勿重复提交报名。注:1、工作坊免费参与,每位儿童仅可带一位家长免费进入达芬奇展厅。    2、请报名成功的公众于活动当天13:45,在美术馆一层大厅集合并签到,       我们将带领大家集体前往活动地点。【工作坊导师】杨巧禾,中央美术学院研究生毕业设计参与项目亚洲文明对话大会、中国70周年大庆视觉形象等国家项目梁雯,中央美术学院美术馆公共教育部 项目专员 More

“不可能如何成为可能?” 周末一起到达•芬奇儿童工作坊来探秘 ...

2019-04-20

活动时间:2019.4.21 14:00-16:00 More

公众招募|马克奎恩展览跨界体验公共活动:发现未知的有趣 ...

2019-04-18

英国当代著名艺术家马克·奎恩的《皮相之下》展览正在我馆展出,他的艺术作品激情澎湃的表达“人”的特性,并时刻保持着与当下信息化、碎片化的混沌现代主义时代相碰撞的大胆,以及用身体的各个角度对于“后人类”时代不停断地进行试验与质疑,充满想象地执着于对“生命”无限延展的思考和探索。 我们每个人也都在探索,对于自我的探索,对于环境的探索,对未来的探索……充满未知的世界,如果我们用一种更有趣的方式来探索,是否会发现生活将变得更加趣味横生? 更有趣的方式,我们选择戏剧可以么?都说戏剧是生活的映射、现实的镜子,而即兴戏剧(Improv)更是像极了生活。生活本就没有剧本,不可复制又独一无二,处处充满未知和挑战。你永远不知道下一秒会有怎样的惊喜,勇气和智慧是打开奇妙生活的钥匙。 即兴戏剧介绍: 作为一种艺术形式,即兴戏剧(Improv)是一种反应的艺术。不同于一般的戏剧形式,在即兴戏剧里,没有剧本。演员或体验者需要根据观众给的关键词进行即兴创造。在即兴的世界里,相信直觉,相信每个人都有属于自己的创意,鼓励通过直觉灵感和集体间的配合来完成即兴表达。 即兴演员更是一群神奇的存在,他们有着奇妙的能力,把看似无厘头又毫无逻辑的脑洞碎片,用清奇的脑回路、丰富的肢体,以及相互协作与信任,穿针引线串连成一个个有趣的故事。 即兴本身关注的是真实的人,当下的反应,以及团队的互动和火花碰撞。“即兴带给参与者的,除了快乐的体验过程,更多是思维模式上的变化,让人们变得勇敢,享受未知,给与了人们FROM ZERO TO HERO的能量。也让我们在面对变化、压力的时候更富有弹性,成为更受欢迎的人。”麻花即兴制作人马悦舒说如此描述即兴的魅力。作为马克奎恩展览跨界体验公共活动,我们邀请了麻花即兴专业讲师张震,用120分钟带领大家体验即兴戏剧的魅力。本次体验,将糅合即兴的核心理念“Yes,and”分享即兴、体验即兴,全程互动式参与,在“好玩”与“发现”中激发想象力和创造力,发现未知的有趣。 公共活动讲师介绍张震,国内即兴演出最优秀的演员之一,麻花即兴首席讲师,拥有丰富的舞台表演和编剧策划经验,擅长融合开心麻花风格表演进行即兴舞台表演和课程教学。他作为主演和主创,多次参与即兴戏剧节,2019年4月参与墨尔本国际喜剧节。同时担任北京电影学院、北大光华管理学院、清华美院、长江商学院等多个项目的即兴表演导师。 活动报名信息:时    间:2019年4月19日(周五)18:30至20:30地    点:中央美术学院美术馆一层大厅招募公众:18岁及以上成人(限25位)报名方式:请至以下网址报名预约,               报名成功后,您将会收到短信回复。 注:1、活动免费参与。2、请报名成功的公众于活动当天18:10,在美术馆一层大厅集合并签到。3、着装以宽松舒适、方便体验为宜(女士不穿高跟鞋)。  More

CAFAM讲座预告| 列奥纳多•达芬奇与解剖学 Conferenza: “Leonardo e l’Anatomia” ...

2019-04-14

列奥纳多·达芬奇与解剖学时间: 4月15日18:30 -20:00地点:中央美术学院美术馆学术报告厅“Leonardo e l’anatomia”15 aprile h18:30 – CAFAM2019年,为纪念达·芬奇500周年忌辰,由中央美术学院美术馆与意大利驻华使馆文化处联合呈现的全球艺术教育推广项目中国首站“达·芬奇的艺术:不可能的相遇”将于4月16日在央美美术馆开展,同时双方共同策划的系列讲座,也将在开幕前和展览期间持续为公众呈现精彩内容。Nel 2019, per commemorare il 500 ° anniversario di Leonardo Da Vinci, la prima mostra d'arte del progetto di promozione dell'educazione artistica mondiale presentata congiuntamente da CAFAM e istituo centrale  culturale italiano a Pechino "L'arte di Leonardo - Opera Omnia" si terrà nel CAFAM il 16 aprile, e la serie di conferenze pianificate congiuntamente dalle due parti continuerà a presentare contenuti entusiasmanti al pubblico prima e durante la mostra.讲座内容:列奥纳多:医学、解剖、艺术和伦理Leonardo: la medicina, l’anatomia, l’arte e l’eticaGiampaolo Ghilardi詹保罗·基拉迪教授在讲座中将讨论一个科学和认识论意义上的列奥纳多,分析他的一个解剖素描中的两个错误。它将首次解释这两个错误,它们应该被视为一种研究假设,而不是纯粹意义上的过失。因此,讲座将根据一部首次发表的论绘画的手稿——《劳乌利手稿》——来介绍以列奥纳多的科学观察为主题的研究现状。La relazione tratta del profilo scientifico ed epistemologico di Leonardo, analizzando due errori presenti in un suo disegno anatomico. Si proporrà un’interpretazione inedita di questi errori, da leggersi più come ipotesi di ricerca che non come semplici sbagli. Si presenterà quind ilo stato dell’arte sul tema dell’osservazione in Leonardo da Vinci alla luce della pubblicazione di un inedito apografo del Trattato della Pittura: il Codice Lauri.列奥纳多·达芬奇:解剖、艺术和伦理Leonardo da Vinci tra anatomia, arte ed esteticaNicola di Stefano尼科拉·迪·斯特法诺教授将讲述列奥纳多拥有非同一般的多才多艺的技能,在他浩瀚的创作中,解剖素描代表了艺术天才与科学观察的聚焦点。从两幅脑室素描出发,讲座旨在探讨列奥纳多文化遗产中的一些中心主题,例如绘画艺术的模仿观念及它与观察和技巧之间的关系。La figura di Leonardo si caratterizza per una straordinaria versatilità. Nella sua sterminata produzione, i disegni anatomici rappresentano il punto in cui convergono talento artistico e osservazione scientifica. A partire da due tavole che ritraggono i ventricoli cerebrali, propongo una riflessione su alcuni temi centrali del lascito culturale di Leonardo, come la concezione imitativa dell’arte pittorica e il suo rapportocon l’osservazione e la tecnica.讲者介绍:主讲人Relator :詹保罗·基拉迪教授Giampaolo Ghilardi以满分加奖励毕业于米兰圣心天主教大学哲学专业,并在列支敦士登国际哲学学院(IAP)获得哲学博士学位。目前以“科技行为哲学所”伦理哲学研究员的身份供职罗马生物医学大学学园,主要研究神经科学、科学伦理、人类学、方法学及诊断逻辑学。曾出版重要的专论及论文,包括:《时间和神经科学》(与唐博内合著,SEU,罗马2012年)、《疯牛和华生大夫:医学行为哲学及道义》(SEU,罗马2015年)、《科技行为伦理》(Mimesis,米兰2018年)。他是多个学术团体的成员,包括意大利伦理哲学学会(SIFM)、卫生领域的诊断生物伦理及伦理顾问跨界小组(GIBCE)、监督研究网络、贝尔加莫科学文艺学校。si laurea in Filosofia cum laude presso l’Università Cattolica del Sacro Cuore di Milano A.A. e si completa il dottorato in Filosofia presso la IAP (Internationale Academie für Philisophie) delLiechtenstein. Lavora attualmente all’Università Campus Bio-Medico di Roma come Ricercatore in Filosofia Morale presso l’Istituto di Filosofia dell’Agire Scientifico e Tecnologico. Si occupa principalmente neuroscienze, etica della scienza, antropologia, metodologia e logica clinica.Ha pubblicato importanti monografie ed articoli fra i quali: Il tempo e le neuroscienze, SEU, Roma 2012; insieme al Prof. Tambone; La mucca pazza e il dottor Watson, filosofia ed eontologia dell’agire medico, SEU, Roma 2015; Etica dell’agire scientifico etecnologico, Mimesis, Milano 2018). È membro della Società Italiana di Filosofia Morale (SIFM), del Gruppo Interdisciplinare di Bioetica Clinica e Consulenza Etica in ambito sanitario (GIBCE), del Surveillance Studies Network, dell’Ateneo di Scienze, Lettere e Arti di Bergamo.主讲人Relator :尼科拉·迪·斯特法诺教授Nicola Di Stefano毕业于米兰大学哲学系,就读大学期间,还兼读“威尔第”音乐学院,获得低音提琴文凭。曾是罗马生物医学大学学园博士生,目前在同一所大学的“科技行为哲学所”担任助理研究员,主要研究美学、神经美学及哲学与神经科学的关系。他是罗马第三大学及阿肯色州大学罗马中心的合同教授,也是多个机构的成员,包括:“被感觉的:感知和经验对话”小组、国际美学词汇编纂委员会、《论音乐》杂志、意大利美学学会(SIE)、音乐感知及认知学会(SMPC)及欧洲音乐学认知学会。Si laurea in Filosofia all’Università Statale di Milano. Negli stessi anni frequenta il conservatorio “G. Verdi”, dove si diploma in Contrabbasso. Dottore di ricerca presso l’Università Campus Bio-Medico di Roma, oggi è assegnista di ricerca presso il FAST (Istituto di Filosofia dell’Agire Scientifico e Tecnologico) nella stessa Università. Si occupa prevalentemente di estetica, neuroestetica e dei rapporti tra filosofia e neuroscienze. È professore a contratto presso l’Università di Roma Tre e presso la University of Arkansas Rome Center. È membro di Sensibilia. Colloquium on Perception and Experience, membro del comitato di redazione del International Lexicon of Aesthetics e della rivista De Musica, della Società Italiana d’Estetica (SIE), della Society for Music Perception and Cognition (SMPC) e della European Society for the Cognitive Sciences of Music (ESCOM).系列讲座:4月15日18:30 - 意大利驻华使馆文化中心讲座 《创新者达·芬奇:文艺复兴时期科技的象征》15 aprile h18:30-Istituto Italiano di Cultura di Pechino“Leonardo innovatore e simbolo del rinascimento scientifico e tecnologico”4月16日 19:00 - 意大利驻华使馆文化中心讲座 《达·芬奇与解剖学》16 aprile h19:00 – Istituto Italiano di Cultura di Pechino“Leonardo e l’anatomia”4月17日18:30 - 中央美术学院美术馆学术报告厅讲座 《创新者达·芬奇:文艺复兴时期科技的象征》17 aprile h18:30 – CAFAM“Leonardo innovatore e simbolo del rinascimento scientifico e tecnologico”4月18日18:30 - 意大利驻华使馆文化中心新书介绍会《达·芬奇笔下的女人》18 aprile h18:30 – Istituto Italiano di Cultura di Pechino“I segreti delle donne diLeonardo”4月19日10:30 - 天津大学讲座 《创新者达·芬奇:文艺复兴时期科技的象征》19 aprile h10:30 – Tianjin UniversityLeonardo innovatore e simbolo del rinascimento scientifico e tecnologico” More

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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

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:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

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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