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.

: Lecture Info | Gary Hill: Place Holders

2019-12-11

Time: 2019/12/12 18:30-20:30 | Location: CAFAM Lecture Hall
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: Lecture Info | Design Critism and Curatorial Studies Lecture Series: Alice Rawsthorn

2019-11-27

A Brief History of Design Criticism & Design as an Attitude
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: Dialogue Info | From Particle to Pixel: Inheritance and Expression of Contemporary Mosaic Language

2019-11-21

Time: 2019/11/21 (Thu) 14:00-16:30 | Place: CAFAM Lecture Hall
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: Lecture Info | Li Jun: Why Does Mona Lisa Smile? Science and Anti-science in Da Vinci's Art

2019-11-19

This year is the 500th anniversary of Leonardo da Vinci's death. As a versatile representative of the Renaissance, da Vinci has left the world over 20 paintings, 7,200 manuscripts that covered nearly all knowledge fields of his time. Taking "Mona Lisa" as an example, the relationship between Leonardo's science and art has remained an unsolved mystery even in the intellectual circle. The lecture is aimed to interpret da Vinci's images and texts, show how the complicated relationship between science and art had formed the unique artistic charisma of da Vinci, and provide a special approach as for solving the mystery of Mona Lisa's smile.
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: Anish Kapoor Artist Talk

2019-11-07

Time: 2019/11/11 14:00-17:00Place: CAFAM Lecture HallLanguage: Chinese and English Host: Zhang Zikang, Director of CAFAM, chief curator of the Anish Kapoor exhibitionGuests: Anish Kapoor, artist Fan Di'an, Director of Chinese Academy of Fine Arts, President of China Artists Association, academic consultant of the Anish Kapoor exhibition Sui Jianguo, Deputy Director of Academic Committee, Chinese Academy of Fine Arts Zhu Pei, Director of Department of Architecture, Chinese Academy of Fine Arts Wang Yuyang, Deputy Director of Department of Experimental Art, Chinese Academy of Fine Arts Wang Chunchen, Deputy Director of CAFAM Yue Jieqiong, Executive Director of Taimiao Art Museum, Director of Collaborative Innovation Office, Chinese Academy of Fine Arts, curator of the Anish Kapoor exhibition *Participants listed in order of speaking Schedule: 14:00-14:10 Director Zhang Zikang introduces the exhibition and gives welcome speech 14:10-14:50 Mr. Anish Kapoor gives keynote speech 14:50-15:30 Director Fan Di'an gives keynote speech 15:30-15:45 Tea break 15:45-16:45 Artist conversation hosted by Zhang Zikang, participated by Anish Kapoor, Fan Di'an, Sui Jianguo, Zhu Pei, Wang Yuyang, Wang Chunchen and Yue Jieqiong 16:45-17:00 Q&AApplication Period: 11/8 (Fri) 09:30-16:30 How to Apply: Click the "Apply" button at the top of this page, and fill in the Lecture Reservation Form.Note: Please fill in correct personal information. Each account can only apply for one seat. Please do not resubmit your application. A text message will be sent to your phone if your application is successful. How to Collect Ticket:Please collect your ticket at the west gate of the museum at 11:00-13:00, Nov 11, with the text message and your ID. Due to limited seats the museum will also live broadcast the event at the curved stair hall.Thank you for your support. CAFAM welcomes your visit.*CAFAM reverves the right for final explanation.
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: Lecture Info | Arata Isozaki: Third Space IKI+SHIMA

2019-10-29

CAFAa Lecture SeriesThe CAFAa Lecture Series was initiated by the CAFA School of Architecture in 2018. Based in the front of academic architecture, it invites prestigious scholars, educators, architects and artists to take part in a variety of activities including discussions, lectures and conferences, to jointly construct international architectural platform that is critical, comprehensive and open.Combination of keynote speech and relevant seminar is the highlight of this academic lecture series. CAFA has hosted Rem Koolhaas (Pritzker Architecture Prize Winner, Honorary Professor of School of Architecture at CAFA)'s "Recent Preoccupations" lecture and "Generic Village" seminar, Mosen Mostafavi (Former Dean of Graduate School of Design at Harvard University, Honorary Professor of School of Architecture at CAFA)'s "Architecture and Situation" lecture and "Post Bauhaus: Intellectuals, Architecture and Social Regeneration" seminar, Cao Xun (pretigious landscape architect, professor at Beijing University of Civil Engineering and Architecture, Special-term Professor of School of Archaeology and Museology at Peking University)'s three lectures “Chinese Art of Gardening”, "Chinese Landscape Masters" and "Gardening Master Zhang Nanyuan", and "Inheriting the Sage's Knowledge: Seminar on Cao Xun's Academic Thinking" seminar. On October 29, 2019, internationally prestigious architect, the 2019 Pritzker Architecture Prize Winner Arata Isozaki will give the fourth lecture of this academic series at CAFA - "Arata Isozaki: Third Space | IKI+SHIMA".CAFA invites Mr. Isozaki to be the keynote speaker, not only because he's this year's Pritzker Architecture Prize Winner, or because of his twenty-year friendship with CAFA, but because of his many key practices that has transcended traditional planning and architecture since the 1960s, his critical thinking brimmed with poetic charisma, and the unique characters of his time refracted in his thinking. Like the "Arata Isozaki: Third Space" Oita exhibition revealed, the uniqueness likes in the experimental works in terms of "information collection, art cooperation and installations", in the "intercrossing" cultural activities in fields like "art, design, music and theater", and in the idea practices in fields like "thinking, fine arts, design and cultural criticism". In this lecture, Mr. Isozaki will elaborate on his cross-cultural experience since 1960s in microscopic narrative, using his 2019 Oita exhibition as a thread, and the postcolonial theorist Homi K. Bhabha's "Third Space" concept as a theoretical frame, to bring us the cultural and thinking practices that way transcend architecture itself, and to review and refelct on the many architectural movements he has encountered, triggered, got involved or intervened. Meanwhile, we are also very honored to invite some important history theorist, practical architects, intellectual artists to gather in CAFA in this autumn, take part in three discussions themed "The Architectural Movements since 1960s", "Arata Isozaki and China" and "Arata Isozaki and Contemporary Art", and discuss the complexity and energy of the time in Arata Isozaki's architectural ideas, cross-cultural practices and art criticisms from various perspectives. The scholars will also take the Chinese modernistic context as a foundation, the global course of history as a vision, the contemporary issues as an entry point, their individual experience and diverse practices as angle, to discuss the dialectical relationship between architectural movements and their times in a multi-cultural context - it will be both a reflection of history and a projection into future.| About the Activity |CAFAa Lecture Series Ⅳ Lecture Arata Isozaki: Third Space | IKI+SHIMASpeakerArata Isozaki, internationally renowned architect and 2019 Pritzker Prize WinnerPresenterZhu Pei, professor and dean of School of Architecture at CAFATime2019.10.29 14:30-16:00PlaceCAFA Lecture Hall*The lecture does not require appointment. Seminar The Architectural Movements since 1960sPart 1: The Architectural Movements since 1960sPart 2: Arata Isozaki and ChinaPart 3: Arata Isozaki and Contemporary ArtPresenterZhu Pei, professor and dean of School of Architecture at CAFAParticipating ArchitectsZhang Yonghe, renowned artist, architecture educator, professor of School of Architecture at Tongji University, founder and chief architect of Atelier FCJZWang Mingxian, architecture and art history scholar at Chinese National Academy of Arts, expert at CAFA Visual Art Innovation InstituteLiu Jiakun, renowned architect, founder and chief architect of jiakun arc, expert at CAFA Visual Art Innovation InstituteShi Jian, renowned architecture critic, curator, partner of Archi PositionZhou Rong, renowned architecture critic, architecture scholar, associate professor of School of Architecture at Tsinghua University, expert at CAFA Visual Art Innovation InstituteZhang Li, professor and deputy dean of Tsinghua University, chief editor of World Architecture magazineZhang Lufeng, professor at Center of Architecture Research and Design at University of Chinese Acadey of SciencesLi Xinggang, chief architect at China Architecture Design & Research Group, chief executive of Li Xinggang Architecture StudioWang Hui, renowned architect, founder and chief architect of URBANUSTong Ming, renowned architect, professor of Department of Urban Planning at Tongji University, founder and chief architect of TM STUDIOHua Li, renowned architect, founder and chief architect of TAOParticipating ArtistsLiu Xiaodong, renowned artist and professor of School of Plastic Arts at CAFAZhang Zikang, director of CAFA Art MuseumQiu Ting, renowned artist, professor and dean of Department of Landscape, School of Chinese Painting, CAFATime2019.10.29 16:15-17:45PlaceCAFA Lecture Hall| About the Speaker |Arata IsozakiBorn 1931 in Oita City, Japan. In 1954 graduated from the Department of Architecture in the Faculty of Engineering at the University of Tokyo. In 1963 established Arata Isozaki & Associates, the base from which he has continued to work ever since. From his 1960s work such as Oita Prfectural Library, to his 1990s work in locations such as far afield as Barcelona, Orlando, Krakow, Nagi in Okayama Prfecture, Kyoto, Nara and Berlin, to his 21st century work in the Middle East, China, Central Asia and elsewhere, Isozaki has created an architecture so personal in its ideas and spaces that it defies characterization in any single school of thought.Academic PresenterFan Di'an, Lv Pinjing, Zhu PeiKey PlannersZhu Pei, Han Tao, Wang Zigeng, Hou Xiaolei, Liu Yanchen, Huang Liangfu, Liu Siyong, Zhang QianPoster DesignersWang Zigeng, Gong YiOrganizerCAFA School of ArchitectureCo-organizersCAFA Visual Art Innovation InstituteCAFA Art MuseumCAFA Art Info
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: Lecture Info | Media Art and Injury - Arne De Boever

2019-10-28

Leonardo Art, Science and Technology Lecture Series 2019The series is part of the "Media Art Master Class" of CAFA Center for Art and TechnologyMedia Art and InjurySpeaker: Arne De BoeverTime: 2019.10.31(Thu), 18:30-20:00Language: English (with Chinese translation)Place: CAFA Lecture HallCo-organized by: CAFA Visual Art Innovation Institute, CAFA Center for Art and Technology, CAFA Art Museum, Chronus Art CenterIn collaboration with Leonardo / ISAST | About the Lecture | During the 2018 Sotheby Auction, Banksy's Girl with Balloon self-destructed out of blue. Based on this incident, a new media artwork - Love is in the Bin - appeared. The lecture will begin with what writer Ben Lerner stated: "Much of the story of twentieth-century art can be told as a series of acts of vandalism", and examine Banksy's art based on this statement. It is especially interesting considering Lerner's other discussions on realism. The lecture will pay special attention to the media art's near-perfect rendering and depiction of reality via technologies. Like what Lerner commented about Christian Marclay's The Clock, it is a 24-hour clock imagery made out of video editing. The way it works also simulates a clock. Lerner believes The Clock to be failure, instead of an achievement, of realism. From this perspective, it is an unexceptional artwork: A work that cannot reach its ideal but still keeps its posture. The lecture will be based on Tobin Siebers' "Disability Aesthetics", and discuss the aforementioned, significant failures in terms of media art theories. It will also dig into the water-related creative practice of artist Song Dong, to develop an appeal in regard of unexceptional art: an art form that challenges the exceptionalist perspective of the western aesthetics. | About the Speaker | Arne De Boever teaches American Studies in the School of Critical Studies and the MA Aesthetics and Politics program at the California Institute of the Arts (USA). De Boever has published numerous articles, translations, and reviews and is the author of States of Exception in the Contemporary Novel (Continuum, 2012), Narrative Care (Bloomsbury, 2013), Plastic Sovereignties (Edinburgh, 2016), Finance Fictions (Fordham, 2018), and Against Aesthetic Exceptionalism (Minnesota, 2019). He is the editor or co-editor of Gilbert Simondon (Edinburgh, 2012), The Psychopathologies of Cognitive Capitalism: Part 1 (Archive Books, 2013), and Bernard Stiegler (Duke, 2017). De Boever is also active as the editor of the Philosophy/ Critical Theory genre section of the Los Angeles Review of Books and as a member of the boundary 2 editorial collective.Narrative Care: Biopolitics and the Novel (2014)Bloomsbury AcademyStates of Exception in the Contemporary Novel (2012)Against Aesthetic Exceptionalism (2019)University of Minnesota Press
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: Lecture Info | Dromological Imaginations: Virilio, Technology, Art and the Postdigital

2019-10-22

Leonardo Art, Science and Technology Lecture SeriesDromological Imaginations: Virilio, Technology, Art and the PostdigitalSpeaker: Ryan BishopDate: 10.24.2019 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 Paul Virilio’s major contribution to contemporary European thought has been to demonstrate that questions of visual culture are not only academic and cultural, aesthetic, historical, critical, philosophical, and anthropological questions but also extremely important questions of societal formation and governance. For Virilio, visual culture does not simply provide ways to understand the visual or examine images; it offers primarily a critical site of theory and contemporary cultural action and intervention, where relations of power in this field of study are both established in everything from film studies and psychoanalytic theory to gender studies, queer theory, television and video game studies, comics, the traditional artistic media of painting, advertising, and the Internet, and potentially disturbed. Virilio’s initial ways into these areas of power relations that constitute the visual cultural scene and its usual analytic topics are odd and oblique, which provide them their intellectual purchase, emerging as they do from his work as an urbanist interested in technology, speed and the military. These larger forces, according to Virilio, are the primary influences on and shapers of visual culture with the standard areas of inquiry being mere effects of them. This talk will work with some of Virilio’s most evocative theoretical formulations, including dromology, the aesthetics of disappearance, the accident (of art, of technology, the global), and picnolepsy and will do so through an examination of specific artworks by Trevor Paglen, Susan Schuppli, Heba Amin, Victor Burgin and others to get a sense of the Post-Digital as it pertains to art, technology and theory. The Post-Digital is a way of theorising and contextualising the digital as an historically specific phenomenon. Just as postmodernity addressed modernity in a critical and historical manner, the Post-Digital intends a critical and temporal engagement with the digital while remaining partly defined by it. For Virilio the temporal and technological specificity is primary import: he is interested in why images/cinema in World War I, for instance, look as they do and how technological mediations of the 21st century operate as they do and to what effects. Virilio returns consistently to visual culture as a site of contestation manifesting the larger concerns of urbanization, technology, militarization and speed as inextricably intertwined phenomena. About the Speaker Ryan Bishop is Professor of Global Art and Politics at the Winchester School of Art, University of Southampton (UK), where he co-directs the Archaeologies of Media and Technology research group with Jussi Parikka. He is the author or editor of 15 books, including Technocrats of the Imagination: Art, Technology and the Military-Industrial Avant-Garde (with John Beck, Duke UP, 2020), Seeing Degree Zero: Barthes/Burgin and Political Aesthetics (with Sunil Manghani, Edinburgh UP, 2019), Across and Beyond: A transmediale Reader on Post-digital Practices, Concepts and Institutions (with Kristoffer Gansing, Jussi Parikka and Eliva Wilk, Sternberg Press, 2017) Cold War Legacies: Systems, Theory, Aesthetics (with John Beck, Edinburgh UP, 2016), and the author of over 50 journal articles. He edits two book series “a Cultural Politics Book" (Duke UP) and “Technicities (Edinburgh UP), as well as the journal Cultural Politics (with John Armitage and Douglas Kellner, Duke UP). In addition is a commissioning editor for the journal Theory Culture & Society (Sage) and serves on its editorial board. He also published two books in Chinese: A Cultural Politics Reader (co-edited with John Armitage and Doug Kellner) Beijing: Commercial Press (in Chinese, You Jianrong trans.. pp.368) (2018)and Baudrillard Now: Current Perspectives in Baudrillard Studies, Kaifeng: Henan University Press, 2008 (revised and expanded in English Cambridge: Polity Press 2009). 《Modernist Avant-Garde Aesthetics and Contemporary Military Technology： Technicities of Perception》（2011）Ryan Bishop, John Phillips《Cold War Legacies: Systems, Theory, Aesthetics》（2016）Edited by John Beck, Ryan Bishop《Seeing Degree Zero: Barthes/Burgin and Political Aesthetics》（2019）Edited by Ryan Bishop, Sunil Manghani
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: Lecture Info | Rethinking Video Art: The Materiality and Technicality of Video Installation / Sculpture

2019-10-11

Time: Oct. 13, 2019 13:00-18:00 Place: CAFAM Lecture Hall / Conference Room
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: CAFAM Lecture Info |The Art of the Quantum Universe: Time, Consciousness and Chaos

2019-10-08

2019 Leonardo Art, Science and Technology Lecture SeriesThe Art of the Quantum Universe: Time, Consciousness and ChaosSpeaker: Paul ThomasDate: 10.10.2019 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 will explore the synchronicity taking place between science and art in dealing with the speculative nature of the quantum universe. We are entering an age denoting a much broader paradigm shift away from the concrete and indivisible era towards an age defined by uncertainty. The talk is grounded in the contention that the quantum ‘turn’ in relatively recent developments of twentieth-century theoretical physics is denotative of a much broader paradigm shift in culture. The shift away from determinism and is reflected in experimental art of the modern era and into the present.The philosopher Henri Bergson, a major thinker on time at the beginning of the twentieth century, will be discussed in connection to current thinking on quantum time. Artists and scientists were attempting to visualise the invisible world in the early twentieth century. For example, Etienne Jules Marey influenced Cubism and Futurism with his chronophotographic indexical traces of movement, effectively making time visible. Since then, scientific imaging technology has advanced to where we are now: witnessing the mechanistic visualisation of the atomic world.My work as an artist contributes to this lineage. The artwork Quantum Consciousness (2016) is an audio-visualisation of atomic data that indexes the quantum "movement" of a phosphorus electron. Quantum Consciousness visualises the co-emergence of thought-data (viewer) and quantum-data (electron). The scientific research informing the work was conducted in collaboration with quantum physicist Professor Andrea Morello. Morello's research looks at controlling the spin of electrons and nuclei for the development of the processor in the quantum computer. The media artwork Quantum Chaos (2019) visualises quantum phenomena by exploring the liminal space between the classical and quantum world.The quantum world is hard to comprehend but science has revealed that it is fundamental to the core of our existence. The paradox of the quantum superposition (best articulated in the Schrodinger's Cat thought experiment) exists as an actual and empirical condition in which an electron occupies multiple positions in space simultaneously, but none specifically. This paper will ask questions relevant to artistic practice focused on quantum phenomena such as atomism, speed, time and the Epicurean swerve. | About the Speake r | Dr Paul Thomas is a Professor at University of New South Wales, Art and Design and currently the Director of the Studio for Transdisciplinary Art Research (STAR) as well as the co-chair of the Transdisciplinary Imaging Conference series 2010-2018. In 2000 he instigated and was the founding Director of the Biennale of Electronic Arts Perth 2002, 2004 and 2007.His art practice takes not only inspiration from nanoscience and quantum theory, but actually operates there. Previous artworks exploring nanotechnologies and quantum phenomena have also been exhibited nationally and Internationally. ‘Quantum Consciousness’ was a visualisation of a quantum spin created from data of me reading sections of Feynman’s 1982 paper ‘Simulating Physics with Computers’, affecting the spin of a single electron. ‘Multiverse’ 2013 based on Richard Feynman’s diagrams on photons reflecting from a mirror, ‘Nanoessence’ 2009 which explored the space between life and death at a nano level and ‘Midas’ 2007 which researched what is transferred when skin touches gold. His current publication Quantum Art and Uncertainty (October 2018) and Nanoart: The Immateriality of Art (2013) are based on the concept that at the core of both art and science we find the twin forces of probability and uncertainty. He is currently editing the ‘Artist and Practice’ volume for the forthcoming ‘Encyclopedia of New Media Art’, Bloomsbury Press.《Quantum Art and Uncertainty》 (2018)The Immersive Vision TheatreTechnical support Luke ChristisonPhotography Mike PhillipsMultiverse（2012）
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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.