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.

: It's The End Of Heat Today

2025-08-23

It's The End Of Heat Today
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: CAFAM Cultural and Creative Products | Art Admission Program: Accompany You to Explore the Aesthetics of Life

2025-08-23

CAFAMSTORE Art Belongs Not Only to Exhibition Halls and WallsNow, it is quietly slipping into your daily life—The famous collection paintings hidden in canvas bags accompany you as you navigate the city;The exhibition clues tucked between book pages turn reading into an exhibition visit;An artist card that tells stories passes inspiration into the palm of your hand.CAFAM Art Admission Program —Making art museums no longer distant,Turning every use of cultural and creative products into a tacit reunion with art.CAFAM Graduates:A Curated List of Goodies from the YouthThe creativity and inspiration of young creators，are engaging in a dialogue with the times through excellent cultural and creative products.˙Sun Yetao Ran | "Art of Life" Series Products˙IOFF Team | Phone Stand˙Chen Ziyi | "That Cat" Series ProductsChang Zhipu | Original Painting Series Canvas Bag· 张涵｜系列绘画冰箱贴CAFAM Graduation Season Exclusive CollectionBring the "Light of Youth" Home The design theme of Chasing the Light during the graduation season，allows the sense of light to be integrated into daily life.· Graduation season series products· Graduation season series products CAFAM Art Books:Flipping through books = visiting exhibitions?!The exhibition clues tucked between the pages of the book turn every reading into a wonderful experience of visiting an exhibition.CAFAM recommended products: The collision of inspiration in open aesthetics Create a collaborative path that combines an open vision with diverse aesthetics, from niche designs to practical cultural and creative works, igniting artistic inspiration in daily life.· Research Center of Yuanmingyuan, Central Academy of Fine Arts｜Refrigerator Magnet·Kemilife｜Art DecorationsArt is inherently fluid.It has always been in life, being used and understood.With objects as the medium,CAFAM cultural and creative works connect art with the present.In the small world, there lies the great beauty of art.CAFAM STORE looks forward to joining youin deciphering the aesthetics of life.Editor-in-Chief / He YishaResponsible Editor / Du YinzhuEditor / Zhu JingyiContributors / Yi Yi, Yang Jiayi
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: 展览亮点聚焦｜“流动的艺域——中央美术学院美术馆藏国际艺术交流研究展”延期

2025-08-22

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: Announcement of Temporary Closure

2025-08-19

Dear Visitors,Due to venue space maintenance, our museum will be temporarily closed from August 24th to August 26th, and will reopen normally on August 27th. We apologize for any inconvenience this may cause!CAFA Arts MuseumAugust 19, 2025Reservation Channel╱CAFAM@ 2025Visitors can make reservations and purchase tickets through the mini-program, WeChat official account or official website of CAFA Arts Museum (see the official website for details on ticket purchase). The daily opening hours are 9:30-17:30, and the museum is closed every Monday.Visitors aged 60 and above, and children under 6 years old can purchase "0-yuan tickets for the elderly and children"; individual members of the Chinese Museums Association, active-duty soldiers, national comprehensive fire and rescue personnel, and persons with disabilities can purchase "0-yuan tickets for special groups" with relevant certificates.∕CAFAM@ 2025Chief Editor / He YishaEditor / Du Yinzhu
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: Song Buyun's White Bark Pine: The Frozen Scenery of Beiping | CAFAM Collection Exhibition

2025-08-19

> > > >"The second installment of 'Collection Of CAFA Art Museum – Modern Chinese Art' is currently on display at CAFAM. The 'Modern Chinese Art' section features 22 newly added works, ranging from traditional Chinese paintings, oil paintings to prints. These works are not only the individual expressions of artists, but also embody the exploration and reform in the torrent of history, responding to the times with modern forms and languages. This push will take you to appreciate Song Buyun's Tuan Cheng (White Bark Pine)."Song Buyun, Tuan Cheng (White Bark Pine), 1947, Oil on canvas, 61.5×52.5cm, Collection of CAFAMThis work was created by Song Buyun, an important professor at the National Beiping Art College. Having studied in Japan, he was invited by Xu Beihong to teach at the college in 1946 and once served as the chief administrator. In the subsequent years, he also created many sketch works depicting the urban scenery of Beijing.Tuan Cheng (White Bark Pine) presents the scene inside Tuan Cheng (Round Fort), a distinctive ancient imperial structure located outside the north gate of Beijing's Beihai Park. The white bark pine, which is the focus of the painting, was planted during the Ming Dynasty. With its elegant posture, it was praised by Emperor Qianlong as "the finest among pines" and also known as the "White-Robed General".Detail of Tuan Cheng (White Bark Pine)In the painting, a huge white bark pine stands in the foreground, occupying a large part of the frame. Song Buyun deliberately omitted the crown of the tree to highlight the distinctive white trunk unique to this species of pine. He endowed the white color with endless variations, showcasing the texture of the tree's trunk.Detail of Tuan Cheng (White Bark Pine)In the distant view, there are lush ancient trees, faintly visible buildings and visiting tourists. The overall composition is harmonious with a clear distinction between primary and secondary elements, and it has a strong sense of being captured by a lens. The detailed depictions are full of modernity, not emphasizing the full view but focusing on handling the branches and trunks to present the profound sense of age of the white bark pine. What stands out most is the artist's accurate grasp of the cold and warm colors under sunlight, as well as the freehand brushwork in depicting the pine tree. Xu Beihong once praised this work, saying, "A masterpiece is naturally formed, and it is occasionally obtained by a skillful hand."> > > > Collection Of CAFA Art Museum——Modern Chinese Art(Phase II)Exhibition Duration: Starting from July 1, 2024Venue: Gallery A, 2nd Floor, CAFAMChief Editor / He YishaEditor / Du Yinzhu
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: Announcement On The Temporary Adjustment Of The Audience Entrance

2025-08-15

Dear Visitors,Due to the road construction at the North Gate of the Central Academy of Fine Arts from August 16th to August 24th, the audience entrance for visits will be temporarily adjusted: starting from August 16th, the entrance to the Art Museum will be moved to the East Gate of the Central Academy of Fine Arts (opposite Huajiadi Experimental Primary School). We apologize for any inconvenience this may cause. Thank you for your understanding.Floor Plan of the Visitor EntranceCAFA Art MuseumAugust 15, 2025Reservation Channel╱ CAFAM@ 2025Visitors can make reservations and purchase tickets through the mini-program, WeChat official account, or official website of CAFA Art Museum (see the official website for details on ticket purchase instructions). The daily opening hours are from 9:30 to 17:30, and the museum is closed every Monday.Visitors aged 60 and above, as well as children under 6 years old, are required to purchase "0-yuan tickets for the elderly and children"; individual members of the Chinese Museums Association, active-duty soldiers, national comprehensive fire and rescue personnel, and people with disabilities can purchase "0-yuan tickets for special groups" with relevant certificates.╱ CAFAM@ 2025Chief Editor / He YishaEditor / Du Yinzhu
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: Marc Riboud's Photography | Focus On International Collections

2025-08-15

"The China Mirror" Unit"The China Mirror" presents the "China" in the hearts of four foreign artists through their eyes. These works are not curiosity-driven captures of oriental charm by outsiders, but rather profound observations and sincere expressions by the artists on this ancient yet rapidly changing land of China, leveraging their unique cultural backgrounds, artistic languages, and individual perceptions. They are "China images" reflected through "foreign eyes," forming another dimension in this exhibition that echoes with "International Art Treasures."In the face of China's social reality, humanistic landscapes, and spiritual core, the works of these four artists—Chiyo Yasaki, Agnès Varda, Marc Riboud, and Hiroji Kubota—have become precious samples for exploring how the "perspective of the other" understands, interprets, and even reconstructs the complex cultural image of "China." Their gaze goes beyond simple landscape depiction and photography, delving deeper into the exploration of cultural textures, social pulses, historical accumulations, and contemporary transformations. With their keen perception and personalized artistic techniques, the artists have transformed the image of China into a unique chapter in their artistic language. This process of transformation itself contains rich cultural collisions, understandings, and dialogues.The "China Mirror" unit offers a "from the outside in" cultural gaze, inviting audience friends to temporarily step out of their accustomed local perspectives and try to re-examine the China they are familiar with or think they are familiar with through the lenses and drawing papers of others. This reflection of the "mirror" is not only the result of individual creations by foreign artists, but also the product of cultural exchanges and interactions between China and foreign countries. It reveals the two-way nature of cultural exchanges: when China is regarded as an object, the influence of its culture, the complexity of its image, and its open attitude towards the external world are all clearly visible.This recommendation — Marc RiboudMarc Riboud (1923–2016) was a renowned French photographer, famous for his humanistic care, keen observation, and poetic lens language. His photographic style combines documentary and lyrical elements, excelling at capturing emotions and tensions in everyday moments. He joined Magnum Photos in 1953 and was the first Western photographer permitted to enter China for shooting in the 1950s.At the end of December 1956, Marc Riboud arrived in Hong Kong. On January 1, 1957, he traveled from Hong Kong to Beijing, starting a three-month journey that took him to many cities and villages including the Northeast China, Shanghai, Hangzhou, Chongqing, and Lanzhou. This visit left him with rich image records and marked the beginning of his decades-long journey in China. He came to China more than 20 times, capturing numerous moments full of the spirit of the times, leaving a large number of precious images, and witnessing the profound transformation and tremendous changes of Chinese society.In 2010, after holding a photography retrospective exhibition in Shanghai, Marc Riboud donated some of his important works to CAFA Art Museum. From March 6 to April 2, 2010, CAFA Art Museum held "Fleeting Moments of Intuition: Marc Riboud Photography Retrospective Exhibition", which centered on his documentary works shot in China over nearly half a century, and focused on presenting the rich figures, landscapes and social scenes captured through his lens."Beijing 1957" by Marc Riboud————————————————————————————————————Beijing 1957, Marc Riboud, 1957, 50×40cm, Gelatin Silver Print, Collection of CAFA Art Museum"Beijing 1957" by Marc Riboud————————————————————————————————————Beijing 1957, Marc Riboud, 1957, 50×40cm, Gelatin Silver Print, Collection of CAFA Art Museum"Yan'an 1965" by Marc Riboud————————————————————————————————————Yan'an 1965, Marc Riboud, 1965, 40×50cm, Gelatin Silver Print, Collection of CAFA Art Museum"Shanghai 1971" by Marc Riboud————————————————————————————————————Shanghai 1971, Marc Riboud, 1971, 50×40cm, Gelatin Silver Print, Collection of CAFA Art MuseumThe CAFA Art Museum has a collection of 30 works by Marc Riboud, some of which are also on display in the "International Art Treasures" unit of this exhibition."International Art Treasures" UnitThe international art collection of CAFA Art Museum has formed a unique cross-cultural narrative through its diverse sources and profound historical accumulation. Original 19th-century European oil paintings and their original frames were transferred to the collection through institutional allocation in the 1930s and 1950s. Initially collected for teaching and research purposes, these works, though mostly created by anonymous painters, cover a wide range of themes—from still lifes of flowers, urban life to labor scenes—presenting the true features of the times. They have become material examples for studying 19th-century art, among which Gustave Courbet's Head of a Woman is an outstanding treasure.The diverse collection of prints bears the imprint of socialist art exchanges. Wang Manshu, once Vice President of the Central Academy of Fine Arts, brought back prints created by teachers and students from the Kyiv State Academy of Fine Arts in Ukraine. The woodcut and copperplate techniques employed in these works integrate socialist themes with national customs and history. Meanwhile, Wu Biduan, former Director of the Printmaking Department, systematically collected 56 prints during his study in the Soviet Union, including works personally gifted by renowned artists such as Nikolai Nevrev, as well as precious cultural relics like exercises by his classmates.The global expansion during the new museum period has enriched the collection categories, ranging from a large number of international photography collections to paintings, sculptures, installations, and videos. It includes the humanistic spirit embodied in classic photographic works such as Marc Riboud's Guns and Flowers, as well as The Gatherers by Chilean painter Roberto Matta, which integrates ink-wash painting with Latin American mural styles. This diversified collection not only engages in dialogue with the 19th-century European tradition but also constructs a dynamic archive of international visual culture. With 19th-century oil paintings as the "source", prints as the "vein", and contemporary expansions as the "current", these international art treasures in the collection are not only fragments of art history but also practical testimonies of our participation in international art exchanges through collection, research, and transformation."The Painter on the Eiffel Tower" by Marc Riboud————————————————————————————————————————————————The Painter on the Eiffel Tower, France, Paris, Marc Riboud, 1953, 60×50cm, Gelatin Silver Print, Collection of CAFAM"Afghanistan" by Marc Riboud————————————————————————————————————Afghanistan, Marc Riboud, 1955, 40×50cm, Gelatin Silver Print, Collection of CAFA Art Museum"Guns and Flowers" by Marc Riboud————————————————————————————————————Guns and Flowers, USA, Washington D.C., Marc Riboud, 1967, 50×60cm, Gelatin Silver Print, Collection of CAFA Art Museum"Bratislava" by Marc Riboud————————————————————————————————————Bratislava, Slovakia, Marc Riboud, 1997, 50×60cm, Gelatin Silver Print, Collection of CAFA Art MuseumRelated exhibitions.From April 23 to June 6, 2010, the exhibition "Fleeting Moments of Intuition: A Retrospective of Marc Riboud's Photography" was held at CAFA Art Museum.Click "Read the Original Text" to view the exhibition details.Exhibition information.2025 National Exhibition Season of Art Museums' Brilliant Collections Organized by the Ministry of Culture and TourismInterflowing Artscapes: CAFAM International Exchange Research Exhibition from the CollectionOrganizer: CAFA Art MuseumDuration: July 18 - August 24, 2025Venue: 3A & 3B Gallery, CAFA Art MuseumChief Editor / He YishaResponsible Editor / duyinzhuEditor / Zhu Jingyi
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: Announcement on the Restoration of the North Gate Visiting Passageway

2025-08-15

Dear audience friends,In accordance with the arrangement of the college, the road construction at the North Gate of the Central Academy of Fine Arts will be suspended on August 11th. Visitors can normally enter the museum through the special ticketing passage at the North Gate by swiping their ID cards or other valid documents for ticket verification. The specific date for the resumption of road construction will be subject to the follow-up notice. We apologize for any inconvenience caused.CAFA Art MuseumAugust 8, 2025Reservation Channel╱ CAFAM@ 2025Visitors can make reservations and purchase tickets through the Mini Program, WeChat Official Account, or official website of CAFA Art Museum (see the official website for details on ticket purchase instructions). The daily opening hours are 9:30-17:30, and the museum is closed every Monday.Visitors aged 60 and above, as well as children under 6 years old, are required to purchase the "0-yuan ticket for the elderly and children"; individual members of the Chinese Museums Association, active-duty soldiers, national comprehensive fire and rescue personnel, and people with disabilities can purchase the "0-yuan ticket for special groups" with relevant certificates.╱ CAFAM@ 2025Chief Editor / He Yisha Editor / Du Yinzhu
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: Homecoming: "Arata Isozaki: China In The Eyes Of A Global Citizen"

2025-08-09

On the afternoon of July 15, 2025, the exhibition "Arata Isozaki: China in the Eyes of a Global Citizen" opened in the hall on the first floor of the CAFA Art Museum. Following its showing in Chengdu, the exhibition has returned to the CAFA Art Museum, a building designed by Arata Isozaki. The exhibition features ten selected architectural and urban design projects from among the many works created by the renowned architect Arata Isozaki in China over the past nearly 30 years. Each work is imbued with a profound sense of history, rich contemporary significance, active Sino-foreign dialogue, and a powerful spatial language.Homecoming: "Arata Isozaki: China in the Eyes of a Global Citizen" (Group Photo at the Exhibition Opening)This exhibition selects ten architectural and urban design projects from the numerous works created by renowned architect Arata Isozaki in China over the past nearly 30 years. Each work is full of profound historical awareness, rich contemporary significance, active Sino-foreign dialogue and powerful spatial language.The exhibition title contains two key words:One is "China" – the exhibition reviews Arata Isozaki's practical experiences in China and how they have connected with China's historical and contemporary social and cultural contexts.Arata Isozaki had a lifelong love for traditional Chinese culture and continuously paid attention to the changes in China's modern and contemporary society. He started his practice in China in 1994, when China was embarking on a rapid urbanization process. Over the subsequent nearly 30 years, for each project, whether located in the heart of an ancient city or in an empty new urban area, Isozaki strived to use innovative spatial language to respond to China's traditions and current drastic changes, while exploring future possibilities.The second is "world citizen" – the exhibition explores how Arata Isozaki examined Chinese issues from a global perspective.Arata Isozaki is a "world citizen architect" who transcends national and ethnic boundaries. In his practices in China, he always incorporates Chinese issues into the global context for discussion and integrates various world cultural resources into Chinese projects.Another implication of "world citizen" is that in many of his Chinese projects, Arata Isozaki consistently incorporated several spatial themes that he had been pondering throughout his life and that hold universal significance. This exhibition specifically highlights two of them:Theme 1: "Technology and Ruins"On the one hand, Arata Isozaki continuously and passionately explored how various new technologies—such as long-span spatial grids, megastructural urban infrastructure, cybernetics, robots, and the Internet—could bring about the liberation of human space. On the other hand, however, he often expressed a pessimistic judgment about technology and the future of cities. From a developmentalist perspective, ancient ruins can always "hatch" new cities; conversely, no matter how advanced and magnificent a new city may be, it will inevitably collapse and become ruins in the future.Theme 2: "Decentralized Archipelago"In the classical definition, the role of architecture has always been associated with maintaining power, hierarchy, centers, and order. However, Arata Isozaki, who began his practice in the 1960s when the "postmodern" trend emerged, frequently attempted to resist the sole and absolute "center" through various spatial means. Sometimes, he directly subverted the "center" by using ironic techniques such as inverting and reversing classics and fragmenting them into ruins; at other times, he tried to indirectly dismantle the center by creating a decentralized and networked "archipelago."For the display of individual design works, in addition to using relatively conventional media such as models, architectural drawings, conceptual sketches, and photographs, we have also specially created a set of "spatial sections" and a set of "thinking island diagrams" for each project."Spatial Sections" highlight the foreground, aiming to summarize the architectural value of each project. In my view, Isozaki's spatial concepts are concentrated in his distinctively personalized yet deeply classical "syllogistic" spatial configuration—pedestal, wall body, and roof. Therefore, vertically cutting through his buildings and presenting them in the form of "sections" seems to be a most appropriate approach."Thinking Island Diagrams" lay out the background, attempting to sort out the historical context and ideological origins of each project. Combining the display of archaeological fragments with the drawing style of ancient nautical charts, we seek to demonstrate how, in each project, Isozaki navigated through such "fragments" or "archipelagos" as the contemporary context, technological innovation, traditional inheritance, and the evolution of architecture itself; how he wove ideas and refined languages; and how he ultimately added his own fragments and islands to the vast sea of human civilization.After nearly three decades of unremitting efforts, Arata Isozaki's works in China have formed a splendid archipelago. We are fortunate to invite you to visit each island one by one through this exhibition, appreciate the wonders of each island, and navigate between them to experience the distant echoes among the archipelago.The distant echoes among the archipelago collectively reveal China in the eyes of a world citizen: a pluralistic, open country that cherishes traditions, looks to the future, and actively interacts with the world. — Curator: Zhu TaoSketch of the facade and conceptual plan of Shenzhen Cultural Center, 1997, provided by Arata Isozaki + Hu Qian StudioAerial rendering and elevation of Shanghai Expo Performing Arts Center, 2006, provided by Arata Isozaki + Hu Qian StudioHomecoming: At the opening ceremony of the exhibition "Arata Isozaki: China Through the Eyes of a World Citizen", Professor Cui Donghui from the School of Architecture, Central Academy of Fine Arts, co-curator of the exhibition, introduced the 机缘 (origins) and core content of the exhibition. Meanwhile, she recalled the little moments of Mr. Arata Isozaki's "returning home" from 21 years ago to the present. Afterwards, President Lin Mao of the Central Academy of Fine Arts delivered a speech, paying tribute to Mr. Arata Isozaki for leaving the marks of international vision and local care on this land, and encouraging young people to learn from his persistent exploration spirit of "how to make architecture take root in culture and connect with the future". Finally, Professor Zhu Tao, the curator, and Ms. Hu Qian jointly guided everyone through the exhibition works and communicated with them.After the opening ceremony, the guests moved to the academic lecture hall of the art museum for the academic seminar session.The roundtable forum themed "Arata Isozaki: China Through the Eyes of a World Citizen" was hosted by Associate Professor Shi Yang from the School of Architecture, Central Academy of Fine Arts. Centering on topics such as "Arata Isozaki and CAFA", "Architecture and Art", and "Arata Isozaki and the Present", Professor Zhu Tao from the University of Hong Kong, one of the curators, pointed out that Arata Isozaki examined Chinese architecture with the "perspective of a world citizen", integrated tradition and future, and responded to the cultural tensions in the process of rapid urbanization.Mr. Pan Gongkai, former president of the Central Academy of Fine Arts, fondly recalled the construction process of the CAFA Art Museum. He emphasized that it was precisely based on the high trust in Arata Isozaki that this in-depth cooperation and achievement transcending systems and cultures was made possible. He once again underscored the educational philosophy of CAFA's architectural education, which is to "cultivate architects with artistic literacy", emphasizing that architecture should possess cultural awareness and aesthetic judgment, and adhere to a unique path different from the traditional engineering discipline.Professor Xie Xiaofan, who was then in charge of the CAFA Art Museum project and former vice president of the China National Academy of Painting, shared his insights on "the responsibility supported by trust" and emphasized that respect for the original work should not be ignored. Professor Cheng Qiming from the Central Academy of Fine Arts, starting from the philosophical thinking of "studying things" to "studying space", interpreted the philosophical core behind Arata Isozaki's designs.Professor Che Fei, Dean of the School of Art and Design at Beijing Institute of Fashion Technology, and Professor Hu Qian, co-founder of Arata Isozaki + Hu Qian Studio, respectively, starting from their communication experiences, emphasized Arata Isozaki's humanistic stance of "constructing vitality amid contradictions" and "integrating emotions into technology".Exhibition site.————————————————————————————Exhibition information.————————————————————————————Chief Convener: Pan GongkaiAcademic Advisor: Lü PinjingCurators: Zhu Tao, Cui DonghuiAcademic Host: Hu QianExhibition Coordinator: Shi YangExhibition Design: Zhu Tao Architecture StudioExhibition Execution: Huo Panwang, Meng QingfengHost: Central Academy of Fine ArtsOrganizer: CAFA Art MuseumCo-organizers: Arata Isozaki + Hu Qian Studio, Red Seal Art CenterExhibition Period: July 15 - August 24, 2025Venue: 1st Floor Hall, CAFA Art MuseumChief Editor / He Yisha Editor / Du YinzhuEditor / Zhu Jingyi
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: Announcement on the Temporary Adjustment of the Visitor Entrance

2025-08-08

Dear audience friends:Due to the road construction at the North Gate of the Central Academy of Fine Arts from August 11th to August 24th, the visitor entrance is temporarily adjusted as follows: starting from August 11th, the entrance to the Art Museum will be moved to the East Gate of the Central Academy of Fine Arts (opposite Huajiadi Experimental Primary School). We apologize for any inconvenience caused. Floor Plan of the Visitor EntranceCAFA Art MuseumAugust 8, 2025Reservation Channel╱ CAFAM @ 2025Visitors can make reservations and purchase tickets through the Mini Program, WeChat Official Account, or official website of the Art Museum of the Central Academy of Fine Arts (see the official website for details on ticket purchase). The daily opening hours are 9:30-17:30, and the museum is closed every Monday.Visitors aged 60 and above, as well as children under 6 years old, are required to purchase "0-yuan tickets for the elderly and children". Individual members of the Chinese Museums Association, active-duty military personnel, national comprehensive fire and rescue personnel, and persons with disabilities can purchase "0-yuan tickets for special groups" with relevant certificates.╱ CAFAM @ 2025Chief Editor / He YishaEditor / Du Yinzhu
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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.